LEADER 04574nam 22006614a 450 001 9910777801003321 005 20230914153543.0 010 $a0-292-79591-2 024 7 $a10.7560/712959 035 $a(CKB)1000000000467061 035 $a(OCoLC)568018126 035 $a(CaPaEBR)ebrary10172723 035 $a(SSID)ssj0000101755 035 $a(PQKBManifestationID)11137726 035 $a(PQKBTitleCode)TC0000101755 035 $a(PQKBWorkID)10048502 035 $a(PQKB)10501318 035 $a(MiAaPQ)EBC3442990 035 $a(MdBmJHUP)muse2191 035 $a(Au-PeEL)EBL3442990 035 $a(CaPaEBR)ebr10172723 035 $a(DE-B1597)586962 035 $a(DE-B1597)9780292795914 035 $a(EXLCZ)991000000000467061 100 $a20060123d2006 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aAmazigh arts in Morocco $ewomen shaping Berber identity /$fCynthia J. Becker 205 $a1st ed. 210 1$aAustin :$cUniversity of Texas Press,$d2006. 215 $a1 online resource (xiii, 225 pages, 16 unnumbered pages of plates) $cillustrations (some color), maps 300 $aBibliographic Level Mode of Issuance: Monograph 311 0 $a0-292-71295-2 320 $aIncludes bibliographical references (p. [211]-217) and index. 327 $aAit Khabbash textiles : weaving metaphors of identity -- The art of dressing the body -- Dance performances : negotiating gender and social change -- Women as public symbols of identity : the adornment of the bride and groom -- Performing Amazigh gender roles : wedding ceremonies -- Oh, my Sudanese mother : the legacy of slavery in Ait Khabbash art -- Contemporary Amazigh arts : giving material form to Amazigh consciousness. 330 $aIn southeastern Morocco, around the oasis of Tafilalet, the Ait Khabbash people weave brightly colored carpets, embroider indigo head coverings, paint their faces with saffron, and wear ornate jewelry. Their extraordinarily detailed arts are rich in cultural symbolism; they are always breathtakingly beautiful--and they are typically made by women. Like other Amazigh (Berber) groups (but in contrast to the Arab societies of North Africa), the Ait Khabbash have entrusted their artistic responsibilities to women. Cynthia Becker spent years in Morocco living among these women and, through family connections and female fellowship, achieved unprecedented access to the artistic rituals of the Ait Khabbash. The result is more than a stunning examination of the arts themselves, it is also an illumination of women's roles in Islamic North Africa and the many ways in which women negotiate complex social and religious issues. One of the reasons Amazigh women are artists is that the arts are expressions of ethnic identity, and it follows that the guardians of Amazigh identity ought to be those who literally ensure its continuation from generation to generation, the Amazigh women. Not surprisingly, the arts are visual expressions of womanhood, and fertility symbols are prevalent. Controlling the visual symbols of Amazigh identity has given these women power and prestige. Their clothing, tattoos, and jewelry are public identity statements; such public artistic expressions contrast with the stereotype that women in the Islamic world are secluded and veiled. But their role as public identity symbols can also be restrictive, and history (French colonialism, the subsequent rise of an Arab-dominated government in Morocco, and the recent emergence of a transnational Berber movement) has forced Ait Khabbash women to adapt their arts as their people adapt to the contemporary world. By framing Amazigh arts with historical and cultural context, Cynthia Becker allows the reader to see the full measure of these fascinating artworks. -- Publisher description 606 $aArts, Berber$zMorocco 606 $aBerbers$zMorocco$xSocial life and customs 606 $aEthnicity in art 606 $aIdentity (Psychology) in art 606 $aWomen artists$zMorocco 615 0$aArts, Berber 615 0$aBerbers$xSocial life and customs. 615 0$aEthnicity in art. 615 0$aIdentity (Psychology) in art. 615 0$aWomen artists 676 $a704/.0420964 700 $aBecker$b Cynthia J.$f1965-$01518248 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910777801003321 996 $aAmazigh arts in Morocco$93755688 997 $aUNINA