馃嚥馃嚘MoroccoNorth Africa
Morocco's Atlas Lions face varied paths in 2026 World Cup knockout stage
via Le Matin2 min read
The Atlas Lions are preparing for the knockout phase of the 2026 World Cup, with their potential opponents and match locations dependent on their final standing in Group C. If Morocco finishes first in Group C, they could face the second-placed team from Group F, currently Japan, in the round of 16. Advancing further, they might encounter teams like C么te d鈥橧voire, Norway, Mexico, or England. This path is considered relatively more open. If Morocco finishes second in Group C, they would play the leader of Group F, currently the Netherlands, though Japan is also a contender for that top spot. Subsequent matches could pit them against strong European teams such as France, Switzerland, Germany, Spain, or Portugal, potentially leading to a quarter-final clash with a major football nation like Germany or France. Mohamed Ouahbi, the team's coach, has emphasized the team's readiness regardless of the opponent, stating, "We are ready, whatever the opponent." Beyond opponents, Morocco's group standing will also determine their match schedule and venue. A first-place finish in Group C would see them play on Monday at 7 PM at NRG Stadium in Houston, Texas. A second-place finish would mean a match in Mexico, scheduled for late Monday/early Tuesday at 3 AM at BBVA Stadium in Monterrey.
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This summary was AI-generated from a story originally published by Le Matin.
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Driss El Yazami, in an interview, discussed the focus of the 13th edition of the Human Rights Forum on "world youth," highlighting its urgency due to the central role of youth in society and the numerous challenges they face. He noted that today's youth are growing up amidst multiplying crises, including a contested international order and a challenge to humanist values like equality, fraternity, pluralism, and democracy. The ecological crisis also adds to this complex global context. El Yazami identified war, authoritarianism, and obscurantism as major threats to freedom. He emphasized the fundamental link between peace and rights, drawing on his experience with the International Federation for Human Rights FIDH. Authoritarianism, he explained, stifles debate, peaceful dissent, and human creativity, while obscurantism, often fueled by certain ideologies, undermines fundamental rights like the right to life and restricts freedoms of expression and association. Regarding Moroccan youth abroad, El Yazami observed that they often express multiple identities, rejecting the pressure to choose a single belonging. He cited the 2011 Moroccan Constitution, particularly Article 16, which supports the rights and interests of Moroccans worldwide and encourages their contribution to Morocco's development while fostering ties with their countries of residence. This dual belonging, he noted, is a source of creativity, evident in the diverse languages used by Moroccan novelists today. On the
The 21st Mawazine Festival-Rythmes du Monde continued to captivate audiences in Rabat with a celebration of Moroccan culture on Tuesday, June 23, at the Mohammed V National Theater. The evening featured performances by Sanae Marahati and Nouamane Lahlou. Sanae Marahati, from Sefrou, opened the evening with qasidas from Moroccan Malhoun. During a press conference before her concert, she emphasized the importance of preserving and transmitting this intangible cultural heritage, calling it a "national duty" for artists and producers. For her second appearance at Mawazine, she compared Malhoun to wearing a caftan, a treasure honored on special occasions. Marahati also announced her new project, "Arassi Toub," a contemporary adaptation of a two-and-a-half-century-old Malhoun qasida, designed to connect younger generations with this ancestral art. Nouamane Lahlou followed with a musical fresco in four acts, accompanied by over 70 artists, including musicians, singers, dancers, and folk troupes. His performance showcased various aspects of Moroccan cultural identity, beginning with "Bladi Ya Zine Al Bouldane" and moving into an "anthropology of cities." Accompanied by folk troupes in traditional costumes, he highlighted regions and cities like Chefchaouen, Zagora, Ouazzane, Tafilalet, Marrakech, and Fes, through music, dance, and popular heritage. The third part of his show paid tribute to Abdelwahab Doukkali with a medley. Lahlou also explored the golden age of Arab song, blending