A recent study published in Nature has brought to light the use of Ephedra, an ancient medicinal plant, by prehistoric communities in Morocco for ritualistic and potential therapeutic purposes. The findings were derived from 15,000-year-old fossilized plant remains excavated from the Grotte des Pigeons in northeastern Morocco. This site, occupied by the Iberomaurusians, highlights the symbolic importance of plants in the lives of early hunter-gatherers in North Africa.

Ephedra, a resilient genus of non-flowering shrubs, thrives in arid environments and has a history dating back over 120 million years to the Early Cretaceous period. Its cones, rich in protein and fat, are utilized for food by modern desert communities, such as the Tuareg and Mongols. Notably, Ephedra contains ephedrine and pseudoephedrine, potent alkaloids known for their stimulating and vasoconstrictive properties.

The Iberomaurusians of the Late Stone Age, who inhabited the Grotte des Pigeons, are known for their intricate burial customs and symbolic practices. Excavations revealed core burials, including that of a young male, accompanied by charred Ephedra remains, indicating the plant’s possible use in funerary rituals or as a remedy during painful rites such as tooth extraction. This underscores a complex understanding of medicinal herbs in managing pain and ritual symbolism.

Historically, Ephedra has been used across various cultures, including Morocco and China, as a remedy for respiratory ailments. Its active compound, ephedrine, gained popularity in the early 20th century as a bronchodilator before newer medications replaced it due to side effects. Despite modern restrictions on Ephedra due to safety concerns, the plant remains an intriguing subject of pharmacological and phytochemical research.

This research was spearheaded by an international team, including Moroccan, British, and Spanish scholars, showcasing the collaborative efforts to unearth and interpret the complex interactions between early humans and their natural environment. The discoveries provide a rare window into the role of medicinal plants in prehistoric life, emphasizing their deep-rooted significance in rituals and community health practices.

Among the 15 feature films chosen to compete in this prestigious national festival is a whodunit film titled, “A Corpse on The Shore”,” directed by Aksel Rifman. The film will be competing for festival awards alongside 14 other feature films.

Produced by “Aras” entertainment with solely self funding, and directed and written by Aksel, the film is set in the Rif region and is performed in the local Amazigh language of the Rif. The story begins when a man’s corpse is found on the shores of Marchica lagoon. Officer Saïd, known as one of the city’s best detectives, is called to the scene. Upon his arrival, he discovers that the forensic police team and his colleague Narjiss have already begun investigating. He is informed that it appears to be an accidental death, as no evidence suggests foul play. However, Saïd’s instincts and experience lead him to suspect otherwise, especially when it is revealed that the body belongs to an architect named Badr.

Saïd starts questioning those closest to Badr, discovering that on the night before his death, Badr attended a gathering with four friends: a real estate developer, another architect, and a civil engineer. Saïd decides to interrogate each of them, as well as Badr’s wife, individually.

Each witness gives a different version of what happened that Saturday night, with all stories agreeing only that Badr left the gathering intoxicated. As the film unfolds, new clues and details emerge, gradually unraveling the mystery behind Badr’s death.

The film features a talented cast of notable actors from the Rif region. Saïd El Marssi plays the role of Officer Saïd, while Farouk Aznabet portrays Haj Hollande. Abdelouhaid Zaouki takes on the role of Badr, the architect, with Adnan Rachdi as the engineer Wael, and Tarek Assalhi playing Kamal. Chaymae El Allaoui appears as Badr’s wife, a dentist, while Mourad Mjalled portrays a police officer. Moroccan actor Ez Elarab Kaghat plays a retired officer, and Nomidia plays Badr’s personal secretary. Other prominent actors include Hoyam Lamsisi as a policewoman, Hakim Chamlal as Ali, and the experienced actresses Samira Maslouhi, Wafaa Miras, and Islam Arif in supporting roles.

The inclusion of “A Corpse on The Shore”” in the festival highlights the growing recognition of rural films and the unique cultural narratives emerging from the Rif region. The film is expected to captivate audiences with its suspenseful storyline and strong performances.

This significant find highlights Morocco’s crucial role in the development of early societies in the Mediterranean and North Africa. The results of this research were published in the prestigious English journal Antiquity.

At the Oued Beht site, archaeologists uncovered an agricultural complex sprawling over nearly 10 hectares, comparable in size to Troy, an early Bronze Age city in ancient Greece. According to the researchers, this site provides new insights into settlement patterns in the Maghreb between the fourth and third millennia BCE, shedding light on the region’s importance in Mediterranean history.

This new discovery is the result of a collaborative effort between INSAP, the CNR-ISPC in Italy, the McDonald Institute for Archaeological Research at the University of Cambridge, and the Italian Institute for the Middle and Far East (ISMEO). The complex dates back to the Late Neolithic period (3400–2900 BCE), a time that was previously poorly documented in Northwest Africa.

The discovery sheds light on an undocumented era in prehistoric North Africa. Although the region’s significance in the Paleolithic, Iron Age, and Islamic periods is well-established, there is a notable gap in knowledge about the time between 4000 and 1000 BCE. To fill this void, archaeologist Youssef Bokbot (INSAP, Morocco), along with Cyprian Broodbank (University of Cambridge, UK) and Giulio Lucarini (CNR-ISPC and ISMEO, Italy), conducted multidisciplinary research at Oued Beht.

The team unearthed evidence of domesticated plants and animals, as well as a wealth of archaeological artifacts, including colorfully decorated pottery, polished axes, grinding tools, and various stone tools. They also found a significant number of storage pits and deep granaries, likely used for storing agricultural produce.

The findings from Oued Beht also suggest strong connections with contemporary sites on the Iberian Peninsula, with items such as ivory and ostrich eggshells pointing to interactions between Africa and Europe via the Strait of Gibraltar. These results highlight the Maghreb’s pivotal role in the development of trade networks and cultural exchanges across the Mediterranean during the fourth and third millennia BCE.

For over a century, the absence of documented prehistoric sites from 4000 to 1000 BCE along the coasts of North Africa has puzzled archaeologists. This period is in contrast to the dynamic cultural and social developments in the northern Mediterranean, which saw the emergence of large fortified sites during the Iberian Copper Age. The authors of the research note that the discovery of Oued Beht shows that this gap in knowledge is not due to a lack of archaeological evidence, but rather limited attention to this region and its historical phases.

This study is part of the Oued Beht Archaeological Project (OBAP), an international, multidisciplinary initiative launched in 2021 under a scientific cooperation agreement between INSAP (Morocco), CNR-ISPC (Italy), the McDonald Institute for Archaeological Research at the University of Cambridge (UK), and ISMEO (Italy).

Article Reference:
Oued Beht, Morocco: a complex early farming society in north-west Africa and its implications for western Mediterranean interaction during later prehistory – Cyprian Broodbank, Giulio Lucarini, Youssef Bokbot, et al. Antiquity 98 (402).
DOI: study

While the tradition of Berber tattooing has largely declined due to changes in social and religious norms, the symbols and patterns remain a profound part of Berber identity, with their designs influencing contemporary tattoo art, jewelry, and clothing.

Common Amazigh Tattoo Symbols and Their Meanings

1. X Shape (ⵙ)
   • Meaning: This is one of the most common motifs in Berber tattoos, symbolizing protection and a connection to the earth. It’s often used to invoke good fortune or ward off evil spirits.
2. Triangle (ⵜ)
   • Meaning: The triangle is a powerful feminine symbol representing fertility, the womb, and life itself. It also embodies the idea of balance and unity between the spiritual and material worlds.
3. Hand of Fatima (Khamsa)
   • Meaning: A universal symbol of protection from evil, particularly the “evil eye.” The hand is a common motif across many cultures, and in Berber tradition, it was thought to protect women and children.
4. Lines and Dots
   • Meaning: Simple geometric patterns, such as lines and dots, often represent strength, beauty, and the endurance of Amazigh women. They may also symbolize family connections or lineage.
5. Cross (ⵍ)
   • Meaning: The cross, in Berber symbolism, represents the four cardinal directions and is a sign of guidance and spiritual protection. It also emphasizes balance in life and nature.

Revival in Modern Tattoo Art

While Amazigh tattoos were traditionally done using rudimentary techniques, they are now gaining popularity in modern tattoo art, often blended with contemporary styles. Tattoo enthusiasts and artists are embracing these ancient patterns for their timeless meanings and intricate designs.

In addition, many artists are creating digital brushes for tattoo design programs like Procreate, allowing users to incorporate these traditional motifs into their artwork easily.

If you’re a digital artist or tattoo enthusiast looking to integrate Berber patterns into your designs, here’s a Procreate tattoo brush pack that features traditional Berber-inspired symbols and motifs.

Amazigh tattoos carry a rich cultural legacy, representing identity, protection, and the powerful roles women play within Berber society. As tattoo culture continues to evolve, the preservation and reintegration of these ancient symbols into modern art keep their meaning alive. Whether through body art or digital design, the timeless beauty of Berber patterns continues to inspire across generations.

The Importance of the Amazigh Flag Emoji
Introducing the Amazigh flag emoji on Facebook would mark a significant step towards cultural recognition and inclusivity for the Amazigh community. It would enable Amazigh people to celebrate and share their identity more freely and visibly. Without this representation, the Amazigh community will continue to feel excluded from a platform that plays a crucial role in modern communication. This ongoing exclusion can perpetuate feelings of cultural marginalization and hinder efforts to preserve and promote Amazigh heritage.

Urgent Call for Action
The world is increasingly recognizing the importance of diversity and representation. As social media platforms like Facebook continue to expand their emoji selections to reflect diverse cultures and identities, it is essential that the Amazigh community is not left behind. Immediate action to include the Amazigh flag emoji will not only enhance cultural representation but also send a powerful message of inclusion and respect. By acting now, Facebook can demonstrate its commitment to supporting and celebrating all cultures, fostering a more inclusive and connected global community.

Support the Petition
To support the inclusion of the Amazigh flag emoji on Facebook, you can sign the petition here. Your support will help in making a significant impact towards achieving digital representation and cultural recognition for the Amazigh community.

Petition

In an exciting development for the Amazigh community, author Jamal Benhamou has released a new children’s book that brings Amazigh stories and themes to young readers especially Amazigh readers. This children’s book is a sign of hope, filling a crucial gap in children’s literature for Amazigh kids, who often lack access to stories that reflect their heritage.

Benhamou’s book is one of the few available that celebrate Amazigh culture, addressing the need for more content that young Amazigh readers can relate to. For Amazigh families, especially those living abroad, maintaining their cultural heritage can be challenging. This book aims to help children connect with their roots and develop a sense of pride in their identity.

“We need to give our children stories where they can see themselves and their culture,” says Benhamou. “It’s important for them to know that their heritage is something to be proud of.”

The book comes at a critical time as many Amazigh children are growing up in environments where they are increasingly influenced by other cultures. Benhamou’s stories offer a way for these children to learn about and appreciate their own traditions, helping to keep the Amazigh language and customs alive.

By providing relatable and culturally rich content, Benhamou’s book is a valuable resource for Amazigh families. It helps children understand their background and fosters a deeper connection to their community’s history and values.

Jamal Benhamou’s new book is more than just a story; it’s a step towards ensuring that Amazigh children can grow up with a strong sense of who they are and where they come from. It’s a heartfelt effort to preserve and celebrate Amazigh culture for future generations.

Link for the book:Amazon

“All Rags’ Journey to Sacred Heights” plunges us into the captivating story of a very poorly dressed, “ugly” yet kind-hearted giant, whose humble origins and simplicity gave rise to the nickname that would mark his destiny. Despite poverty, mockery, and trials encountered in his village, he found comfort and strength in his wife, Thumbelina (Taḍadect), whose intelligence, quiet resilience, and unwavering support shaped their harmonious life in Thagmount-Ath-Moussa.

It was Thumbelina herself who urged him to travel, to go into exile, in order to change his life and improve his condition. The course of destiny then transformed when All Rags discovered the village of Pass-of-the-Ferns (Tizi n Tfilkut), where divine intervention (deus ex machina) and the conflict between the upper and lower clans propelled him as a spiritual guide, against all odds.
Through challenges and encounters, notably with the tyrannical Big Head and the mysterious princess Sekoura, All Rags demonstrated, with naivety, fear, and with Thumbelina’s help, wisdom and compassion, thus earning respect and admiration, and solidifying his reputation as the Saint Man of the Mountain, a revered spiritual figure.

In this narrative intertwining beliefs, community dynamics, and complexities of spiritual leadership in Kabyle society, Belaid Ait Ali reveals a poignant exploration of resilience, spirituality, and the transformative power of kindness in the face of adversity.

This novel holds a prominent place in Kabyle literary history as the first of its kind. Belaid Ait Ali never saw himself or his work printed or published as his “Cahiers” (The Notebooks of Belaid) were published about a decade after his death in 1950, in the “Berber Studies Files” under the direction of the French scholars Dallet and Degezelle.

This pioneer of Kabyle literature laid the groundwork for a rich tradition to come, despite contributions long ignored, overshadowed by the indifference of the “Big Heads” of his land.

Through the characters of All Rags and Thumbelina, the author takes us on a journey into the heart of the rich Kabyle narrative tradition. This exploration highlights timeless themes and essential perspectives woven into the cultural fabric of the Amazigh people in Kabylia.

By addressing universal concepts such as justice, spirituality, the dialectics of power, the struggle against oppression, and the search for meaning, this work transcends cultural boundaries to reveal shared aspects of our humanity.

The translation of “Lwali n Wedrar” into English under the title “All Rags’ Journey to Sacred Heights” offers a new perspective to English-speaking readers, allowing them to discover the depth and beauty of Kabyle literature. This translation initiative also contributes to promoting cultural diversity and disseminating literary works from lesser-known regions of the world, enriching intercultural dialogue and mutual understanding.

Through Noufel Bouzeboudja’s meticulous translation work, homage is paid to the talent and literary legacy of Belaid Ait Ali, attempting to shine the voice of Kabylia and Tamazgha globally.

The book is available on Amazon:

Teaser;

The Amazigh community abroad has captured my attention since the 2000s. It was a period when I contemplated becoming a migrant somewhere in the world. However, due to a justifiable lack of financial resources, this dream remained elusive. Today, I see this unfulfilled dream as a blessing from God, considering that things did not unfold as planned. Who knows? Only the creator of plans and lives.

Lahcen Assinou, as he preferred to be called, is a Moroccan Amazigh migrant in Spain. He emerged as an artist and singer practically overnight. His awareness and command of the Spanish language allowed him to express the experiences of the diaspora through his song “Spania.”

Living in Spain during the financial crisis of 2010, Lahcen fled Morocco to Spain through an illegal boat trip known as “Talflokt.” Despite this, he returned to Morocco during the summer of 2010 and created a groundbreaking song that shed light on the struggles of the Amazigh diaspora in the Moroccan Southeast.

The subsequent popularity of his song, spread through CDs and MP3s, marked his sudden rise in the artistic industry. Upon his return to Spain, his song became a trending sensation on modern social media platforms. However, the detailed narratives of his first-hand experiences with Moroccan Amazigh migrants during the crisis led to numerous complaints from Spanish authorities, accusing him of defaming the migrants and criticizing the socio-economic conditions in developed countries like Spain and France. As a consequence, Lahcen was expelled from Spain and banned from re-entry.

The artistic work “Spania” is intellectually engaging, politically charged, and culturally loaded with messages, silenced voices, and lessons learned during tough times. The end justifies the means; Spain becomes a means to an end, symbolizing a better life opportunity for a simple Moroccan dream – a family, a house, a car.

The issues and questions confronting the wretched of the Earth, as described by Franz Fanon, are explored in “Moroccan Migrants in the Era of Crisis.” These include the psychological impact of unemployment, the silencing of family ties, appearances of family disintegration, signals of rebellious women, self-denial behaviors, dissatisfaction stories, past traumatic experiences in the home country, poor living conditions, weakening brotherhood, oppressed revenge left behind, the continuity of national injustice, unwavering parental support, bad luck with heavy debts invested in housing, strong attachment to the home country, weak citizens fleeing, offspring patience, endurance, and resistance, the capitalism-charged mentality extending to Tamazirt (birthplace and first-made memories), and the destiny to live away from the warmth of parents and their visionary simplicity.

Despite facing opposition from personal enemies and critics of free voices, freedom of expression, and difference-based culture, Lahcen remains fully aware of the sedition and criticism against him. This situation only strengthens his resolve to advocate for free speech in his own way, echoing the sentiment, “I sing, therefore I am.”

The transliteration and translation of the captivating Amazigh song play a crucial role in contributing to research into Amazigh songs and orality. Now, it is time to listen attentively and rejoice in the richness of Amazigh orality.

Simplicity and Freshness:
Characterized by simplicity, the Amazigh cuisine places a strong emphasis on using fresh ingredients and adhering to traditional cooking methods. Grains, legumes, vegetables, and aromatic spices form the foundation of their dishes, creating a culinary experience that is both authentic and flavorful.

Iconic Dish: Couscous:
At the heart of Berber cuisine lies couscous, an iconic dish made from semolina wheat. Often steamed over a delightful stew of vegetables, meat, and aromatic spices, couscous is more than just a meal—it’s a communal experience that brings families and communities together.

Notable Stew: Tagine:
Another star in Berber cuisine is the tagine, a slow-cooked stew named after the earthenware pot it’s cooked in. Comprising meat (typically lamb or chicken), vegetables, and a blend of spices, tagine is renowned for its rich flavors and tender, aromatic meat.

Bread and Snacks:
Berber or Amazigh cuisine extends to a variety of flatbreads like msemen and harcha, perfect for accompanying meals or serving as a base for sandwiches. Traditional snacks, including dates, almonds, and various preserved fruits, showcase the diversity and resourcefulness of Berber culinary traditions.

Connection to Nature:
The Amazigh people’s intimate connection to nature is evident in their cuisine. Foraged herbs, wild greens, and locally sourced ingredients add depth to their dishes. Fresh mint tea, known as “nana,” not only reflects this connection but also serves as a popular gesture of hospitality in Berber culture.

Preserving Heritage:
The preservation of these traditional culinary practices is more than a culinary choice—it’s a commitment to the deep-rooted connection between the Berber people, their land, and their cultural heritage. Berber cuisine is a living expression of their identity.

Continuing Traditions:
In the modern era, Berber cuisine continues to be cherished and shared within local communities and beyond. Visitors are welcomed to savor the flavors of this ancient culinary tradition, providing a taste of the enduring heritage that has shaped Berber culture for generations.

A Timeless Tradition

Amazigh tattoos,  have been an integral part of Amazigh culture for centuries and often you will find symbols from Tifinagh, the term “Tifinagh” refers to the ancient script of the Amazigh people, which has been used for writing and inscriptions. Tifinagh tattoos typically feature geometric and abstract patterns inspired by this script.

Historically, Amazigh tattoos were worn by both men and women, and the designs often conveyed information about the individual’s identity, tribe, social status, and life experiences. These tattoos were applied by skilled tattoo artists using traditional methods involving needles or thorns and a mixture of natural pigments.

Cultural Significance

Berber tattoos held deep cultural significance. They were not just ornamental; they were a visual language that communicated the wearer’s history and social standing. Different tribes and regions had their own distinct tattoo traditions, each with unique symbols and patterns.

Tattoos were often applied during significant life events, such as coming of age ceremonies, marriages, or as a rite of passage. Women, in particular, had specific tattoo patterns that indicated their marital status and familial background.

Revival of Amazigh Tattoos

While the practice of traditional Berber tattoos has waned over the years due to changing cultural norms and external influences, there has been a revival of interest in recent times. Many Amazigh communities and individuals are working to preserve this ancient art form and its cultural heritage.

In urban centers and art galleries, Amazigh tattoo artists are gaining recognition for their skills, offering contemporary interpretations of these ancient designs. These modern Amazigh tattoos often incorporate traditional motifs into innovative and artistic compositions, appealing to people interested in both the aesthetic and cultural aspects.

In some cases, Berber tattoos have also gained popularity among individuals from diverse backgrounds who appreciate their timeless beauty and cultural significance. These tattoos serve as a way to honor and respect the rich history of the Amazigh people.

Old Berber tattoos are a testament to the enduring cultural heritage of the Amazigh people of North Africa. These tattoos, with their intricate designs and deep symbolism, have played a vital role in the lives of Berber individuals for generations. As Amazigh communities work to revive and preserve this ancient tradition, the art of Berber tattoos continues to captivate and inspire people worldwide. It serves as a reminder of the importance of preserving and celebrating the diverse cultural practices that enrich our world.