Amazigh Arts In Morocco

In southeastern Morocco, around the oasis of Tafilalet, the Ait Khabbash people weave brightly colored carpets, embroider indigo head coverings, paint their faces with saffron, and wear ornate jewelry. Their extraordinarily detailed arts are rich in cultural symbolism; they are always breathtakingly beautiful—and they are typically made by women. Like other Amazigh (Berber) groups (but in contrast to the Arab societies of North Africa), the Ait Khabbash have entrusted their artistic responsibilities to women. Cynthia Becker spent years in Morocco living among these women and, through family connections and female fellowship, achieved unprecedented access to the artistic rituals of the Ait Khabbash. The result is more than a stunning examination of the arts themselves, it is also an illumination of women's roles in Islamic North Africa and the many ways in which women negotiate complex social and religious issues. One of the reasons Amazigh women are artists is that the arts are expressions of ethnic identity, and it follows that the guardians of Amazigh identity ought to be those who literally ensure its continuation from generation to generation, the Amazigh women. Not surprisingly, the arts are visual expressions of womanhood, and fertility symbols are prevalent. Controlling the visual symbols of Amazigh identity has given these women power and prestige. Their clothing, tattoos, and jewelry are public identity statements; such public artistic expressions contrast with the stereotype that women in the Islamic world are secluded and veiled. But their role as public identity symbols can also be restrictive, and history (French colonialism, the subsequent rise of an Arab-dominated government in Morocco, and the recent emergence of a transnational Berber movement) has forced Ait Khabbash women to adapt their arts as their people adapt to the contemporary world. By framing Amazigh arts with historical and cultural context, Cynthia Becker allows the reader to see the full measure of these fascinating artworks.

Reveals the dazzling fusion of cultural influences in Moroccan arts and crafts Its unique geographical location established Morocco as a center of cultural exchange, and its remarkable arts and crafts are the product of a centuries-long intermingling of influences from other parts of Africa and the traditions of Islam and from the singular cultural alliance of the Moors and the Spaniards. Superbly illustrated with more than 150 specially commissioned color photographs, Arts and Crafts of Morocco illuminates the wonders of this thriving tradition. Dr. James F. Jereb’s pioneering account, based on his own first hand research, examines an extensive range of media: vibrantly colored textiles; jewelry in a range of exquisite configurations; original leather, wood, and metalwork; and an enormous variety of pottery and ceramics. These marvelous objects derive either from a rural lifestyle, with symbols and patterns that reflect the powerful animistic beliefs of the Berber country artisans, or from the cities, where Islamic tenets compose the cultural foundation. All of these works are thus endowed with a spiritually charged significance that determines their functions and ensures their remarkable beauty. This in-depth study is made complete with guidance on Moroccan arts and crafts from expert collectors and a revealing analysis of the belief systems, festivals, and ceremonies that inform the predominant techniques and visual motifs of Moroccan art.

In southeastern Morocco, around the oasis of Tafilalet, the Ait Khabbash people weave brightly colored carpets, embroider indigo head coverings, paint their faces with saffron, and wear ornate jewelry. Their extraordinarily detailed arts are rich in cultural symbolism; they are always breathtakingly beautiful—and they are typically made by women. Like other Amazigh (Berber) groups (but in contrast to the Arab societies of North Africa), the Ait Khabbash have entrusted their artistic responsibilities to women. Cynthia Becker spent years in Morocco living among these women and, through family connections and female fellowship, achieved unprecedented access to the artistic rituals of the Ait Khabbash. The result is more than a stunning examination of the arts themselves, it is also an illumination of women's roles in Islamic North Africa and the many ways in which women negotiate complex social and religious issues. One of the reasons Amazigh women are artists is that the arts are expressions of ethnic identity, and it follows that the guardians of Amazigh identity ought to be those who literally ensure its continuation from generation to generation, the Amazigh women. Not surprisingly, the arts are visual expressions of womanhood, and fertility symbols are prevalent. Controlling the visual symbols of Amazigh identity has given these women power and prestige. Their clothing, tattoos, and jewelry are public identity statements; such public artistic expressions contrast with the stereotype that women in the Islamic world are secluded and veiled. But their role as public identity symbols can also be restrictive, and history (French colonialism, the subsequent rise of an Arab-dominated government in Morocco, and the recent emergence of a transnational Berber movement) has forced Ait Khabbash women to adapt their arts as their people adapt to the contemporary world. By framing Amazigh arts with historical and cultural context, Cynthia Becker allows the reader to see the full measure of these fascinating artworks.

"In Artistry of the Everyday: Beauty and Craftsmanship in Berber Art, anthropologist Lisa Bernasek gives an insightful overview of Berber history and culture, focusing on the rich aesthetic traditions of Berber craftsmen and -women. She also tells the stories of the collectors whose generosity enhanced the holdings of the Peabody Museum. In a final chapter, she looks at Berber arts in the present day, examining how traditional arts are being used in new forms by Berber artists in North Africa and Europe."--BOOK JACKET.

A new slant on Berber carpets, their meanings and motifs.

Berbers and Others offers fresh perspectives on new forms of social and political activism in today's Maghrib. In recent years, the Amazigh (Berber) movement has become a focus of widespread political, social, and cultural attention in North Africa, Europe, and the United States. Berber groups have peacefully yet persistently laid claim to ownership over broad areas of creativity in the arts, politics, literature, education, and national memory. The contributors to this volume present some of the best new thinking in the emerging field of Berber studies, offering insight into historical antecedents, language usage, land rights, household economies, artistic production, and human rights. The scope, depth, and multidisciplinary approach will engage specialists on the Maghrib as well as students of ethnicity, social and political change, and cultural innovation.