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Berber Culture On The World Stage: From Village To Video PDF

257 Pages·2005·4.58 MB·English
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Preview Berber Culture On The World Stage: From Village To Video

Anthropology / Middle East / World Music Goodman BERBER B “Sure to interest a number of different audiences, E from language and music scholars to specialists on CULTURE R North Africa. . . . [A] superb book, clearly written, B analytically incisive, about very important issues ON THE E that have not been described elsewhere.” R WORLD —John Bowen, Washington University C U STAGE L In this nuanced study of the performance of T cultural identity, Jane E. Goodman travels from U contemporary Kabyle Berber communities in Algeria and France to the colonial archives, R identifying the products, performances, and media E through which Berber identity has developed. O In the 1990s, with a major Islamist insurgency N underway in Algeria, Berber cultural associations created performance forms that challenged T Islamist premises while critiquing their own village H practices. Goodman describes the phenomenon of new Kabyle song, a form of world music that E transformed village songs for global audiences. W She follows new songs as they move from their producers to the copyright agency to the Parisian O stage, highlighting the networks of circulation and From Village R exchange through which Berbers have achieved L to Video global visibility. D JANE E. GOODMAN is Associate Professor of S Communication and Culture at Indiana University. T While training to become a cultural anthropologist, A she performed with the women’s world music G group Libana. E Cover photographs: Yamina Djouadou, Algeria, 1993, by Jane E. Goodman. Textile photograph by Michael Cavanagh. The textile is from a Berber women’s fuda, or outer-skirt. Jane E. Goodman http://iupress.indiana.edu 1-800-842-6796 INDIANA Berber Culture on the World Stage JA N E E. GOODM A N Berber Culture on the World Stage From Village to Video indiana university press Bloomington and Indianapolis This book is a publication of Indiana University Press 601 North Morton Street Bloomington, IN 47404-3797 USA http://iupress.indiana.edu Telephone orders 800-842-6796 Fax orders 812-855-7931 Orders by e-mail [email protected] © 2005 by Jane E. Goodman All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses’ Resolution on Permissions con- stitutes the only exception to this prohibition. The paper used in this publication meets the minimum requirements of American National Standard for Infor- mation Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984. Manufactured in the United States of America Library of Congress Cataloging-in-Publication Data Goodman, Jane E., date Berber culture on the world stage : from village to video / Jane E. Goodman. p. cm. Includes bibliographical references and index. ISBN 0-253-34629-0 (cloth : alk. paper) — ISBN 0-253-21784-9 (pbk. : alk. paper) 1. Berbers—Algeria. 2. Algeria—Ethnic relations. 3. Algerians—France—History. 4. Music—Performance— Algeria. I. Title. DT283.2.G66 2005 305.89′33065—dc22 2005006229 1 2 3 4 5 10 09 08 07 06 05 For my father, Richard, and my late mother, Arlene Contents Acknowledgments ix Note on Orthography and Translation xiii Introduction 1 part one: circuits 1. The Berber Spring 29 2. Refracting Berber Identities 49 3. The Mythical Village 69 part two: texts 4. Collecting Poems 97 5. Authoring Modernity 120 6. Copyright Matters 145 part three: performances 7. Staging Gender 165 8. Village to Video 184 Epilogue 197 Notes 201 Works Cited 219 Index 233 Acknowledgments This work would not have been possible without the generous assistance, hos- pitality, and interest of a great many people. I take this opportunity to thank them. In some cases, I omit their last names to protect their privacy. Fanny Colonna introduced me to Algeria and welcomed me into her home on numerous occasions. Without her support, I may never have chosen Algeria as a ¤eld site. I am deeply grateful. The ethnomusicologist Mehenna Mahfou¤, whose own work centers on Kabyle women’s songs, made contacts for me in his former ¤eld site and home village, and introduced me to most of the singers and poets with whom I worked. Fully aware that our work would overlap to some degree, he neverthe- less encouraged my project from start to ¤nish. I thank him for his ongoing support and friendship. The Djouadou family, Abderrahmane, Zoubida, Taos (setsi), Larbi, Hacina, and Zakkia, opened their homes and themselves to me, both in Algeria (for ten months in 1993) and the suburbs of Paris (for nine months in 1994 and 1996). They patiently bore with me as I learned to speak Kabyle, met my many ques- tions with generous and thoughtful discussion, and supported my work on every level—showing me how to dance Kabyle-style, assisting me with transla- tions, and making contacts for me with other community members. I owe Abderrahmane, Zoubida, and their family a profound debt that only lifelong friendship can begin to repay. I thank the family of Yamina Tameqwrant (“old”), Bachir, Yamina Tamezyant (“young”), Mohamed, and Abdullah Djouadou, who invited me for many cous- cous dinners and evenings of conversation. Yamina Tameqwrant graciously re- corded and explained her songs, and Bachir spent hours passionately discussing with me the intricacies of local and national politics. Bachir also helped me to develop a census of the village, arranged for me to visit other sites in Kabylia, and bequeathed to me his substantial collection of newspaper clippings on Ber- ber politics. I thank the family of Amar, Zhor, Jejjiga, Na Zahara, Nouara, Hakim, Sabrina, and Karina Djouadou, who invited me sight unseen into their home in Algeria in the summers of 1990 and 1992 and helped me to establish a base in their community. I thank Noura Haddab, who offered her friendship as both of us moved between Algeria and France, and who helped me understand the complexities of diasporic life for young women. Hamid Kacet and Belqacem Beloucif provided invaluable assistance with my work on the village community in Paris. Finally, I extend my thanks to the many other men and women from both the Algerian and Parisian sides of my host village who offered their friend- ship and support, including: Zhor and her family, Na Jejjiga and her family,

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"[S]ure to interest a number of different audiences, from language and music scholars to specialists on North Africa.... a superb book, clearly written, analytically incisive, about very important issues that have not been described elsewhere." -- John Bowen, Washington UniversityIn this nuanced stu
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