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Algeria’s contested claim over Moroccan zellige sparks cultural dispute
When Algeria recently earned a silver medal at Expo Osaka 2025 for best exterior design, its pavilion was praised for featuring what organizers called “Algerian Zellige.”
The designation was more than inaccurate; it misrepresented history. Zellige, the intricate geometric mosaic tiles, is a distinctly Moroccan art form with no Algerian origins. Born in the madrasas of Fez and perfected in Marrakech and Meknes, zellige embodies Morocco’s centuries-old architectural and artistic traditions, from ornate fountains to tiled minarets and palace interiors.
Zellige’s origins are inseparable from Moroccan architectural history. Emerging under the Almoravids, refined by the Almohads, and reaching its peak during the Marinid dynasty in the 13th and 14th centuries, Moroccan artisans developed a complex visual language of interlacing stars, polygons, and floral motifs. Passed down from master to apprentice, each hand-cut tile is colored with natural minerals and assembled into mosaics symbolizing harmony and infinity, a precision and continuity unique to Morocco.
In recent years, Algeria has repeatedly attempted to present zellige as part of its national heritage. In 2022, Morocco’s Ministry of Culture filed a complaint against Adidas after the German brand used zellige-inspired patterns on Algerian football jerseys. Adidas later confirmed the designs drew from Moroccan craftsmanship. Despite this, Algeria’s narrative persists, framing Morocco’s heritage as a collective Maghreb identity.
At Expo Osaka, Algeria’s pavilion reinforced this appropriation, presenting zellige-like mosaics as “local tradition.” Such misrepresentation risks diluting Morocco’s cultural authorship. The subtle erasure of artistic identity, even when not overtly stolen, undermines the integrity of national heritage and soft power. Algeria has even sought to register “Algerian Zellige” with UNESCO, complicating Morocco’s claims further.
For Morocco, safeguarding zellige is more than symbolic. Cultural ownership asserts authority over how history is represented globally. Moroccan artisans continue to train new generations in Fez, preserving centuries of craftsmanship. Zellige is officially registered with the World Intellectual Property Organization, reinforcing Morocco’s custodianship of the art.
Morocco’s Ministry of Culture now faces the challenge of translating condemnation into action. Protecting Moroccan traditions, including the zellige and the caftan, through international legal frameworks has become a diplomatic imperative. The dispute with Algeria extends beyond art, reflecting a broader strategy of soft-power rivalry aimed at undermining Morocco’s regional influence.
Zellige is the latest target of this cultural contest. Algeria has previously sought to claim the Moroccan caftan and continues to challenge Morocco’s stance on Sahara, reflecting a persistent pattern of contesting Morocco’s cultural, political, and territorial identity.