A private initiative to develop culture

Led by Maroc Cultures, a non-profit association, Mawazine Rhythms of the World is a key player in Morocco's cultural offering. Every year, it allows millions of people to attend shows, follow training workshops or experience original creations. By building on accessibility for all, and reconciling the quality and popularity of its concerts, Mawazine has become a festival with a strong civic dimension, offering a genuine alternative in a country where the music industry is non-existent, where the market suffers from piracy and where the Ministry of Culture's budgets are limited.

In fact, Mawazine is today one of the only festivals in the world to receive no public funding. This result is the fruit of a long evolution that has enabled Mawazine to be an almost entirely self-sufficient festival. To make up for the shortcomings of the Moroccan cultural scene, Mawazine has developed an economic model that tends to reduce the role of sponsorship and to eliminate all public aid.

A festival less dependent on sponsors

Variable revenues (ticketing, passes, advertising spaces, etc.) now represent 68% of Mawazine's total budget, which has thereby considerably reduced its dependence on private sponsors. In 2012, Mawazine took a further step by suspending all the public and semi-public sponsors that had until then supported the festival.

In 2019, Mawazine's economic model was based on a budget drawn 32% from private sponsors and 68% from variable revenues. This success is the result of an evolution that began as early as 2008, the year the festival reduced the share of its budget funded by public subsidies. These went from 6% to 0% of Mawazine's total budget. As a result, the increase in variable revenues made the festival free for the vast majority of festival-goers. Today, more than ever, Mawazine is a civic festival whose economic independence is ensured by the success of each of its editions.

Constantly evolving economic models

2001 – 2005 — Mainly public funding

60% public subsidies and 40% public, semi-public and private sponsors.

2006 – 2007 — The arrival of ticketing

5% ticketing, 57% public subsidies and 38% public, semi-public and private sponsors.

2008 – 2010 — Decline of public subsidies

6% public subsidies, 34% public, semi-public and private sponsors and 60% variable revenues.

From 2011 — End of public subsidies

32% private sponsors and 68% variable revenues.