Tuaregs are the true sons of the desert; able to survive like no others can, in the harshest of conditions. The noble inmouchar Gacel Sayah, presides over a huge corner of the desert. One day, two fugitives arrive from the north and Gacel, in accordance with their ancient and sacred hospitality laws, gives them shelter. At the time, Gacel is unaware that this act of kindness will lead to a series of deadly adventures... A classic epic and at the same time a beautiful rendition to one of the world's most unique cultures.
The art of being Tuareg has fascinated travellers and scholars alike throughout recorded history. The elegance and beauty of the Tuareg peoples, their dress and exquisite ornament, their large white riding camels, their refined song, speech and dance -- all have been subjects of rhapsodic descriptions. Together they suggest a Tuareg "mystique," an existence made into art and lived out in one of the world's harshest environments. Art of Being Tuareg: Sahara Nomads in a Modern World examines this "mystique," or identity, as it has been constructed by the Tuareg themselves and by their observers. Historically, the Tuareg have been stereotyped in the West, seen as romantic desert-dwelling warriors and nomads, or even as "bandits" resisting central governmental authority. What these generalizations fail to acknowledge are the complexities of Tuareg history and the remarkable resilience and responsiveness of this people to dramatically changing circumstances, especially their late-twentieth century adaptations to modernity. Art of Being Tuareg, the rich, vibrant result of three decades of research and collaboration on the part of American, European, and Tuareg scholars and institutions, is one of only a handful of English-language volumes on Tuareg life and culture. Bringing together essays by many of today's most accomplished scholars of Tuareg art and society, it presents a comprehensive view of what it is to be Tuareg, exploring the remarkable arts that remain dynamic markers of the strength and perseverance of this highly inventive people.
As a minority in these two countries, the Tuaregs have come into a difficult situation and today they are in heavy troubles. Since independence in 1960, the Tuaregs have been ignored constantly by the different governments. Today the consequences of this are visible in their areas which are underdeveloped and the Young Tuaregs are mostly illiterate and untrained and with no hope in the future.
Jeremy Keenan travelled to Algeria in search of the Tuareg, the fearsome indigo-veiled nomads of the Central Sahara with whom he had lived as a young anthropologist. A chance meeting set him on his way to the Tuareg traditional fortress, the vast mountainous area of Ahaggar, in the tracks of bandits, his tents pitched besides caves decorated with pre-historic paintings. Here he discovered that the Tuareg, who had learned to survive as tourist guides after the horrors of Algeria's war of independence, were now being starved out of their livelihood by the violence in the north.
This is a comprehensive description of Tamashek Tuareg spoken in Mali. The varieties covered in this volume are those of Tamashek in the narrow sense, excluding Tawellemett but including the other Malian varieties (Goundam, Timbuktu, Gao, Ansongo, Kidal, and the Gourma area south of the Niger River including Gosi and the outskirts of Hombori).
This book examines alleged “superhuman” powers predominantly associated with smith/artisans in five African societies. It discusses their ritual and social roles, mythico-histories, symbols surrounding their art, and changing relationships between these specialists and their patrons. Needed but also feared, these smith/artisans work in traditionally hereditary occupations and in stratified but negotiable relationships with their rural patron families. Many of them now also work for new customers in an expanding market economy, which is still characterized by personal, face-to-face interactions. Rasmussen maintains that a framework integrating anthropological theories of witchcraft, alterity, symbolism, and power is fundamental to understanding local accusations and tensions in these relationships. She also argues that it is critical to deconstruct and disentangle guilt, blame, and envy—concepts that are often conflated in anthropology at the expense of falsely accused “witch” figures. The first portion of this book is an ethnographic analysis of smith/artisans in Tuareg society, and draws on primary source data from this author’s long-term social/cultural anthropological field research in Tuareg (Kel Tamajaq) communities of northern Niger and Mali. The latter portion of the book is a cross-cultural comparison, and it re-analyzes the Tuareg case, drawing on secondary data on ritual powers and smith/artisans in four other African societies: the Amhara of Ethiopia, the Bidan (Moors) of Mauritania, the Kapsiki of Cameroon, and the Mande of southern Mali. In the concluding analysis, there is discussion of similarities and differences between these cases, the social consequences of ritual knowledge and power in each community, and their wider implications for anthropology of religion, human rights, and African studies.
From the New York Times-bestselling author of The Secret World of Weather and The Lost Art of Reading Nature’s Signs, learn to tap into nature and notice the hidden clues all around you Before GPS, before the compass, and even before cartography, humankind was navigating. Now this singular guide helps us rediscover what our ancestors long understood—that a windswept tree, the depth of a puddle, or a trill of birdsong can help us find our way, if we know what to look and listen for. Adventurer and navigation expert Tristan Gooley unlocks the directional clues hidden in the sun, moon, stars, clouds, weather patterns, lengthening shadows, changing tides, plant growth, and the habits of wildlife. Rich with navigational anecdotes collected across ages, continents, and cultures, The Natural Navigator will help keep you on course and open your eyes to the wonders, large and small, of the natural world.
For you, it may look like a small unimportant detail, like your thumbnail. But for me, it is the whole vast world. Look at this jewel... here is the ant, here is the hyena, the jackal, the hoof of a horse, that of a gazelle, the sun, the moon, the stars, the good eye... this triangle, this is woman, and here are the eyebrows of the Malignant One, there, laughter... it is all of our lives in one piece of silver. (Translated from the French by Helene E. Hagan, from original Tuareg words of an artisan cited by J. Gabus, 1971) An extensive study of the symbolism of Tuareg jewelry has not yet been undertaken to date. It is this simple realization that brought the authors together in a decision to collect information on the topic, from past scholarly journals and books, contemporary articles and web sites, but also from Tuareg informants whose expert knowledge was sought. Though this book is small and does not aspire to be all encompassing, it is the first work totally dedicated to the presentation of the elaborate silver jewelry of Tuareg men and women of Northern Niger in the English language, and the only one we know that is solely dedicated to providing information concerning the function, meanings, and symbols of that jewelry. The book introduces the reader to the culture of the Tuaregs, a remarkable group of African nomads of the Sahara Desert, which has fascinated the Europeans who came into contact with them in the nineteenth and twentieth centuries. In the last decade or so, as the Tuareg societies of Niger and Mali underwent major change, a number of American researchers began to document some of their ways. Research and publications in the English language are, however, lagging far behind those in the French language. Fortunately, the primary author of this book, Helene Hagan, was originally educated in the French language, and as an Amazigh (Berber) herself, is very familiar with North African scholarship in the Amazigh culture. Thus, as a bilingual anthropologist of Berber ancestry, born and raised in Morocco, and an activist for Amazigh cultural, linguistic and human rights, she benefits from a fourfold source of valuable information: French scholarship, American contemporary accounts, the latest Amazigh research emanating out of North Africa, and Northern Niger Tuareg informants she knows. This unique set of circumstances gives the book an extra dimension of depth and insight. The book recounts the myth of origin of the Kel Tamasheq of Niger, and looks at the continuity and development of symbols from archaic inscriptions and rock art of the Sahara to present-day engravings on silver jewelry and the Tifinagh alphabet. The second chapter is entirely devoted to retracing this development and showing the correspondence between Tifinagh characters of the Amazigh alphabet and the elegant, clear lines of geometric designs, which characterize the silver jewelry of the Tuareg people. The two are deeply connected. Modern Tifinagh Calligraphic Art is also featured in this chapter. The next chapter delves into the mystery of the famous Cross of Agadez and the various hypotheses that have been offered as to its meaning. It depicts the artisanal mode of production, and the functions the crosses hold for Tuareg people themselves. Nowadays, the production of crosses for the western world diminishes the role this cross, Tenghelet tan Agadez, had as a clan identifier. It has become, like other less well known pieces of Tuareg jewelry, a simple ornament or necklace devoid of any particular significance, and the markings on those crosses are losing some of their intentions of yore. The book reviews specific masculine jewelry and feminine adornment in the next two chapters, and looks at the role various pieces of silver jewelry play in the relations
