By Cynthia Becker
This e-book offers 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. when you first glimpsed this international in Imazighen, the Vanishing Traditions of Berber girls, by way of Margaret Courtney-Clarke, the current paintings presents a learn in nice aspect.
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Additional resources for Amazigh Arts in Morocco: Women Shaping Berber Identity
Scholars also interpret the triangle as a stylized hand motif that is protective (Bynon 1984; Reinisch and Stanzer 1991: 60–63; Westermarck 1926 , 1: 465–466). 11. The bride participates in aḥidous performance in Haﬁra, 1999. artistic media (such as textiles, tattoos, jewelry, and ceramics), most are based on the basic form of the triangle. The names given to the motifs change from generation to generation, however, depending on the historical and political circumstances of the time. For example, until the 1970s Ait Khabbash women commonly wore necklaces made of triangular silver pendants interspersed with colored plastic and glass beads (Fig.
An Ait Khabbash necklace made from early-twentieth-century silver money and strung with red, green, yellow, and black beads. Photo by Addi Ouadderrou. red and yellow, are called llun issuddan, which derives from the noun asidd, ‘‘light,’’ because of their similarity to sunlight. ’’ The four bands of alternating colors are sometimes separated by intervening bands of white repeated at the same regular intervals, establishing the orderly, steady rhythm of the woven textile. 11 In my conversations with them, Ait Khabbash women associated the colors red, green, yellow, and black with the life cycle of familiar things in their natural environment.
An Ait Khabbash woman prepares the warp threads of her loom, 1996. The weaving process suggests that weaving is a communal endeavor intended to beneﬁt the entire household. Ait Khabbash textiles are unusual: unlike Amazigh textiles found in other areas of North Africa, they do not have geometric motifs. 5. An Ait Khabbash woman in Khamlia weaves on her vertical loom, 1999. sist of solid horizontal bands of undyed wool or of alternating red, green, yellow, black, and white horizontal bands (Fig.