The movie follows Imlil, who becomes one of the world’s most wanted hackers after breaching the database of a powerful pharmaceutical conglomerate to help COVID-19 patients access affordable treatment. Captured by Interpol and handed over to Moroccan authorities, he strikes a deal to work for the police’s cybercrime unit. However, his life takes an unexpected turn when he uncovers his family’s supernatural lineage, unlocking his powers and transforming into Atoman—which means “man of the wind” in the Amazigh language. As he learns to harness his abilities, he must confront dangerous forces seeking to control the planet.

Filming took place across Morocco, France, and several sub-Saharan countries, featuring an international cast of actors from Morocco, Mali, France, and Belgium. The lead role of Atoman is played by French-Moroccan rapper Youssef Akdim, known as Lartiste. The film’s breathtaking landscapes, from the Atlas Mountains to bustling cities, serve as a visually striking backdrop that reinforces the movie’s deep cultural ties to Amazigh history and identity.

Mouatassim and his team describe Atoman as a milestone for African cinema, aiming to break barriers and redefine the superhero genre by showcasing an Amazigh hero. Inspired by Black Panther, the film highlights Amazigh and Moroccan heritage through its costumes, set designs, and music, offering a fresh representation of North African mythology.

“This idea, entirely new to Moroccan cinema, took its time to mature,” Mouatassim stated. “It’s a dream come true.”

With its compelling mix of mythology, action, and cultural pride, Atoman, Wind Rider is not only an entertaining cinematic experience but also a significant step in bringing Amazigh storytelling to the global stage.

Official Trailer:

His academic journey began at the Faculty of Letters of Algiers, where he worked from 1973 to 1981. His dedication to Amazigh  linguistics led him to become a professor of Berber language at the Institut National des Langues et Civilisations Orientales (INALCO) between 1977 and 1979, and again from 1988 to 2008. His career continued at Aix-Marseille University (1981-1988, 2008-2018), where he played a crucial role in introducing and institutionalizing Berber language studies.

Salem Chaker is a specialist in descriptive and historical linguistics of Amazigh. His work has significantly contributed to the academic recognition and preservation of the Amazigh language. During his tenure at INALCO, he helped strengthen Amazigh studies by establishing the Centre of Amazigh research, a center dedicated to Amazigh language, history, and culture.

Salem Chaker has authored numerous significant works in Berber linguistics, syntax, and historical studies. His notable books include Un parler berbère d’Algérie (Kabylie): Syntaxe (1983), which provides an in-depth analysis of Kabyle syntax, and Textes en linguistique berbère (1984), an introduction to the field of Berber linguistics. He collaborated on Textes touaregs en prose de Charles de Foucauld (1984), a critical edition of Tuareg prose. His bibliographic study Une décennie d’études berbères (1980-1990) (1992) explores language, literature, and identity. In Linguistique berbère: Études de syntaxe et de diachronie (1995), he examines Berber syntax and historical linguistics.

His more recent works include Berbères aujourd’hui: Kabyles et Berbères : luttes incertaines (2022), which discusses contemporary Amazigh struggles, and Diachronie Berbère: Linguistique historique et libyque (2024), which delves into the historical aspects of Amazigh linguistics. He also contributed to Le dictionnaire Tamazight du Maroc central, an electronic dictionary based on Arsène Roux’s archives, accessible online. His extensive research has played a vital role in the preservation and advancement of Berber studies.

Chaker’s contributions extend beyond academia; he has been an advocate for Amazigh cultural recognition and linguistic rights. His research and teachings have shaped the modern understanding of Berber linguistics, ensuring that the language is not only studied but also revitalized for future generations.

His work continues to inspire students, researchers, and Amazigh activists, making him one of the most influential figures in Berber linguistic studies today.

In 2013, he released a compilation of songs recorded in Tchintabaraden, Niger, further cementing his presence in the Tuareg music scene. Today, he balances performing at local weddings in Agadez with sold-out shows in venues like the Sinclair in Cambridge, Massachusetts.

Moctar, along with other artists contributing to the international expansion of Tuareg music, reaches starkly different audiences. From Niger to North America, Tuareg music has found its place in a variety of local and global music scenes. However, many Western listeners may not fully grasp the political and social messages embedded in the music. Often, the genre is viewed through a romanticized lens, overshadowing its deeper historical and cultural significance.

Eric J. Schmidt, Assistant Director of the African Studies Center at Boston University and a Ph.D. in ethnomusicology, highlights the marketing strategies that shape perceptions of Tuareg artists. “A lot of it has to do with the music industry’s marketing,” he notes. Like many Tuareg musicians signed by French or American labels, Mdou Moctar’s social media presence is largely managed by Western representatives. Schmidt explains that the industry constructs narratives that, while not entirely false, often distort or exaggerate aspects of Tuareg culture. “There are these evocative phrases that people use—it’s part of what drew me to it in the first place.”

Western fascination with Tuareg music often parallels the American legacy of rock ‘n’ roll as a form of protest music. As Schmidt points out, “Rock ‘n’ roll was once seen as rebellious, and now you have musicians who have participated in actual rebellions.”

Tuaregs from Niger and Mali share complex political histories, though their struggles have evolved differently. The internationally renowned band Tinariwen, founded by Ibrahim Ag Alhabib from Tessalit, paved the way for emerging Tuareg artists. While not all Tuareg musicians come from backgrounds of resistance fighters—unlike Ag Alhabib, who witnessed his father’s execution at age four and later fought in Libya—Tinariwen’s impact on Tuareg music has been profound. Their lyrics, often centered on exile, have positioned them as symbols of Tuareg struggle.

Schmidt writes, “The group’s growing fame paved the way for many other Tuareg acts to achieve international recognition, such as Terakaft, Tamikrest, Bombino, Mdou Moctar, and Koudede.”

Benjamin Minniear, a dedicated fan of Moctar’s latest album Ilana (The Creator), recalls how he discovered Tuareg music. “Prior to finding Mdou Moctar, I listened to Tinariwen, starting with their Amassakoul album, then Emmaar and Elwan.”

Niger has produced its own legends, from the late Abdallah Ag Oumbadougou to Bombino. As newer artists emerge, their music increasingly reflects the nomadic life of the Tuareg people. Moctar’s performances transcend borders, introducing American audiences to the genre. On March 28, he played at Mass MoCA’s Solid Sound Festival. Bill Crosby, a front-row attendee, shared his excitement: “I was really eager to hear Mdou Moctar play… I’m a fan of Tinariwen, Ali Farka Touré, and Mahmoud Guinia, so the syncopated rhythms weren’t new to me.” Contrary to the assumption that American audiences stumble upon Tuareg concerts by chance, many attendees are deeply familiar with the genre.

The term ishumar describes the music of young, uprooted Tuareg men who traveled from town to town with their guitars. Derived from the French word chômeur (unemployed), ishumar became a defining label for the generation of musicians following Tinariwen’s rise. While Moctar’s style leans towards electrified rock rather than traditional “desert blues,” he continues the ishumar legacy of using music as a tool for empowerment.

In the mid-1980s, Tuareg activists, allied with the son of Niger’s first post-independence president, attempted a rebellion in Tchintabaraden, Moctar’s hometown. More serious insurrections followed in the 1990s, coinciding with Niger’s shift towards democracy after decades of French-backed authoritarian rule. Yvan Guichaoua, a researcher on Tuareg insurgencies, notes in his publication Circumstantial Alliances and Loose Loyalties in Rebellion Making: The Case of Tuareg Insurgency in Northern Niger, that these events shaped Tuareg identity and activism. Understanding this historical backdrop enriches the listening experience for Moctar’s fans. Yet, as Minniear points out, the music itself often conveys emotion beyond language. “Even without understanding the lyrics, the vocal inflections and harmonies speak to me.”

Younger generations of Tuareg musicians, particularly those following in the footsteps of Bombino and Mdou Moctar, prove that the genre isn’t limited to slow, meditative melodies—it also thrives at faster tempos. Fortunately, many Tuareg artists with Western PR representation manage to attract global audiences without relying on the orientalist tropes sometimes found in media portrayals.

Kendra Amalie, a fan whose artwork was reposted on Moctar’s Instagram page, shares how she discovered his music: “When Anar came out in 2014, a friend introduced me to Sahel Sounds. I started following Mdou Moctar and buying his music. He’s among my top three favorite contemporary guitarists.” Amalie’s story highlights how Tuareg music serves as an entry point for Western audiences to learn about the Tuareg people and their culture. “I only learned about the Tuareg people after coming across Sahel Sounds and Mdou Moctar.”

Contemporary Tuareg music has evolved beyond traditional tisiwit—a form of classical poetry sung solo or accompanied by the anzad, a one-stringed violin played by women. Amalie reflects on her concert experiences: “I’ve seen Mdou Moctar twice and Les Filles de Illighadad once. It’s celebratory and electrifying. So much modern music feels sterile and pretentious—Tuareg concerts bring back the magic.”

The atmosphere of Tuareg performances in Niger is markedly different from those in the U.S. In Niger, concerts are often organized informally, with locals inviting musicians personally. Outdoor performances draw crowds organically, unlike in the U.S., where events are scheduled in advance, and tickets are purchased online.

Audience engagement also differs. In Agadez and Niamey, women often request jagwa, a style of music played for Mauritanian dance at bridal parties. Schmidt notes, “In most cases, Tuareg groups perform jagwa themselves, particularly versions by Bombino and Mdou Moctar.”

Some of Moctar’s songs draw inspiration from Islamic heritage, which contrasts with the often rowdy, alcohol-fueled crowds at Western concerts. This cultural dissonance is an inevitable aspect of performing beyond one’s home region. Yet, despite these differences, the bridge between Tuareg artists and their international fans continues to strengthen. Minniear, eager to see Moctar live, expresses his admiration: “His playing is almost hypnotic. I know what’s coming after listening so many times, but I can’t miss it. I plan to see him this spring when he comes to Iowa City for the Mission Creek Festival.”

From intimate gatherings in Niger to grand festivals in the U.S., Mdou Moctar remains an integral part of the evolving Tuareg music continuum.

While much of popular media’s focus on Rome has centered on its emperors, senators, and military conquests, Those About to Die promises to delve deeper into the diverse ethnic and cultural groups that comprised the empire—including the Amazigh, also known as the Berber people. Historically originating from North Africa, Berbers had significant interactions with Rome, ranging from warriors and traders to even rulers who influenced the empire’s course.

Amazigh Presence in Ancient Rome

The Amazigh, indigenous to North Africa, had a longstanding relationship with Rome. Numidia (modern-day Algeria and Tunisia) and Mauretania (modern-day Morocco and parts of Algeria) were home to Berber tribes that both resisted and collaborated with Roman expansion. Leaders like King Juba II of Mauretania were highly Romanized and played a role in spreading Roman culture in North Africa, while others, such as Tacfarinas, led resistance movements against Roman rule.

Moreover, the Roman arenas saw gladiators from all walks of life, including Amazigh who had either been captured in military campaigns or voluntarily enlisted in pursuit of fame and fortune. These fighters were often skilled horsemen and warriors, trained in the unforgiving desert landscapes of North Africa. Their presence in the gladiatorial games reflects the complex relationship between Rome and its African provinces.

The Role of Amazigh in Those About to Die

Early indications suggest that Those About to Die will portray the diverse ethnic backgrounds of its characters, potentially including Berbers among the gladiatorial ranks. If done correctly, this could bring much-needed representation to a group whose historical contributions have often been overshadowed in mainstream media. The Berbers were not only fighters but also intellectuals, traders, and even Roman citizens who integrated into various levels of society.

The portrayal of Amazigh in Roman history can also challenge existing stereotypes about ancient civilizations and their interactions. While Rome is often depicted as a monolithic imperial force, its success relied on the contributions of numerous cultures, including the Berbers, who played key roles in shaping its military, economy, and social fabric.

Actor Moe Hashim, who plays the character Kwame, highlights the challenges of researching North African influence in Roman history:

“Despite the impact, Numidia’s legacy is not explored enough by historians. As a result, my portrayal of Kwame was guided by intuition. You think you can just easily research Roman history, but you really have to dig in deep and find the right articles and audio to really understand the influence of the North Africans.”

A Step Toward Greater Historical Representation

If Those About to Die successfully includes the Amazigh presence in its narrative, it would mark a significant step toward more inclusive storytelling in historical dramas. The Amazigh (Berber) heritage is rich with tales of resilience, leadership, and cultural exchange—elements that could add depth to the show’s depiction of the Roman world.

By bringing attention to these often-overlooked communities, Those About to Die has the potential to educate viewers about the true diversity of the Roman Empire while celebrating the enduring legacy of the Amazigh people. As audiences await the show’s release, the hope remains that it will do justice to the history and contributions of one of North Africa’s oldest and most resilient cultures.

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