Amazigh Arts in Morocco
Title | Amazigh Arts in Morocco PDF eBook |
Author | Cynthia Becker |
Publisher | University of Texas Press |
Total Pages | 241 |
Release | 2014-04-15 |
Genre | History |
ISBN | 0292756194 |
In southeastern Morocco, around the oasis of Tafilalet, the Ait Khabbash people weave brightly colored carpets, embroider indigo head coverings, paint their faces with saffron, and wear ornate jewelry. Their extraordinarily detailed arts are rich in cultural symbolism; they are always breathtakingly beautiful—and they are typically made by women. Like other Amazigh (Berber) groups (but in contrast to the Arab societies of North Africa), the Ait Khabbash have entrusted their artistic responsibilities to women. Cynthia Becker spent years in Morocco living among these women and, through family connections and female fellowship, achieved unprecedented access to the artistic rituals of the Ait Khabbash. The result is more than a stunning examination of the arts themselves, it is also an illumination of women's roles in Islamic North Africa and the many ways in which women negotiate complex social and religious issues. One of the reasons Amazigh women are artists is that the arts are expressions of ethnic identity, and it follows that the guardians of Amazigh identity ought to be those who literally ensure its continuation from generation to generation, the Amazigh women. Not surprisingly, the arts are visual expressions of womanhood, and fertility symbols are prevalent. Controlling the visual symbols of Amazigh identity has given these women power and prestige. Their clothing, tattoos, and jewelry are public identity statements; such public artistic expressions contrast with the stereotype that women in the Islamic world are secluded and veiled. But their role as public identity symbols can also be restrictive, and history (French colonialism, the subsequent rise of an Arab-dominated government in Morocco, and the recent emergence of a transnational Berber movement) has forced Ait Khabbash women to adapt their arts as their people adapt to the contemporary world. By framing Amazigh arts with historical and cultural context, Cynthia Becker allows the reader to see the full measure of these fascinating artworks.
Amazigh Arts in Morocco
Title | Amazigh Arts in Morocco PDF eBook |
Author | Cynthia Becker |
Publisher | University of Texas Press |
Total Pages | 241 |
Release | 2014-04-15 |
Genre | History |
ISBN | 0292756194 |
In southeastern Morocco, around the oasis of Tafilalet, the Ait Khabbash people weave brightly colored carpets, embroider indigo head coverings, paint their faces with saffron, and wear ornate jewelry. Their extraordinarily detailed arts are rich in cultural symbolism; they are always breathtakingly beautiful—and they are typically made by women. Like other Amazigh (Berber) groups (but in contrast to the Arab societies of North Africa), the Ait Khabbash have entrusted their artistic responsibilities to women. Cynthia Becker spent years in Morocco living among these women and, through family connections and female fellowship, achieved unprecedented access to the artistic rituals of the Ait Khabbash. The result is more than a stunning examination of the arts themselves, it is also an illumination of women's roles in Islamic North Africa and the many ways in which women negotiate complex social and religious issues. One of the reasons Amazigh women are artists is that the arts are expressions of ethnic identity, and it follows that the guardians of Amazigh identity ought to be those who literally ensure its continuation from generation to generation, the Amazigh women. Not surprisingly, the arts are visual expressions of womanhood, and fertility symbols are prevalent. Controlling the visual symbols of Amazigh identity has given these women power and prestige. Their clothing, tattoos, and jewelry are public identity statements; such public artistic expressions contrast with the stereotype that women in the Islamic world are secluded and veiled. But their role as public identity symbols can also be restrictive, and history (French colonialism, the subsequent rise of an Arab-dominated government in Morocco, and the recent emergence of a transnational Berber movement) has forced Ait Khabbash women to adapt their arts as their people adapt to the contemporary world. By framing Amazigh arts with historical and cultural context, Cynthia Becker allows the reader to see the full measure of these fascinating artworks.
Amazigh Arts in Morocco
Title | Amazigh Arts in Morocco PDF eBook |
Author | Cynthia J. Becker |
Publisher | |
Total Pages | 0 |
Release | 2006 |
Genre | Art, Moroccan |
ISBN |
Berbers and Others
Title | Berbers and Others PDF eBook |
Author | Katherine E. Hoffman |
Publisher | Indiana University Press |
Total Pages | 241 |
Release | 2010 |
Genre | Africa, North |
ISBN | 0253354803 |
Berbers and Others offers fresh perspectives on new forms of social and political activism in today's Maghrib. In recent years, the Amazigh (Berber) movement has become a focus of widespread political, social, and cultural attention in North Africa, Europe, and the United States. Berber groups have peacefully yet persistently laid claim to ownership over broad areas of creativity in the arts, politics, literature, education, and national memory. The contributors to this volume present some of the best new thinking in the emerging field of Berber studies, offering insight into historical antecedents, language usage, land rights, household economies, artistic production, and human rights. The scope, depth, and multidisciplinary approach will engage specialists on the Maghrib as well as students of ethnicity, social and political change, and cultural innovation.
Arts, Gender and Changing Constructions of Amazigh (Berber) Identity
Title | Arts, Gender and Changing Constructions of Amazigh (Berber) Identity PDF eBook |
Author | Cynthia Jeanne Becker |
Publisher | |
Total Pages | 434 |
Release | 2002 |
Genre | |
ISBN |
Arts, Gender and Changing Constructions of Amazigh (Berber) Identity
Title | Arts, Gender and Changing Constructions of Amazigh (Berber) Identity PDF eBook |
Author | Cynthia J. Becker |
Publisher | |
Total Pages | 460 |
Release | 2000 |
Genre | Ait ʻAtta (Berber people) |
ISBN |
Tazz’Unt
Title | Tazz’Unt PDF eBook |
Author | Helene E. Hagan |
Publisher | Xlibris Corporation |
Total Pages | 134 |
Release | 2011-05-12 |
Genre | Social Science |
ISBN | 1477170723 |
Tazzunt presents a group of Berbers (Imazighen), the Ait Arbaa, who live in the Tessawt Valley of the High Atlas of Morocco, eking out a meager existence from the eroded soil of their rugged environment, by harvesting turnips, millet and maize, and one cash crop of walnuts. They depend also on a simple form of summer pasture. Tazzunt means limit: and it refers to an annual ritual which gathers around the shrine of a local Saint, Sidi Asdal, several villages of the Valley for its celebration. A ceremony, a feast, songs and dances accompany the rite. The book is based on a French ethnographic description recorded by a member of that group, Hassan Jouad, and a Frenchman, Bernard Lortat-Jacob during the celebration of the opening of the Summer Season Festivities, the Tazzunt ceremony, in 1978. The original English analysis based on this description was a spring paper written in 1982 at the Department of Anthropology of Stanford University. Because such material is so lacking in the anthropological literature of Morocco, and given the fact that American universities are beginning to become more interested in Amazigh studies (North African Berbers and Tuaregs), this small book might be appreciated by a number of people entering that field. Hopefully, it will also be of interest to anyone else interested in ritual and religious practice in Africa. The document opens with an introduction to the Berbers of the High Atlas of Morocco, who speak Tamazight, a form of a Berber language which has a number of different dialects through North Africa. A whole section is devoted to the analysis of their segmentary type of tribal organization, and what has been discussed in the past by anthropologists interested in segmentary structures of social organization in past anthropological literature. The various mechanisms of affiliations and alliances, recognized by Berbers (Imazighen) in this part of the world about the middle of the twentieth century, are also examined and assessed as to their function and place in the tapestry of relations not just among the Ait Arbaa, but more generally among the Berbers of that region. The presence of marabouts, saintly men such as Sidi Asdal, the local saint of the upper Tessawt Valley, and a maraboutic complex which antedates the arrival of Islam and has been incorporated into religious practice in Moorcco, are also introduced and discussed in a separate section of the book. The concept of Baraka (blessing, and power of blessing) is introduced and analyzed. Social order and the segmentary structure of social organization are singularly modified by the presence of these powerful saintly men with Baraka as opposed to the rule of elected, temporal chiefs, or amghars. A model of equilibrium, fluidity, and flexibility emerges from such a factor at the core of a structured, hierarchical society. The ritual of Tazzunt itself is presented, explained, and analyzed. An anthropological reflection on the importance of ritual, song and dance, rounds up the presentation. All aspects of the presentation of the ritual of Tazzunt and its meaning for the villagers and mountain people of the Tessawt Valley are backed by a series of poems and songs which were translated from their original Tamazight composition into French by Hassan Jouad, and subsequently translated from the French into English by the author of the book, Helene Hagan. The poetry is essential to the actual substance and meaning of the actions described. In addition to the importance of the poetry which accompanies the prose of the explanatory text, the author had the extraordinary luck to come across a set of photographs taken in that valley, around the very time that this document was being written. These photographs were taken by two architects, Anne and Olivier Fougerat, who were kind enough to share their beautiful photography taken in May of 1984 in the Upper Tessawt Valley of the High Atlas of Moroc