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Kabyle women from Algeria were believed to have been relegated to a role, subjugated by dominant males, in which they were confined to reproduction, nature, and their sensibilities. The weaknesses created by this inequality were thought to be compensated for by their living inconspicuous lives practicing magic, especially in love. Makilam rejects these preconceived ideas and demonstrates that women's magic was expressed in every domain of their daily lives: pottery making, food provision/preparation, and weaving. In fact, the traditional Kabyle society was incapable of functioning without women, who ensured its material and spiritual unity.
Makilam's research on the history of women and Berber culture, one of North Africa's most ancient civilizations, demonstrates that the Kabyle women's magic practices, graphic symbols, and rites of passage permit a new interpretation of their cultural identity from those that have traditionally been attributed to them by Western observers. This completely new vision of the symbolic grammar of the «decorations, » notably expressed in pottery, weaving, tattoos, and wall-paintings, leads us to reconsider the meaning of the Kabyle arts and contributes to our knowledge of Maghreb cultures and the role of women in «traditional» societies.
The voices of Indigenous women world-wide have long been silenced by colonial oppression and institutions of patriarchal dominance. Recent generations of powerful Indigenous women have begun speaking out so that their positions of respect within their families and communities might be reclaimed. The book explores issues surrounding and impacting Indigenous mothering, family and community in a variety of contexts internationally. The book addresses diverse subjects, including child welfare, Indigenous mothering in curriculum, mothers and traditional foods, intergenerational mothering in the wake of residential schooling, mothering and HIV, urban Indigenous mothering, mothers working the sex trade, adoptive and other mothers, Indigenous midwifery, and more. In addressing these diverse subjects and peoples living in North America, Central America, Sub-Saharan Africa, the Philippines and Oceania, the authors provide a forum to understand the shared interests of Indigenous women across the globe.
The Hand of Fatima traces the khamsa, or hand motif, across the Arab-Islamic world and beyond. It explores multifarious khamsas, from amulets to fine art, with a special focus on the hand symbol in Algeria, Spain, Portugal, Brazil, and Shiʿism.
This book is the first full-length study dedicated to French women Orientalist artists. Mary Kelly has gathered primary documentation relating to seventy-two women artists whose works of art can be placed in the canon of French Orientalism between 1861 and 1956. Bringing these artists together for the first time and presenting close contextual analyses of works of art, attention is given to artists’ cross-cultural interactions with painted/sculpted representations of the Maghreb particularly in Algeria, Tunisia and Morocco. Using an interdisciplinary ‘open platform of discussion’ approach, Kelly builds on established theory which places emphases on the gendered gaze. This entails a discussion on women’s painted perspectives of and contacts with Muslim women as well as various Maghrebi cultures and land—all the while remaining mindful of the subject position of the French artist and the problematic issues which can arise when discussing European-made ‘ethnographic’ scenes. Kelly argues that French women’s perspectives of the Maghreb differed from the male gaze and were informed by their artistic training and social positions in Europe. In so doing, French women’s socio-cultural modernity is also examined. Moreover, executed between 1861 and 1956, the works of art presented show influences of Modernism; therefore, this book also pays close attention to progressive Realism and Naturalism in art and the Orientalist shift into Modernist subject matter and form. Through this research into French women Orientalists, Kelly engages with important discussions on the crossing view of the historical female other with the cultural other, artistic hybridity and influence in art as well as the postcolonial response to French activities in colonial Algeria and the protectorates of Tunisia and Morocco. On giving focus to women’s art and the impact of cross-cultural interchanges, this book rethinks Orientalism in French art. This book will be of particular interest to scholars in the history of art, gender studies, history, and Middle Eastern and North African studies.
This reference offers reliable knowledge about women's diverse faith practices throughout history and prehistory, and across cultures. Across the span of human history, women have participated in world-building and life-sustaining cultural creativity, making enormous contributions to religion and spirituality. In the contemporary period, women have achieved greater equality, with more educational opportunities, female role models in public life, and opportunities for religious expression than ever before. Contemporaneously with this increased visibility, women are actively and energetically engaging with religion for themselves and for their communities. Drawing on the expertise of a range of scholars, this reference chronicles the religious experiences of women across time and cultures. The book includes sections on major religions as well as on spirituality, African religions, prehistoric religions, and other broad topics. Each section begins with an introduction, followed by reference entries on specialized subjects along with excerpts from primary source documents. The entries provide numerous suggestions for further reading, and the book closes with a detailed bibliography.
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The sieve exhibits a wide-ranging symbolism that extends across art history, philosophy, anthropology, psychoanalysis, and gender studies. Barbara Baert looks at the sieve from an interdisciplinary perspective and from four different innovative methodological angles: as motif and symbol, as technique and as paradigm. The sieve as motif goes back to Roman stories the Vestal Virgins. In later times, their impermeable sieve, which - according to legend - they used to fetch water from the River Tiber, was iconographically transferred to Elisabeth I as a sign of her integrity. Furthermore, the long durée life of sieves as symbolic-technical utilitarian object is investigated: in examples from the Jewish folklore, the Berber culture, and ancient Egypt.
In the last years of the nineteenth century, the Tunisian city of Qayrawān suddenly found itself covered in murals. Concentrated on and around the city’s Great Mosque, these monumental artworks were only visible for about fifty years, from the 1880s through the 1930s. This book investigates the fascinating history of who created these outdoor paintings and why. Using visual archaeological methods, William Gallois reconstructs the visual history of these works and vividly brings them back to life. He locates pictorial records of the murals from the backdrops of photographs, postcards, and other forms of European ephemera. In Qayrawān, he identifies a form of religious painting that transposed traditional aesthetic forms such as house decoration, embroidery, and tattooing—which lay exclusively within the domains of women—onto the body of a conquered city. Gallois argues that these works were created by women as a form of “emergency art,” intended to offer amuletic protection for the community, and demonstrates how they differ markedly from “classical” Islamic antecedents and modern modes of Arab cultural production in the Middle East and North Africa. Based on extensive archival research, this study is both a record of a unique moment in the history of art and a challenge to rethink the spiritual force and agency of a group of anonymous female artists whose paintings aspired to help save the world at a time of great peril. It will be welcomed by scholars of art history, Islamic studies, Middle East studies, and the history of magic.
"A collection of twenty-two essays from the web magazine Reality Sandwich that discuss alternatives to the current systems of bank-financed currency and global capitalism"--Provided by publisher.