Noir sur blanc explores the formalization of marriage in Morocco, the moment when everything becomes written and binding. The piece draws inspiration from traditions surrounding the signing of the marriage contract, in particular notable figures such as the Negafa, the guardian of the ritual and attendant to the bride, as well as the bearers of the amaria, once family members who carried the bride and later the couple. This role, formerly communal and emotionally charged, has now become a commercial service, revealing how rituals are transformed under the influence of capitalism. The work examines this shift: the loss of gestures of care, the weakening of symbolic weight, and the way a ritual that was once deeply communal—transmitted and upheld by the family—has become a commercialized performance, often costly, standardized, and repeated. Symbolic meaning diminishes while a “marketable” aesthetic takes precedence. Between critique and homage, the creation revisits these practices that shape the foundation of the couple and the negotiations between families during this pivotal moment.