berber carpets of morocco
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Aït Bou Ichaouen presents the beauty and diversity of textiles from a small Moroccan tribe whose weavings are unlike those found elsewhere. Living in an isolated area that was unknown to the carpet world until 1997, the women who wove these textiles boldly used colors in striking motifs. Many of their designs and techniques have not been identified elsewhere in Morocco.These women regularly invented motifs to record key events in the tribe's history. They wove Moroccan War Rugs in memory of the twenty-six-year struggle against French domination.Their newly invented designs join many traditional carpet and textile motifs, some of which go back to the Bronze Age or earlier. These archaic designs reflect an older North African weaving tradition now almost entirely lost. In their isolation, the women of the tribe preserved an important part of the world's textile heritage while showing an ability to adapt to changing events.The Saulniers have collected Moroccan pile rugs, flatweaves, and other textiles since 1975. From their collection, Aït Bou Ichaouen presents 100 carefully selected weavings that originate in the pre-Saharan foothills on the eastern slopes of the High Atlas Mountains.Aït Bou Ichaouen also includes a rigorous structural analysis of each textile and a comprehensive appendix on the weaving techniques employed by the tribe's weavers.
The DK Eyewitness Morocco Travel Guide will lead you straight to the best attractions this country has to offer. From the ancient Kasbahs, mosques and colorful Souks of Marrakech to the sprawling Sahara desert and the magnificent Mediterranean coast; this guide provides all the insider tips every visitor needs. The DK Eyewitness Morocco Travel Guide includes comprehensive listings of the best hotels, restaurants, shops and nightlife for all budgets, and detailed street maps to help you get around. It’s also fully illustrated, covering all the major areas and floorplans of all the must-see sites. The DK Eyewitness Morocco Travel Guide explores the culture, history and architecture, not missing the best in entertainment, shopping, tours and scenic walks, in this fascinating country. DK Eyewitness Morocco Travel Guide – showing you what others only tell you.
Now available in PDF format. DK Eyewitness Travel Guide: Morocco is your indispensable guide to this beautiful part of the world. The fully updated guide includes unique illustrated cutaways, floor plans, and reconstructions of the must-see sights, plus street-by-street maps of cities and towns. DK's insider travel tips and essential local information will help you discover the best of this country region-by-region, from festivals and markets to day trips around the countryside. Detailed listings will guide you to hotels, restaurants, bars, and shopping for all budgets, while practical information will help you to get around, whether by train, bus, or car. With hundreds of full-color photographs, hand-drawn illustrations, and custom maps that brighten every page, DK Eyewitness Travel Guide: Morocco truly shows you this country as no one else can.
Katherine E. Hoffman is Associate Professor of Anthropology at Northwestern University and author of We Share Walls: Language, Land, and Gender in Berber Morocco. --
Describes the history and culture of Morocco, shares the observations of past travelers, and recommends hotels and restaurants
In 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.