#Berber tattooing

[youridlisen]

Berber Tattooing: Exploring Amazigh Tattoo Culture and Moroccan Women’s Face Tattoos (Book)

Berber tattoos, also referred to as Amazigh tattoos, serve as a vibrant reflection of the diverse cultural heritage of North Africa's indigenous Berber population. These meticulously crafted and captivating tattoos transcend mere skin-deep artistry; they function as vessels embodying the rich tapestry of heritage, social standing, and personal narratives seamlessly interwoven into the very fabric of Berber identity.

With a historical lineage stretching back millennia, the Berber people have fostered a profound connection with the natural world. Within the realm of Berber tattoos, this deep affinity manifests through a striking array of symbolic depictions, each laden with profound meanings that resonate with life, belief systems, and pivotal moments.

Nature assumes a central role in the realm of Berber tattoos, where symbols bear the imprint of animals, plants, and celestial bodies. The towering palm tree, symbolizing strength, growth, and resilience, serves as a potent representation of life and prosperity deeply ingrained in Berber culture. Likewise, the snake, embodying a guardian spirit, symbolizes wisdom and healing, acting as a protective force against malevolent influences and ushering in good fortune.

Amazon Link: a.co/d/gRSF3Jy

Drawing from ancient Egyptian iconography, the Berber people adopted the Eye of Horus, a potent symbol believed to ward off evil and usher in good luck. Equally significant is the Hand of Fatima, an open palm that serves as a protective talisman against the evil eye and negative energies.

The Amazigh Cross, often referred to as the “Agadez Cross,” serves as a compass of sorts, offering guidance and orientation during travels and life’s journeys. In the vibrant world of Berber tattoos, women play a central role, embodying themes of fertility, femininity, and the enduring legacy of the tribe.

Berber tattoos are not mere embellishments; they are markers of life’s milestones and rites of passage. For young Berber girls, their first tattoos, often received during puberty, symbolize the transition into womanhood and eligibility for marriage. These tattoos bear not only ink but the weight of cultural identity and pride.

The complexity and number of tattoos worn can also signify an individual’s standing within the community. Leaders and elders, with their wealth of wisdom and life experiences, may display more intricate and elaborate tattoos.

From “Berber Tattooing: Exploring Amazigh Tattoo Culture and Moroccan Women’s Face Tattoos”, illustrated by Mohammed Jiari

In recent times, there has been a renaissance of interest in Berber tattoos. Efforts to preserve and reinvigorate this ancient art form have borne fruit. Modern-day artists and tattoo enthusiasts explore the depths of Berber symbolism, infusing tradition with innovation to create contemporary designs that pay homage to the past.

This resurgence is not only about the art itself but also about nurturing cultural pride and identity among the Berber community. These timeless designs remain a vibrant and integral part of Berber heritage, ensuring that the symbolic meanings of Berber tattoos continue to thrive, enchanting and resonating with generations to come.

[thattunisiandude]

A young Tunisian Amazigh woman

[sayxit]

[qursidae]

Gaslight (the Great Houses), Gatekeep (Godhood), Girlboss (The Seven Trials)

[Carrd 🃏]

[awomanontheinternet]

☾

[escinsight]

Everything You Need To Know About 'Tattoo' By Loreen

Everything You Need To Know About 'Tattoo' By Loreen

The Artist Lorine Zineb Noka Talhaoui, better known simply as Loreen, is the most hotly anticipated artist in this year’s 28-strong Melodifestivalen line up. The 39-year-old was born to Moroccon Berber parents in Stockholm but spent most of her time growing up an hour away in Västerås, on the banks of Lake Mälaren. Idol was her breakthrough into the Swedish music scene, finishing 4th in a year…

[cybermilkart]

[twofeetadventures]

We escape the heat of Marrakech and travel to the High Atlas. We visit the Kasbah of Telouet and get to know the culture of the Berbers during Ramadan when we break our fast.

[persephoneist]

Odysseus and his girls idk

Design notes beneath the cut

Circe is inspired by minoan frescoes in her wardrobe, but her overall look is kind of "witchy surfer girl that smells of patchouli" as the main inspo lol since shes the daughter of Helios.

Penelope is supposed to be an ideal woman so she is largely inspired by minoan snake goddess/mycenean frescoes. very typical bronze age depiction of a woman. shes very ornate bc she doesnt move a lot. Lots of blue that is specific to Odysseus.

Calypso is supposed to be from the tyrian/carthaginian region (northwest africa) with berber inspiration for her face tattoos. lots of purple in her designs due to carthaginian inspo. All this is bc her father Atlas is believed to have etymology from North Africa/the Berber language (his name may come from "Adras" which is the word for mountain.)

Nausicaa is the least ornate bc shes unmarried, so she hasnt recieved a lot of gifts that would come from marriage like jewelry. she is dressed like the classical period, and has no makeup to show that she's younger than the other women. idk why shes a redhead i just like the idea. She'd be probably from modernday Corfu, which has associations to Artemis (which she also has!), and has the oldest Doric style temple, which added to her classical appearance.

Odysseus’ “prize” (read: sex slave) is from the neighboring cities around Troy, so she’s already not as ornate as the rest of his women as seen in her dress. girl was probably a goat herder before being taken as a prize. the metal she wears is bronze. her hair was shaven to indicate she’s a slave and i intend to redesign her to keep that shaven hair quality. Minoan frescoes are design inspo there.

Odysseus is just purely vibes based. His hair is wavy bc waves, with two noticeable scars from youth. Something about "despite everything, it's still you". The gems in his necklace are the same color as the bodice of Penelope's dress.

[ourflagmeansbts]

Source (Season 1 - March 12th 2022)

sambaschutte: Transforming into Roach👨🏾‍🍳🏴‍☠️ Gratitude goes to @dvidjenkins for allowing us to bring ourselves to our characters. When I met Christine Wada, costume designer extraordinaire, I told her I wanted Roach to have North-West African vibes to feature my Sahara roots. She came up with the talisman necklace and the sash around my waist✨And gave us small earrings because we’re supposed to be amateur pirates. True.☠️ When I met @nancyhennah, head of makeup (she did Lord of the Rings- no biggie), we went with these ancient Berber tattoos I had found. The diamond on the heart is for protection, the double triangular line on my wrist symbolizes the fly for awareness and the X figure on my arm symbolizes the Cockroach for survival. And that’s what I based the character on: roaches want to stay alive at all costs, and enjoy being pests to men🪳 @coolandgroovymakeup did my make-up everyday. I sat in that chair for up to 1.5 hrs to get the tattoos on and get covered in dirt and grime🖤 @everythingolajide had the easiest job doing my hair. The longest she spent was 3 minutes😂🙏🏾 I twisted my beard into 6 little curls to symbolize the legs of a cockroach🪳👀 The shoes and filthy apron completed the look. The apron gets bloodier as the show progresses, naturally🔪☠️ I’m so grateful to our entire team of creators, writers, directors and look departments for allowing me to rep some of my heritage and love for cooking❤️ Berber pirates would sail with the Spanish and in my head, Roach became the cook and surgeon to survive (you always need a cook) and somehow ended up in the Caribbean with this lot. How long will he survive? Only more episodes will tell.....👀🏴‍☠️🖤

[youridlisen]

Tiny Tattoos of Berber Culture: A Window into Amazigh Symbolism and Tradition

"Tiny Tattoos of Berber Culture" offers readers an immersive journey into the world of Amazigh (Berber) tattooing, showcasing the timeless symbols and meanings behind this ancient art. This book provides a detailed exploration of Berber tattoos—known for their simplicity, beauty, and cultural depth—inviting readers to discover the stories and symbolism woven into each design. With captivating illustrations and clear descriptions, "Tiny Tattoos of Berber Culture" is a perfect guide for anyone interested in indigenous tattoo traditions and North African heritage.

Amazigh Tattooing: A Heritage of Identity and Symbolism

For centuries, Amazigh tattoos have been a profound form of expression and identity for the Berber people of North Africa. Traditionally, tattoos were applied to signify tribal affiliations, life milestones, or protective symbols. Each tattoo was carefully chosen, and its placement on the body was meaningful, from the face and hands to the neck. In "Tiny Tattoos of Berber Culture," readers will find how these tattoos are not only beautiful designs but also powerful cultural statements rooted in the Amazigh spirit.

Exploring Key Amazigh Symbols

The book offers insights into the key symbols that define Amazigh tattoo art, such as:

Triangles: Representing femininity, strength, and fertility, often used to honor women. Crosses and Stars: These geometric shapes symbolize protection and are emblematic of Amazigh spirituality. Dots and Lines: Simple yet profound, these elements carry meanings related to unity, community, and guidance.

Each chapter of "Tiny Tattoos of Berber Culture" provides illustrations and interpretations of these symbols, highlighting their significance and the meanings they hold for the Amazigh people.

Amazigh Tattoos Today

While traditional tattooing practices have become rare, the essence of these tattoos lives on. In recent years, Amazigh-inspired tattoos have found a new place in modern art, fashion, and body art, inspiring tattoo enthusiasts and artists worldwide. "Tiny Tattoos of Berber Culture" brings this cultural heritage to the forefront, celebrating how these tattoos continue to inspire people today, honoring a connection to ancient roots.

Why "Tiny Tattoos of Berber Culture" is a Must-Read

Whether you're a tattoo lover, an art enthusiast, or simply curious about indigenous cultures, "Tiny Tattoos of Berber Culture" provides a unique and authentic look into Amazigh tattoo traditions. Through its engaging visuals and insightful explanations, the book is a tribute to the rich tapestry of Amazigh art, heritage, and identity. It serves as both a cultural resource and an inspiration, making the intricate world of Berber tattoos accessible to all.

[clementine-blue]

Tattooed Jewish Berber girl, Morocco, c. 1930

[tunaruzsworld]

Berber Amazigh tattoos ⵣ

[emahriel]

New Dune Pt 2 trailer dropped, and I couldn't help but notice how these tattoos look like traditional Berber tattoos... why does this make me so happy

[liraspins]

️️️️️️️️️️️️️ ️️️️️️️️️️️️️ ️️️️️️️️️️️️️ ️️️️️️️️️️️️️ ️️️️️️️️️️️️️ ️️️️️️️️️️️️️GET TO KNOW THE MUN

what's your phone wallpaper?: it's a pic of my dog

last song listened to: Wolf Womb by Holy Locust

currently reading: Honestly? I've been reading 'The Moss' which is a really good modern Naruto fanfic. I know, I know...

last movie: I'd consider Puparia a movie, idk I'm not the biggest movie person. Probably the Bob's Burgers movie with my friends lol. Do video essays count?

last show: Hell's Paradise

what are you wearing right now? a pink tank and some striped shorts

how tall are you? 161cm ( 5'3" )

piercings / tattoos? I have gauged earlobes and two lip piercings (medusa and eskimo) Tattoos I have a few. Some shapes on my knee and thigh, then a leaf, mushroom, the word 'breathe', a stickfigure, a mouse riding a balloon, a sun, a lil guy, a bell, an umbrella and the berber symbol for toad on my chest.And I have some fucked up lines on my should but never finished it lol...

glasses / contacts? none

last thing you ate? toast with chocolate cream

favorite color? ugh...since I'm somewhat of a hippie I'd want to say ALL OF THEM. But If I had to decide I'd pick orange, from the top of my head

current obsession: this and Naruto

do you have a crush right now? nah, I'm ploymaorous and happy with my partners , we're past the 'crush' times

favorite fictional character:  Iorek Byrnison from The Golden Compass (book!) and the sand siblings from Naruto

last place you traveled: Augsburg for a concert...a place in Bavaria, Germany

tagged by @miercolaes tagging: everybody because I've been away for a while

[sa7abnews]

Gladiator II: A missed chance for North African representation

New Post has been published on https://sa7ab.info/2024/08/11/gladiator-ii-a-missed-chance-for-north-african-representation/

Gladiator II: A missed chance for North African representation

It’s been 24 years since Maximus Decimus Meridius had his vengeance in Ridley Scott’s historical epic Gladiator.

Today it is still a world-beloved piece of cinema in which screenwriters David Franzoni, John Logan and William Nicholson wove real-life figures of Ancient Rome into their fictionalised account of a general-turned-slave-turned-gladiator, iconically played by Russell Crowe.

This November, a sequel is headed to cinemas, set potentially 15-20 years after Maximus brushed his way through a wheatfield to the afterlife.

Irish actor Paul Mescal takes over as the lead, playing a grown-up Lucius Verus who first appeared as the child heir to the Roman Empire in the original film set during AD 180.

To begin Gladiator II, David Scarpa, Peter Craig and Franzoni’s script has him packed off as a child to Numidia – which today would roughly cover the area of modern western Tunisia and eastern Algeria) in North Africa – by his mother Lucilla (Connie Nielsen reprising the role) to grow up away from the scheming Roman senate.

Lucius has a wife and child but has had no contact with his mother for 15 years. There’s also the small problem of Rome, ruled by co-emperors Caracalla (Joseph Quinn) and Geta (Fred Hechinger) wanting to expand their empire further into North Africa.

Fictional Roman General Marcus Acacius (Pedro Pascal) invades the coastal village where Lucius lives and he is subsequently enslaved as a, you guessed it, gladiator.

Denzel Washington is thrown into the mix as Macrinus, described by Scott as “a power broker and arms dealer” who enlists Lucius in his plot to usurp the rule of Rome.

As a critic of mixed British and Tunisian heritage, with a Tanit tattoo on my right forearm, I have more than a passing interest in the representation of North Africa on screen, especially in films set during classical antiquity.

The Carthaginian Empire is “my Roman Empire��� but I’m fully aware of Hollywood’s annoying habit of white-washing, erasing and/or misrepresenting the Maghreb’s history and inhabitants.

Ridley Scott’s filmography is far too guilty of that – Gladiator included.

Not only did the 2000 film manage to perpetuate negative stereotypes about Arabs but it also belies their historical movements.

The story introduces grotesque Arabic-speaking slavers who capture an injured and bereaved Maximus at his home in Spain.

Fun fact: there is no evidence that Arab slavers operated in Spain, as confirmed by the Gladiator’s historical consultant Professor Kathleen Coleman who was “unpleasantly surprised” when she saw the final film.

“I was under the impression that although the plot was fictitious [Dreamworks] wanted the atmosphere to be authentic,” she said. “But that is evidently not the case.”

The ugly-looking, Tuarag-wearing slavers take Maximus in a camel caravan to the Roman province of Zucchabar (Miliana in modern-day Algeria) which is presented as a dirty, sweaty, fly-invested burg.

The scene was shot at Ksar of Ait-Ben-Haddou located in an inland village in Morocco. It looks a lot different from the green, mountainous landscape of the region once inhabited by Romanised Amazighs (Berber).

Of course, Hollywood has to portray North Africa as a barren, desert wasteland.

British-Iranian Omid Djalili once again plays a slimy, unscrupulous Arab (remember him in The Mummy?) trying to get a “special price” for his slaves.

He also says he picked up Djimon Hounsou’s Numidian Juba from a “salt mine in Carthage.”

Juba was a well-known Numidian name — King Juba II was a client king of Numidia and married Cleopatra Selene, the only daughter of Queen Cleopatra VII and Mark Antony.

But given the brazen historical inaccuracies in the film, I wouldn’t be surprised if this line is a mistaken reference to the false myth of the Romans sowing the city of Carthage (Ancient Tunisia) with salt after winning the third Punic War – not the salt mines of Carthago Nova (New Carthage) in southern Spain.

A place where we’ve already established Arab slavers did not operate. A look at the first trailer for Gladiator II, the cast and interviews prove it has already prevented Middle Eastern, North African and Arab actors from playing real-life characters with shared ethnicities.

Let’s start with the brother emperors Geta and Caracalla. They are the sons of Septimius Severus and his second wife Julia Domna who briefly shared power after their father died in AD 211.

Severus was born in Leptis Magna, a trading city on the coast of Ancient Libya founded by Phoenician merchants from Tyre/Syria centuries earlier.

It was a prominent municipality in the Carthaginian Empire and when Severus became emperor, he turned it into a thriving metropolis. He had maternal Italian and paternal Punic ancestry and after a few civil wars, was proclaimed emperor of Rome in AD 193.

He was the first North African Emperor and that heritage was so much a part of his identity that the historian Cassius Dio described him as “Libyan by race.”

Severus was introduced to Julia Domna, a Syrian woman whose father was descended from the Arab Emesene dynasty.

Her surname is an Ancient Arabic word for “black” and she became Empress. Geta and Caracalla, therefore, would be of mixed ethnicity, mostly Arab-Middle Eastern and North African, but the actors playing them are not.

After her husband’s death, Julia Domna became a mediator between her sons but there’s no listing of the character on the film’s IMDb page nor sign of her in the trailer.

Instead, we have the return of Lucilla who was, in reality, executed in AD 182 for her involvement in the failed attempt to assassinate her brother Commodus.

She appears to be filling Julia Domna’s shoes which suggests another MENA character has been sidelined in favour of a white counterpart with history being altered to allow for it.

The trailer suggests Lucius spends time as a child in Egypt prior to Lucilla sending him to Numidia, thanks to pyramids and palm trees in the background of one scene showing him running away from approaching Romans.

Interestingly, Lucilla had two sons called Lucius: one with her first husband Lucius Verus, who died young, and another with her second husband Tiberius, a Roman general, who was murdered by Caracalla.

The film’s iteration appears to be a mash-up of them both.

We see a battle on Numidian soil after an attack on what appears to be a coastal fortress, launched by Acacius from the sea. If this is taking place around AD 211, then the Amazigh-nation was already a part of the Roman Province as a client state set up by Septimius Severus.

Why Rome is attacking is unclear unless they are playing with historical timelines again and showing Severus’ annexation of various North African settlements – including Castellum Dimmidi, Thabudeos, Gemellae, Vescera and Thubunae – to expand Numidia. But none of these colonies were coastal.

We see a female archer in armour aiming a bow and arrow which may be a nod to several North African legends of female warriors.

Asbyte was a Libyan princess and ally of Hannibal Barca during the Second Punic War, according to Silius Italicus’s poem Punica; there were the legendary Scythian warrior women who hailed from Ancient Iran and the famous Amazons who were believed to have once resided in Libya.

She appears to be played by the Israeli actress Yuval Gonen who is listed as the character Arishat (a Phoenician/Punic name) and later seen dead in the arms of Lucius with an arrow through her chest.

If this is his Numidian, Libyan or Carthaginian wife (we see him kissing a woman who looks just like the female warrior towards the end of the trailer) then as with Djimon Hounsou’s Juba in the first film, actors with Algerian, Libyan and Tunisian, even Lebanese or Syrian heritage, have been overlooked.

The same goes for Washington’s Macrinus. Seemingly based on the real-life figure Marcus Opellius Macrinus, he was a Praetorian prefect in charge of Rome’s civil affairs, but of Berber origin and born in Caesarea of Ancient Mauretania (modern Cherchell, Algeria).

Fearing for his life after it was prophesied that he and his son would reign over Rome, he enlisted a Roman soldier to be his “tool” in the assassination of Caracalla, and the film seems to follow suit.

Washington’s casting is certainly a better choice than seeing yet another white actor cast as a Roman politician; Derek Jacobi is back as Gracchus with Matt Lucas and Tim McInnerny joining as figures in Rome’s elite.

Like Macrinus, the actor has African heritage but Africa is a continent, not a country and too often Hollywood fails to represent the diversity of that fact.

Instead, they opt for racial binaries that limit Ancient figures to black and white. The only North African in the main cast list is that of Egyptian-Palestinian actress May Calamawy. Her casting was announced in May 2023 but she doesn’t appear in the trailer and no character information has been shared. So, did she make the cut?

Gladiator II looks set to be yet another blockbuster epic choosing to botch historical facts and project anachronistic ideas about race onto classical antiquity.

The Roman Empire and Roman North Africa was a place and period defined by its ethnic diversity and a throughline of those ethnicities can be traced to the people living across Algeria, Libya, Tunisia, Syria and Lebanon today and in the diaspora.

Unfortunately, people with that ancestry have once again been denied the opportunity to play a role in the commitment of their iconic heritage to cinematic history.

It’s the Hollywood story of our lives and I’m tired of it.

Hanna Flint is a film and TV critic, writer and author of Strong Female Character with bylines at Empire, Time Out, Elle, Town & Country, the Guardian, BBC Culture and IGN

Follow her here: @HannaFlint