Sunday, 15 February 2015

Amazigh Freedom: A Reader

Power to the People

Typed: ⵣ
Google search: [tifinagh yaz "free man"]

Amazigh Arts in Morocco: Women Shaping Berber Identity
Cynthia Becker

Nouvelle publication de l'IRCAM (Rabat) sur la culture amazighe

De l'art de la narration tamazight (berbère): 200 ans d'études : état des lieux et perspectives
Daniela Merolla

Handbook of Language and Ethnic Identity: The Success-Failure Continuum in Language and Ethnic Identity Efforts
Joshua Fishman, Ofelia Garcia

Revisiting the Colonial Past in Morocco
Driss Maghraoui

The Changing Scene of Amazigh poetry
Michael Peyron
"Looking back over the past twenty years, it is obvious that the basic, complementary genres izlan and timawayin still have a bright future. The same applies to the traditional Middle-Atlas ahidus dance, which the local Berbers indulge in whenever the occasion arises, and in which many of the izlan are performed. However, there are some obvious nuances. There is, for example, a noticeable difference between a put-on show at the annual Imilchil brides’ festival, when tired-looking Ayt Hadiddou participants perform half-heartedly in broad daylight for the benefit of foreign tourists, and a spontaneous summer evening ahiduas performed round the camp-fire by shepherds and their girlfriends in some forgotten nook of Jbel ‘Ayyachi’."

Soumia Aitelhaj ’10 Rescues a Poetry of Morocco
Jane whitehead, Boston College Magazine
The young leave seeking economic opportunity, as climate change and overpopulation have led to desertification of previously arable lands, and as pollution from mining waste has further devastated agriculture. The dwindling numbers of villagers subsist on farming and carpet weaving, and most rely on aid from relatives in urban areas.

When the younger Imazighen move away, a critical bond is broken between the generations: The village elders are passing, and with them goes a vast trove of myths and village tales, handed down through generations, celebrating the spiritual and practical aspects of a life close to nature. A single poem “can go on for three or four hours,” says [Soumia] Aitelhaj, who loves the “rawness” of the poetry and the way it “transforms into song and dance.” This is what Aitelhaj wants to preserve.
Aitelhaj returned from the trip with a sense of Moroccans’ continuing discrimination against Imazighen, and awareness of a pro-Amazigh movement that is growing among the young and educated. She experienced prejudice firsthand: When she spoke Tamazight in banks and shops, the usual response was, “Why can’t you speak Arabic?” (Aitelhaj is fluent in Arabic as well as in English and French.) But she says she also had to overcome “outsider” status among the Amazigh. When she and her cousin traveled to her native village, she had to obtain permission from the elders for her work. “In my region, it’s hard to find a word for poetry, so they have a hard time understanding what I want to do,” says Aitelhaj. It took a couple of weeks sitting with the local women, drinking tea and watching them weave, before they would allow themselves to be photographed with her. One very elderly poet let her film a few minutes of chanting on a camera Aitelhaj borrowed from her uncle.

Amazigh Poetry Project--TEASER TRAILER from Alexia Prichard on Vimeo.

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