Introduction: Work and Identity in the Moroccan Atlas

Introduction: Work and Identity in the Moroccan Atlas
Introduction: Work and Identity in the Moroccan Atlas

Aim and Scope

This dissertation is about identity, and more specifically the conditions of identity production in Tagharghist, a village in the mountains south of Marrakech, Morocco. The people who live here are part of the larger category of Moroccans called “Berbers” by most Westerners and IshelHin by themselves. The term “Berber” has mainly been considered by scholars to denote a linguistic category rather than an ethnic group, at least since the 1950s when the downfall of the French protectorate inspired a sense that the distinction between Berbers and Arabs was a product of the colonial imagination, a means to divide and conquer. Post-colonial nationalist scholars were concerned to build a unified, modern Morocco and for them the linguistic and possibly ethnic diversity represented by “the Berber question” was perceived as a threat. More recently the Amazigh (Berber) rights movement has challenged the elision of Arab/Berber distinctions and the notion that the French invented them. Amazigh activists consider state policies of Arabic-only classrooms and a law that makes non-Arab names illegal for newborns to be part of an orchestrated government repression of Berber language and culture. Such activists counter the “Arab Morocco” vision with what they see as a unified Amazigh language, history, and culture that extends across North Africa and back to the dawn of recorded history. From this viewpoint Arabs are but recent arrivals and should be considered with other invaders, from Phoenicians, Romans and Vandals to the Portuguese, Spanish and French. For Amazigh activists, Berbers are Imazighen: members of a broad, unified cultural and linguistic community.

Thus there is a clear disagreement between Amazigh activists and most non-Amazigh Moroccan scholars about Berber identity. What the two groups have in common, however, is that they are urban, literate and familiar with broader discourses of nationalism, post-colonialism, cultural self-determination, human rights, and so forth. My research concerns people who are but objects in this debate: rural, illiterate IshelHin. The guiding question of the research is how these impoverished mountain farmers see themselves and their relevant social world, what matters to them in terms of political, ethnic or other identity. My conclusion is that the extreme positions in the contest over Amazigh and Moroccan identity do not fit the situation in Tagharghist. The villagers are neither simply Moroccan nor essentially Amazigh in the terms outlined by activists. Speaking Tashelhit, the variety of Berber (or Tamazight) prevalent in Southern Morocco, does matter to some people in some situations. Most of the time it does not. In this dissertation, then, I try to outline the social contexts through which people make sense of their lives in Tagharghist, and then show why forms of identity articulated by Amazigh activists and Moroccanist scholars only partly fit these local notions. I focus on three main frameworks: geography, history and power (or space, time and power, as I refer to them below). I see the specificities of these domains as fundamental to social life in Tagharghist, and thus to local processes of identity formation.

Most scholars would classify the people of Tagharghist either as poor (Moroccan) farmers or as Berbers. My primary contention is that in order to understand either poverty or Berberness, we need to understand the relation between the two. By this I mean we need enter into the subjective experience of being poor and Berber, we must look at how notions of poverty and Berberness emerge from within people's lives rather than how we might categorize them from without. In Tagharghist, poverty is not an absence of work. It has nothing at all to do with poverty as it is often experienced in urban Morocco, as unemployment. In fact, the problem in Tagharghist would better be termed super-employment, the continuous inescapable need to expend great physical effort to stay alive. Poverty in this sense is generative, a motivation to labor rather than an absence of opportunity to work. Sometime similar might be said about being Berber. From outside we might see in Tagharghist a pristine Berber culture or society, which, depending on our theoretical taste, might be expressed as an elegantly ramifying kinship logic or a vibrant set of local meanings about everything from masculinity to the authority of the King. These issues are related to work too, however. The logic of kin relations that so fascinates some anthropologists is, in Tagharghist, primarily deployed (consciously and deliberately) to organize necessary communal labor. The Berber cultural consciousness that interests scholars and activists is in Tagharghist born of interactions with non-Berbers. Typically these interactions happen in the context of some power asymmetry (with a state agent or an NGO) during negotiations to get something done (to build a school or reduce pasture use). This is not to say we can or ought to reduce culture to a list of practical functions or poverty to a binary “too much/too little” work. It is to say that by viewing cultural questions from the perspective of what people actually do all day, we may bring fresh perspectives to old concerns.

There are several reasons why such questions are worth investigating. Firstly there is an academic obligation to clarify our view of the contemporary social situation in Morocco. There are striking contradictions in the literature on rural Morocco and one purpose of this document is to provide ethnographic evidence from one time and place that bears on larger academic debates about language, power and identity in Morocco. Second, the question of Berber or Amazigh identity is part of a broad scholarly interest in identity movements worldwide. Clearly we are witnessing a global explosion of identity politics, from Islamic fundamentalism to radical environmentalism. Most such movements produce texts –Web pages, manifestos or newsletters-- that specify who members think they are and what they're about, and the Amazigh rights movement is no exception. My research focuses on people who are not part of such an organized, purposeful movement, but are instead the subjects of it. This provides a counterpoint to much academic work on identity.

Finally, the analysis of social conditions that I provide is meant to be useful in terms of Moroccan and international development schemes. There is a massive World Bank funded project beginning in the area where I did research, but very little available data on the social and political world that this project will impact. The development literature that exists passes quickly over the fact of Berber linguistic distinctiveness and addresses some forms of social inequality while missing others entirely. Amazigh activists are quite correct that the linguistic distinctiveness of Imazighen/Berbers has been largely written out of Moroccan history and society. This has real political economic importance when the state acts to “improve” local conditions. Change is inevitable for this part of the world, and from a village perspective this is welcome. Villagers have no romantic illusions about their lives as subsistence farmers in a high, rugged area and they are guardedly optimistic about the arrival of Peace Corps volunteers, state education, new roads, and other transformations. I hope that this document can help shape this change, that it facilitates useful understanding between the local people who helped me write it and the bureaucrats, officials and agents who may be able to read it.


In the 14th century the scholar Abderrahman Ibn Mohammed Ibn Khaldun wrote that Berbers were “powerful, redoubtable, brave and numerous; a true people like the Arabs, Persians, Greeks and Romans” (quoted in Chaker 1989:5, my translation). Today, however, more than 1,200 years after the first Arab invasions, the nature of these autochthonous, “true people” of North Africa, and the status of the language they speak, is not so clear. While there remain thousands of villages where forms of Berber are the first or only language spoken, and while there are millions more Berber speakers outside of the mountains, scattered from the beaches of Agadir to university lecture halls in Paris and Montreal, the connection between the existence of Tamazight speakers and the more elusive condition of being Amazigh is not at all obvious.
To begin, I suggest that the root of the trouble with this “Berber question” is that Berber speakers are never merely Berbers. Language is not culture and culture, in any case, is not all that matters. There are a great many things that are important to the villagers I portray below, some of which are related to language, Amazigh-ness or “culture,” but many of which are not. Mountain Berbers share a great deal with poor people everywhere, for instance, since poverty seems to entail a certain convergence of concerns around very fundamental questions of staying alive. Beyond this there are more particular concerns that people in Tagharghist share with other rural Moroccans, with all other Moroccans, with other North Africans, and indeed with all Muslims, especially Sunni Muslims. On the most banal level much of what is significant in these villagers' lives is common to all other human beings, but at the same time there are many ways these particularly interrelated, Amazigh human beings are divided amongst themselves –by sex, age, and economic standing, not least. There are also many ways the villagers in this study are different from Berber speakers in other regions of Morocco, and especially urban areas, and there are other ways they can be distinguished from Berbers in Algeria, Tunisia, Mali, and Niger.

What I present, then, is not a “Berber ethnography,” and still less an ethnography of “Berber culture,” but an inquiry into the lives of a particular group of people who speak Tashelhit, one variety of Tamazight, or Berber. My purpose is primarily to outline what these people see as important in their world, and then ask what might be “Berber” about this. This thesis is thus primarily concerned with the conditions in which identity is formed and the things people do to cope with them. In particular I examine the significance of space, time, and power to identity formation, the process by which these villagers discuss and define themselves and their relevant social world. I hope first of all to evoke the geographic, historical and political landscape of Tagharghist. I then suggest how forms of identity are cultivated within this.

My method is necessarily intensive rather than extensive. I am nothing close to a native speaker of Tashelhit and I base most of my arguments on events I observed and things people told me directly about these events. There are undoubtedly important subtleties of which I am totally unaware and I do not emphasize terminology, the ways certain words are sometimes thought to illuminate key aspects of culture or identity. Instead my assertions emerge from the diffuse and inexact process of living among a small group of people, working with them, eating with them, following the events in their lives as they unfolded in slow, daily procession. I collected nitpicky facts about who was related to who, who owned what, who had rights to what water, fields and pastures, who did what jobs, who traveled where, who married who, who worked with who and why. I talked with the people I lived with about their lives, too, usually informally and often in relation to the very strange fact that I was there amongst them. The purpose of what I was doing –the meaning of my work and life—was a curious thing to these villagers and so we shared an interest in figuring out what was important to each other, and we talked a great deal about it. Certainly the oddity of my work caused people to reflect upon theirs. I recorded and translated some of the best of these talks. What I portray here is based upon aspects of my own daily experience in the village of Tagharghist, my recorded observations of what people did and with whom they did it, and some slightly “harder” data on economics, family relations, and marriage patterns. I also use some of the transcriptions from taped interviews in which I asked people to talk specifically about life in the mountains of southern Morocco.

If the general research question covers a lot of ground, the focus is on one small place: the village of Tagharghist in the Agoundis Valley. The people here are almost all monolingual speakers of Tashelhit, the term for the local variety of Tamazight, or Berber. The Arabic for the linguistic category of Tashelhit is Shleuh and the majority of the territory where it is spoken is in the Moroccan South, from Marrakech to the fringes of the Sahara. Based on their use of Tashelhit, the people of Tagharghist usually refer to themselves as IshelHin, which they distinguish from the two other languages with which they're mainly familiar, T'arabt (Arabic, spoken by 'Araben) and Tafransist (French, spoken by Fransawin). The French are often lumped with other Europeans and called irumin, foreigners, and it is sometimes difficult to convince villagers that foreigners speak anything but French. The situation is not so simple as a division of people by what they speak, however. The people of Tagharghist on occasion call themselves 'Araben --Arabs, technically speaking-- in certain situations when they are contrasting themselves as Moroccans or Muslims with Christian foreigners. I explore this further below. There are distinctions among linguistic categories, and a consciousness that people who speak certain languages form different groups, but these are contextual. There is no straightforward, permanent correlation between terminology and identity, language and social category. “Berber” –as language or ethnic group—cannot be taken for granted as a simple social given. A variety of considerations affect the perceived significance of speaking Berber and my focus shall be mostly on these formidable, formative conditions.
It thus bears repeating that the people of Tagharghist should not be taken as a synecdoche for Berbers everywhere. They are not necessarily representative of Berbers in Morocco or even all IshelHin, many of whom today live in large cities, both in Morocco and Europe. As was once typical of anthropology, I present here a detailed study of a very limited place and make my larger assertions from that, working, so to speak, from the ground up. As in all such cases, the further I get from the ground the less sure are my arguments. I believe strongly, for instance, that my presentation of the way households matter and operate in Tagharghist is correct; I am considerably less certain about what this means for the far larger questions of a general Amazigh consciousness or a politics based on it. There is little enough written about these larger issues, however. I engage them because I think have something to say, not because I think I have the final word.

The village of Tagharghist itself is built of mud and rock houses piled one atop another on a mountainside. It looks something like a cubist painter's vision of a huge termite mound, a seemingly single agglomeration stacked precariously above the Agoundis River. In 1999 this hive of a place was home to 212 people organized into twenty-nine households, three nominal ikhsan, and five functional khamas. (See Appendices 1 and 2 for a list of the households and their family affiliations.) The complicated way these different social levels interact forms the core of Chapter Four on Power.
About 90% of the villagers live in Tagharghist more or less full time. “Membership” in households, and thus the village, is determined in the first instance by descent and marriage, but also economically as those who receive sustenance from, and contribute to, any one of the twenty-nine households that comprise “the village.” Tagharghist can be considered a bounded social unit, even if its boundaries are permeable, because it functions as an irrigation collective. Life in these mountains is vitally dependent on irrigation and for this reason the village stands as an institution matched in importance only by the household. As I have suggested, these households are thought to comprise three ikhsan, or “bones,” and these are for some productive purposes divided in to five fifths, or khamas. These might be thought of as lineages though there is less concern with “real” genealogical relatedness than creating functional, socially useful fifths. Two of the five fifths are comprised of the same biological lineage, two others are amalgamations of various residual households, and only the final fifth is indeed an ikhs, a bone, a single named patrilineal group with an identifiable ancestor.

Most households, or tikatin, survive primarily from crops of barley and maize that they raise in the intricately terraced and irrigated fields around the village. People also herd goats and sheep in the mountains above them, or at least some people do. They harvest walnuts and almonds that they sell at market and many women keep a cow penned below their house for milk and have a few chickens running around for eggs. The village sits more than 5,000 feet above sea level and summers are hot and long and dry; winters are cold and generally clear, though there is occasionally considerable snow. Population is rising and increasingly daughters and sons are sent out of the mountains to work as nannies, waiters, and miners, or as laborers on the big capitalist farms of the plains. Sometimes these migrants hive off from their parent households and make their own way in the world, either in the city or by establishing their own absentee households in the village. Other times they contribute their earnings to their natal tikatin and continue to function as part of them.

In addition to rising population and migration other changes are afoot. A dirt road was constructed between my first visit in 1995 and my second in 1998, allowing trucks into the upper part of the Agoundis Valley for the first time. A government school was built while I was doing fieldwork. A long-moribund national park in the area became active not long before I arrived, and in particular seemed concerned with pastures the people of Tagharghist sometimes use. A host of development projects are still underway, sponsored by organizations ranging from the Moroccan state to the Peace Corps and World Bank. Whatever I might have to say about what it means to live in Tagharghist is thus a statement about what it is coming to mean. Circumstances are in considerable flux and one challenge of the inquiry lies precisely here. There is no essential and timeless meaning to Berberness that I can relate, nor do I believe in the possibility of one that could be extricated from the many other things that matter to self and group identity.

For the people of Tagharghist a consciousness of “being Berber” is one small part of being human, along with being poor, Moroccan and Muslim, male or female, having rights to certain fields and orchards, living in a particular house, having a given position in a family, traveling certain paths, visiting specific family connections in other villages and cities, using certain pastures, having a set of friends, and so forth. In Tagharghist various forms of identity emerge from a dense social matrix that must be maintained and mobilized to insure survival in a world of hard physical labor and terrible poverty. It is this labor --and the poverty of which it is born –that dominates the way time is spent, space is used, and power is expressed. For this reason I pursue the question of what it means to be poor and Berber through the lens of daily practice, or work. My purpose is not to forward a sociological argument about the meaning of work, only to show how we might better understand the experiences of rural poverty and contemporary Berberness in one place by viewing them through the lens of daily practice.

Theoretical Entanglements

Addressing the relationship between labor and identity among Berber speakers requires engagement with a range of theoretical issues that cannot be thoroughly addressed here. In any case, I consider my primary task to be ethnographic rather than theoretical. I concentrate more on revealing the subjectively important dimensions of everyday life in the mountains than on examining the relevance of these dimensions for different scholarly projects. This is not to say that I had no scholarly project of my own in mind, and it bears explaining what this was and how it influenced the depiction I present.

Most importantly, I have a longstanding interest in labor. This takes the form of a broad conviction of the importance of work to social life rather than a precise formulation of the sociological implications of labor, or even what sorts of work are important for what kinds of people. I accept the basic position that as humans we produce the social, physical and cultural world we live in, and that the production of these domains is intertwined and interrelated. This intertwining production is very difficult to unravel, of course, but the fact of its existence seems to me essentially incontrovertible. It seems equally clear that within this overall social/physical/cultural production people do vastly different sorts of work. Dramatic differences in what we do (and inequalities in who does what for whom) are a hallmark of my own society. If I expected to find something different in the mountains of Morocco, I was disappointed. Thus the basic set of understandings I took to the mountains included the idea that what people do is important to who they are, and that different forms of inequality bear strongly on what people do. I took to the field a conviction that little of cultural or social significance could be grasped without consideration of the work of everyday life.

The identity part of the equation was and is more vexing. I do not assume, as some theorists seem to, that everyone has a “primary identity” that structures all others. Perhaps this is true for some people, especially activists committed to some cause or another, or ethnic groups or nations at war. These seem to me situations in which the rich and shifting complexity of social identity collapses into rigid terms of opposition, but this strikes me as the exception rather than the rule. Usually, how people see themselves depends on a great number of things, what they are doing, who they are talking to, how they imagine their interlocutors see them and the world. This is worth noting in terms of “reflexivity.” Surely some measure of the view I got from Tagharghist is bound up in the particular person I am and the kinds of questions that interested me. Clearly I am not alone in this, and as I detail some of the positions taken on who Berbers are I want to be clear that I am not trying to say that I have the single correct interpretation of Berber life while other ethnographers and activists somehow got it all wrong. What I do contend is that my set of biases –towards understanding life in terms of labor and inequality—brings a different vision of contemporary Berber life into the realm of scholarly discourse, into what Geertz calls “the consultable record” (1973:30).

Berber speakers are estimated to make up 40% of the Moroccan population, so the question of their place in Moroccan society is of practical and political concern, especially as rural Berber speakers are increasingly educated in Arabic and migrate to urban areas. In such conditions notions of “tradition” and “culture” assume new, and newly meaningful, forms. As I have noted, literate Amazigh scholars and activists are now disseminating strikingly modern notions of their identity. These notions are modern in their expression (Websites, cultural organizations, Internet discussion groups, radio programs), their location (cyberspace and urban centers rather than villages and small towns) and in their forms. The modern, activist form of Amazigh identity is explicitly culturalist, involving a meaningful essence seen to infuse all Imazighen everywhere and to stretch back to the very origins of North African history. Such activists argue forcefully that not only is there is salience to the notion of Berbers qua Berbers, but that this distinct, enduring Berber culture is under threat. As professor Salem Chaker writes, “C'est qu'être Berbère aujourd'hui -et vouloir le rester- est necessairement un acte militant, culturel, éventuellement scientific, toujours politique” (Chaker 1989:7). For scholars such as Chaker, to be Berber in North Africa is itself a political act.

But North African states and their Arabist ideologues are not the only problem for this vision of a unified Berber culture. Some Western scholars, most famously Ernest Gellner, seem to contradict the claims made by Chaker. In a very influential volume on Arab/Berber relations in North Africa, Gellner writes “the Berber sees himself as a member of this or that tribe, within an Islamically-conceived and permeated world --and not as a member of a linguistically defined ethnic group” (Gellner 1972:13, emphasis original). The difference between Gellner's statement and an activist vision of a unified, essential Amazigh identity is clear. Abdellah Hammoudi contends, “Today's use of Amazigh resonates with the vibration of a radical freedom” (1997:115); Gellner writes “Arab and Berber are not corporate groups; they are simply linguistic classifications” (1969:73). Gellner's work on Berber tribal life does provide a view of Berbers as culturally inclined towards equality and liberty, but he also portrays Berber society as fragmented and pre-modern, isolated from the Moroccan state and nation. This complicates activist efforts to develop broad Berber/Amazigh consciousness necessary to fight for cultural and linguistic rights. The question of the nature of Berber identity thus couples arcane debates in social theory to real political concerns.

In terms of social theory, what Gellner makes clear in his study of the nature of Berber society is that it is “segmentary.” The important entity is the tribe rather than the language, at least to the extent that a segmentary society can be said to have any stable social “entities” within it at all. Indeed, a pillar of Gellner's thesis is that such segments are ephemeral; they emerge only in response to particular threats at particular political “levels.” His main theoretical thrust is that tribes contain –or did contain-- nested, isomorphic segments balanced against each other. Tribes themselves can combine to form larger entities that mirror the organization of the component units.
Such an notion builds explicitly on Emile Durkheim's notion of “mechanical solidarity” where, as Gellner puts it, “similarity is not merely lateral but also vertical: it is not simply that groups resemble their neighbors at the same level of size, but it is also the case that groups resemble, organizationally, the sub-groups of which they are composed, and the larger groups of which they are members. This is totally unlike the organizational principle on which our own society is based” (1987:31). Gellner draws his idea that such segments coalesce and fragment in response to changes in the balance of power from the work of E.E. Evans-Pritchard. Importantly, Gellner does not argue that patrilineal genealogical relatedness was amongst the elements in that mattered in Berber social organization, but that it constituted the only principle of any significance. He writes, “A group is sub-divided into sub-groups: they in turn sub-divide, and so forth. This principle of division and sub-division generates all the groupings which are to be found in the society. In other words, there are no cross-cutting groups and criteria” (1969:42, emphasis added). While he noted the difference between lay and saintly lineages (the “saints” referred to in his famous title), there are no other significant social entities in Gellner's formulation.

Durkheim himself initially drew from the early ethnography on Algerian Berbers, especially Kabyles, to develop the thesis of mechanical solidarity. In De la division de Travail social Durkheim defines the ideal terms of mechanical solidarity among extinct societies, then gives Berbers as a living example of such a social type. He writes, “Thus, among the Kabyles the political unity is the clan, constituted in the form of a village (djemmaa or thaddart); several djemmaa form a tribe (arch'), and several tribes for the confederation (thak'ebilt), the highest political society that the Kabyles know. The same is true among the Hebrews.... These societies are such typical examples of mechanical solidarity that their principal physiological characteristics come from it” (Durkheim 1964 [1893]: 178). The significant theoretical issue is that all of Durkheim's and Gellner's levels or forms of “political unity” are homologous.

In terms of contemporary Tagharghist Gellner and Durkheim are plainly wrong. The village is in no way an undifferentiated “clan.” Heterogeneously constituted households comprise five equally heterogeneous “fifths.” These appear to be structurally similar but are in fact very different from one another, and are constructed differently depending on the purposes to which they are put. The internal organization of the fifths does not resemble the households of which they are made or the village that they in turn comprise. The larger political units in which Tagharghist figures are also complex, “organic” in their structure, and bear no homologous relation to the organization of the village, the fifths, or the households. It would seem to me unlikely that settled farmers of the High Atlas would ever have had the same kind of social organization as pastoralists from the Middle Atlas because the organizational principle in question is being put to different uses. That is, patrilineal genealogical relatedness is a useful conceptual tool to organize political associations among moving populations of shepherds, and as I will show it is a useful way of organizing irrigation amongst settled patrilineally related farmers. However, being settled, farmers also have villages, spatially determined social units of great importance. This is why I tend to agree with the French colonial emphasis on the importance of village councils, and more generally why I view “crosscutting” social ties as being extremely important in Tagharghist. I seek to show the practical uses of genealogical relatedness and its place in the larger social world rather than trying to reduce the social world to any one organizational structure or principle.

This does not mean that in other times and places Berber societies could not have been organized differently. I am suspicious that the political organization of Gellner's Moroccan Berber pastoralists in 1969 should have resembled the organization of huge villages of settled farmers in Algeria a hundred years earlier, but my main concern is with Tagharghist in 2000. However, Hugh Roberts has argued trenchantly that Durkheim got it wrong in the first place, seriously skewing the original Kabyle ethnography to fit his thesis (Roberts 1993). Roberts's penetrating essay also demonstrates the ways in which Gellner misrepresented French ethnography to support his scheme, ignoring contradictory evidence from some authors and ignoring other authors altogether. In more empirical terms, Henry Munson has pointed out the irrelevance of Gellner's segmentary model for the Moroccan Rif, in the north of the country (Munson 1989, 1991) and in the very area Gellner did his fieldwork (Munson 1993). While scholars such as Wolfgang Kraus make the case that in the area of the Atlas where Gellner worked there is today a sense of “segmentary identity,” it is unclear what this has to do with contemporary political organization (Kraus 1998). Kraus asserts the essential continuity of pre-colonial political forms, but he does not cite Roberts or address his reading of the ethnographic record, a record that suggests to me that as a model for Berber society “segmentation” has been fatally overextended. Moreover Kraus, like Gellner, ignores the diversity of institutional structures in Berber society in favor of an ideal model for how society might be constructed in a state-less political vacuum. The material presented here does not discount the relevance of “segments” to Berber society or patrilines to identity. It does suggest that in order to understand such notions we need attend to what people do with them, to look at their actual manifestations and various uses rather than formal properties.
Gellner's comment above that Berber society is “totally unlike” our own is from my perspective a kind of Orientalist illusion, a fixation on a “balanced” society rather than a balanced account of the untidy nature of real society. Durkheim's suggestion that Kabyles and Hebrews derive their “principal physiological characteristics” from their putatively simple, mechanical societies would seem even more dubious. My point is not to impugn social theorists who are not alive to defend themselves, but to illustrate that academic ideas do sometimes have real influence. Today most influential scholars in Morocco ignore Gellner's work on Berbers entirely. This is unfortunate in my view because Gellner is not all wrong. The role of kinship in politics continues to be important, but makes little sense when divorced from the context of material life and the constraints on its operation (whether these be village assemblies or national bureaucracies).

In the first years after Gellner's Saints of the Atlas was published “interpretivist” theorists influenced by hermeneutic approaches to culture objected to Gellner's focus on “structure” rather than “meaning.” These attacks were spearheaded in Clifford Geertz's review of Gellner's book (Geertz 1971) and were repeated among scholars influenced by Geertz or sympathetic to his position. Ten years later Clifford and Hildred Geertz and Lawrence Rosen collaborated on Meaning and Order in Moroccan Society, which may be seen as a compelling rebuttal to Gellner's vision of Moroccan society. This book is a rich sociological study of the town of Sefrou combined with an actor-centered approach to what social forms meant to different people and the ways individuals manipulated them. However, Meaning and Order is concerned mostly with Arabic speakers in an urban area and this somewhat blunted its ability to challenge Gellner, who was able to maintain a kind of ethnographic authority over depictions of life in largely Berber mountain areas. As time passed, some scholars continued to support aspects of Gellner's thesis, at least in some contexts (Favret 1972, Hart 1989, 1981, Kraus 1998), some took intermediate positions between Gellner and Geertz (Caton 1987, Dresch 1986, Combs-Schilling 1985) while others have directly challenged Gellner on empirical and other grounds (Munson 1989, 1993, 1997; Hammoudi 1980; Roberts 1993; Seddon 1981:272). It must be said that many scholars have come to find the whole debate rather tedious. Michael Gilsenan has commented that followers of Geertz and Gellner posited versions of Moroccan society that seemed to be formed on entirely “different planets” (Gilsenan 1992:280). For my purposes the issue is that with certain modifications the Geertzian planet has remained in the Moroccan solar system, while Berbers seem to have drifted into space along with Gellner, the primary anthropological champion of their distinctiveness.

Today Moroccanist anthropology and sociology generally sit well within the Geertzian, and more broadly Weberian framework, with considerable recent influence by the work of Michel Foucault. This academic work is notable for an emphasis on the state, religion, and national character, the primacy of politics over economics, and the operations of royal charismatic leadership in a modern national culture. Most research is concerned at least implicitly with Arabic speakers and “Moroccanness” as expressed in urban areas or at least medium sized towns. Main themes include the relationship between discursive forms and state power, ritual and religious legitimacy, post-colonialism and national identity, gender, and the enduring potency of Alaoui royal power within these domains. Exemplifying these trends is an important edited book published in 1999 under the aegis of the Harvard Maghribi Studies Program, In the Shadow of the Sultan (Bourqia and Miller 1999). The subtitle, “Culture, Power and Politics in Morocco” is reminiscent of Gellner's Culture, Identity, and Politics (1987), but the similarity in labels masks a radical difference in approach.
The introduction of the Harvard volume suggests that we appreciate the “ethnographic detail” of Robert Montagne's studies of High Atlas Berbers but “remain alert” to his colonialist project (Bourqia and Miller 1999: 3), and that “recent scholarly studies touch on some of the most sensitive areas of social and political concern, such as slavery, gender relations, ethnic and minority relations...”(ibid: 4). Given these concerns what is striking is that there is only one indexed reference to “Berbers” in twelve chapters and no reference at all to the terms Amazigh or Imazighen. Two full chapters --two thirds of the section on “Peripheries”-- focus on Jews, who would seem to comprise the “sensitive... ethnic and minority relations” referred to. The general word for Berber language, Tamazight, fails to appear anywhere in the volume, though Tashelhit is included on the one page that specifically references Berbers. Tashelhit is also included in the glossary. Even the largely Berber speaking regions of the Rif and Atlas Mountains are absent from the index, as is any article exploring the importance of rural areas in general. Perhaps most revealing, the reference to an entry in the index labeled, “power –role of language in,” does not mention any language other than Arabic being spoken in Morocco. Abdellah Hammoudi, whose contribution is in part based on fieldwork among Berbers very near where I worked, clearly considers Berber language incidental to his argument. We only find out that Hammoudi is working with Imazighen well on in the description when he writes, “The sacrifice of the two victims was the climax of the feast, called tfaska in Berber, which was the language of my hosts (ibid: 156). Perhaps this is why “Berber” appears in at least four places in the book but “Berbers” only once in the index: the fact of the existence of Tamazight is not significant to any point made by any of the authors in the collection. Ernest Gellner, who had a massive influence in Middle Eastern Studies and social theory generally, but who tended to ignore all Moroccans but Berbers, warrants two citations in the index, one less than Theodor Adorno.

In fairness to Professor Hammoudi it is quite likely that there is nothing characteristically Berber or Amazigh about the feast and the masquerade he describes. In the Agoundis, a few valleys away from where Hammoudi worked, this yearly event happens very differently than he relates, a fact which would seem to undermine any essentially Berber quality one might posit for the ritual and masquerade. There is in fact nothing specifically wrong with respect to any of the work by the scholars in “Shadow of the Sultan,” but as a whole the book well illustrates the preeminence of the national frame of reference in Moroccanist scholarship, and the predominant view of Moroccan society as lacking certain dimensions of linguistic diversity or a socially significant rural component. This particular book reflects a trend in Moroccan scholarship generally: the fact that 40% of the population speaks Tamazight is seen to be irrelevant to the “culture, power and politics” of the country. The fact that 50% of the population is rural does not seem to matter much either. This academic perspective is of special concern in political terms because so many Berber speakers live in rural areas, and rural areas have the worst socioeconomic conditions in Morocco.

In my view at least part of the problem with the invisibility of Imazighen in Morocco is the link to rural poverty. The failure to conceive of the overlap between Berber speaking areas and materially impoverished areas stymies development efforts. World Bank data shows that the number of Moroccans living on less than a dollar a day, what the Bank calls “below the absolute poverty line,” has increased 50% since 1991 to nearly a fifth of the national population. Statistics on the relationship between linguistic groups and poverty are unavailable, and even the number of Berber speakers is controversial, as Salem Chaker has pointed out. But in Morocco the “absolutely” impoverished population is by all admissions disproportionately found in the countryside and particularly the mountains, where Berber speakers are also disproportionately found. An issue like education –fundamental to both World Bank attempts to ameliorate rural poverty and a major hope of people in Tagharghist—would seem obviously tied to the question of how to teach rural Berber speaking children an urban Arabic curriculum. However, a Bank report on Moroccan education estimates that while 52% of the country lives in rural areas, only 10% of the education budget was spent in those rural areas during the 1980s. As I will show, the unfortunate teachers who are sent to the countryside tend to be monolingual Arabic speakers, a situation that virtually ensures frustration among teachers and students alike. The financial disparity between rural and urban areas is unfair to all rural people. Combining this with what would seem a misguided educational policy of sending Arabic speakers to Berber areas particularly disadvantages rural people who happen to be Berber speakers.

As of April 2000 the World Bank had nineteen projects active in Morocco with a total investment of a billion US dollars. One searches the project reports on Morocco –even reports on linguistically salient projects like rural education—and finds no reference to Berber speaking Moroccans at all. If Moroccanist scholars ignore or ascribe no significance to the fact of that many Moroccans speak Berber, it is hardly surprising that agencies like the World Bank leave such people out of development considerations. As Remy Leveau has pointed out, “Morocco has a 60% illiteracy rate and in 1998 it ranked 125th in the world on the United Nations Human Development Index. It comes a long way behind Algeria and Tunisia, and even behind Egypt and Syria, looking at the statistics for schooling, health care and per capita GDP” (1998). If the overall ranking is 125th, certainly the situation in the countryside, where only 10% of the education budget is spent, must be that much worse. It seems inconceivable that this is entirely unrelated to the fact that Morocco is linguistically heterogeneous. Efforts to change the rural economic situation surely need to account for the fact that the Moroccan mountains remain overwhelmingly Amazigh.
If Berber studies are generally invisible within Moroccan studies, scholars who do acknowledge the existence of Berbers sometimes make one of the same errors as Gellner: ignoring the significance of the state, the larger economy, and the national culture, the very themes that preoccupy most influential Moroccanists. David Hart, for instance, is probably the most important ethnographer of Berber people alive today, and arguably one of the most important ever, but he is rarely cited in what might be considered the main body of Moroccanist scholarship. Part of the reason, I believe, is that Hart is often looking implicitly –and sometimes explicitly-- backward, at the way Berber society used to operate rather than the way it does now (Hart 1976, 1981, 1996, 2000). Today there is simply no question that whatever “tribal” or characteristically Berber ways of doing things exist, these articulate with a larger political, cultural and economic field. If the widely cited and generally urban-focused scholars concern themselves with “Moroccans” at large, those who do work in rural Berber areas tend to give too little emphasis to the fact that these areas exist in a wider Moroccan framework.

Work by Ali Amahan (1998), Hassan Rachik (1990, 1992, 1993), Jim Miller (1984), and Mohammed Mahdi (1999) does address localized political operations and the fact of Berber linguistic distinctiveness. Less consistently, however, does this work grapple with the impact of changes in the national economy, the enduring influence of colonialism, and especially the postcolonial salience of the central government in Berber speaking areas. This work deserves a wider audience and has probably not been adequately or responsibly cited because most of it is published in French within Morocco and has had a difficult time finding its way into the wider currents of anthropological and Moroccanist scholarship, at least in the English speaking world. It may also fall outside the interests of the urban Moroccan intelligentsia. All studies concerning Imazighen suffer from a legacy of Moroccan nationalist backlash to French colonial “Berberphilia.” Indeed, for many years to acknowledge any distinction between Arabs and Berbers in Morocco was to risk associating oneself with the French colonial attempt to divide the nation between Berbers and Arabs. Berber studies have today managed to slough much of their colonialist stigma, but the urge to avoid political confrontation sometimes leads to the portrayal of Berber culture as innocuous and apolitical “folklore.” As Micaela di Leonardo has written, “The real key to the perception of cultural difference is politics” (1997:64). The conceptual separation of Berbers and the rest of the country obscures the significance of Berber language, and the real nature of the Moroccan nation in which Berbers live. Berber language and identity must be understood in the relation between local social forms and the larger economy, national culture, and the central state.


In this thesis I do not propose that Berbers are fundamentally different from other Moroccans or that people living in the mountains are immune to wider Moroccan social forces and politics. I believe that to address the question “who are the Berbers” requires an inquiry into what specifically matters to mountain farmers and how Berberness might fit into this. A priori assumptions that being Berber is either totally irrelevant or all-important do not help us specify what significance Berber language (and culture) really has for people. From what I can tell the concerns of subsistence farmers -- in this case Tashelhit speaking, very poor subsistence farmers-- seem far less exotic than some theorists would have it. They are relatively unmoved by baraka-suffused holy lineages, segmentary affinities, the affairs of the royal household, or post-colonial subject positions. They are extremely attuned to the weight of family obligations, the health and welfare of their children, new sorts of educational opportunities, migration for jobs, dependency on erratic weather patterns, and, especially, the brutal regime of rural poverty. The main theme of this work is thus that the people of Tagharghist view themselves in ways that are embedded in relations of power particularly grounded a spatial and temporal context. Power (and powerlessness) are not merely artifacts of the state, but are deeply connected to the economy, to land ownership in the mountains and to a larger capitalist order where very nearly the only thing mountain people have to sell is their “unskilled” labor. If these broader regimes of power are extensive, they are nonetheless exercised in the Agoundis Valley through local, durable and surprisingly complex institutions like households, lineage organizations and villages. Within these, power is discursively sanctioned and in limited ways contested, which is to say that central to the negotiation of power and the generation of identity are a set of understood meanings about the relevance of person's gender, age, position within the household and larger village, and political economic standing. It is through this combined material and ideational world that identity is formed.

In Tagharghist there is not, as some writers have claimed for Berbers elsewhere, a conscious, centrally significant Amazigh or broadly Berber ethnic sentiment. Neither is there a pertinent “tribal” identity, as has been argued for other areas of the Moroccan countryside and for the North African mountains generally. And while the state is important, this is so in ways that are different from the cities, and, I presume, other rural areas. Throughout this thesis I will maintain that the things that matter to people in Tagharghist emerge from and are expressed through their quotidian existence as cultivators. As this existence changes –whether by broad political and economic transformations or the ineluctable modality of human life cycles—notions of identity change too. These different processes impinge on the conceptualization of self and group, and thus such conceptions are not primordial, fast-frozen and homogeneous, but historical, (partly) negotiable, and heterogeneous. To speak of identity, then, is to speak of process rather than state, and more specifically of the way different social, biological and cultural processes articulate with one another. There are patterns to this articulation and these are what I shall endeavor to reveal.

I will use the specificities of Tagharghist to show that reified notions of “tribal” and “cultural” identity are off the mark, as are simplistic visions of what it means to be poor. Life in Tagharghist is possible through complex labor transactions, a moving exchange of work, goods, love, respect, rights to property, and ideas –all rendered sensible by a fragmented and unevenly employed set of cultural ideals. As subjectively experienced, local identity is built pragmatically through many of the same processes villagers use to keep themselves alive. While I aim to evoke local notions of space, time, power and identity, I try and do so with regard to the fact that these domains exist in relation to practice, to labor. I attempt to deconstruct generalized depictions of what it means to be Amazigh/Berber and focus on the specific conditions of identity formation and a few specific instances where being AshelHi or speaking Tashelhit matters. I end the thesis by suggesting –or allowing a few eloquent villagers to suggest—that the commonplace practices of daily labor are far more salient to the ways people see themselves than scholars seem to appreciate.
Ethnographically I intend this to be mildly innovative in that I do not posit a single, enduring and generic “culture,” but a dynamic, contested and broadly interconnected social reality that includes material exigencies, ideological formations, and particular deployments and manipulations of these. I shall be less interested in classifying the relationships among the forces involved than revealing how and why people put such forces to work. As curious as the claim might seem, I intend this exercise to be practically and politically useful to the people who collaborated in its creation, the people of Tagharghist and the villages and valleys around it. As Martha Mundy has commented, “If anthropology has any raison d'être in the late twentieth century, it is to allow us to confront the written schemas of the intellectuals with the richer and untidy welter of living practice”(Mundy 1995:5). Intellectuals who have written on Morocco would seem in need of such confrontation, both those who would ignore the distinctiveness of Berber language and life, and those who would portray these lives as isolated from the larger sociopolitical order.

Thesis Overview

The body of this thesis is divided into four main sections: Space, Time, Power, and Identity. The first three parts might be thought of as the media through which identity forms, or as “contexts,” though in the sense of formative conditions rather than a static backdrop. Together these phenomena, normally studied under headings of geography, history and politics, form a kind of “capacity” for identity formation --both in the sense of “capability” and in the sense of a “bounded container.” Without taking narrative invention too far, my purpose is to reveal the dimensions of space, time, and power in Tagharghist as something like landscapes: irregular, locally specific conceptual and material domains. Together these three chapters form a more complicated landscape, a multidimensional capacity for identity formation in which particularly dis/empowered individuals attempt to make sense of their lives. I believe that this broad set of contexts is necessary to make sense of the very specific domains in which Berber language matters to identity formation. The lives of villagers may contain a great deal that is implicitly Amazigh, a “secret essence” or “entire inner existence” that I cannot hope to relate (Montagne 1973:85). But consciousness of being Berber is a specifiable phenomenon --one that is best revealed in relation to the material and social conditions in which it is formed and to which it is related.

Chapter Two: Space

Despite commonsense ways of coping with it, and the fact that we generally ignore it, space is never merely there. “The experience of space is always shot through with temporalities... [it is] created, reproduced and transformed in relation to previously constructed spaces provided and established from the past. Spaces are intimately related to the formation of biographies and social relationships” (Tilley 1994:11). In the context of Tagharghist I argue that the spatial environment is socially manipulated and practically used, at once natural and cultural, material and ideal. In addition to being a human product, the notional places evoked in space seem curiously animated with an ability to act on the people who created them or, in other ways, on their descendents. There is a complex dialectic between place and people, and in the most straightforward way that I can I attempt to relate how villagers work in space, and how space works on mountain villagers. Mountains themselves, of course, defy easy Cartesian coordinates since points may be far “closer” or “further” on the ground than would ever be guessed from their position on a map. Beyond this, the social environment infuses the spatial environment, illuminating it, transforming the wrinkled surface of rock and rivers into a pulsing network of nodes and paths, destinations and deserts, productive fields and nurturing hearths. Meaning is built into place and rebuilt in it, from natal kitchens to broad political boundaries, from shepherds' huts to canals and fields that must be built and rebuilt, adjusted and attended through the many centuries of their operation.

The places that matter in Tagharghist are named with bewildering specificity and to comprehend fully how such names do social work could be more than a dissertation in itself. I am forced here into a kind of shorthand. I note the nodes I know of and try to evoke a sense of how moving between them is similar and different, for different people and for different sorts of people. Places within the village are connected to places in the productive hinterland, as well as to other villages, to other valleys, and to cities far away. There is not one version of space in the village, but at least one per person, all winding about each other to reveal channels and convergences in some places, thin idiosyncratic connections in others. These convergences are often gendered, not least because all men in Tagharghist were born there and many of the women were not. Women thus form the essential base of inter-village networks, the means for both social and physical “movement.” I will suggest that space is conceptualized, produced and used through dendritic networks that wind out from social “nodes” and that people travel pathways that transect the socially empty space between nodes. Villagers build and maintain such intersections and networks because they facilitate movement, and movement matters to being in Tagharghist, economically, socially, culturally and politically.

Chapter Three: Time

Chapter Three addresses the category of time, the dimension in which things in space happen and another significant context of identity formation. There are innumerable ways in which time matters to people in Tagharghist, from the rhythm of heartbeats and the trajectory of human lives to the eternity of all-powerful God and the afterlife He has provided. While the temporalities of daily life are crucial –irrigation cycles and preparing meals, prayer time, harvest time, time for the herds to migrate-- these are not the main focus of this chapter. Such temporal rhythms strike me as so embedded in power relations that I have chosen to deal with them in Chapter Four on “Power.” Here in Chapter Three I seek instead to unfold the dimension of historical time, to portray what can be known of “history” in an out-of-the-way place and its relevance for the present. I am concerned to show that Tagharghist has not always been as it is now, that (post)modern subsistence farmers are not “contemporary ancestors,” and that the present incursion of state control, global capitalism and development is hardly the first radical transformation the people of the mountains have weathered. It is worth remembering that history does not just happen, but is built. The work of remembering the past is dependent upon the work of village life more generally, and it is important to note that many temporal rhythms are elided in the construction of time as a linear narrative of powerful men and important events.

I begin as far back as I can, with the first references to this area, and the oldest memories, in the early 12th century. At this time the entire North African political scene was about to be transformed by the exhortations of an obscure Berber religious reformer, the Mahdi, or “rightly guided,” Ibn Tumart. Fleeing from the authorities of the day in Marrakech, Ibn Tumart made his capital at Tin Mal, only a few kilometers from the base of the valley where Tagharghist sits today. After the time of the Mahdi there is a murky period in local history, but the early 19th century comes alive as the time of “tribal” government. In the years before 1850 the villages of the High Atlas were split into two grand opposed moieties called lfuf, a form of political organization much discussed by French ethnographers. Around the middle of the 19th century this form of organization came to an end with the rise of Si Mohammed n Ait Lahcen of Tagoundaft, a village a few miles above Tin Mal, ancient capital of Ibn Tumart. Through bravado, brilliance and treachery Si Mohammed managed to dominate the opposing leff, the Ait Atman. He destroyed the balance between the moieties, and placed his own league, the Ait Iraten, fully in charge of the entire watershed and some of the territory around it. He became known as simply “Goundafi,” the “one from Tagoundaft,” a term which then finds its way into French reports and later ethnographies as the native “tribe” of this area. .

Goundafi ruled with an iron hand, extracting what he could from his subjects to fund military forays into the plains to the north and south, and his continual feuds with his powerful neighboring mountain qaid-s, Glaoui to his east and Mtouggi to his west. The village of Tagharghist sits very near the eastern border with Glaoua territory. Tagharghist was for some of this period the primary outpost of Goundafi power in the Agoundis River Valley and contemporary landholdings and political alliances are related to this fact.
In the 20th century the French invaders saw clearly the difficulty of controlling the mountains and sagely determined to leave power more or less in the hands of the “lords of the Atlas.” Colonizers more easily deal with dictators than democracies and “pacification” in the realm of the Goundafi was not the protracted, bloody affair it was in other, more diffusely governed Berber areas. In the watershed of which Tagharghist is a part, colonization meant that the qaid Tayeb Goundafi, son of Mohammed, owed his nominal fealty to French rather than Arabic speaking outsiders. In fact, Goundafi became even more powerful under the French. Colonel Justinard, who commanded with him in the Anti Atlas, wrote the history of “the Great Berber Chief Goundafi” (1951). This “great chief” was made Grand Officier de la Legion d'Honneur for his services to France (Landau 1969:165).

If Goundafi impressed the French, the French themselves did not fail to leave their mark on the consciousness of people in Tagharghist. These newly arrived Christians built an administrative post right next to the fortress constructed by Goundafi at Talat n Yaqoub, and villagers today remember the significance of “the French qaid” who ruled along side Goundafi. They remember, for one thing, discovering that prisons could be built above ground with bars rather than the massive enclosed pits utilized by the old qaid, where prisoners would be lowered through a hole in the roof into conditions of rather too imaginable horror. Villagers recall the forced labor and extortionate taxation of the French, the mining opportunities they brought and the danger and arduousness of work in the mines. They recall this time as significant for the installation of roads, the introduction of a new vocabulary for democracy (a concept familiar to them from their own village jama'a), and a powerful, wealthy Christian presence that served to foreground Muslim identity and practice. National independence in 1956 wrought yet more changes, with the French qaid being replaced by an Arabic speaking one. This was part of the process whereby the so-called “Neo-Makhzen” extended its grip on the Berber countryside in the name of the King (Ben Kaddour 1972). Since independence the role of the central state in mountain areas has increased. Scholarly work in rural Morocco must deal with the operations of this state and the ways in which this is different than in urban areas and the plains.

The present does not escape the past. The old moieties, the leff divisions, find echoes in a regional bifurcation between political parties. The most powerful local official is still the qaid, though he is now a monolingual Arab appointed from the central government rather than a local Berber who seized power for himself. Roads are still seen as a good thing, a means to a better life, and Christians are still morally dubious, often foolish, unbelievably rich and mysteriously powerful. Families that rose to power as lieutenants of the Goundafi still hold the lands they acquired through their service or, more charitably, at the time of their service. Other families still resent it. Marriages continue to connect people between political nodes that mattered in former circumstances, and social connections still carry people to places that seem insignificant if one considers only the contemporary configuration of social life. The present became so through a tortuously path, and notions of continuity and chan
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# Posté le jeudi 04 mai 2006 15:00

morccan kitchen

morccan  kitchen
kitchen
Many cookery experts rate Moroccan cuisine among the best in the world. Cooking in Morocco falls into two specific categories. The first, intended for important guests, is the work of skilled chefs. It requires such intensive supervision that the host does not participate. He merely oversees the banquet with his sons and servants. No women are present. The men squat on mattresses or pillows around low, beautifully inlaid tables. A silver ewer of perfumed water is taken around and poured over three fingers of the right hand of each guest. The host claps his hands and the meal begins. One course after another- each delicacy is served until Chban- complete satiation- is achieved. Again the silver ewer filled with warm water is presented to clean the mouth, lips, and hands. The meal is a feast for the gods and indeed it begins and ends with Bsmillah--God's blessing.

In the second category of cookery are the wonderful dishes prepared with loving care by the mistresses- Dadas- of the homes. Here, where time does not seem to count, she spends hours with her glazed earthenware and copper cooking dishes and her kanoun, the movable clay brazier. Her kitchen is austere, and the charcoal which perfumes the kebabs and allows the sauces to simmer is the only source of heat. There are no chairs. A folded carpet serves as a seat. The Dada is dressed in a long colorful robe tucked up in front and her wide sleeves are held in place with a twisted cord.

The scents of coriander, cumin, saffron, marjoram, and onion mingle with the pungency of olive oil and the sweetness of sandalwood, mint, and roses, delighting the senses.

Bstilla, followed by the typical brochette or kebab flavored with bits of beef or lamb fat. Next comes the Tajine, chicken or meat in a spicy stew which has been simmered for many hours, and it is served with a flat bread called Khubz.

In Morocco, every household makes its own bread. It is made from semolina flour without shortening or milk. An invocation to God is made before commencing the sacred act of kneading. When the bread has been properly shaped, each family puts its own mark or stamp on it before sending it via the children to a common bakery oven. After the Tajine, a Batinjaan- eggplant salad or chopped tomato salad- is served as a separate course. Then comes Couscous, that marvelous Moroccan national dish made of semolina, cooked to perfection, each grain separate from the other. The dinner is completed with slices or wedges of peeled melon, pastries made with honey and almond like the Middle Eastern Baklava, and finally a small glass of mint tea. The dinner following is a very much simplified version, but it is delicious and will give you the "feel" of Morocco. Once you have made the Couscous, it may very well become one of your favorite dishes. This is a delightful dinner to prepare and serve.

If feasible, use a low table with cushions on the floor.

Before serving the dinner, walk around the table with an attractive pitcher (silver if possible) filled with warm water which has been scented with cologne or a few drops of perfume. Carry a Turkish towel over your left arm and a small basin in your left hand. Pour a little water over the fingers of each guest, catching the water in the small basin.

Serve tiny kebabs first (with or without a fork) on small plates. As soon as the kebabs have been eaten, remove the plates. The salad may be served as a separate course or may accompany the Couscous. If you serve it separately place the salad (with a fork) in front of each guest. In Morocco, the Couscous is served in a large platter and each guest eats directly from it with a large spoon or he may roll the Couscous up in little balls and pop them into his mouth, but don't expect your guests to do this. You may prefer to place extra plates in front of your guests and ask them to serve themselves.

Slices of melon, watermelon, or cantaloupe speared with toothpicks (no plates) are served in a platter right after the Couscous. You might also serve the mint tea at this time, or wait until later to serve it with the honey pastries.

Again the hostess pours water over the fingers of her guests. This is a mark of graciousness and hospitality. At the end of the meal, after tea has been served, bring in a tiny incense burner and light it on the table.

The Argan tree (argania spinosa) is perfect for a harsh environment, surviving heat, drought and poor soil.

It is little known outside Morocco, and many Moroccans themselves have never heard of it because it grows only in the south-west of the country - roughly between Essaouira and Agadir, Argan oil is slightly darker than olive oil, with a reddish tinge. It can be used for cooking and is claimed to have various medicinal properties, such as lowering cholesterol levels, stimulating circulation and strengthening the body's natural defences. Internationally, there is some interest in its possible cosmetic uses
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# Posté le jeudi 04 mai 2006 14:44

Amazigh Arts in Morocco

Amazigh Arts in Morocco
By Cynthia Becker


Table of Contents
Introduction
Table of Contents
A Note on Transcription and Transliteration
Acknowledgments
Introduction
Chapter One. Ait Khabbash Textiles: Weaving Metaphors of Identity
Chapter Two. The Art of Dressing the Body
Chapter Three. Dance Performances: Negotiating Gender and Social Change
Chapter Four. Women as Public Symbols of Identity: The Adornment of the Bride and Groom
Chapter Five. Performing Amazigh Gender Roles: Wedding Ceremonies
Chapter Six. Oh, My Sudanese Mother: The Legacy of Slavery in Ait Khabbash Art
Chapter Seven. Contemporary Amazigh Arts: Giving Material Form to Amazigh Consciousness
Appendix 1. Selected Songs from Ait Khabbash Weddings
Notes
References
Index
Introduction
When I first arrived in Morocco in 1993 with the intention of learning about Berber art, I soon discovered that women rather than men were the artists in Berber societies. Berber women wove brightly colored carpets. They decorated their faces with tattoos, dyed their hands and feet with henna, and painted their faces with saffron. They also embroidered brightly colored motifs on their indigo head coverings and wore elaborate silver and amber jewelry. Women both created the artistic symbols of Berber identity and wore them on their bodies, making the decorated female body a public symbol of Berber identity.

These connections and intersections of art, gender, and identity are the subject of this book. This study considers women and their participation in the process of identity construction by examining the centrality of the textiles, jewelry, and other art forms created by women to the social relations and ethnic identity of the Berbers of Morocco, the indigenous peoples of North Africa. Unlike Arab groups in North Africa, in Berber societies women rather than men are the primary producers of art, and women's arts identify the group as Berber. This examination, in addition to revealing a rich body of art, is meant to illuminate the complexity of women's roles in the Islamic societies of Africa and to demonstrate the role of women's agency in negotiating complex social and religious issues. Its central argument is that women's control over the visual symbols of Berber ethnic identity grants them power and prestige yet also restricts them to specific roles in that society.

I use the term "ethnic identity" in this book to refer to Berber attitudes regarding group membership. Ethnic categories, according to Nira Yuval-Davis (1998: 169), are based on constructs of collectivity, centering on the notion of a "common origin and/or destiny and engaging in constant processes of struggle and negotiation." As I demonstrate here, Berber groups, who typically trace their heritage to a common male ancestor, attempt to guard female sexuality and fertility to maintain the purity of their group's bloodline and by extension its ethnic purity. Therefore, the forms, colors, and designs of Berber women's arts are public identity symbols that are clearly linked to concepts of contained and controlled female fertility. Since ethnic identity is a process that is subject to historical, political, and social dynamics, this book illustrates that, as concepts of Berber ethnicity change, women's arts have been transformed from localized ethnic symbols to symbols that represent a transnational Berber identity.

To examine the complexity of identity construction and its relationship to gender and artistic production, this study introduces the reader to the art of the Ait Khabbash, who are part of the largest Berber group in southern Morocco—the Ait Atta. The Ait Khabbash are one of the many groups (but the only Berber group) living in and around the Tafilalet oasis of southern Morocco. Various Arab groups, both sedentary and nomadic, have lived here with the Ait Khabbash Berbers since the beginning of the nineteenth century. This diversity has kept the Ait Khabbash Berbers conscious of their difference from others in the area.

Issues of ethnic identity are of crucial importance to Berbers, who consider themselves the indigenous inhabitants of northern Africa, a land they call Tamazgha. Berbers believe themselves to be ethnically, culturally, and linguistically distinct from Arabs, who arrived in North Africa in the seventh century CE after various groups such as the Phoenicians and the Romans had previously conquered portions of Tamazgha over the centuries. In contemporary North Africa, pockets of Berber settlements can be found from Egypt to Morocco, with approximately a million in Mali, Niger, Burkina Faso, and Libya and 140,000 in Tunisia, Egypt, and Mauritania. The largest Berber populations can be found in the westernmost regions of North Africa. It is estimated that 25-30 percent of Algeria's 30 million people are Berber; and Morocco has the largest Berber population, which accounts for 40-60 percent of the country's 31 million people (Chaker 1998: 14). It is this large Berber population that differentiates Morocco from other African countries.

The arrival of Arabs in Morocco in the seventh century resulted in the gradual conversion of some Berbers to Islam. It was not until the thirteenth century, however, with the arrival of large numbers of Arabs from the Middle East, that the majority of Berbers accepted Islam, learned the Arabic language, and were assimilated into the Arab culture. Yet many Berber groups living in inaccessible remote areas, such as the mountainous regions of Morocco or its desert fringes, continued to speak their own languages and retained their political autonomy from the urban-based Arab dynasties that ruled Morocco over the centuries.

Berbers in contemporary Morocco can be found in three major geographical regions, each with its own Berber language: Tarifit in the Rif Mountains of northern Morocco, Tamazight in the Middle Atlas Mountains and southeastern desert oasis, and Tashelhit in the Sus Valley, High Atlas Mountains, and Anti-Atlas Mountains. Although speakers of Tamazight and Tashelhit can communicate with each other, communication with speakers of Tarifit is difficult.

Rather than calling themselves "Berbers," a pejorative term derived from the Latin word barbarus or "barbarian," they refer to themselves by the name of their particular group. Berbers also use the overarching term "Imazighen." "Amazigh" is the adjectival form of the word. While the word "Imazighen" has become more common in the last fifty years, particularly among Amazigh political activists, who define it as "the free people," several scholars have argued that the term is indeed an ancient one.

When referring to their particular group, Imazighen commonly use a two-word name: "Ait," meaning "people of," and the name of their male ancestor. For example, the Ait Atta, who are the largest Amazigh group in southern Morocco, trace their ancestry to a man named Atta. According to the origin story of the Ait Atta collected by the anthropologist David Hart, Atta (who lived in the Jebel Saghro region of southern Morocco in the sixteenth century) had forty sons, who were all married in one communal marriage ceremony. During the wedding a man from a rival Amazigh group filled the barrels of the sons' flintlock guns with water. The rival group, knowing that the marriage festivities would leave Atta's sons distracted and vulnerable, attacked later that night. The sons left their new wives, rushed to their guns, and, finding them unusable, were all killed. But Atta and his daughters-in-law survived the attack. All of his sons had impregnated their new wives before they were killed, and nine months later thirty-nine sons and one daughter were born. Atta went to live on his own, leaving the women to take care of the children. The thirty-nine sons grew up and joined their grandfather, henceforth known as Dadda Atta (meaning "Grandfather Atta"), declaring unrestricted warfare on their fathers' attackers and driving them out of the region (Hart 1981: 11). The forty sons founded all of the subgroups of the Ait Atta, who currently live in southern Morocco between the Valley of Dades in the west to the Tafilalet oasis and Boudnib in the east.

Whether this Ait Atta origin story is historically accurate is unknown. The story's historical correctness is less important than what it reveals about Ait Atta identity construction. As Benedict Anderson (1991) has suggested, the way in which a community subjectively imagines itself should be the basis for our understanding of that community. This origin story not only demonstrates that the Ait Atta consider themselves a distinct ethnic group that shares a common bloodline but also reveals Amazigh attitudes concerning female fertility. It was women who survived the attack, giving birth to the next generation and teaching them what it means to be Ait Atta. Due to their ability to give birth, Ait Atta women ensured the group's continuation into the future.

Blood is only one substance that unites people. Among Amazigh groups, women's breast milk also has the ability to forge kinship relations. When unrelated children are nourished by one woman's breast milk, the children become awlad laban or "milk children." This is a common occurrence among women, who typically breast-feed until a child is two to three, providing many opportunities to offer their breasts to other small children. Women may desire to create kinship bonds between themselves and others or simply to quiet a crying child, but milk bonds are taken as seriously as blood ties. Children sharing the breast milk of one woman are transformed into siblings, establishing a pact based on milk kinship known in Tamazight as tafargant or "prohibition" that prohibits marriage between the two children. The fact that breast milk, a woman's bodily substance, can create kinship bonds illustrates that women unite and bind the society together through their reproductive abilities.

This book demonstrates that the generative power of women is metaphorically extended to the creation of the artistic symbols of ethnic identity. Amazigh women recognize that their individual status is reliant on their ability to give birth and incorporate symbols and colors referring to female fertility in their art. Women's arts not only laud female fertility but also serve as public symbols of ethnic identity. Identity depends on difference; and symbolic systems, such as arts, express difference and create a sense of belonging. Unlike Arab groups in Morocco, where men generally dominate artistic production, women are the artists in Amazigh societies: they create and wear the public visual symbols of Amazigh ethnic identity, such as woven textiles, tattoos, and particular styles of jewelry and dress. Women weave the wool cloaks and gowns once commonly worn by Amazigh men. Women tattoo their faces, hands, and ankles with symbols marking their ethnic identity; and women weave those same symbols into textiles and paint them on ceramics. Except for woven garments made by women, men do not wear clothing that distinguishes them as Imazighen. Amazigh men do not practice tattooing or wear silver jewelry.

This complex relationship of art, gender, and ethnic identity in Amazigh culture defies many stereotypes and generalizations about women's lives in the Muslim world that are commonly found in the literature. The most common interpretation is the notion that in Muslim societies women are associated with the inner, domestic world and men with the outer, public world; this has been used as a model for most of the Mediterranean and Islamic world, thus dividing Muslim cultures into binary categories (Antoun 1968; Bourdieu 1977; Dwyer 1978; Joseph 1980). This binary model is often used to suggest a hierarchical relationship in which women are subordinated to men. According to Lila Abu-Lughod (1986) and Guity Nashat and Judith Tucker (1999: 102-103), binary categories such as public and private do not acknowledge the complex and sometimes ambiguous gender overlapping and mixing that occurs in North African societies. As Bernhard Venema and Jogien Bakker (2004: 52) state in their study of Amazigh women in the Middle Atlas of Morocco, "There is in fact no separate world between men and women and no strict hierarchical model of sex roles." In fact, women in North Africa and more specifically Amazigh women have always been active agents who influence both the domestic and the public sphere. They play an important role in their communities by providing commodities such as tents, clothing, rugs, sacks, and ceramic pots, in addition to acting as healers, marriage brokers, midwives, cooks, agriculturalists, and pastoralists (Clancy-Smith 1999: 27).

While women's artistic production is indeed crucial to the economic survival of their communities, this study shows that women's arts also serve as public symbols of Amazigh ethnic identity, although the relationship between gender and ethnicity can be a burden for women. Nickie Charles and Helen Hintjens (1998: 2), for example, have argued that, when identity is based on ethnic ties determined by blood relationships, tight control over a woman's sexuality is necessary in order to define and maintain the boundaries of the group. This study reinforces their statement. Ultimately, it is through the control of female sexuality and fertility that ethnic purity can be maintained. The result is that women serve as potent symbols of ethnic identity with considerable power and prestige, but they are also restricted by specific societal constraints.

This book fills a void in the current literature concerning African and Islamic art and history. Previous books in English tend to provide descriptive and often superficial information about Amazigh art without a thorough cultural analysis, typically discussing Amazigh art in the ethnographic present as if it has remained untouched from ancient times (Courtney-Clarke and Brooks 1996; Fisher 1984; Jereb 1995; Reinisch and Stanzer 1991). This book moves the discussion of Amazigh art from the ethnographic past into the present, avoiding terms such as "traditional" and "authentic." This study also places art forms such as textiles and jewelry within a dynamic cultural context, considering how they interact with verbal and performing arts. Rather than presenting Amazigh art as a timeless, exotic remnant of a folkloric past, this book places it within its cultural and historical context, examining women's arts in Morocco from the early twentieth century to the present. Unlike previous studies, this one looks at Amazigh art in Morocco within a larger framework that takes into consideration the impact of French protectorate policies, Moroccan nationalism, changing gender roles, state education, and the transnational Berber movement on artistic production.

Most studies of Amazigh arts do not consider how the lives of Imazighen in Morocco have drastically changed in the last century due to colonialism and nationalistic agendas. Morocco was made a French protectorate in 1912, and the French implemented a policy of divide and rule. For example, in 1930 the French created the Dahir Berbère, where Imazighen were allowed to follow their customary laws, while Arabs abided by the Islamic shariâa law. During this time, many French anthropologists were sent to the country to learn about the people living in North Africa in order to facilitate colonial rule of the region. Many of these studies argued that Amazigh beliefs and artistic forms were the result of ancient Roman and Christian values, making Imazighen appear more European in order to reinforce the French justification of colonialism as their duty to reunite Imazighen with their European heritage and Christian roots (Cola Alberich 1949; Doutté 1909; d'Ucel 1932; Laoust 1920; Marcy 1931).

These policies contributed to the rise of an Arab-Islamic nationalist sentiment in Morocco after independence in 1956. The public recognition of Arab-Amazigh differences was viewed by the Moroccan monarchy and Morocco's urban Arab bourgeoisie, who controlled much of the government after independence, as a colonial vestige and an attempt to divide the country. The Moroccan postcolonial government emphasized the nation's common Islamic faith and the Arabic language (which has considerable status as the written language of the Qur'an), attempting to subsume the Imazighen and the Amazigh languages and to unify the country. An Arab-Islamic identity also served to legitimize and strengthen the rule of the Moroccan monarch, a descendant of the Prophet Muhammad. For the first decade after independence, the government failed to recognize Morocco's Amazigh heritage (Denoeux and Maghraoui 1998: 122).

This changed in 1967, with the creation of the first Amazigh association in Morocco, called Association Marocaine de Recherche d'Échange Culturel (AMREC), which led to the founding of approximately forty Amazigh associations throughout the country (Kratochwil 1999: 154). These groups dedicated themselves to the preservation and promotion of the Amazigh heritage, and the government tolerated them as long as they did not engage in political activity. Even as the Moroccan government attempted to suppress the political mobilization of the Imazighen, Amazigh artistic and cultural activity remained publicly visible. Photographs of Imazighen were featured on travel brochures, and Amazigh musicians commonly performed at government-organized tourist festivals. In addition, Morocco's many markets were filled with Amazigh ceramics, carpets, and silver jewelry for sale. Amazigh activists angrily complained that the government was reducing Amazigh culture to a folkloric commodity for tourists while marginalizing the Imazighen and preventing them from accessing the country's economic and political resources to the same degree as Arabs (Almasude 1999: 119).

In the 1990s Amazigh political activists became involved in more aggressive actions and public protests, insisting on Amazigh language instruction in schools and the incorporation of Amazigh languages in the media. They argued that since the Tamazight language and the Amazigh culture are the basis of Moroccan society, they must be preserved in order to safeguard Morocco's distinct cultural heritage. They demanded that Tamazight not be referred to as a dialect of Arabic, the official policy of the Moroccan government at the time, but be recognized a national language.

Imazighen in Morocco drew strength from Imazighen in France and Algeria, looking across national borders to become part of a transnational Amazigh group called the World Amazigh Congress. In 1994 seven members of an Amazigh cultural association (located in Goulmima) called Tilelli, meaning "Freedom" in Tamazight, were arrested after publicly protesting in Errachidia and carrying banners with political slogans that promoted the recognition of Morocco's Imazighen. Three of the seven men (all teachers) were sentenced to prison for terms of one to two years. Widespread publicity and public outrage led to a reduction of their sentences by the Moroccan king, and the three were released two months after their arrest. Protests like this and the public and international support for these protesters increasingly pressured the Moroccan monarchy to recognize the political necessity of heeding Amazigh demands (Maddy-Weitzman 2002: 161).

Four months after the protest, King Hassan II publicly announced that it was time to consider teaching Amazigh "dialects" in primary schools but that Arabic would remain the mother language of the country. Amazigh activists continued to make demands on the government. After the death of Hassan II in 1999, his son King Muhammad VI continued his father's concessions to the Moroccan Amazigh population. In 2001 he ordered that a Royal Institute of Amazigh Culture (IRCAM) be established to study the Amazigh language and culture in an academic fashion. The government introduced Amazigh languages into a limited number of Moroccan primary schools in 2004.

While Amazigh activists tirelessly work to preserve and promote their Amazigh identity, there is a strict gap between their political agenda and the daily life of the majority of Imazighen in Morocco. As noted by David Crawford (2002), Amazigh activists are a largely male-dominated group run by college-educated intellectuals, living far different lives than the rural Imazighen who have greatly contributed to the survival of Amazigh heritage. Ironically, the factors that create the differences between rural Amazigh and political activists are also those that have contributed to the survival of Amazigh cultural and linguistic heritage in Morocco: illiteracy and the association of the Amazigh language and culture with women. Amazigh men, even those in rural areas, are more likely than women to work outside the home and to receive formal education in Arabic, French, English, or Spanish, while rural Amazigh women are more likely to be monolingual and illiterate (Sadiqi 2003: 225). By speaking Tamazight on a daily basis in their homes and teaching it to their children, women thereby preserve the language and the culture.

Southeastern Morocco, the focus of this book, is an ideal region for the consideration of issues of Amazigh art, gender, and ethnic identity. Southeastern Morocco was one of the last areas of the country to be colonized and was not controlled by the French until the 1930s. Therefore, artistic production in the area was not heavily influenced by the French colonial government's policy to control artistic production by creating artificial stylistic divisions among the different geographic regions of Morocco. The Tafilalet, Morocco's largest oasis, is located in southeastern Morocco, fifty kilometers west of the border with Algeria. The oasis has hundreds of thousands of palm trees covering an area thirteen miles long and nine miles wide and is home to the ancient trading city of Sijilmasa. Caravans from Sijilmasa traversed the Sahara to western Africa and returned with gold, slaves, and other commodities destined for northern Africa and Europe. Southeastern Morocco has historically been a crossroads where people of diverse origins and backgrounds have long interacted, and the area continues to contain much ethnic diversity.

The Tafilalet is somewhat isolated from the rest of the country. To get there, it is necessary to take a rigorous ten-hour bus ride from Casablanca on thin, winding roads that eventually lead to the provincial capital of Errachidia, and from there another bus or taxi for the hour-long ride to the Tafilalet oasis. In addition to its early historical importance and ethnic diversity, the Tafilalet also holds the distinction of being the home of the Alaouite dynasty that ruled Morocco in the seventeenth century and continues to rule today. The Alaouite dynasty, founded by Mulay Ali Sherif in 1666, claims descent from the Prophet Muhammad, giving the region considerable religious significance. Mulay Ali Sherif's tomb is located just outside of Rissani, the largest town in the oasis, with 40,000 people. The town is small and sleepy except on market days, when it becomes vibrant and full of activity.

The Ait Khabbash, who are part of the largest Amazigh group in southern Morocco, the Ait Atta, reside in and around the oasis. Prior to colonization, the Tafilalet oasis could be described as an Arab oasis surrounded by an Amazigh sea. Until recently, sedentary Arab farmers (who called themselves Filala after the name "Tafilalet") inhabited the oasis, while Ait Khabbash populated the surrounding desert landscape. The Ait Khabbash controlled approximately 25,000 square kilometers of land that extended from Boudnib in the northeast to Tabalbala in the south. Ait Khabbash also traveled north into the Atlas Mountains and west to the area near Zagora (Joly 1951) (Fig. I.1).

Even though the Ait Khabbash did not live in the numerous walled mud-brick villages (called qsour) that dot the oasis, the Tafilalet oasis was still considered Ait Khabbash territory, because the Ait Khabbash would threaten to invade Arab villages to collect financial tribute from the sedentary Arab farmers. Arab farmers paid the Ait Khabbash one-third to one-fourth of their total harvest as tribute; in exchange, the Ait Khabbash were obliged to dispatch a number of men whenever necessary (Dunn 1977; Spillman 1936).

In the late nineteenth century three Arab villages on the fringe of the oasis, under threat of invasion from another Amazigh group, invited the Ait Khabbash to live with them. Ait Khabbash still occupy these villages today. For more than two years I lived in one of these villages, Mezguida (five kilometers outside of Rissani), in a large, two-story mud-brick house with my husband's Ait Khabbash family, where I learned about Amazigh arts and culture by participating in everyday life, attending scores of Ait Khabbash weddings, collecting wedding songs, photographing and filming wedding ceremonies, and discussing my interpretations with numerous Ait Khabbash women and men.

My fluency in Moroccan Arabic and basic knowledge of Tamazight, the language of the Ait Khabbash, made possible one of the central and original insights of this book: the interrelationship of the visual and the verbal arts in Amazigh society. Addi Ouadderrou transcribed the oral text from tape recordings and videocassettes, using the system of transcription developed by Chaker (1984), and together we translated the text into English. I had the opportunity to spend considerable time speaking with women and photographing their arts, which would not have been possible for a male scholar. A man would not have been allowed to sit with women while the bride was dressed. Male scholars would not have been privy to women's conversations about marriage, sexual relations, and other private matters. Women freely shared this information with another woman, however; hence my gender contributed to my understanding of women's arts in the region. My experience living and studying in Morocco and my familial connections have given me an intimate view of Moroccan culture and an appreciation for the nuances and complexity of Amazigh art and culture.

The majority of images in this book are my own, allowing me to place textiles, jewelry, and other forms of artistic expression in their original cultural contexts. In certain instances, women asked that their individual identities not be revealed in publication. Hence, I covered their faces using a photo-editing program and refrained from using their names in the photos' captions. The generic captions used in this book are not intended to objectify people but simply to protect their requested anonymity.

Although the Tafilalet oasis is somewhat marginalized from the rest of Morocco, lifestyles of people in southeastern Morocco have changed drastically over the last century. This has led to similar changes in the arts, which I discovered in conversations with friends and participation in their lives. I also learned about Ait Khabbash life in the past from older women, who sometimes continued to make and wear older art forms. Visits to Ait Khabbash families still living nomadic lifestyles outside the oasis and colonial photographs dating from the 1930s to 1950s provided additional information on nomadic lifestyles.

As this study demonstrates, French colonization and its aftermath caused Imazighen to abandon or modify many of their art forms, which in turn profoundly influenced gender roles. After independence, increased contact with Arabs living in the Tafilalet oasis also influenced Ait Khabbash art and culture. Therefore, this study presents Amazigh women's arts as living, dynamic cultural forms that have changed and continue to change in response to external and internal pressures. This allows women to negotiate their social position, which is dependent on their connection to Amazigh identity.

In the field of African art there is increased interest in incorporating North Africa into the art history canon, and this book fills a significant gap in the understanding of textile production, dress, and performance modes among the Imazighen of North Africa. In particular, this study builds upon Labelle Prussin's study of African nomads and gender roles (1995). Prussin writes that women are the architects in nomadic societies and discusses nomadic women's arts as gendered symbols of womanhood and female creativity. Amazigh women in Morocco, many of whom lived nomadic lifestyles until recently, are also creating arts that can be interpreted as symbols of womanhood. While my research reinforces Prussin's work and indicates that Amazigh arts reflect gender identity, I found that Amazigh arts are more than symbols of womanhood: they are also crucial ethnic symbols.

Although the central concern of this book is art, it builds upon the long tradition of anthropological literature focusing on Moroccan beliefs and practices with an emphasis on gender roles (Davis 1983; Davis and Davis 1985; Dwyer 1978; Fernea 1998; Gellner and Micaud 1972; Kapchan 1996; Mernissi 1987, 1989). Probably one of the most important ethnographers of Amazigh culture is David Hart, who wrote about the Ait Atta, the largest Amazigh group in southern Morocco (Hart 1981, 1984). Since Hart's primary fieldwork was conducted in the 1960s, his research provides important information regarding Amazigh social structure from that period, although his work did not concentrate on gender. Very little research has been done in the particular region studied in this book, with the exception of the important historical study on colonialism in southeastern Morocco by Ross Dunn (1972, 1977), the archaeological and geographical research concerning Sijilmasa (Lightfoot and Miller 1996; Miller 2001), and a recent anthropological study on Ait Khabbash concepts of honor by the French scholar Marie-Luce Gélard (2003).

Chapter One focuses on the performative practice of weaving textiles, which for Ait Khabbash women has included nomadic tents, clothing, blankets, and grain sacks. This discussion of the process of textile manufacture itself as well as the finished product demonstrates that Ait Khabbash women are cultural carriers who give life to the society both literally and metaphorically.

In Chapter Two, the description of Ait Khabbash women's art forms is extended to dress, including hairstyles, tattooing, and embroidered headscarves. This chapter considers how gender identity is learned as a person passes through the life cycle and analyzes the gender identity inscribed through dress at birth, childhood, and puberty. In particular, it discusses women's tattooing and the implications of permanently carrying symbols of the group's identity on the body.

In Chapter Three, the focus is on ahidous, a collective dance commonly performed at weddings by Amazigh groups throughout Morocco. The dance incorporates many forms of expressive culture, such as movement, singing, musical instruments, and specific forms of dress. This examination of the aesthetics of ahidous performances considers women's agency and use of dress to negotiate the tension between contemporary modesty requirements and the source of their power in Amazigh society—their connection to female fertility.

Chapters Four and Five analyze Amazigh weddings and their associated art forms. Through their central role in Amazigh weddings, women express and preserve the cultural distinctiveness of their group despite other societal influences that have changed the nature of their daily life. Although the styles of everyday clothing and jewelry have continued to change for Amazigh women and men, the adornment of the bride and groom, the focus of Chapter Four, has remained the same. Chapter Five concentrates on the dances, songs, and ceremonies that make up the three-day wedding ceremony itself. Together, these two chapters demonstrate that control over symbolic systems such as the arts earns women considerable respect in Amazigh society, as weddings and their associated art forms are among the few concrete symbols that continue to unify the Amazigh community.

Chapter Six considers how Ait Khabbash art forms have been shaped by their participation in the trans-Saharan slave trade. The Ait Khabbash enslaved peoples from Sudanic Africa (the area of Africa south of the Sahara between the Nile and the Atlantic). The descendants of those enslaved have been assimilated into the Ait Khabbash; but, at the same time, the groups do not intermarry. Despite that fact that slavery was outlawed in the 1930s, the descendants of the enslaved continue to refer to themselves as Ismkhan, the plural form of the word ismkh or "slave" in Tamazight. This chapter discusses the visual and performing arts found at Ismkhan ceremonies, which unite them with the Ait Khabbash but also express their difference.

As the concluding chapter demonstrates, far from being fixed in an essentialized, stagnant past, Amazigh artistic production and its relation to gender roles continue to be subject to the changing discourses of history, culture, and power. Morocco's Amazigh heritage makes Morocco distinct from the rest of Africa and the Middle East; thus the artistic heritage of Amazigh women is crucial to the creation of a new "Moroccan" identity that embraces the cultural diversity that is part of the country's history and visually expresses the concerns of the emerging Amazigh cultural and political movement.

In sum, these chapters consider various artistic forms, examining both the process of artistic creation and finished products to provide an original view of women's lives in southeastern Morocco. Artistic production not only reveals the complexity of women's roles but also demonstrates women's agency. These chapters argue that the control over artistic production is a mechanism through which women can negotiate complex religious and social issues while restricting them to limited roles in their society, thereby demonstrating the complexity of women's lives in Islamic Africa.
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# Posté le jeudi 04 mai 2006 14:37

saghrou mountain

saghrou mountain
The Aït Atta, the spartans of jbel Saghro


At the same time as the Sâadians from the Dâa valley were emerging as the new rulers of Morocco (Late 15th century), an extraordinary martial society was created the Aît Atta. Dada Atta, a Berber chieftain from the bleak slopes of Jbel Saghro, was the eponymous founder of this tribe of hardened warriors. Within a few decades, the Aït Atta had overthrown the 300 year supremacy of the Maqil Arabs and imposed their own rule.
The Aït Atta, like most of the larger tribal groups in Morocco, expanded by the adoption of allies and conquest. There soon emerged five Khums, or subdivisions which included Berber and Arab speakers though they all agreed to recognize Dada Atta as their heroic ancestor. Of these Khums, the Aït Alouane and the Aït Khabbache were the most notorious. The former became semi-nomadic and the virtual overlords of the Draa and the Dades Valleys, which they claimed to protect. The latter remained entirely nomadic and ranged the sub-Saharan steppes-merciless camel borne raiders who left many a smouldering ksar in their wake.
Their power was not unopposed. The Berber tribes to the north of the Draa formed a confederation, known as the Aït Yafelmane, to oppose any further expansion. To the east, Moulay Ali Cherif, the founder of the present ruling dynasty of Morocco, organized the defence of the Tafilalt in 1631. A number of the most forceful Alaouite sultans (Moulay Ismael – late 17th century – Moulay Sliman, Moulay Hassan – late 19th century), tried in vain to crush the Aït Atta.
They were the last of all the tribes of Morocco to submit to the French. The final battle came in 1934; some 25 years after the French army had first laded in Casablanca. Two brothers, Hammou and Hassou Bassellam, led the defence of their stronghold of Bougafer. For a whole month, 1000 warriors resisted the assaults, bombardments and aerial bombings of the vastly superior French besieging troops. The mountain finally fell to the Foreign on 25 March 1934 and the bravery of the fallen tribal warriors is commemorated every year with an official celebration in Ouarzazate. It was during the Bougafer battle that the glamorous French officer de Bournazel lost his life.
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# Posté le jeudi 04 mai 2006 14:21

jewelery in morocco

jewelery in morocco
Jewelry in Morocco, and all across North Africa, is of two kinds. There is the heavy silver characteristic of the mountain Berbers, the nomads and the country people, and there is the gold, usually more delicately worked, preferred by the Arabs of the towns. The latter is sometimes also worn by those Berbers who live in close contact with the Arabs in the cities and the plains.

The Berbers are believed to be the original inhabitants of North Africa, preceding Carthaginians, Greeks, Romans and Goths. The Arabs were the last of the great waves of invaders of the region; led by 'Uqba ibn Nafi', they crossed the whole width of the continent in 684, and reached the Atlantic. Succeeding waves followed, but as settlers rather than invaders, coming up out of Arabia with their herds and households. The Berbers converted to Islam at an early date, but they retained their language, customs and ethnic identity. Indo-Europeans, the Berbers are the only fair-skinned people native to Africa; many have red hair and light eyes. In the southern oases, they have intermarried with sub-Saharan Africans to produce the Berber-speaking Haratine.

Roughly speaking, the elegant city culture of North Africa is Arab. The Berbers are typically country people, excellent farmers and stockbreeders, and inhabit the Rif, the Atlas and the oases, as well as certain towns such as Meknes and Tangier. Arab dress is essentially cut and sewn; Berber dress, far more archaic, is draped, as in classical times, and held with brooches and a belt. All of this has influenced both Arab and Berber jewelry.

For both Arabs and Berbers, jewelry is not merely a means of decoration—it is a way of saving. Jewelry given to a woman is hers absolutely, and it is normal for her to sell an ornament or two to buy something else or to tide her family over a lean period; she may even sacrifice a number of pieces in order to acquire animals or land. In this way, the women often act as the families' bankers and their jewelry thus has a different significance than in the West.

Women begin to build up their collection of jewelry as children, and it is greatly increased about the time of their marriage. After that, they will add to it at every possible occasion, whenever the men of the family have some spare money. Old pieces are not prized, except by the most sophisticated, and Berber women in particular like to wear jewelry made for them personally. This means that, in each generation, jewelry fends to go back to the smith to be melted down and reworked, and so very old pieces are very rare. Fashions change, however, and it is possible to class a piece roughly as "antique" or "modern," meaning that it is made either before or after the period 1900 to 1920.

The Berber and the Berber-speaking Tuareg prefer silver jewelry to gold, but the reason has nothing to do with poverty. The Prophet Muhammad disapproved of gold jewelry for men, but—by his example and by instruction—allowed them to wear silver. Gold was allowed as an adornment for women.

Berber jewelry is nonetheless almost entirely silver, enriched with niello-work, enamel, engraving, repousse and semi-precious stones, the colors of which have a symbolic meaning. Necklaces of huge amber beads, held to have protective properties, were in the past traded all the way from the Baltic. Now, they are often made of plastic or copal resin from Mauritania.

The main pieces of Berber jewelry—best seen at weddings and during the harvest, when it is traditionally displayed—include head ornaments, which may be like the urban taj (15), or made of silver coins, old and new; earrings, usually so large that they have to be supported on a chain that runs across the head or that is hooked into the hair, and similarly, pendants which hang over the temples (14); necklaces of various kinds (13); rings; pairs of great silver brooches (6), essential for holding the draped robes in place; pairs of bracelets (11) of different types, including the star-shaped, heavy ones of the Aït Atta, whose points can be used for self-defence; and pairs of anklets , usually of the horseshoe shape also worn by townswomen.

Throughout North Africa, as in many countries, Europe and sub-Saharan Africa, smiths hold a peculiar position on the fringes of society, needed and respected for their skills, but at the same time socially distrusted and feared. The Tuareg say of it metalworkers that they are "older than memory, proud as the crow, and mischievous in mind." Some of the techniques still in use are ancient, probably going back to the Carthaginians, who reached the Maghrib some 500 years BC. They include cloisonne enamel and niello work (6, 11, 13), which often give Berber jewelry a look reminiscent of medieval Europe, and filigree, some of the designs for which were brought by the Muslim refugees from Granada in the 16th century (See Aramco World, July-August 1991), and are still called rarnati —"of Granada." (7)

While Berber women, especially the Haratine, are often loaded with remarkable amounts of jewelry, men wear little, apart from rings—and in modern times, watches—in accordance with the example of the Prophet; the same is, by and large, true of townsmen. Traditionally, however, all of a man's personal possessions are beautifully made and decorated, in particular his dagger (3) and chain, which until recently was a standard part of the male wardrobe; his gun, often magnificently inlaid; his powder horn (4) or powder flask (9); and in some cases, his Qur'an case (17)—worn by the Tuareg, for example, bound to their turbans. Unlike the custom in many other parts of the world, both men's and women's belts—an essential element where clothing is draped—are almost invariably made of cloth rather than metal.

There is a difference between town and country jewelry. Arab women have a strong preference for gold, and so the pieces are apt to be smaller and more delicate. Filigree or incised gold, enameled or set with precious or semi-precious stones, is very popular and pearls are greatly sought after (12), as are emeralds. One of the most distinctive pieces is the taj, or diadem, (15) worn for marriages and for certain other formal occasions. A central forehead ornament is also worn, confusingly called taba a (plural: touaba), like the brooches (7) and hanging decorations (fnarat, singular fnar ) that frame the face. Normal wear includes earrings (2), often so heavy that, like their Berber counterparts, they need to be supported; rings; bracelets, (5) which are always worn in pairs; and, now mostly on special occasions, anklets. Pairs of brooches (7, 8) were worn with elements of traditional dress which involve draping, while single brooches are a recent Western introduction.

It is very difficult to date jewelry from Morocco. Traditional patterns tended to be copied over and over again. Western motifs do not always indicate modernity, because of the very old link with Spain, but pieces such as the diadem on page 21 (15) are obviously completely European. Generally, the older pieces of both Arab and Berber jewelry tend to be larger and heavier, often with more delicate detail; newer pieces are apt to be less bold in design but flashier in their execution. There are several reasons for this: the rise in the price of precious metals, with a corresponding tendency to compensate by using large, bright, but not very valuable stones; the emigration of a very large number of the jewelers during the 1950's and 1960"s, which caused a break in the tradition—a tradition only just now reviving, for example in the Algerian Kabyle; and perhaps most importantly, the fact that jewelry throughout North Africa is bought by weight, with the workmanship counting for very little. As a result, in the modern world, the craftsman often cannot afford to put a lot of time into delicate and painstaking effects (6), unless he is specially commissioned, but tends instead to go for the bolder, cruder—and thus quicker—forms of decoration.

The traditional techniques, however, are still available in the hands and heads of at least the older craftsmen, and it is to be hoped that an increased appreciation of Moroccan jewelry will lead not only to antiques being sought after by collectors, but to new pieces being commissioned.
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# Posté le jeudi 04 mai 2006 14:13

moroccan folklore

moroccan folklore
Moroccan Folklore
Moroccan folklore expresses and enhances everyday life of which it is an integral part. Although loyal to its forms of expression for generations, it is being continually enriched by popular imagination, under the influence of new events on the national, tribal or individual levels.

Moroccan folklore is extremely diverse. It varies not only from one area to another but each tribe, nomadic or sedentary, has its own repertory, the extent and wealth of which will surprise the layman. Besides the exotic, picturesque, colorful or romantic aspects of the setting, folk dancers form an ensemble of traditions, a world of symbols which are undecipherable today.


MARRAKECH FOLKLORE FESTIVAL
The visitor to the Marrakech Festival that many treasures remain hidden in the Moroccan country-side. Thanks to the festival, one discovers the people of legendary times.

Organized in the ruins of the El Badi Palace, every year at the beginning of June, the show is one of the most successful staged in Morocco. The ancient walls are brought to life by the skillful use of lighting which also plays on the shimmering costumes of the dancers and gives a new dimension to the vast Saadian structure.

The stage is set beside a large pool of still water. On this island of light, the troupes follow each other in song and rhythm. Here they are:


THE AWASH
The dance comes from the High Atlas valleys in the Ouarzazate area. A circle of women in multicolored robes stands motionless. In the center, men sit around a fire, each of them with a "bendir" (a circular wooden frame with a hide stretched over it). A piercing cry breaks the silence. It is a shout more than a song. All the drums beat. The song of the men begins, mounting skyward. The women reply. Shoulder to shoulder, they sway rhythmically and slowly. The rhythm gets faster and faster until the finale.

THE OUAIS
Set to very ancient music, in which is easy to perceive Middle Eastern accents, this dance is like a ballet.
The orchestra comprises a one-stringed fiddle, or "rbab soussi", and a certain number of "guembris" which are small mandolins with three strings sometimes made with a turtle shell. The rhythm is provided by a beater who strikes a piece of cast iron lying on the ground. The dancers add to the music with small copper cymbals attached to their fingers. All the dancers wear city dress: a colored "kaftan", a muslin "dfina", an embroidered silk belt, a cord decorated with spangles woven around the head. The dance is graceful and comprises several steps. Couplets alternate with the step to make an uncommonly delicate spectacle.


THE TISSINT
South of Agadir, men and women, entirely garbed in indigo-blue, perform a dance which resembles a religious rite.
Perhaps it is an ancient rite. The dagger dance is clearly symbolic. It is part of marriage ceremonies. Men and women dance to a rhythm that becomes more rapid. A young girl and boy leave the circle to do a duet. The boy holds a dagger at arm's length at the end of a cord. He spins about, making circles around the girl, withdraws and comes nearer, until they are face to face. Advancing towards each other with short steps, the boy raises his arms to place the dagger around the young girl's neck as she continues to dance. Slowly the boy falls to his knees in front of her. The song continues.


THE TASKIOUINE
No doubt a warrior's dance, since women do not take part. Wearing white tunics and turbans, with powder- horns on their shoulders, the dancers keep time to the accompaniment of earthware tambourines covered with skins. They dance shoulder to shoulder or in indian file. The body is shaken rhythmically and stopped suddenly with perfectly- timed stamping of the feet. It is a frank, powerful and virile dance without any mannerism or any equivocal gestures. Although athletic, it is nevertheless aesthetic.

THE GNAOUAS
African in origin, the Gnaoua dance belongs to brotherhood music-lore. The tumblers of the jemaa El Fna in Marrakech have transformed it into an entertainment. The instruments are as primitive as ever: large drums and wrought iron castanets form the orchestra. Cowrie shells and glass beads are worn as ornaments that recall the dance's origin and its magical or religious aspect. Some of the dancers perform leaps worthy of the best acrobats. They manage to jump high in the air without missing a beat of the rhythm. It is a show with great dramatic intensity.

THE AIT ATTA
This dance resembles somewhat the Ahwash of Kelaa M'Gouna. A row of women in festive dress faces a row of men. All the gestures of the dancers express gaiety and enthusiasm. The dance marks the end of work in the fields, when the harvest is in and when the winter cold of the mountain regions gives way to the season of relaxation.

THE AIT BODAR
Another warrior dance performed only by men. Wearing white "gandoras", they link arms as if welded to each other and chant their song during a continuous backwards and forwards movement. The dance appears to symbolize the indivisible unity that should link the warrior of the tribe in the face of the enemy. The men form an impenetrable barrier: they are as one man, one will be animated by a single rhythm.

THE AIT BOUGUEMAZ
The central figure wears a different costume to the rest of the troupe. He has a pointed bonnet covered with a strip of white muslin and plays a double flute. He is the only professional in the troupe and produces a nasal buzzing with his instrument which has a striking effect while the men and women of the village turn in a circle. The dance is at times light, composed of slides and little steps, or more dynamic when the performers stamp hard on the ground. It is an abstract dance by the mountain folk but it has the virility also of warrior dances. Poems are recited.

OULMES AND KHENIFRA
The "Ahidous" of the Middle Atlas is a visual enchantment performed in its traditional purity by men and women dancers of the Oulmes and Khenifra areas. Most of the girls are very young and very pretty. The costume, strongly influenced by urban dress is in pale colors. The men and women form a large circle and rock to the rhythm of "bendir" drums. They do simple steps, advance and withdraw. The gestures are discreet, full of dignity and modesty. Poems are recited.

THE AIT HADDIDOU
The Ait Haddidou live on the upper plateaux of the Assif Melloul in the High Atlas mountains at an altitude of 8,500 feet, and seem to have been subjected to no influences to upset the harmony of their patriarchal existence. The women wear "handiras", blue cloaks with white stripes. Married women and widows may wear "akidoud", a kind of henna, in their hair. Hefty necklaces of yellow amber beads and heavy silver jewels convey an impression of barbarian beauty. The men wear long burnouses and wrap their heads in impressive turbans. The "Ahidous" they perform is fascinating although static. We see here gestures which have resisted and triumphed over the passage of time, but whose significance is lost to us for ever.

THE HOUARA
These dancers come from Inezgane near Agadir. The troupe is composed of a group of men and one woman. The men begin the dance to a sprightly rhythm. One or two virtuosi leave the circle to execute solo dance. When the rhythm reaches its peak, the woman rushes to the center. There follows a whirling dance of great power. Uncommon physical strength is required to keep up the rhythm and do such elaborate steps. The dance is without doubt one of the most spectacular in Moroccan folklore and arouses the enthusiasm of the audience.

THE AHIDOUS
In the Middle Atlas Haidous dance singers and dancers form a large circle with the men and women standing alternately shoulder to shoulder. Sacred and secular influences are deeply linked in this ceremony. To the rhythm of tambourines, the men and women undulate and sing a joyful hymn.

THE GHIAYTAS
Warriors carry rifles dance to the tune of pipes and drums. It is not clear whether they are dancing to work up courage to face the enemy, or whether they are celebrating a victory. They do not sing but shout rumbling cries in cadence. Their rifles, like toys, are balanced on the head, spun at arms length, and they pretend to shoot with them at invisible enemies. Forming a circle and turning to the rhythm of a noisy orchestra, they aim their weapons at the ground, at a signal from their leader, fire off blank charges.

HAHA
The music is reduced to a solo seven-hole flute made out of a reed and elementary in design. The rhythm is supplied by hand-clapping and stamping of the feet on the ground to give a both powerful and enchanting effect. Dancing vigorously, the men produce an ensemble that is disciplined and virile.

THE GUEDRA
It would take too long to try to explain the significance of this dance from South Morocco in which the attitudes and movements have their origin in a very ancient symbolism. It is c~ represents some ritual ceremony whose origins are lost in the mists of time.
The women dancers kneel and are completely covered with a black veil. The steady rhythm like a beating heart brings out the hands that describe vivid and expressive motions. The head is revealed, with eyes closed, swaying like a pendulum. The rhythm is supplied by a "guedra" or cooking pot (an earthware drum covered with skin). It becomes pulsating as the dancers continue to speak their mysterious language. The singing of the spectators changes to brief and guttural cries. The dancer gradually casts off her veils and finally collapses in a heap.


THE OULAD SIDI AHMED OU MOUSSA
These acrobats belong to the wandering brotherhood of Sidi Ahmed Ou Moussa, the saint of Tazeroualt, a locality of the Anti Atlas mountains. Originally the young people of the area performed these exercises in preparation for their role as archers and marksmen. With the disappearance of the warriors, acrobatics became an end in themselves and a way of earning a living.
Many people from the Oulad Ahmed ou Moussa work in circuses in Europe and America. The colorful costumes are often embroidered and have not changed in centuries.


THE DEKKA (MARRAKECH)
The people who perform this rhythmic entertainment are not professionals. The strange orchestra composed of craftsmen and merchants of Marrakech is made up entirely of earthware drums of different dimensions. The ceremony starts with simple and rather solemn rhythms, and then the cadence of hand-clapping accelerates. High and lower pitched beats on the drums are cleverly orchestrated and the men start singing powerfully in chorus. The rhythm changes suddenly from time to time, but it is all amazingly well- regulated. The general impression is an explosion of joy, a sonorous enchantment that seems wild but is disciplined.

THE FANTASIA
There is one particularly stunning and exciting event that has taken its rightful place among the more noteworthy examples of traditional folklore in Morocco, those demonstrations popular customs of which Morocco is so famous and which stimulates tourists to come and to see for themselves; that even is the Fantasia.
This colorful display of horsemanship begins with a procession made up of women from the Zayaan tribe on horseback. Behind them come, their menfolks in groups according to their tribe and bearing each group's emblem. When this "lap of honor" finishes, it gives way to the real Fantasia, the Aid el Broud (Festival of Gunpowder) with its gun-fire and bursts of shots. The horsemen line up in close ranks, and no sooner has one wave of riders left than the next is ready to follow; the impression is that of surging waves of galloping hooves. The frenzied dash of horses is accompanied by the piercing cries of the riders and terse orders from their chief until the whole thing explodes in a blaze of gun-fire from their famous "moukhahla", the rifles that are so highly prized by gun collectors. And when the riding is over, then another kind of show begins on a platform that has been erected in front of the huge marquees.

No show of popular folklore is complete in Morocco without music and dance. The spectator is, needless to say, enthralled by the diversity and richness of costumes and music that stretch back in time for a thousand years.

Since September 1977, the National Festival of Fantasia has been held in Meknes.
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# Posté le jeudi 04 mai 2006 14:00

Modifié le mardi 24 juillet 2007 08:11

life of che guevara

life of che guevara
Latin American revolutionary leader, who rejected both capitalism and orthodox Soviet communism. Like T.E. Lawrence (1888 1935), better known as 'Lawrence of Arabia', Guevara lived an adventurous life. Guevara's tragic early death in Bolivia created a legend that still lives. He once said that "the true revolutionary is guided by a great feeling of love", but he also wrote influential works of guerrilla warfare.

"The guerrilla band is an armed nucleus, the fighting vanguard of the people. It draws its great force from the mass of the people themselves. The guerrilla band is not to be considered inferior to the army against which it fights simply because it is inferior in fire power. Guerrilla warfare is used by the side which is supported by a majority but which possesses a much smaller number of arms for use in defense against oppression." (from Guerrilla Warfare, 1960)
Ernesto Guevara de la Serna was born in Rosario, Argentina into a middle-class family of Spanish-Irish descent. Celia de la Serna y Llosa, his mother, had lost her parents while she was still a child. Celia was raised by her religious aunt and her older sister, Carmen de la Serna, who married in 1928 the Communist poet Cayetano Córdova Itúrburu. Guevara's family was liberal, anti-Nazi and anti-Peronist, and not very religious. With Celia's fortune, the family lived comfortably, although Ernerto Guevara Lynch, Ernesto's father, managed to spend much of it in his unlucky business ventures. In his youth Guevara read widely and among his reading list in the 1940s were Sartre, Pablo Neruda, Ciro Alegría, and Karl Marx's Das Kapital. He also kept a philosophical diary and in Africa 1965 Guevara planned to write a biography of Marx.

In 1953 Guevara graduated from the University of Buenos Aires, where he was trained as a doctor. During these years Guevara read Stalin and Mussolini but did not join radical student organizations. He made long travels in Argentina and in other Latin America countries. At the same time his critical views about the expanding economic influence of the United States deepened. In 1952 he made journey with his motor bike, an old Norton 500 single, around South America. The journey opened his eyes about the situation of the Indians and was crucial for the awakening of his social conscience. Like Jack Kerouac later in his book On the Road (1957), Guevara recorded his impressions in The Motorcycle Diaries. "The person who wrote these notes died the day he stepped back on Argentine soil," Guevara wrote in his diary. "Wandering around our 'America with a capital A' has changed me more than I thought."

After witnessing American intervention in Guatemala in 1954, Guevara radicalized and become convinced that the only way to bring about change was by violent revolution. He wrote in a letter to home: "Along the way, I had the opportunity to pass through the dominions of the United Fruit, convincing me once again of just how terrible these capitalist octopuses are. I have sworn before a picture of the old and mourned comrade Stalin that I won't rest until I see these capitalist octopuses annihilated." In Guatemala Guevara met Hilda Gadea. They married 1955 and had one child. Guevara was arrested with Fidel Castro in Mexico for a short time. He had joined Castro's revolutionaries to overthrow the Batista government. In 1956 they loaded 38-feet long motor yacht Granma full of guerrillas and weapons and sailed to Cuba, landing near Cabo Cruz on December 2.

They made their base in the mountains of Sierra Maestra, attacking garrisons and recruiting peasants to the revolutionary army. In the areas controlled by the guerrillas, Guevara started land reform and socializing process. In spite of his chronic asthma, Guevara enjoyed the hard conditions and war. Land reform become the slogan, the "banner and primary spearhead of our movement" as Guevara described it in an interview, that made eventually peasants participate in the armed struggle. Guevara was respected by his men, although considered violent - he shot Eutimio Guerra who had cooperated with dictator Fulgencio Batista's army.

In the mountains Guevara met Aleida March in 1958, 24-year-old revolutionary fighter, and she became Guevara's second wife in 1959. He continued to write his diary and composed also articles for El Cubano Libre. A selection of Gurvara's articles, which he wrote between 1959 and 1964, was published in 1963 as PASAJES DE LA GUERRA REVOLUCIONARIA. For the media Cuba was a hot subject - New York Times, Paris Match and Latin American papers sent reporters to the mountains to make stories of the revolutionaries. At the same time when Guevara was in the mountains, his uncle was Ambassador to Cuba.

Guevara rose to the rank of major and led one of the forces that invaded central Cuba in the late 1958. After the conquest of power in January 1959 Guevara gained fame as the leading figure in Castro's government. He attracted much attention with his speeches against imperialism and US policy in the Third World. He argued strongly for centralized planning, and emphasized creation of the 'new socialist man'. In his famous article, 'Notes on Man and Socialism', he argued that "to build communism, you must build new men as well as the new economic base." The basis of revolutionary struggle is "the happiness of people," the the goal of socialism is the creation of more complete and more devoped human beings.

In a discussion on September 14, 1961 Guevara opposed the right of dissidents to make their views known even within the Communist Party itself. However, privately Guevara was critical of the Soviet bloc, but so was also Nikita Khruschev. When the executions of war criminals started Guevara acted as the highest prosecuting authority. The condemned were soldiers found guilty of murder, torture and other serious crimes. Because Guevara was a doctor, one of his friends once asked how he could work in such a position. Guevara's answer was like from Western movies: "Look, in this thing you have to kill before they kill you." In 1959 Guevara adopted formally the nickname Che and was granted honorary Cuban citizenship. He was visited by such intellectuals as de Beauvoir, and Sartre who saw in him the "most complete human being of our age". The most famous picture of Guevara was taken by Alberto Diaz Gutiérrez, known professionally as Korda. He declined to take royalties when the picture became worldwide icon. When a British advertising agency appropriated the image for a vodka ad Korda rejected the idea: he never drank himself," said the photographer, "and drink should not be associated with his immortal memory."

From 1961 to 1965 Guevara was minister for industries, and director of the national bank, signing the bank notes simply 'Che'. He traveled widely in Russia, India and Africa, meeting the leading figures of the world, among others Jawaharel Nehru and Nikita Khruschev. Guevara was also the architect of the close relations between Cuba and the Soviet Union. Although good relationships with Moscow become the cornerstone of Castro's foreign policy, Guevara followed the emergence of the Maoists. In 1965 Guevara made public his disappointments in Algiers and described the Kremlin as "an accomplice of imperialism". Guevara's dismissal from the ministry followed immediately on his return from Algiers.

To test his revolutionary theories Guevara resigned from his post as a politician. He had published highly influential manuals Guerrilla Warfare (1961) and Guerrilla Warfare: A Method (1963), which were based on his own experiences and partly chairman Mao Zedong's writings. President John F. Kennedy had Guerrilla Warfare rapidly translated for him by the CIA. Guevara stated that revolution in Latin America must come through insurgent forces developed in rural areas with peasant support. The is no need for right precondition for revolution - guerrilla warfare can begin the activities. In his last article, 'Vietnam and World Struggle', Guevara outlined his global perspectice for revolutionary struggle, and stressed the dual role of hate and love.

"And he did have a saving element of humor. I possess a tape of his appearance on an early episode of "Meet the Press" in December 1964, where he confronts a solemn panel of network pundits. When they address him about the "conditions" that Cuba must meet in order to be permitted the sunshine of American approval, he smiles as he proposes that there need be no preconditions: "After all, we do not demand that you abolish racial discrimination...." A person as professionally skeptical as I.F. Stone so far forgot himself as to write: "He was the first man I ever met who I thought not just handsome but beautiful. With his curly reddish beard, he looked like a cross between a faun and a Sunday-school print of Jesus.... He spoke with that utter sobriety which sometimes masks immense apocalyptic visions." (Christopher Hitchens in New York Review of Books, July 17, 1997)
During his disappearance from public life Guevara spent some time in Africa organizing the Lumumba Battalion which took part in the Congo civil war. He was not happy how Laurent Kabila fought against Joseph Mobutu, although his first impression on Kabila was positive. "Africa has a long way to go before it reaches real revolutionary maturity," Guevara concluded in his diary.

In 1966 Guevara turned up incognito in Bolivia where he trained and led a guerrilla war in the Santa Cruz region. In his manual Guerrilla Warfare, Guevara had stressed that the guerrilla fighter needs full help from the people of the area, it is an indispensable condition, but Guevara failed to win the support of the peasants and his group was surrounded near Vallegrande by American-trained Bolivian troops. "The decisive moment in a man's life is when he decides to confront death," Guevara once said. "If he confronts it, he will be a hero whether he succeeds or not. He can be a good or a bad politician, but if he does not confront death he will never be more than a politician." After Guevara was captured, Captain Gary Prado Salmón put a security around him to be sure that nothing happened. Guevara told him, "don't worry, captain, don't worry. This is the end. It's finished." (from the document film 'Red Chapters,' 1999) Guevara was shot in a schoolhouse in La Higuera on October 9, 1967, by Warrant Officer Mario Terán of the Bolivian Rangers at the request of Colonel Zenteno. Terán was half-drunk, celebrating his borthday. Guevara's last words were according to some sources: "Shoot, coward you are only going to kill a man." In order to make a positive fingerprint comparison with records in Argentina, Guevara's hand were sawed off and put into a flask of formaldehyde. They were later returned to Cuba. Guevara's corpse was buried in a ditch at the end of the runway site of Vallegrande's new airport. "Che considered himself a soldier of this revolution, with absolutely no concern about surviving it," said Fidel Castro later in Che: A Memoir.

Guevara's life inspired the film Che! (1969), directed by Richard Fleischer and starring Omar Sharif (Guevara) and Jack Palance (Castro). The fictionalized biography was criticized by James Baldwin in The Devil Finds Work (1976): "The intention of Ché! was to make both the man, and his Bolivian adventure, irrelevant and ridiculous; and to do this, furthermore, with such a syrup of sympathy that any incipient of Ché would think twice before leaving Mama, and the ever-ready friend at the bank."

FOR FURTHER READING: Cuba: An American Tragedy by Maurice Zeitlin (1964); Che: The Making of a Legend by Martin Ebon (1969); Che Guevara by A. Sinclair (1970); The Marxism of Che Guevara: Philosophy, Economics and Revolutionary Warfare by Michael Lowy (1973); The Latin American Revolution by Donald C. Hodges (1974); The Legacy of Che Guevara, ed. by Donald C. Hodges (1977); Shadow Warrior: The CIA's Hero of a Hundred Unknown Battles by Felix Rodriguez with John Weisman (1989); Che Guevara, A Revolutionary Life by Jon Lee Anderson (1997); Companero: The Life and Death of Che Guevara by Jorge G. Castaneda (1997); Guevara, Also Known as Che by Paco Ignacio Taibo (1997); Che in Africa: Che Guevara's Congo Diary by William Gálvez (1999); Che Guevara, Paulo Freire, and the Pedagogy of Revolution by Peter McLaren (2000) - See also: José Martí
Selected works:

LA GUERRA DE GUERRILLAS, 1960 - Guerrilla Warfare
PASAJES DE LA GUERRA REVOLUCIONARIA, 1963 - Reminiscences of the Cuban E Revolutionary War - Vallankumoussota Kuubassa
Guerrilla Warfare: A Method, 1963
EL SOCIALISMO Y EL HOMBRE E CUBA, 1965 - Socialism and Man
Che Guevara Speaks, 1967 (ed. by George Lanvan)
DIARIA DE CHE EN BOLIVIA, 1968 - Diary of Che Guevara (ed. by Robert Scheer) / Bolivian Diary of Ernesto "Che" Guevara
OBRAS COMPLETAS, 1968
Venceremos! The Speeches and Writings of Che Guevara, 1968 (ed. by John Gerassi)
Che Guevara on Revolution, 1969 (ed. by Jay Mallin)
Che Guerava, 1969 (selected works)
Che: Selected works of Ernesto Guevara, 1970 (ed. by Rolando Bonachea and Nelson P. Valdes)
OBRAS 1957-1967, 1970 (2 vols.)
ESCRITOS Y DISCURSOS, 1977 (9 vols.)
Che Guevara and the Cuban Revolution: Writings and Speeches of Ernesto Che Guevara, 1987
The Motorcycle Diaries: A Journey Around South America by Ernesto Che Guevara, 1995 (trans. by Ann Wright) - Moottoripyöräpäiväkirja (trans. into Finnish by Aleksi Siltala, from Notas de viaje. Mi primer gran viaje: de la Argentina e Venezuela en motocicleta) - film 2004, dir. by Walter Salles, starring Gael Garcia Bernal, Rodrogo de la Serna
Episodes of the Cuban Revolutionary War, 1956-58, 1996 (ed. by Mary-Alice Waters)
Che Guevara Reader: Writings by Ernesto Che Guevara on Guerrilla Strategy, Politics & Revolution, 1997
Che Guevara Speaks: Selected Speeches and Writings, 2000
Che Guevara Talks to Young People, 2000 (ed. by Mary-Alice Waters)
The Complete Bolivian Diaries of Che Guevara, and Other Captured Documents, 2000 (ed. by Danile James)
The African Dream: The Diaries of the Revolutionary War in the Congo, 2001 (trans. by Patrick Camiller)
Back on the Road: A Journey to Latin America, 2002 (trans. by Patrick Camiller) - Tien päällä taas (trans. into Finnish by Anu Partanen, from Otra vez)
Che Guevara on Global Justice, 2002
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# Posté le jeudi 04 mai 2006 13:50

history of festival of imilchil

history of festival of imilchil
Tislet & Isli
As told by Jennifer Fry
Many years ago, the chief of the Ait Haddidou tribe announced the birth of his daughter, Tislet. In her honor, the chief declared that a feast would be held. "No expense will spared," he announced to the villagers. "This will be a celebration unlike anyone has ever seen!"

When the day of the festivities arrived, the people of the village agreed that the chief was indeed a man of his word. From dawn until dusk that day, the people of the village gathered under a canopy of palm trees, singing ancient songs and dancing to the rhythms of the Atlas winds. As the sun set across the coral dunes, the people of the tribe raised their glasses of mint tea and toasted the child's long and happy life.

But no sooner had they sipped their tea when the village fortuneteller cut through the crowd, heading straight for the chief's daughter. No one was surprised when she inspected the baby's chubby hand and announced that the girl would grow to be loving and kind. A few raised their brows, however, when the fortuneteller further declared that the girl would one day be more beautiful than the spring rain. Surely too much beauty, they whispered among themselves, was a dangerous thing. Still, no one expected her final words: "This child is destined to marry the son of our enemy."

The singing and toasting abruptly ended; all sat stunned by the child's fate. No one was as shocked as the chief himself, who had fought long and hard against his Berber enemy in the south. He hated them with a poisonous vengeance.

Immediately, the chief's counselors stepped forward. Perhaps, they advised their chief, Tislet should be killed. A marriage of his daughter to their Berber enemy would doubtless incite a bitter and lasting war. Wasn't peace in the region worth the sacrifice of one life? The chief sat in stony silence as his wife threw herself at his feet, begging for mercy for the child. But just as the chief was about to announce his decision, one of his wife's kinsmen, who was intrigued by the fortuneteller's claim of the girl's beauty, interceded.

"Do not harm her," said the kinsman. "As soon as she comes of age, I shall marry the girl. I will take her to the north. There, she will never set eyes upon the son of our enemy, and our people will be safe."

Tears gathered in the chief's eyes as he threw his arms around the kinsman. To see his tiny daughter slaughtered—even for such a worthy cause—would have ravaged his soul deeper than any wound in battle.

"The girl's life shall be spared," he whispered. Then, in a loud voice, he decreed: "Tislet will be removed from the village. She will live high in the mountains, far from any people, until her marriage day. Our clan shall live in peace."

The feast ended. Slowly and silently, the villagers returned to their homes, unconvinced that even a good and noble chief could outwit fate.

For many years, Tislet lived in a cave high in the Atlas mountains with only a nursemaid as a companion. In the beginning, Tislet's mother came to visit every week. Her father came, too, when he was not detained by his duties in the village. As happy as her parents were to see her, the pain of leaving her was very great. Each time they turned to go back to their village, it became more difficult. Unable to bear such sorrow, their visits became less frequent.

Tislet's days were not unhappy. She was a kind and cheerful girl who befriended every flower, every ant, every snake, and every star within miles. One day, when Tislet was 12, she noticed a white pigeon flying overhead.

"Good morning, Lalla," she called to the pigeon. As she waved to the bird, an arrow flew across the sky, striking the pigeon down to the ground.

Tislet ran to the wounded bird. Finding it, she picked it up and cradled it in her arms. A boy with auburn curls and green eyes emerged from behind a bush. He was a year or two older than Tislet, and carried a bow and arrows.

"Did you do this?" Tislet said to him angrily through her tears.

The boy was captivated by the girl's beauty.

"I'm sorry," he responded. "I didn't know it was your bird."

The boy tenderly took the pigeon from the girl's arm. "She's not hurt badly. I can try to mend her wing."

Seeing how sorry he was, Tislet softened. And before the day was over, Tislet and the boy, who was known as Isli, were friends. Each day at noon, Isli would sneak away from his village to see Tislet. From below her cave, he would call out a signal. Hearing it, Tislet would pry herself away from the watchful eye of her nursemaid and run to meet him.

One day, just as Isli was climbing the mountain, he saw Tislet emerge from her cave, shouting, "Father!" She then ran up to a man who was ascending the mountain from the other side. The man was dressed in the robe of the northern Ait Haddidou tribe—the enemy of Isli's clan. The boy was stunned. With tears in his eyes, he ran back down the mountain, vowing never to see Tislet again.

Meanwhile, Tislet's father took her by the hand. "Daughter, I have news," he said. "The time has come for you to marry our kinsman. He will take you up to the far north. There you can live in a village and raise a family. You will be content."

Tislet was silent. Her father continued, "The marriage will take place in two days."

After her father left, Tislet ran down the mountain, searching for Isli. She could not bear to be separated from him. He was the one she loved. For hours she wandered through the mountains, calling his name. But she could not find him. At nightfall, she returned to her cave and cried herself to sleep.

The next day, Tislet waited for Isli at noon. Once again, he did not come. By evening, she was frantic. Tislet then realized that there was only one thing to do: She had to run away. If she couldn't be with Isli, she would not marry any man. But as she gathered clothes and food for her journey, she heard a familiar sound.

Overjoyed, she ran out of the cave and, spotting Isli, threw herself in his arms. Tislet recounted her father's news of the marriage that was to take place the next day. "I must run away," she told him. "I will not marry anyone but you."

"I vowed never to see you again," Isli replied. "But I cannot live without you." He then told her about their families' long-standing feud. "Our families will never allow us to marry. Our fathers are bitter enemies."

All night, the two planned their escape. They would run to the west, toward the ocean. They would build a beautiful home of mud and stone. They would have five children; three boys and two girls.

As the sun rose, Tislet and Isli lay down sleepily upon a rock. They did not notice that a band of men was slowly ascending the mountain.

When Tislet's father saw his daughter asleep in the arms of Isli, he threw himself upon the boy in a blind rage. But Isli dodged the chief's blows and ran.

"I'm going after him," said the chief. "Take the girl," he said to his kinsman. "Get her out of here!"

Tislet was crying hard. Tearing herself from the kinsman's grip, she ran as fast as she could. When she could go no farther, she stopped.

But her tears did not cease. Tislet cried so hard that a pool of water gathered at her feet, and the earth began to crumble. As she fell into the wet earth, Tislet screamed out, "Isli!" The word echoed throughout the mountainside.

Within moments, a lake had formed at the spot where she had stood. From a mile away, Isli heard her voice.

"Tislet!" he screamed back. He knew she was dying. Isli then began to weep with such fierceness that the earth opened and he fell into it. The chief watched mystified as the boy drowned in a lake of his own tears.

"Truly you did love my daughter," the chief said. Slowly, the chief walked down to the spot where his daughter had last stood. The chief knelt beside the lake. For many days, he stayed there, whispering through his tears, "Forgive me."

The chief later decreed that no daughter in his clan should be forced to marry against her will. In honor of Tislet and Isli, he declared that a bridal festival would be held each year in which young men and women throughout the Atlas Mountains could gather in the hope of finding and marrying their true love.

The festival continues to this day.
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# Posté le jeudi 04 mai 2006 13:32

falktales stories and proverbs

falktales stories and proverbs
FABLES FOLKTALES AND PROVERBES


1 _ Boar : a number of imazighen went hunting .they killed a boar and then began to divide up the meat . during the division , however, the hunter who was cutting up the meat cut his finger with his knife .some of his blood fell on a piece of boar meat , and another man called attention to it this started a fight and the man who had cut his finger said ; don't move the meat until i get back , as there is a piece of it which is haram (the piece on which his blood had fallen). the same man was killed a few months l later in a fight and afterwards the survivors did not know which piece was haram forbidden : hence they decided that the whole boar had to be declared haram and so it is considered to this day .thus while the injuction against is qur'anic that against boar- meat is not.

2 - Stork : the stork is assouou was once the qadi a judge of musilman law . and had his office in the secand story of house poeple who wanted to see him always had to go upstairs to do so as the qadi always put the soap on the stairs to make them slippery . any individuals coming in with court cases always fell down stairs . every time this happened the qadi would laugh and for this reason god changed him into a stork whose nest always at the top of a house and who still laughs today in the nest by making a ta ta ta sound with his beak.

3- Dog and jackal: dog igdi and jackal ushshn were once brothers , once they went out to look for a sheep and rounded up a lamb . dog told a jackal to look after the lamb while he took another turn around.when he come back he found jackal eating the lamb. a tremendous quarrel ensued ,and to this day the dog is close to the sheep and guards them , while the jackal ,further off ,tries to leap on them and kill them. indeed the rainbow is known as tisslit nw ushshn or tamghra nw ushshn the (bride of jackal or wedding of jackal ) because when it emerges after a heavy rain the shepherds are cold and huddled in their tents , jackal can easily steal the sheep .

4 - Hawk tortoise and stork : once hawk tamda married to a tortoise (tamnizergan because its back looks like azerg a hand quern ) . tortoise was a heavy eater and her husband hawk used to bring her all kinds of choice partridge breast . but she eventually tired of him ,and decided to take up with stork .
storkhowever , brought her snakes and frog to eat which she did not like , and she told him he would simply have to learn how to hunt. so he went to hawk and asked for hunting lessons . hawk asked why , and stork his wife wanted to eat the best bits of game birds and rabbits, not snakes and frogs .hawk immidiatley put two and two together ,and told stork he would show him how to hunt.he told stork to fly up as high as he could in the sky , and then hurtle down at him (hawk) beak first .stork did so and landed with his beak full length into the ground several maters a way from hawk .so hawk said now i 'll show you he flew up far higher than stork and then procceded to divebomb stork ,whose beak was still unextrcated . hawk struck stork in the back of the neck , ripped out his entrails, and as stork was dying said "awi taswut a aswu " you must marry one of your own kind" the hawk is considered a very noble bird , hurr and the fasted bird that flies . an ait atta proverb runs : hurran ighulliden ag itruss tammda " the hawk never sits on rocks but is always up in the high mountains"

5 - Dadda alfahim : " the grandfather understanding " : is a famous figure in amazigh folktales .here with follows a tale about him:
a man a bought a pair of sarwal baggy arabe trousers ,which were a small for him . after he came from the market ,he found that he could not get into them .so he went to see dadda al fahim ,who suggested that two of his agnates or friends hold the troussers open for him and that he get up the roof of his house and jump into them .....

PROVERBS AND COMMON SAYING

"you are prince and i am prince so who is left to drive donkeys"

kin amir nkin amir mairan adar ihrii ighioal

this proverb is the moroccan equivalent to the american "all chief and no indians"

"speak your own language"

sawal si imink

imazighen say this shoud one of them speak arabic or french in their presence as he speak "with another mouth"in thier presence

"the shirt which is next to skin is the one that scratches "

ahrui na ilan sabtan akisstan

"from chickens to cows"

zig tfouloussin s tifounassin

said of any incorrigible thief whose depredations increace each time he goes out to steal

1 - don't count your chikens before they are hatched

aoir thassabd ichichaoin ourta firn

2- do not put all eggs at one basket

adak outgd tiglai g yat takssisst

3 - a wolf is not taken twice

ourda it youmaz ushn snat tikal

4- est or west home is best

tnakr nr tarlii ourili ma youf ait tadart

5 - half loaf is better than without bread

a mnassf nouroum youf bnakss

6 - there is no news is good new

dar g walou inghmessen inghmessen ihlan aynar

7 - speach is silver but the silence is gold

aoil nakart ayga ifssti dahb ayga

8 - you can bring the horse to river but you can not make it drink

kna at awid asserdoun s assif walaini mkouriri ourini ai ssou

9 - as you make your bed you may lay on it

imkina tgid i oudrarnk kna atgand

10 - there no rose without athorn

orili lourd bla issnan

11 - when the cat is a way mice play

adai walou mouch hdar ayardai

# Posté le jeudi 04 mai 2006 13:07

Modifié le mardi 24 juillet 2007 08:07

glassory english and tamazight

glassory english and tamazight
GLOSSARY ENGLISH AND TAMAZIGHT

Polite expressions



hello :azoul
good morning : sbah el khir
good evning : mssa el khir
good night : nssat g lman
good bye: lahnik aki aoin rbi
how are you :maidak iga lhal
please: sahit

Everyday expressions

what do u say in tamazight: may dasstinim s tmazight
what is your name : missmank
my name is moha : issminou moha
Mr : sidna
Miss : lala
ok : wakha
no : ouhou
I don't understand : oufhimgh
I don't know : ourssingh
not yet: issoul
why: makh
take this: amz tadgh
how much is that : chhal aiga wadr or tadr
how you got : iss rok ila
change the money : sarfi ikaridn

Finding the way

right : ayfass left : azlmad behind : tighardin
in fron of : datass or datak next to : taman near : ilmala
far : iaark under : daoi over : aflan

Colours

white : amlale brown : aqhawii green : azizaw
blue : ajnajalii black : oungal yellow : aoiragh
red : azghar

Family

father : ba al walid mother : ma wl walida
grand father : bahlou grand mother : mahlou
dauther : tarbat son : arba
sisster : outma brother : ouayma

Animals

camel : alram dankey : aghiol lion : izem
dog : igdi cat : mouch hen : tafoulousst
caw : tafounasst horse : iiaiss coq : afoulouss
sheep : tili pig : ahlouf mouse : aradai
wolf: ouchn fox : aalboun monkey : zaadoud
piegon : atbir owl : tanouht duck : tafoulousst noiaman

Time

what time is it : ch hal lmagana when : mantour today : assa tomorrow : asska yesterday : assnat
morning : sbah afternoon : amass nwass evning : talgat night : gid
week : semana day : asse on time : gloukt early : zik
quickly: zik late : taatard

Getting around

i want to go : rir adour when does the leave or arrive the bus : mata loukt aid tfar nrd mantour aidikcham l car
how many bus per day go to merzouga ?: ch hal nlkar aid itdoun s merzouga
please wait for me : saha kal zari please tell me when we arrive : saha inii mantour anin ngoulou
stop here please: saha bad dadr where can i hire a bicycle: mani grir ad afr kan bachklid n lkri

Words and things tamazight

FOODS

breakfast : lfdour honey : tamimt grease : tadoumt kebeb : titlouin eggs : tiglay garlec : tisskart
lunch : alass hot pepper : tiflfalt vegitables: lkhdart bread with onion and grease : aghroum bou ouganssou
dinner : imnssi figs : ikouran fig : tazart date : tiini sugar : scar
hungry : lasz milk : akfai small milk : arou butter : auddi olive : zzitoun
bread : aghroum eat : tchate drink : ssou iam hungry : inraii laz
yeast : takhmirt i am thurst : inraii fad cook : snou looking for the wood : zdam
meat : akssoum switch on : siir switch off : skhssi switch the : sid
grind : zd riddled : siff rinse : slil

Body humain

head : ighf hair : azar face : akmou nose : akhmouai
forehead : ayarni mouth : immi moustache : chirb eye : tit
ear : amzour tongue : ilss tooth : tourmass back : tadaoit
chest : idmarn breast : abouchn arm : igher hand : afouss
finger : adad nail : askarn knee : afoud ankle : tawlzit
foot : addar heart : ouol liver : tassa toe : tifdant
bone : akajmouj blood : idamn sweat : tidi saliva : tilfaz
nasal : akhloul fatty : irkane urine : abzid fatty in foot : ifouroussn

TIME WEATHER SKY

time : loukt day : ass tomorrow : asska today : assa
night : gidd light : asssid dark : tilass morning : sbah
get up : tankra sunrise : ankar sunset : arlai midday : amassnwass
evning : talgat midnight : amass niid after tomorrow : noufnousska yeserday : assnat
last night : idgamm now : drii year : assgass month : aior
week : imalass day : ass spring : rbiiaa summer : ssif
winter : tagarsst autamn : lkhrif a period very cold in winter during forty day : lialli ouachra
period very hot in summer between july and august : laanssart sky : igna sun : tafouiit
moon : ayour shadow : amalou stars : itran rain : tagout
rain bow : tisslit aunzar snow : atfal cloud : amdlou ice : agriss haily : ibrouri
lighning : oussman thunder : tignioi wind : azouu river : assif
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# Posté le jeudi 04 mai 2006 12:43