Tamazight and art Date : 2004-10-01 By Abdallah AOURIK- 2001
At the beginning of
the Berber (Amazigh) civilisation, there is a people, then there are the
words, then the pictures of animals and other means of living things, facts
of early lives drawn on cave walls several thousands of years B.C
Many of those rocking
engravings exist on several prehistoric landmarks. throughout the North-West
of Africa, the Amazigh land, Tamazgha that covers a vast and mountainous
land and desert from Canaries Islands to Siwa (Egypt).
Unlike the Pharaoh
culture and others of the eastern part of Nil river, the Berber symbols,
Tifinagh, its signs have no correlation with
ancient Egypt's alphabetical root, from which the Phoenician, Judeo Persian
or Greco-Latin inspired to create their letters.
Tifinagh derived naturally
from the early farming tools, from sea products, from sand games and
from stars (Cosmology).
Strong evident confirmations
often anthropomorphic, linguistics still present in the Berber mythic universe
and are characterised by a cosmic-natural organisation reflecting the order
of cosmic power, the root that mirrors as well as the order of power of man
and power of woman, like two opposite poles.
In the Berber philosophy,
the language is the tongue of expression of identification and of recording,
this linguistics with all its original particularities on each existent element
of all universes has an opposite, for example, the Sun has its female and
its male, Tafookt, and Afook; the Moon, Ayour and Tayourt; the Star, Itri
and Titrit; the Mountain, Adrar and Tadrart; the Tree, Argan and Targant;
The Beard, Amar and Tamart etc
Except the sky and
the earth, Iguinna and Akal are males that are contrary to enigmatic Chinese
philosophy language of Yang as the creator of masculine and the Yin as maternal
In the Berber existentialism
philosophy, the evolution depends on the movement of the stars not of the
man nor of the woman, probably, because of this state of cosmic consciousness
that the Berber past civilisation has left few monumental prints like old
Egyptians, Tibetans, or Khmers and Incas.
There is no civilisation
without its specific characteristics, such as art, literature and music to
define its presence in time and in space.
Amazigh cultural civilisation
has its typical art and symbols as well it has its endemic music that concretises
its history and characterise its personality.
The survival of Amazigh
language and its cultural identity was due to Berber motherhood through oral
transmissions to children, at the same way of keeping up to now the existence
of symbolic (writing), Tifinagh, through the craft works of tapestry, jewellery,
tattoos and pottery.
The other factor that
contributed to the existence of Amazigh language and its art in the past
as in today, is the Argan tree, the Berber living prehistoric fossil tree,
from which derived Tashelhite vocabulary, especially from the different steps
of extraction of argan oil.
Those tools and technical
methods are stilling the same in use in our era of 3rd millennium.
artists, writers and musicians through their creative works that reflect
the trilogy of Amazigh culture by depicting a people, an art, a symbol and
a sound, is more than just a form of expression, it is a media way of recording
realistically the Berber traditions and it is also a media way of communication
and transmission of Berber cultural heritage to future generations and in
order to keep alive one of the oldest civilisations on earth, Tamazight.
Yet despite all the
efforts that were made to preserve Tamazight cultural artistic heritage,
this language is endangered and possibly to fade away with all its arts because
its creative minds are constantly marginalized by the totalitarian governing
systems and discriminated by the judeo-arabo-islamism politics.