#amazigh
Photography of Rachel, South-African, member ofthe ANC of Nelson Mandela… interdependent with the Amazigh People
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Azul with this beautiful Chaoui song ; Timazighin , by “ Massininnissa Chaoui “
Given the colonial nature of Arabic in Tamazgha, and its imposition on the indigenous people, there are significant reasons that Africans ought to reject the use of Arabic in favour of their indigenous language. When we do this, we participate in decolonization by supporting the survival of African languages in opposition to the policies of former or current colonial powers
http://thisisafrica.me/decolonising-mind-language-north-africa/
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GIVGVRTA RE DI NVMIDIA MORTO PER FAME AN 104 A.C
jugurtha king of Numida “ Imazighen “ , died in 104 av. J-C. in the prison of Tullianum,Roma
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Ayyuz Idir ! Cirta is, and will be for ever the capital of the Amazigh culture .
Idir refuse to participate Constantine, the capital of Arab culture 2015 .This great Representative of the song Amazigh adclinles invitations to the festival .
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Nabila Djahnine, Amazigh activist and president of the association Tighri n tmetouth ( Woman cries) graduate of the Institute of Architecture of the University of Tizi Ouzou, was killed Feb. 15, 1995.
Nabila Djahnine (1968, Bejaia, Kabylia ) is a feminist, writer and filmmaker whose main focus is documentary cinema and its potent role in reconstructing identity and society. Committed to an accurate portrayal of Algerian realities through daring multi-layered explorations of painful histories and their contemporary consequences, her documentaries include Safia, une histoire de femme (2011) about the struggle against domestic violence, Avant de franchir la ligne d'horizon (2010) on continuing activism, Autrement Citoyens (2008) on engaged civil society, Retour à la montagne (2010) examining rural challenges and sustainable development, and Lettre à ma soeur (2006) questioning the use of violence as the solution to social conflict and difference. Djahnine’s voice is both poetic and political. It reveals hidden stories, provides subtle insight into often controversial issues, and critically evaluates responses to them. Refusing an adversarial approach, her films promote a pluralist society in which difference is celebrated and diversity is viewed as an asset.
From his youth, Jugurtha, strong, beautiful, especially with a vigorous intellect, does not let himself be corrupted by luxury and indolence, but depending on the Numidian usual, he mounted his horse, threw the line, struggling to race with the young men of his age, and, beating all, yet they remained dear to all; he almost spent all his time hunting, the first, or the first, to bring down the lion and other beasts, acting more than the other, speaking little of it. “(Sallust: War of Jugurtha, VI).
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