A Celebration of Heritage

Yennayer, celebrated on January 12th, marks the start of the Amazigh agricultural calendar and is a significant cultural event for Amazigh people worldwide. In Boston, the Amazigh diaspora has long embraced this occasion to showcase the rich heritage while fostering unity and cultural pride within the community.

Held On Saturday, January 11, 2025.  This year’s event will be hosted at the iconic Arts at the Armory hall for the fourth consecutive year, a venue known for its high end technology and welcoming atmosphere.  Organized by the Amazigh American network organization, AANO, the celebration will bring together people from diverse backgrounds and ethnicities to honor this ancient Amazigh tradition.

An Incredible Line-Up

The highlight of the evening is undoubtedly the line-up of performers and activities designed to entertain and educate attendees. Here’s what you can expect:

• Guest of Honor: Featuring Said Kapatchi from Tinghir in the High Atlas Mountains of Morocco and the Cheikh Nacer Idhebalen Group from the mountains of Kabylie, both making their debut appearances in Boston.
• Live Music Performances: Renowned Amazigh artists from both the U.S. and abroad will take the stage, including the celebrated Kabyle singers Soufiane, Ahcen, Mmuh and the energetic rhythms of the Touareg style band led by Brahim. Traditional Amazigh instruments like the Mandole, banjo, gimbri, and the traditional bendir will transport attendees straight to the heart of North Africa.
• Traditional Dance: Experience the mesmerizing Ahidous and other Amazigh dances performed by skilled troupes from Virginia, inviting audience participation to truly immerse everyone in the spirit of the celebration.
• Culinary Delights: Traditional sweets and home made tea with herbs, showcasing the flavors of the Atlas Mountains, and beyond.
• Workshops and Exhibits: From Tifinagh workshops, Berber face tattoos to exhibits on Amazigh history and crafts, there will be plenty of opportunities to learn about the culture’s depth and resilience.
• Presentations: Enjoy a learning journey via multiple presentations about the story behind the event and other related traditions, poetry recitals in Tamazight and English.

Community Spirit

The Amazigh New Year celebration in Boston is more than an event; it’s a testament to the strength and vibrancy of a community dedicated to preserving its identity. AANO has worked tirelessly in past years to ensure this event not only entertains but also educates attendees about the Amazigh people’s contributions to world culture.

Join the Celebration

The countdown to Yennayer has begun, and tickets for the event are selling fast. Whether you’re part of the Amazigh community or simply interested in exploring a new culture, this celebration offers a unique opportunity to connect, learn, and have fun.

Mark your calendars for January 11th, and get ready to experience the spirit of Yennayer in Boston. For more information and tickets, visit weamazigh.com or click here on eventbrite.

Don’t miss out on this incredible celebration of heritage and unity—Yennayer awaits!

Residents who gathered to witness the removal expressed outrage, calling it a blatant act of disregard for the Amazigh heritage. “This is another attack on our identity and history,” one protester said. “King Aksel is a symbol of resistance and pride for the Amazigh people. Removing his statue feels like erasing our legacy.”

Authorities claimed that the decision to remove the statue was due to procedural reasons, stating that the installation had not been approved by the central government in Algiers. “The relevant bodies in the capital were not consulted, and this statue was erected without authorization,” said a local official, who requested anonymity.

Critics, however, view this as yet another example of systemic marginalization of the Amazigh people, who have long fought for recognition of their language and culture within Algeria. Social media erupted with posts condemning the removal, with hashtags supporting Amazigh identity and calling for accountability from the authorities.

King Aksel is a revered figure in Amazigh history. As the leader of the Awraba tribe, he led a resistance against the Arab Umayyad forces, securing a significant victory in 682 CE before his eventual defeat. His legacy as a freedom fighter has been a source of inspiration for Amazigh movements across North Africa.

Observers fear that this incident could further strain relations between the Amazigh population and the government, reigniting debates over cultural preservation and national identity.

No official statement has been issued from Algiers at this time, but the removal of the statue has left many questioning whether such actions reflect a broader policy of sidelining the contributions of indigenous Amazigh figures in Algeria’s history.

Anger are expected to continue in Bouhmama and other parts of the country, as the Amazigh community calls for justice and the return of their cultural symbols.

The tablet, considered a rare and invaluable artifact, has suffered damage that threatens the preservation of Algeria’s Amazigh heritage. Authorities are now facing calls for stronger measures to protect these archaeological treasures from further vandalism.

Conservationists stress the importance of safeguarding prehistoric sites like Taghit, highlighting the cultural loss caused by careless actions against irreplaceable relics of human history.

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.

The Amazigh people, an indigenous group with a deep-rooted history in North Africa, honor Yennayer as a time of renewal, community, and cultural pride. This ancient celebration, observed across the Amazigh homeland of North Africa, Tamazgha (stretching from Morocco to Egypt and into the Sahara), is based on the Amazigh calendar, which begins with the reign of the Amazigh king Shoshenq I in 950 B.C.E. The night before Yennayer, known as Thabbourth Aswegas or the “door to the new year,” is traditionally marked by gatherings, special meals, music, and dance.

Boston’s celebration of Yennayer will bring together Amazigh communities from all across the U.S to share their traditions and offer a taste of their unique culture. Attendees can expect live music from the Kabyle region of Algeria and the Rif and Souss regions of Morocco, as well as from the Touareg region adding a rhythmic heartbeat to the festivities. The event will also include traditional tea, delicious Amazigh pastries, workshops, traditional food tasting and a variety of surprises throughout the day.

One of the highlights of Yennayer is the preparation of traditional dishes like couscous with seven vegetables and tagulla, a dish made from cracked corn or barley, Argan oil, honey, and butter. These foods symbolize good luck and prosperity for the year ahead, and the celebration will include many other elements that reflect Amazigh cultural heritage.

As the Amazigh community continues to grow in New England, this event represents a powerful moment of unity and cultural pride. It’s not only a chance for Amazigh people to celebrate their heritage but also an opportunity for the wider community to experience the festive and learn about one of the oldest cultures in the world.

This family-friendly event is open to everyone interested in exploring the rich traditions of the Amazigh people. Tickets for the celebration are available on zeffy for only $30, with free admission for children under 15. Be sure to purchase tickets in advance to secure your seat as the event is always sold out.

Join us in welcoming the Amazigh New Year 2975 here in Boston with joy and warmth. As we say in Amazigh, “Aseggas Ameggaz” — Happy New Year! May it bring joy, success, and all the blessings you seek.

For more information and to get your tickets, visit zeffy.

The demonstrators voiced their frustration over the prioritization of tourism-driven profits at the expense of local communities and the region’s unique natural landscape. The Canary Islands, with their rich Amazigh heritage, have seen their resources exploited, their culture overshadowed, and their traditions sidelined by policies that cater mainly to the tourism industry.

Despite the peaceful intentions of the rally, participants faced significant harassment from the Spanish police. Protesters reported heavy-handed tactics and attempts to suppress their voices, highlighting the ongoing struggle for recognition of their rights and autonomy. This clash with law enforcement underscores the larger issue of colonial dynamics that persist in the region, with many calling for greater self-determination and respect for the islands’ indigenous identity.

The event has brought renewed attention to the plight of the Amazigh people and the broader fight against colonial practices that prioritize economic gains over the well-being of local communities. The rally is a reminder of the resilience of the Canary Islanders and their allies, as they continue to stand against the forces that threaten their heritage, environment, and future.

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

Among the thought-provoking contributions is a study by Mena B. Lafkioui, Pluricentricity, Iconisation, and Instrumentalisation of Language in North Africa and its Diaspora, available for download here.  Lafkioui’s work examines the pivotal “role of Tamazight in shaping “Amazighness” — the translocal Amazigh group identity — which has been influenced by various social, political, and historical factors.” The concept of linguistic ‘pluricentricity’ plays a significant role in fostering this identity, despite the dominance of other languages in daily interactions.

Lafkioui’s study highlights that discussions on Amazigh identity continue to center on Tamazight, emphasizing its deep ethnic significance. However, there has been a noticeable shift in recent years, particularly in the way Tamazight is perceived alongside Darija dialect. This shift is largely driven by governmental efforts to instrumentalize Tamazight following its official recognition in Morocco and Algeria, combined with ongoing Arabisation policies. Yet, despite these efforts, the push for Arabisation has not succeeded in replacing Tamazight and Darija with Standard Arabic as originally intended, leading to a phenomenon described as ‘Darijation’.

The study also delves into how language not only expresses but actively shapes culture through what Lafkioui terms ‘conventionalised heteroglossia’. Language is presented as a key element in both traditional and modern cultural practices, underscoring its dynamic role in the formation and expression of cultural identity.

This publication is an important contribution to the understanding of pluricentric languages and offers a unique lens on the linguistic and cultural complexities of North Africa and beyond.

Academia

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.