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.

One popular traditional remedy is the use of “risso” or the “berber aspirin.” This is made from the dried leaves of the willow tree, which contain salicylic acid, the active ingredient in modern-day aspirin. Amazigh would grind the leaves into a powder, mix it with honey or olive oil, and take it to relieve pain and reduce fever.

Another traditional remedy is the use of “sesame oil.” Amazigh believe that this oil has many healing properties, including the ability to reduce inflammation and improve circulation. They often use it in massage therapy, applying it to the skin to help soothe muscle aches and relieve pain.

In the case of respiratory problems, Amazigh have relied on a mixture of honey and black cumin seeds and lemon juice. This mixture is believed to have antiseptic and anti-inflammatory properties, and is often used to treat colds, coughs, and other respiratory illnesses.

The use of “rhassoul” clay is also a popular traditional remedy among the Amazigh. This type of clay is rich in minerals, including silica, magnesium, and potassium, and is often used to treat skin conditions such as acne and eczema. Amazigh would mix the clay with water to form a paste, which would then be applied to the skin and left to dry.

Another traditional remedy involves the use of Argan tree, this is a plant that is native to North Africa and is used by Amazigh treat skin conditions like eczema and psoriasis, as well as to improve skin hydration and reduce inflammation.

Thyme is a widely used herb in Amazigh culture for its medicinal properties and is a common ingredient in traditional Moroccan remedies. Thyme tea is consumed to treat digestive problems, such as bloating, gas, and constipation. The tea can also be inhaled to relieve respiratory issues such as colds and flu. Thyme essential oil is used in skin care products to treat acne, reduce inflammation, and promote healthy skin. The herb is known for its antimicrobial, antiseptic, and anti-inflammatory properties, which make it a popular natural remedy for various health issues. However, it is important to consult with a healthcare professional before using thyme as a remedy, especially if you have an underlying medical condition, are pregnant, or are taking medications.

Mint, often used in tea, it has many health benefits; mint tea is enjoyed every day all around the country both for pleasure and for its medicinal properties. It helps to reduce bloating and gas, eases nausea, and helps to keep the digestive system functioning well. It can also help to soothe headaches, reduce stress and anxiety, and is furthermore thought to be good for the respiratory system.

Another important ingredient in Amazigh remedy culture is the olive oil, a key ingredient in Moroccan traditional medicine and is used for various remedies to treat various health issues. It is valued for its hydrating and nourishing properties, making it an effective natural remedy for skin and hair care. Olive oil is also used as a home remedy to soothe ear pain, relieve constipation, and reduce inflammation. In Morocco, olive oil is often mixed with lemon juice to improve digestion and boost its health benefits. It is also used as a base oil for massage therapy, providing nourishment and hydration to the skin while reducing muscle pain and stiffness. A few drops of warm olive oil are dripped into the ear is also a very effective pain soother and reduce inflammation in cases of ear infections.

Fenugreek is a plant that is highly valued in Amazigh traditional medicine for its medicinal properties. It is used as a natural remedy to treat various health issues such as digestive problems, respiratory issues, and skin conditions. For digestive issues, fenugreek seeds are often soaked in water and consumed to help soothe indigestion, bloating, and constipation. Inhaling fenugreek steam is believed to help relieve respiratory issues such as congestion and cough. Fenugreek paste can also be applied topically to the skin to treat skin conditions such as eczema and dermatitis

In conclusion, the Amazigh people have a rich tradition of using natural remedies to treat various illnesses and ailments. These traditional remedies have been passed down from generation to generation and are still used today, showing the importance of preserving traditional knowledge and the effectiveness of natural remedies. It is important to note that traditional remedies should not be used as a substitute for modern medical treatment and it is always advisable to consult with a healthcare professional before trying any new remedies.

Variety got confirmation last week that Rabie, who is not from the Rif nor speaks Amazigh language of the Rif, will star the main role “Mulay Muhand”, who led the indigenous Amazigh tribes of the Rif to fight against Spanish colonialism.

Many Riffians took on social media to denounce the casting.

“How is this still going on? How is Morocco excluding our actors and the use of our native language but still using our narratives? No more appropriation” someone posted on his facebook wall.

“I don’t got a prob with Rabie but he ain’t Riffian!” another person added.

“Anwal” surveys the life of iconic revolutionary Muhammad ibn Abd al-Karim AlKhattabi, focusing mainly on the The Battle of Anwal that was fought on July 22, 1921, between the Spanish Army and Amazigh combatants of the Rif region during the Rif War. The Spanish suffered a major military defeat, almost always referred to by the Spanish as the Disaster of Anwal.

The film is written by Mohamed Nadrani, who is a former political prisoner in Morocco, and directed by Mohamed Bouzaggou, author of the well known comic book, “L’Emir Ben Abdelkrim”.

“Anwal” is fully funded by the Moroccan Cinematographic Center, and the filming production has already begun on sites near the cities of Nador and Driouch. The film will be using the Moroccan dialect “Darija” as well some scenes in Spanish and it will be entirely dubbed into Amazigh language of the Rif following the completion of the filming and editing phases.

According to a recent study, published by NaturePlants and authored by a group of international researchers, showed remains of wild olive trees dated about 1000,000 years found in a highly archaeological caves near the city of Rabat-Temara.

“We did not expect to find olives, olive pits and seeds, nor did we know that the olive tree was present in this location… That was a bit of a surprise.”
– Laurent Marquer, botanist, University of Innsbruck

Previous research has discovered olive remains in Israel, at the Acheulean site Gesher Benot Ya’aqov, dating back to around 790,000 years ago, with other findings in Greece, dating back to around 60,000 years ago.

Researchers were surprised to discover such old olives in Morocco. Instead, the study sought to determine which plants were picked by early Homo sapiens, a difficult task given how rarely such remains are retained over time.

“This shows widespread use of wild olives in the Rabat-Temara region during the Aterian Middle Stone Age (MSA),” the researchers said. “There’s no doubt that prehistoric hunter-gatherers ate wild olives.”

The interesting fact is that, the charred olive branches did not include full fruits, fruit bits were discovered in the same fireplace. This made Scientists to believe that the olives had been eaten and the pits had been tossed into the fire, While the branches served as a suitable fuel based on the intoxicating fumes.

For most historical Mediterranean civilizations, the olive tree was an emblematic plant with significant economic value. Around 100,000 years ago. Here for example, we report on the earliest use of olive tree fruits and timber in Africa. These findings point to the presence of olive trees on Morocco’s Atlantic coast for much of the last glacial period, as well as the early Homo sapiens’ use of olives for fuel management and, most likely, for consumption as well.

Argan oil is one of the rarest oils in the world and is hailed as the “liquid gold” of Morocco. It has multiple uses in cooking, medicines and cosmetics. Its ability to prevent cardiovascular diseases and its benefits for the skin are scientifically recognized. Rural women lead the entire extraction process through knowledge transmitted from one generation to the next.

The argan tree (Argania spinosa) is a native species of the sub-Saharan region of Morocco, in the southwest of the country, which grows in arid and semiarid areas. It’s the defining species of a woodland ecosystem, also known as Arganeraie, which is rich in endemic flora. It is resilient to a harsh environment under water scarcity, risk of erosion and poor soils.

Some historians say that celebrating the Amazigh New Year is a commemoration of King Shishing‘s victory over the Pharaohs on the banks of the Nile in 950 B.C. and the Amazigh were able to establish a new monarchy that ruled from Libya to Egypt, this event marked the date of Amazigh new year.

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The Amazigh New Year is celebrated through several activities. We are going to highlight most of them in this article.

In Morocco’s celebrations, as every year, Amazigh families in several regions of the country prepare special dishes including couscous, tagine, and ‘Tagulla’, the famous Amazigh dish served on Yennayer. Tagulla (a corn kernel) with butter ghee or Argan oil, remains a staple for Yennayer festivities, traditionally they hide a date stone in Tagulla plate, the lucky person who finds it will be blessed throughout the whole year.

In other regions of Morocco, they prepare chicken Tagine. however, others prepare Couscous with seven vegetables moreover, neighbors exchange various ‘Fakiah’ (Dry fruits) between them, it is a sort of familiarity. There are also many amazing traditions that accompany the food that the Amazigh prepare for this night Apart from dancing and singing special songs of love, fertility and, welcoming a new agrarian year, the Amazigh people, in particular those in the country side, find in this occasion a better chance to socialize, exchange food .

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They also host their neighbors, children and adults accompanied by traditional music and dance (Ahwach), yet they exchange wishes during this joyful day.

Amazigh culture scholar “Abdallah Bozandag” ; said that since the
beginning of the Amazigh movement, it has demanded that the Amazigh New Year to be an official and national holiday, adding that in the beginning the celebrations on this occasion were only carried out by Amazigh associations, but now all Amazigh families celebrate it.

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Currently, Amazigh activists are still calling on the government to approve the Amazigh New Year as a national day and public holiday. Tamazight has been recognized as an official language in Morocco, so it is not conceivable that the Amazigh New Year is not recognized. It is also part of the Moroccan culture and identity, said Mr. Bozandag.

Amazigh activists say that denying validity of Yennayer as Amazigh new year is cultural exclusion.  This event is a symbol of Amazigh identity and a common history that unites Amazigh people across North Africa. I wish you a happy 2971 new year full of joy and success, or as we say in Tamazight Assuggas Amggaz.

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The Amazigh carpet is characterized by many vivid and bright colors,
such as orange, yellow and red, and various geometric shapes, as well as natural materials used in its weaving, such as natural wool. Additionally, symbols that have a cultural and identity load, most notably the Amazigh letter Tifinagh, which women play a pioneering role in preserving, by employing it in decorating this carpet in a way that is not without splendor. Tattoos inspire carpets in motifs and shapes and vice versa.

These characteristics make a combination of the ancient Amazigh carpet distinct from the carpets women in other regions of the world, but the economic and social transformations that have imposed themselves on the path of their production and promotion require the adoption of development initiatives in order to preserve this authentic cultural heritage and ensure its continuity and transfer to new generations and the world. Furthermore, the Swiss researcher Bruno Barbatti issued a special book on the traditional Amazigh carpet entitled: Carpets of morocco symbols of origin and meaning, explaining its symbols in detail. Because he had been impressed by the Moroccan Amazigh carpets and its charm. His passion for research led him to conduct systematic research and look forward to the history of the Amazigh carpet and learn the connotations of its forms and colors.

Regarding Tifinagh letters were preserved in rock inscriptions for centuries, and their uses later moved to many elements of material culture, such as the carpet of henna and tattoos.The shape that adorn the Berber carpet have meanings and connotations, as this carpet was in the past a means of communication between family members, especially between women who have a great knowledge of deciphering the mysteries contained in the writings and symbols that make up this carpet.

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The carpet is manufactured thanks to the skill in choosing and harmonizing colors, to create at the end a painting with different reading expressions, expressing the life and traditions of a particular region or tribe. It is decorated with simple geometric shapes like rhombuses, triangles and rectangles, in addition to squares. And shapes derived from nature, such as the shape of waves, the sun, the moon, flowers, grains, and other shapes that symbolize animals, such as birds, which symbolize lightness, movement and freedom, the ram, which symbolizes strength, and the cow, which symbolizes hidden power.

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The Temara-based art collective has been making a name for itself for slightly less than a year now. After featuring in prestigious skateboarding magazine Thrasher back in march, they have been consistently releasing new material and inviting like-minded artists to collaborate. One music video in particular, Ouggami, has drawn attention to them. Released in August and starring rapper Art Smoke, it has been watched more than 105.000 times on YouTube and luckily for this genre-defying art project, the song is quite representative of their ethos: the visual and sonic depiction of the plurality of their identities.

That means celebrating their Amazigh heritage while embracing their urban present. Abrran does so in Ouggami by seamlessly combining hip hop, desert blues, and spoken word poetry, while the lead vocalists deliver their message in Darija and in Berber. This layering of identity-defining elements is further hammered down by the conspicuous anachronism of the young woman dressed in traditional Amazigh attire, accompanying the band on a typical modern Moroccan satellite-dishes- infested rooftop.

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A few months before Ouggami, stars aligned perfectly for Brahim Sguenfle, co-founder of the band alongside his brother Macine, to kick-start their artistic endeavor. Nassim Lachhab, Moroccan pro skater was recording a video exhibiting his skills for no less than one the biggest skateboarding magazines in the world, Thrasher. For the soundtrack of said video, he needed an original song by a Moroccan artist and Brahim Sguenfle was the right man in the right place at the right time. The guitar player took it to the studio, and recorded a mid-tempo Tuareg blues inspired instrumental piece with fuzzy guitars.

The song did end up featuring in that video on the magazine’s official YouTube channel that has over two and half million subscribers. Not the worst visibility a debutant can wish for. Afterwards, the Sguenfle brothers started conceptualizing their project and went for the moniker Abrran, the Berber name of a wild cat from their Tamazirt. Not only does it symbolize their attachment to their origins, but the fierceness and feral nature of the cat also represents the irreverence of some of their lyrics.

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Since then, Abrran has released 18 songs on their YouTube channel. They have been drifting through music genres with ease and have been welcoming collaborators from a variety of backgrounds, regardless of their art discipline, provided that they share common creative ground. For instance, their graphic designer who goes under the grim sobriquet of Lmar7oum has been a long time contributor, and his metal music background never stood in the way of his Abrran work. On the contrary, it makes him bring something different to the table, such as what he has nowadays set his sights on: taking inspiration from Amazigh mythology and incorporating elements from it in future Abrran work. 

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It is also worth mentioning that music is a family affair for Brahim and Macine. Some of their collaborators have been no other than relatives of theirs. Their father wrote the chorus of their hit Ouggami and is the voice of the haunting spoken word verses on the same song. The mother sings on a couple of tunes, their cousin plays the banjo on another song, and their brother directed one of their music videos. Way to bridge the generation gap.

Finally, the collective is also further diversifying its material by having a second YouTube channel “Abrran Acoustique Sessions”, dedicated to more stripped-down song performances. In addition, an EP is also expected and will bring together different musicians and poets. And of course, as every performer at the moment, Abrran are very keen on taking to the stage what they have been working on, as soon as Covid-19 is behind us.