When Asmâa Hamzaoui takes to the stage at WOMADelaide in March with her band Bnat Timbouktou, she will bring much more than music: she will carry with her the weight and beauty of centuries of Moroccan Gnawa tradition. As the first female maâlma (master) in a genre long dominated by men, Hamzaoui blends deep spirituality with bold feminine energy, transforming ritual into rhythm and heritage into healing. In this interview, she discusses her father’s influence, the sisterhood that unites her group, and the power of Gnawa to connect cultures, touch souls, and inspire women around the world to draw strength from art.
Asmâa Hamzaoui, you are coming to Australia for the WOMADelaide festival, where you will be performing your Gnawa music. Can you tell us what Gnawa music is, and how it blends spiritual, ritual and musical traditions?
Gnawa music is spiritual music that comes from Morocco’s heritage, and it is traditionally composed by men. However, the existence of an all-female group was a novelty in the world of Gnawa, and I am honoured to present it to the Australian public.
Your father is Maâlem Rachid Hamzaoui, a renowned master of Gnawa. How did growing up in a family immersed in Gnawa shape your approach to this music?
My father, Master Rachid Hamzaoui, is my primary role model in this field. He taught me music, how to play instruments and how to sing, and he has always supported me, both as a father and as a teacher. I feel it is my duty to respect his decision: to spread Gnawa music throughout the world with my voice.
As the first female Gnawa musician in Morocco, what challenges did you face when entering a traditionally male-dominated genre?
There are challenges to overcome in a male-dominated environment, especially when faced with more experienced teachers, which presents many obstacles, but my father’s support has helped me a lot and made me independent and strong.
How did you form Bnat Timbouktou, and what qualities do you look for in the women you choose to play with you?
The idea of the Girls of Timbuktu was not easy to implement, but some people explained to me that women are strong, and I always ask those who wish to join us to believe in the spirit of sisterhood, because we are sisters before we are girls in a band.
You say that Gnawa is “spiritual, healing and grounding”. Can you describe a moment when the music helped you, or your audience, to feel truly healed or connected?
I always give it my all because I grew up with this spirituality and I share it with my audience. I am truly happy when I see people responding to Gnawa music, especially when it touches their soul.
As a traditionalist, how do you balance respecting the roots of Gnawa while bringing it to new audiences and festivals?
I am convinced that this music will touch the hearts of the audience because it is in high demand at international festivals, even though it is not mixed with any other instruments besides the guembri and qraqeb.
How has the presence of women changed the way Gnawa is played and perceived, both in Morocco and abroad?
My role as a maalma was to train women in the Gnawa arena who were capable of competing with Gnawa men, both inside and outside Morocco.
Your music is based on the guembri and your expressive voice. How do these instruments help you convey the message and emotion of Gnawa?
People need to know that the guembri is a living instrument; when you master it, it produces a beautiful sound that touches the heart.
Many of your songs are in the Gnawa language. How do you convey their meaning and emotion to an audience that does not speak the language?
It’s what we call feeling the emotion when faced with the artist and their message, and believing in it.
Now that Gnawa has been classified by UNESCO, how do you think this recognition will affect its preservation and global reach?
When I was a child and a fan of Gnawa music, I was convinced that someone would take an interest in this art form, and that is indeed what has enabled us to gain international recognition for this Moroccan heritage.
Gnawa combines secular and sacred rituals. How do you prepare for concerts that are both musical and ritualistic?
When the time and place are right, and sometimes even when the scent of incense is present — and by that I mean when the moon is half full or full, illuminating the night — the performance becomes more spiritual.
You have played at festivals such as Roskilde, BAM and Kaustinen. What do these international audiences bring to the universality of Gnawa?
When I’m at big festivals and venues like these, I feel pride and gratitude towards my country and my family for their support, and a big thank you to Ajabu! for the wonderful albums Wlad el Ghaba and L’bnat.
You say that Gnawa is ‘your childhood’. Can you share a childhood memory that shaped your relationship with this music?
I was only eight years old. I organised the Gnawa night because my father, who worked in intensive care at the hospital, couldn’t attend. I was in charge of the night and performed all the duties, from the presence of the six Gnawa men to the woman who worked the night. I was the one who told her what to do during the Gnawa rituals. That’s when I realised that I had to stay that way for the rest of my life. It was a real adventure for me at that age.
How do you see music, especially Gnawa, as a tool for the emancipation of women in Morocco and elsewhere?
I see it as a success for my idea, and I am convinced that every woman who gets involved in this field will succeed. There will be difficulties, but she will succeed.
What reactions from the public, in Morocco or abroad, surprised or touched you the most?
At the Gnaoua World Music Festival in Essaouira, when everyone asks for me afterwards and wants to meet me, I am even more amazed when I go on stage and see more than 600,000 spectators, young and old, chanting my name. It fills me with joy, gives me an incredible feeling and makes me capable of facing anything for my fans.
Bnat Timbouktou creates a unique soundscape of rhythmic percussion. How do you build this collective energy in your concerts?
I see all the girls in Timbuktu like my sister Aïcha Hamzaoui, who always accompanies me. We are truly sisters. And when I see them harmoniously united on stage, their goal is the same as mine: to make the echo of Gnawa women resonate throughout the world.
What message would you like to send to young women who dream of breaking barriers in music or culture?
They must be strong and not let themselves be discouraged by the words of men. Her advice is to respect this art, and if they devote themselves fully to it, the beauty of Gnawa music will be richly rewarding.
What do you hope future generations will take away from your work to keep Gnawa alive and evolving?
My generation and I are the torchbearers. And our children will be too.
We thank Asmâa Hamzaoui for this interview and can’t wait to see her with Bnat Timbouktou at WOMADelaide in March.
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KEY INFO FOR ASMÂA HAMZAOUI AND BNAT TIMBOUKTOU AT WOMADELAIDE 2026
WHAT: Asmâa Hamzaoui and Bnat Timbouktou at WOMADelaide 2026
WHEN: Asmâa Hamzaoui and Bnat Timbouktou will perform on Sunday 8 and Monday 9 March 2026. WOMADelaide runs from Friday 6 to Monday 9 March. Playing times have not yet been announced.
WHERE: Botanic Park, ADELAIDE
HOW: Purchase your tickets via the WOMADelaide website
HOW MUCH: There are several different ticket options from single day tickets, or 3 or 4 day passes, ranging from $240 for a single day ticket on the days Asmâa Hamzaoui and Bnat Timbouktou are playing or $475 for the entirety of WOMADelaide. Children under 12 enter free and there are Youth (13-17 years of age) and Concession discounts.
To find out more about WOMADelaide 2026, read our article about the French and Francophone links in the WOMADelaide 2026 program
