This initiative is part of Gáldar’s ongoing effort to beautify the city and highlight its native cultural heritage. The sculpture stands at the beginning of the Paseo de Los Guanartemes, enhancing a route rich with historical symbolism.

Mayor Teodoro Sosa emphasized the importance of honoring the city’s past, while the artist noted this work completes a years-long project that also includes the guaires sculpture ensemble. The piece is reinforced with concrete and iron to withstand wind and weather, ensuring its lasting presence in the cityscape.

The Pope’s tribute marks a rare and powerful acknowledgment of Africa’s deep imprint on the foundations of the Church. Saint Augustine, born in 354 in what is now Algeria, served as the Bishop of Hippo (modern-day Annaba city) for 35 years. His philosophical and theological works, including Confessions and The City of God, continue to shape Christian doctrine and the global Church.

“Augustine was not only a father of the Church but a son of the African soil,” the Pope said in his first address, adding that the saint’s life and legacy remain “a wellspring of wisdom, humility, and faith.”

Augustine’s Amazigh identity, often overlooked in mainstream accounts, is now receiving renewed global attention through the Pope’s homage. The Augustinian tradition, rooted in the saint’s teachings, continues to influence Catholic monastic life and theological study across the world.

This symbolic gesture signals a broader recognition of Christianity’s African foundations and the enduring spiritual contributions of the Amazigh people, the native people of North Africa.

Covering everything from ancient Amazigh kingdoms to the colorful traditions, language, and symbols that define their heritage, “Tell Me About the Amazigh” provides an accessible and engaging entry point into a civilization that has endured for thousands of years. Readers will explore the Tifinagh script, traditional clothing, music, festivals like Yennayer, and legendary figures such as Idir, Queen Dihya and King Massinissa who shaped North African history.

The very beautiful illustrations, offer a lively visual journey that brings Amazigh traditions to life. Zouhir’s work is both educational and celebratory, aiming to foster pride among young Amazigh readers while introducing global audiences to a culture often overlooked in mainstream narratives.

In a time of renewed interest in Indigenous histories around the world, “Tell Me About the Amazigh” serves as a key contribution to cultural preservation and awareness. The book invites readers to rediscover a world where nature, language, art, and community are deeply intertwined—and it is offered at a very affordable price to ensure that more families, educators, and young readers can access and celebrate this rich heritage.

“Tell Me About the Amazigh” is now available on amazon or by clicking here

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.

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While the language and precise dating of the stele remain uncertain, experts believe this discovery could provide valuable insights into historical interactions between North Africa and southern Spain. If confirmed as an early form of Tifinagh, the finding would further highlight the deep roots of Amazigh culture beyond North Africa.

Researchers are now working to analyze the inscriptions, hoping to unlock new knowledge about the ancient peoples who once inhabited the region.

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.

Dating back to the Bronze Age, approximately between the 3rd and early 1st millennia BC, this discovery sheds light on the development of early communities in the area.

The findings include artifacts that suggest a complex society with distinct cultural practices, providing valuable information about the social and economic structures of the time. This discovery not only enhances our understanding of the Western Rif’s role in ancient civilizations but also contributes to the broader history of human settlement in North Africa.

Researchers are excited about the potential to uncover more about the lives of those who lived in this region thousands of years ago.

Just a few minutes later, I saw Jugurtha portrayed by a Black actor. This was disappointing to me. I understand that movies are not documentaries, and directors take creative liberties. For example, adding sharks to the Colosseum might not be historically accurate, but it can still be entertaining. However, casting a Black actor to play Jugurtha—a distinctly Berber historical figure—felt like an extension of an Afro-centrist narrative that erases North Africa’s indigenous identity.

The same issue arose with the portrayal of Macrinus, —a name which being derived from the Amazigh word Mukran, meaning “the chief” or “the elder,—. Both Jugurtha and Macrinus were Amazigh from Western North Africa, yet Ridley Scott cast Black actors for their roles. It was even more frustrating to see Macrinus—who was a skilled and strategic emperor—depicted as a hateful character. The film falsely claimed that he was a former slave (which he was not) and that he killed Geta to seize power.

In reality, Geta was killed by his own brother, Caracalla, during a power struggle. Caracalla himself was later assassinated by a soldier named Justin Martialis. Gladiator 2 ignored these historical facts entirely. Additionally, the film reduced Macrinus’s reign to less than a day, when in reality, he ruled for nearly a year in a significant period of Roman history.

As a North African and a Amazigh, what message am I supposed to take from this? That to become an emperor or an African ruler, one must first be a slave? That if a North African does rise to power, it must be through deceit or violence, and that their rule will be short-lived? These portrayals are not just historically inaccurate; they reinforce troubling stereotypes.

Beyond this, the film’s depiction of Berbers was lazy and inaccurate. They were shown speaking Arabic—a language that did not exist in North Africa at the time—and even using Islamic references, despite Islam not yet existing in that era. Their clothing also resembled Middle Eastern or desert attire rather than authentic Amazigh garments.

Hollywood continues to ignore the true identity of North Africans, often portraying us as either Arabs or Black Africans when we are neither. This disregard for historical accuracy and cultural authenticity is not just disappointing—it is a disservice to our heritage and history.