Chapter 6 Top Guns for Iligh

The only thing that is left to reveal the secrets of Iligh and turn the tide of the deterioration of the historical archives is to get international recognition. In Chapter 6 Bert the writer of the Graphic Story and Aicha Aboudmiaa set out to mobilize the experts in the field of documents, linguistics, history, anthropology and Jewish/Moroccan relations. The family Aboudmiaa starts a society of 'Friends of Iligh'. There is plenty of interest, but everybody demands to be shown examples from the archive that is important to their particular field of interest. Moulay Imam Aboudmiaa lets be known through his daughter that he can and will deliver. This results in a 'Reunion de Amis d'Iligh' on March 22, 23 and 24 2018 in Iligh. What will happen when everybody knocks on the gate of Iligh? Will Moulay Imam Aboudmiaa open up the coffers of the archive and if he does, will it reveal what everybody hopes and even expects it to deliver? And what will the reaction of the experts be? Will they be sufficiently impressed by what they see and by the attitude of the family to offer means and money to safeguard everything for future generations? How will the story end? The drawing shows Bert Hoogervorst and Moulay Imam Aboudmiaa. Do they really understand each other or is it a Biblical confusion of tongues as the Hebrew Thora text reads in the Museum of Iligh?

Grant application

Bert wrote the following Project Proposal for the Grant application. The translation from the Dutch is mine... The Tears of Iligh: written by Bert Hogervorst, art by Peti Buchel While on a trip to the South of Morocco I stumbled by chance upon a remarkable stronghold in the style of sub-saharan architecture.When was this extraordinary collection of castles built? Who lived there? What is its history? That was how the idea for a book of Graphic Journalism was born. Three times in as many years did I knock on the door. On the fourth time it finally opened. What happened next? The first meeting with the family that has lived there for 350 years was so remarkable that it led to a train of unforeseen adventures. The family is heir to a very unusual history. Among other things two historical facts stood out immediately: its special connection to the Netherlands and the ties to the the large Jewish community that found shelter within its walls. There are supposed to be many written documents that prove the pivotal role the family played in the history of the region and the trans-Saharan trade, but the family is sworn to secrecy. According to trustworthy sources the whole family archive is in a deplorable state as damp and insects have made havoc with the papers and leathers on which the archive is written. Most of what is known about the history of Iligh comes from outsiders: for example the 17th century diaries of Dutch admiral of the fleet Michiel de Ruyter who traded with Iligh for 10 years. The key question of this book of Graphic Journalism is: can the authors penetrate the secret archives? Can they make the family trust them enough to let experts evaluate what's there and possibly safeguard them for future generations? Bert Hogervorst and Peti Buchel have collaborated before on 'The Turning Tide (1998) a study about alternative ways to regenerate 19th century harbour building in NW Europe. They share a love of and interest in the Arab speaking part of the Islamic world and its history and culture.