Abdelilah Benkirane: Morocco’s Master of Populist Performance Returns
Morocco’s former Prime Minister, Abdelilah Benkirane, has re-emerged on the political stage, offering a familiar blend of moralizing rhetoric, populist appeals, and internal contradictions that analysts say have defined his decades-long career. Despite holding no formal power, Benkirane continues to exert influence through a carefully cultivated public persona, amplified by a savvy digital strategy.
Benkirane’s recent appearance at a regional congress of his party in Souss-Massa showcased what has become his signature style: a “well-dosed cocktail of religious references, personal victimization, folklore politics and rancid populism,” according to observers. This performance-driven approach, they argue, prioritizes spectacle over substantive policy proposals.
The Art of Victimization in the Digital Age
A key tactic employed by the former head of government is the assertion of censorship, despite his pervasive presence across multiple media platforms. “I am prohibited from public media,” he reportedly claimed, expressing indignation over a supposed conspiracy of “crocodiles and demons” controlling the airwaves. However, this narrative clashes with the reality of his robust online presence.
Benkirane actively bypasses traditional media through live streams on Facebook, looped content on YouTube, and a trending presence on TikTok, demonstrating a “well-established digital campaign logistics.” He simultaneously portrays himself as both oppressed and omnipresent, leveraging this contradiction to fuel his populist appeal. As one analyst noted, this isn’t about a genuine silencing, but a frustration with a lack of complete control over the media landscape. He expands his reach through Telegram groups, stories, and slogans, turning perceived “censorship” into a carefully crafted narrative.
Gender Roles and Double Standards
Benkirane’s views on female emancipation are starkly traditional. He suggests that a woman’s fulfillment lies primarily in marriage, dismissing education and work as secondary concerns. “Everything is possible after the wedding,” he asserts, implying that unmarried women with degrees face a bleak future.
However, this stance is undermined by the accomplishments of his own daughter, who pursued higher education and a successful career. This apparent hypocrisy highlights a pattern of applying his conservative principles selectively, reserving them for public consumption while benefiting from more progressive choices within his own family. Critics argue this reinforces a system where women are denied agency and pressured into a predetermined destiny.
From Gaza to the Bendir: A Shifting Moral Compass
Benkirane’s pronouncements are often marked by inconsistency, particularly regarding cultural and geopolitical issues. He initially condemned the Mawazine festival, stating, “We don’t play drum while Gaza dies!” – a display of solidarity with Palestine. Yet, just 24 hours later, he was seen enthusiastically dancing to the rhythm of a bendir drum at an event in Agadir.
This shift illustrates a pattern of “indignation with variable geometry,” where moral outrage is readily abandoned for personal enjoyment. His morality, observers say, is “poorly stored when the temperature rises,” easily succumbing to local atmosphere and immediate gratification. The incident underscores a broader concern: that his principles are performative, prioritizing theatrical effect over genuine conviction.
Ethnocentric Remarks and a Search for Relevance
In a recent statement, Benkirane asserted that “If all Moroccans were like the Soussis, we would be as developed as Japan.” This remark, widely criticized as ethnocentric and nonsensical, exemplifies his tendency to offer sweeping generalizations with little supporting evidence.
Since leaving office, Benkirane has increasingly relied on such pronouncements to maintain relevance, animating a persona that is described as both “clumsy, reducing and insulting.” He presents himself as a free voice against the system, despite his previous years in power. While unemployment rises and the public school system struggles, Benkirane focuses on collecting “punchlines” and maintaining his image as a captivating performer.
The Benkirane show continues, looping endlessly. Press “stop” at your convenience, but the soundtrack – a blend of nostalgia, indignation, and contradiction – remains devilishly entertaining.
