Amazigh Arts in Morocco: Women Shaping Berber Identity - download pdf or read online

By Cynthia Becker

ISBN-10: 0292712952

ISBN-13: 9780292712959

ISBN-10: 0292795912

ISBN-13: 9780292795914

This ebook provides the function of ladies in Berber tradition. It is going into nice intensity about the symbolism present in the humanities of Berber girls. should you first glimpsed this global in Imazighen, the Vanishing Traditions of Berber girls, through Margaret Courtney-Clarke, the current paintings presents a research in nice aspect.

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Additional info for Amazigh Arts in Morocco: Women Shaping Berber Identity

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Women presented their sons with their first hand-woven tajellabiyt when they were around thirteen or fourteen years old, publicly marking their transition in status from boyhood to manhood and the taking on of male responsibilities. As my mother-in-law explained, ‘‘You had to wait until the boy was strong enough to wear it,’’ which was meant both literally and metaphorically. Boys of this age began accompanying their fathers to the market and spending nights in the open desert with the herds, where the tajellabiyt protected them from the harsh desert environment.

Thin checked bands of red, green, yellow, black, and white squares divide the black and red bands in half (Fig. 17). Another version of the taγnast (commonly worn by Ait Khabbash women living near Errachidia, where the winter temperature is colder than in the area of Mezguida and Merzouga) follows the same basic format. 18. ait khabbas h textiles 39 After the taγnast was woven, women sometimes embroidered specific motifs symbolizing fertility onto its surface. ’’ Southeastern Morocco is famous for its dates (as noted above), and my interpretation is that the palm tree was adopted as a reference to the fertility of the land and, by extension, to women’s fertility.

Lack of grazing land meant that most of the remaining nomads sold their sheep and goats, left their tents, and built houses in the previously established oasis towns of Rissani and nearby Erfoud. As a result of all these changes, textile production by Ait Khabbash women has also changed in many ways. For example, because the weaving of tents was no longer necessary, by the 1960s the horizontal ground loom had virtually disappeared from use. Instead the vertical loom became more common, and it is currently the most widely used loom in Morocco.

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

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