Amazigh Arts in Morocco: Women Shaping Berber Identity by Cynthia Becker

By Cynthia Becker

This publication provides the position of ladies in Berber tradition. It is going into nice intensity in regards to the symbolism present in the humanities of Berber girls. should you first glimpsed this international in Imazighen, the Vanishing Traditions of Berber ladies, through Margaret Courtney-Clarke, the current paintings presents a learn in nice aspect.

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Men typically wear white clothing in the Ait Atta–dominated town of Tinghir. Photo courtesy of the National Anthropological Archives, 1930–1959. Smithsonian Institution/04068800. 21. An Ait Khabbash man. Photo by Jean Besancenot, 1934–1939. Image courtesy of the Institut du Monde Arabe, Paris. The woman felt that her son was not showing her the level of respect that she deserved by wearing clothing she considered inappropriate, and she admitted that she preferred men to wear the tajellabiyt of the past.

7. Interior of an Ait Khabbash home at Khamlia, 2002. Photo by Addi Ouadderrou. 8. An Ait Khabbash woman weaves a knotted carpet from synthetic fibers, 2000. 9. This photo from the 1950s shows an Ait Atta woman wearing the headdress and large silver bracelets once commonly worn by Ait Khabbash women on a daily basis. Photo by Mireille Morin-Barde, 1950–1952 © Édisud. triangle motif also embroidered on Ait Khabbash women’s head coverings (Fig. 11). 13. These various geometric motifs are given different names in the literature on Amazigh art.

I went until the other side of the river, and the rain made me come back. Oh God, the bride looks like the moon taking water to the community where she is going. The telγunja ceremony clearly connects women, especially newly married women, to fertility. The colors used in women’s textiles, those worn by the bride during the actual wedding, and those worn by ‘‘the bride of the rain’’ suggest a connection between the fertility of the land and the fertility of women, celebrating a woman’s reproductive power.

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