By Jane E. Goodman
"[S]ure to curiosity a couple of varied audiences, from language and tune students to experts on North Africa.... an outstanding booklet, essentially written, analytically incisive, approximately vitally important concerns that experience now not been defined elsewhere." -- John Bowen, Washington UniversityIn this nuanced examine of the functionality of cultural identification, Jane E. Goodman travels from modern Kabyle Berber groups in Algeria and France to the colonial documents, selecting the goods, performances, and media in which Berber id has constructed. within the Nineteen Nineties, with a tremendous Islamist insurgency underway in Algeria, Berber cultural institutions created functionality types that challenged Islamist premises whereas critiquing their very own village practices. Goodman describes the phenomenon of recent Kabyle tune, a kind of global tune that reworked village songs for worldwide audiences. She follows new songs as they movement from their manufacturers to the copyright company to the Parisian level, highlighting the networks of move and alternate by which Berbers have completed international visibility.
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Additional info for Berber Culture On The World Stage: From Village To Video
World music’s success is also dependent, of course, on media and dissemination technologies. Sound recordings of indigenous songs and poems remained largely in the hands of specialists until the advent of the cassette recorder in the 1960s. Not only did cassettes give singers like Idir an easy and affordable way to record their grandmothers’ songs as source material for their own texts, but also it meant that the recordings of these singers could travel to far wider audiences than was previously the case.
Students leave their dormitory rooms in their underwear. Professors are arrested in their homes. All the personnel of the hospital, doctors and nurses, are arrested and replaced by military doctors. A spontaneous general strike is begun by the population of Tizi Ouzou. Kabylia is cut off from the world; access is forbidden to everyone and in particular to journalists. The above account is drawn from a history of the Berber identity movement produced on six hand-lettered posters by the Tafrara Cultural Association.
This event is typically cast as a rite of reversal in which a repressed Kabyle population ¤nally rose up against a dictatorial state. Suspending this interpretation, I ask what enabled April 20 to become constituted as a turning point for the Berber identity movement and a date around which Berbers worldwide now gather annually in commemoration and solidarity. Four phenomena converged around the university that spring: the Arabization program implemented in the Algerian public schools; a small network of cultural collectives established by elites in Paris during the preceding two decades; the modes of student governance being practiced at Algerian universities; and the international press and human rights organizations.