(And please see Schuyler's astute article, "Joujouka/Jajouka/Zahjoukah: Moroccan Music and Euro-American Imagination", which you can read here.)
There is Augusta Palmer's Hand of Fatima (2010).
The Master Musicians Of Jajouka with Bachir Attar (Roskilde Festival 2014); photo: Morten Aagaard Krogh
And now there is another, Jajouka Quelque Chose De Bon Vient Vers Toi, by Eric and Marc Hurtado, members of the experimental/industrial music group Étant Donnés from Grenoble. The brothers were born in Rabat, Morocco. The film is entered in the 27th Marseille International Film Festival, to be held in July 2016. The festival website has this to say about the film:
The film opens with an archaic tale, in brief stylised tableaux, concerning the divine creation of music. The myth is extended to a universe of sacred dimensions where it is difficult to differentiate the legend from its current perpetuation. Where are we? In the Moroccan Rif, in Jajouka, a village where, for over two thousand years, fertility rites involving music and dance, have been presided over by Bou-Jeloud, “the Father of Skins”, a local version of the god Pan.
The Hurtado brothers are famous musicians: their group Etant Donnés came to prominence through collaborations with various artists including Alan Vega, Genesis P-Orridge and Philippe Grandrieux (they produced original soundtracks for several of his films). They are also known as experimental filmmakers. Here their two passions are combined, raising the challenge of travelling back in time to hail the Master Musicians of Jajouka, yesterday and today. Besides, has time passed? It is therefore not about concocting a score destined to accompany autonomous images, but about making the music (its strident nudity, its incantatory austerity) and its history the very substance of the images and the scenario being staged. Their choice was obviously Pasolinian: to resurrect the archaic while remaining faithful to it, through the treatment of decor, lighting, acting and costumes. Here, the beauty lies in the rough friction between the muteness of the characters and their unbridled momentum towards another potential voice.
Based on the write-up, it seems the film is going to go over the familiar myths surrounding Jajouka (it's about the rites of Pan, Jajouka and its rites are located in archaic times, and so on), that Schuyler's article so cleverly deconstructs. But maybe someone who reads this will be able to see the film and can tell us differently...