Amazigh Arts in Morocco: Women Shaping Berber Identity

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Austin : Texas University Press , Cynthia Becker takes up the important issue of women's participation in the construction of Amazigh Berber identity through a synthetic study of women's expressive culture. The book moves from a study of women's material culture textiles, jewelry, tattoos, dress to women's creation of verbal art poems and songs to their participation in a local dance tradition.

Throughout the study, women are portrayed as central to the construction and representation of Berber ethnic identity. The study is based on more than two years of fieldwork among the Ait Khabbash, part of the large Ait Atta Berber group in southern Morocco.

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Becker comes to Amazigh art from a background in art history. This expertise is apparent in her textured descriptions of particular art forms and in her attention to artistic technique. Although her expertise clearly lies in material culture, Becker also engages issues familiar to folklorists and anthropologists. She begins from a seeming paradox: on the one hand, Berber women appear to face a number of constraints and restrictions, including limited life choices and strict control over their sexuality by male family members.

Yet at the same time, Becker argues, these very limits are part of what constitutes women's centrality to the production and maintenance of Berber ethnic identity.

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That is, in order for women to be collectively construed as producers and representatives of Berber identity, they need to be symbolically imagined in terms of purity and authenticity—hence the need for control. As producers of identity, women are understood as active agents who both participate in shaping the aesthetic environment and create commodities such as textiles that are essential to the welfare of the community. Becker is careful to locate Berber art in relation to particular sociocultural and historical contexts.

She is particularly interested in the transformation of women's art from a localized ethnic symbol to a representation of a transnational Amazigh identity.

One of the most interesting aspects of the book is the way that it situates new works by contemporary Amazigh artists alongside traditional women's art forms, revealing both continuities and differences. A key contribution of the study is its identification of a shared symbolism that traverses various women's art forms across different artistic media.

In particular, Becker notes the pervasive symbolic associations of women with fertility, viewed as an important source of female power and present in art forms from textiles to song texts. In Chapter 1, Becker takes up textile weaving as performative practice, offering a textured and nicely historicized description of the processes of spinning, dyeing, and weaving. Despite societal influences that have changed daily life, Berber women continue to play a central role in constructing and preserving Berber identity, transmitting and perpetuating the aesthetic and symbolic forms that make this identity unique, achieving considerable status and respect.

Motherhood is highly esteemed and Berber women incorporate symbols and colors related to fertility into their textiles, clothing, tattoos and hairstyles as an expression of female agency. It also considers how women continue to produce and use ancestral artistic forms, especially during rural weddings,demonstrating the crucial role women play in preserving Berber heritage in contemporary Morocco.

In addition to serving as a consultant for numerous museum exhibitions, Professor Becker has published several catalog essays, including a consideration of textiles and trans-Saharan trade for the exhibition catalog Africa Interweave: Textile Diasporas.

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See all People who bought this also bought. About this product Product Information In southeastern Morocco, the Ait Khabbash people weave brightly coloured carpets, paint their faces with saffron, and wear ornate jewellery. They are typically made by women. This title presents an illumination of women's roles in Islamic North Africa and the many ways in which women negotiate complex social and religious issues.

"Amazigh Women’s Arts: Visual Expressions of Berber Identity" by Cynthia Becker

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