To assist the students in their theoretical training, the Academy of Traditional Arts puts at their disposal workshops equipped with the appropriate equipment so that everyone can learn the different traditional arts under the supervision of a master craftsman "Maalem" experienced in the field.
Each workshop includes a classroom, a manual work room, an instructor’s office and a storeroom. All these premises are equipped with specialized equipment and supplies. The workshops were equipped to be reference workshops in traditional arts training. The monitoring and maintenance of the equipment of each workshop are provided by the technicians of the establishment and the master craftsman in charge.
The painted wood workshop allows students to acquire the basics of the craft of wood decorator painter. The formulation of natural paints and traditional techniques, the manufacture of paint from natural and non-toxic materials, the assembly of different parts of the shaped article and the application of finishing techniques form the pillars of this practical training. .
The workshop training also helps the student to integrate into the professional environment by carrying out a concrete project including the design of a decor, the model, the samples and the cost estimate.
The wood carving workshop provides the student with the technological knowledge and know-how transmitted by the great master craftsmen necessary for a smooth introduction to the job market. The activities carried out in the workshop allow the student to practise assembly techniques, wood carpentry, woodturning, identification of wood material and wood carving techniques. Practical workshop training goes beyond the concept of repetitive movement learning and takes a product design dimension from idea to realization.
The plaster workshop is the space where students can put into practice all the theoretical and artistic knowledge acquired during training at the Academy. The practical works in this workshop consist of teaching all the stages of realization of a carved plaster product / panel, starting with the (geometric and floral) layout until the pattern is carved. The work themes of each semester are set by the master craftsman of the course of study as well as the educational coordinator, leaving the students the freedom of the design and the choice of patterns.
In addition to the traditional pattern, Arabic calligraphy sessions are scheduled for students in the plaster course of study. These courses are accompanied by an application on works of art in the last semester of the training.
Zellige is an element of Moroccan-Andalusian architecture that has perfectly adapted to contemporary decorating styles while preserving a traditional way of manufacturing.
Due to its outstanding contribution to the arts of traditional architecture at the local, national and international levels, the art of zellige is among the specialties of the Academy of Traditional Arts which offers a high-level practical and academic curriculum to form a pool of executives who will be responsible for preserving this noble craft of ancestral art.
The zellige workshop is divided into two major parts: the first part dedicated to the cutting of tessera (frems) in which the Mâallem Nakkach teaches students the whole process of making a zellige frem, starting with the tracing of contours from shaping to finishing.
The second part of this workshop is reserved for the assembly of tessera. The work themes of each semester are set by the master craftsman of the course of study as well as the educational coordinator, leaving the students the freedom of the design and the choice of patterns.
In addition, sessions on clay paste processing are part of the practical workshop program, allowing students to touch the raw material and learn more about the process of making clay tiles.
In addition to the traditional pattern, Arabic calligraphy sessions are scheduled for students in the zellige course of study. These courses are accompanied by an application on works of art in the last semester of the training.
The workstation in the jewelery workshop is typical, consistent with the archetypes of the trade. It includes an indented wooden workbench allowing the apprentice to approach and place the jewel that he works on the dowel (small wooden central overhang). Under the workbench, a space is provided to accommodate the various work tools: saws, files, milling cutters ... etc. At each workstation, there is a welding torch operating with butane associated with oxygen. An individual lamp with a built-in magnifier is located about 40 cm above the worktop.
The apprentice sits on a chair whose height can be modulated, but which is set low. In the indentation of the workbench, is fixed a leather apron, resting on the legs of the apprentice and saving the dust of the metal.
The traditional weaving workshop is made up of different types of looms: vertical looms for carpet knotting and horizontal looms. This workshop is an educational space where students are encouraged to apply the different concepts related to weaving learned in theoretical courses namely: fabric analysis, the preparation of fabric data sheet, the reproduction of a fabric, the techniques of plain weave.
Students are assisted by a master craftsman and a textile designer in the process of designing and producing their textile objects.
The items made in the workshop are made from noble raw materials namely wool and cotton. Other practical workshops are organized during the training course, namely a manual spinning workshop and a plant dyeing workshop.
The leather goods workshop has four basic learning units:
- Styling / model making: drawing and modelling the products to be made;
- Preparation: Preparation of model parts to be made;
- Cutting: cutting the pieces to be assembled;
- Assembly: assembling and sewing the parts constituting the model to be made;
- Finishing: painting the edges, burn the wires.
In parallel, the workshop is equipped with several machines:
- A composting machine to make the logos
- Slitting machine to equalize and adjust the thickness of the leather
- Two dressing machines, which consist in thinning the thickness of the edges for easy sewing
- A rotary arm cutting press machine for cutting leather pieces
- A glazing and flattening machine to glaze and flatten the flower leather.
For the raw material, the workshop has a variety of (vegetable / chrome) cattle, goat leather, leatherette, and synthetic materials. The workshop training is followed by a master craftsman and the head of curriculum.
Due to its outstanding contribution to the traditional architectural arts at the local, national and international levels, the art of stonemasonry is among the courses of study offered at the Academy of Traditional Arts. This high-level academic training aims to train executives who will have the noble mission of preserving this craft rooted in our craft heritage. This is the first time that a high-level training dedicated to stonemasonry is taught in Morocco. This training also responds to a trend to promote the use of natural and local resources that have long been a wealth of our national heritage and an awareness of the quality, durability and aesthetics of stone.
The practical work in this workshop is to teach all the steps of making a cut stone product, starting with the realization of the template until the pattern carving. The work themes of each semester are set by the master craftsman of the course of study as well as the educational coordinator, leaving the students the freedom of the design and the choice of patterns. In addition to the traditional pattern, Arabic calligraphy sessions are scheduled and accompanied by an application on works of art in the last semester of the training. Interventions by foreign experts are also scheduled in the practical workshop, giving students basic knowledge about stereotomy.
Wrought iron work is the technique of working with iron at the forge where the metal is heated for transformation using a swage or hammer. Wrought ironwork is now a traditional craft with artistic skills. In recent years, the advent of decoration has brought the wrought ironwork to the forefront. The work of metalworkers now depends more on the artistic field than on the artisanal field.
From work at the workbench, to work at the forge, going through flattening, dressing of large pieces or using different tools, it is essential to have a workshop where flexibility of movement is not impeded and all things can be at hand. Thus, each apprentice has his own space and remains autonomous in his work.