By Cynthia Becker
This e-book offers the position of girls in Berber tradition. It is going into nice intensity in regards to the symbolism present in the humanities of Berber ladies. in case you first glimpsed this international in Imazighen, the Vanishing Traditions of Berber ladies, via Margaret Courtney-Clarke, the current paintings offers a learn in nice element.
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Additional info for Amazigh Arts in Morocco: Women Shaping Berber Identity
They commonly interpret the diamond and triangle as representing a mirror or an eye. 10. An Ait Khabbash woman’s painted leather bag. are often called spiders or chameleons. Scholars also interpret the triangle as a stylized hand motif that is protective (Bynon 1984; Reinisch and Stanzer 1991: 60–63; Westermarck 1926 , 1: 465–466). 11. The bride participates in aḥidous performance in Haﬁra, 1999. artistic media (such as textiles, tattoos, jewelry, and ceramics), most are based on the basic form of the triangle.
Photo by Addi Ouadderrou. 8. An Ait Khabbash woman weaves a knotted carpet from synthetic ﬁbers, 2000. 9. This photo from the 1950s shows an Ait Atta woman wearing the headdress and large silver bracelets once commonly worn by Ait Khabbash women on a daily basis. Photo by Mireille Morin-Barde, 1950–1952 © Édisud. triangle motif also embroidered on Ait Khabbash women’s head coverings (Fig. 11). 13. These various geometric motifs are given diﬀerent names in the literature on Amazigh art. Authors refer to the zigzag pattern as the sickle, scissors, or saw—pointed objects that can pop and burst the evil eye.
Fortunately, simply stepping over the warp again in the opposite direction can forestall such disaster (Reswick 1981: 60). After the warping process is complete, setting up the vertical loom itself requires the cooperation of numerous women. Two solid wooden planks, two inches thick by six inches wide and over six feet in length, form the upper and lower horizontal portions of the loom, which are supported by two other vertical planks. Weavers typically sit facing the underside of the textile so that the pattern does not face them with the heddle rod at eye level.
Amazigh Arts in Morocco: Women Shaping Berber Identity by Cynthia Becker