Latest news with #Tachelhit
Ya Biladi
2 days ago
- Entertainment
- Ya Biladi
Diaspo #392 : Maysoun Bouga celebrates Amazigh and First Nations Australian cultures
Born in Casablanca to an Amazigh family from the Souss region, Maysoun Bouga still treasures the priceless moments of her childhood spent with her grandparents. They spoke Tachelhit—she didn't—but she listened carefully, absorbing the stories they shared in the language of their ancestors. Today, those very stories have resurfaced in her life through her research and creative projects. Now based in Byron Bay, a coastal town in southeastern Australia, Maysoun is on a mission to rediscover Moroccan folktales. She does so to honor her culture, reconnect with her grandparents' legacy, and finally learn Tachelhit—a language she has always longed to speak. «I grew up in Morocco with a deep connection to my family, especially my grandparents», she told Yabiladi. «My mom speaks Amazigh, and I was lucky to grow up hearing her converse with her sisters and to listen to stories from my grandma and granddad, who lived with us». Applied theater to experience, learn and evolve But Maysoun's love for these stories only grew stronger after she settled in Australia. It was while practicing Applied Theater—a discipline that uses theatrical practices for education and community development—that this passion took shape. After graduating high school in Morocco, Maysoun moved to Australia to study psychology and anthropology. She also developed an interest in human resources. That combination of interests ultimately led her to Applied Theater, which, she found, tied all her passions together. «I came across theater by chance», she recalled. A friend had returned from a conference and started a company centered on applied theater. «I joined her in co-creating the company, and it brought together all my interests: psychology, group work, anthropology, and culture. I realized it was a powerful tool». Since 2007, Maysoun has practiced Applied Theater, using it to help groups, individuals, companies, and NGOs develop skills and tools through creative, experiential learning. One format she often uses involves guiding participants through a program that culminates in a play performed for an audience with similar interests. «The play ends in a crisis—left unresolved—we invite the audience to step in, to intervene on stage where they think a different reaction might have led to a resolution». «That's just one example», she said, «but all in all, I create experiential learning journeys where people act, reflect, learn, adapt, and grow as a group. It depends on what the group wants to explore. It's all about using theater to create meaningful learning experiences». Rediscovering Amazigh culture Her journey into theater and creativity eventually reconnected her with her heritage—and with a deep frustration: not being able to speak the mother tongue of her beloved grandparents. «That whole journey opened up a new world for me», she said, recalling powerful encounters with First Nations artists in Australia. «Those meetings reminded me of my own ancient culture. That ancient spoke to me», she said. That calling prompted her to focus on her roots—specifically on the folktales and oral traditions her grandparents used to tell in Tachelhit. «I came up with the idea of going on a journey with my mother to rediscover folktales from our region and from Amazigh culture in general—especially in places like Imi Ntanout and Taroudant». That's how storytelling became central to her life. «The idea actually came to me back in 2012—a dream of traveling with my mother into the mountains to collect stories. I had to wait until recently to begin the project». From Sunrise to Sunset What started as a personal exploration has now evolved into a much bigger initiative—one that bridges Moroccan and Australian cultures. This culminated in a cross-cultural art project called Sunrise to Sunset. Described by Maysoun, its creator and producer, as a vibrant mix of narrative, melody, and movement, «The project is a dialogue of stories, dance, and music between the two cultures», she explained. It marks the end of a creative residency which lasted two weeks in Morocco—the project's first phase—during which the team explored cultural exchange through art. «We looked at what we had, exchanged ideas, and reflected on cultural dialogue. The show is a presentation of the work we've done during this first meeting», she explained. In the show, Maysoun will be joined by Warren Clements, a Wakaman man from northern Queensland and a celebrated dancer, actor, and cultural educator. Benjamin Walsh, a world-renowned percussionist and genre-defying composer, curates the project's soundscape. Representing Morocco is Redouane Bentaleb, an Amazigh storyteller and musician who embodies the soul of Amazigh culture. The dialogue throughout the show will be multilingual. «It will be in French and English, with some Amazigh too—but mostly French and English», she noted. The show will take place on Thursday, June 12, in Casablanca. Maysoun has big dreams for the project, which she hopes to develop further into a full theater piece. «The plan is to tour it, and of course Morocco is on the map—we'd love to bring it to different cities». The title Sunrise to Sunset is symbolic. «I live on the East Coast of Australia, where I often watch the sunrise—it's one of the first places in the country to see the sun. And sunset—well, Morocco is the land of the setting sun, the Maghreb. I've watched so many beautiful sunsets there. The show is really an homage to my culture, to Amazigh heritage, to Morocco—and to Australia».
Ya Biladi
24-03-2025
- General
- Ya Biladi
Dutch linguist spends 40 years compiling Tachelhit-French dictionary
Dutch linguist Harry Stroomer has spent years researching and compiling his Tachelhit-French dictionary, which will be published at the end of March by De Gruyter Brill. The dictionary spans over 3,000 pages and is the result of four decades of meticulous work. Stroomer, an Arabist and Berberologist and emeritus professor at Leiden University, specializes in Afro-Asiatic languages, particularly Berber and South Semitic languages. His interest in Amazigh began in 1969 when he first visited Morocco, where he quickly realized that many locals spoke Tamazight rather than Arabic—a fact he had never been taught in the Netherlands. From 1985 onward, he specialized in Tachelhit, one of the three Amazigh languages spoken in Morocco. «Tachelhit is the largest Berber language in the world, with an estimated eight to ten million speakers», Stroomer told NRC in an interview. «The name literally means 'the language of the Chleuh.' The Chleuh are a people from southern Morocco, with Agadir and Ouarzazate as their main cities. Due to migration, Tachelhit has spread to Europe in recent decades. In the Netherlands alone, there are about 75,000 speakers». Stroomer's research drew from archival materials he accessed in France, fieldwork in Morocco, and input from the Amazigh diaspora in Europe. Why French? According to Stroomer, France—along with Spain, Morocco's former colonial rulers—accumulated extensive knowledge of the language over the past century. «After my first visit to Morocco, I wanted to learn more about Berber languages», Stroomer explains. «I visited the librarian at the Institute for the Modern Near East at the University of Amsterdam. He pointed me toward several French experts», he recalled. The archive of the late French Berberologist Arsène Roux served as Stroomer's starting point. «In Aix-en-Provence, I found two crammed archive cabinets filled with manuscripts, index cards, and notes on scraps of paper. Every year, I spent a month there digitizing everything», he remembered.
