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association spaces taznakht for L environment development and popular art is creee in decembre2002.abut nonlucratif;elle A for objective to support with the durable development by supporting the equitable commerciants exchanges and interdependent tourism. L association with aujordhui 145 members within 50 families. and to tounir oussi with D objective goatskin bottles L' of the equitable trade, it is also that the price paid to the producers ensures the latter a remuneration which is proportioned with the competences put in?uvre, carried out work and the matters used, i.e. an adequate share of the total benefit. The solution generally adopted for purposes of this objective by the parts concerned consists in getting along on the payment of an equitable price, negotiated individually. In the case of the products whose price is the subject of international agreements (for example coffee or cocoa), a minimum price is fixed so that the producers carry out a benefit higher than that corresponding at market prices world. This system makes it possible to the interested parties to improve the systems of production and the working conditions, which is good for the farmers and the workers in general, like for the environment
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Festival of taznakht To inaugurate a new approach of the dialogue of the generations and civilizations, and in order to come to assistance of the women stripped of the Moroccan south thus to emphasize the natural richnesses of the paradise of the Moroccan desert and in order to establish concrete and human bonds with north and the south: Association Spaces Taznakht and association taznakht anmoguar organizes in collaboration with various organizations, ONG national and international, common urban, common rural local and of the regional authorities buildings provincial. The First Festival of Taznakht is under the Taznakht Topic: Artistic richnesses and naturelles"du April 25 at April 28, 2008. This festival lies within the scope of the High Royal Directives relating to the promotion of the culture amazighe and the local and human development. Its Majesty king Mohammed-VI as declared in July 2001, as the culture amazighe is a "national richness" and that the integration of Amazighe in the durable development and national sociocultural space is necessary. Within this framework, SM the King set up an action of great baptized scale of local and human development "National Initiative for the Human Development" (INDH), launched since May 18, 2005. This initiative "falls under the overall vision which constitute the matrix of our societal project, model built on the principles of political democracy, economic effectiveness, social cohesion and work, but also on the possibility given to all one each one to open out by fully deploying its potentialities and its aptitudes". (royal Speech) The strong point of this initiative is the stress laid on the human factor which is in the center of the concern and the efforts of the development. It is a question of establishing coherent strategies, projects of development conceived and structured around the needs for the populations. The Moroccan history teaches us that the culture amazighe is a fundamental component of the Moroccan culture. The various Moroccan components of the company always?uvre together for the construction and the development of the country. The influence and the contribution of the culture amazighe through the centuries until our days were always very important and considerable on the levels economic, social and cultural. The contribution of the culture amazighe was remarkable on the level of artistic creation, the oral literature, the song and the dance. The culture amazighe is represented by a decorative art sophisticated which appears particularly in the carpet and ceramics, in the form of geometrical drawings which often take again characters of the alphabet tifinagh. It also appears in the architecture of the kasbahs of the Atlases and the Moroccan south and in the proper names people and places. The culture amazighe also had a great impact on the way of life of the Moroccan population, on the habits and the traditions of all the company. The language amazighe has its share influenced the dialectical Arabic so much so that Moroccan Arabic is impregnated words and expressions amazighes. The song amazighe also had a great influence on the Moroccan song Arabic-speaking person. This mixing between the culture amazigh and Arab culture A creates a symbiosis and a remarkable cultural richness which characterizes Morocco of today. The culture amazighe being favourable with the development of the local resources this first festival will be one privileged period which can inform us on the positive impact that the culture amazighe can have on the economic growth and social cohesion. OBJECTIVES OF THE FESTIVAL The first edition of the festival of taznakht?uvre to the consolidation of the process of development, the values of peace, dialogue and social cohesion. The one of the principal objectives of this festival is to give an approach objective and scientific to the natural and cultural richnesses of this zone This festival wants to make visible and make live the contribution amazighe on the levels economic, social and cultural, and to think of the means to put in?uvre to promote the rural world, the rural woman, and the Moroccan craft industry. The festival also aims at looking further into the reflexion on the strategies to be adopted to put the culture amazighe in all its components (songs, carpet, arts, architecture, etc.) with the service of the local development. Also One of the principal objectives of this meeting is to think of common mechanisms which take into account the various cultural components of Morocco to consolidate the local development and the process of opening that our country knows. The goal is also to discuss means which would allow an integrated approach of the cultural diversity, an approach which privileges dimension human and social and operates a narrow correlation between the culture and the durable development, because with the c?ur of the question of the culture is a dimension room and socio-economic. In more of the song and poetry, the Festival will also include/understand exposures: - Exposure of products of the craft industry - Exposure of the carpet amazigh For more information, contact:
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CARPET:berbere MODE Of EXPRESSION IN The TOP AND The AVERAGE MOROCCAN ATLAS. (Symbol of Berber civilization). Like any cultural, artistic and folk act, the carpet is an objet d'art based on a knowledge of ancestral civilization of the people which have, all along the history, expressed their knowledge through decorative means, sculptures, poems, drawings various, of couleurs... etc. The carpet is thus an artistic object carried out in families of great pastoral traditions and which live in general breeding and agriculture (thus of the rural families). The manufacture of the traditional carpets, under all their forms, requires the presence of certain conditions, the means and the material of bases of which, in particular: the pure and healthy wool, as raw material which will be transformed into wire with various dimensions and varied properties, of the natural dyes... an adequate material (weaving loom) various forms, according to the desired use, a qualified personnel controlling the traditional techniques of weaving and decorative reasons., The weaving of the carpets constitutes a sometimes essential activity in certain mediums, because that plays a paramount economic part in the subsistence of the families. It is a mode of traditional trade based on barter. In a household the man and the woman work in co-operation. The woman occupies herself of weaving and the modelling of the carpets and the husband occupy themselves of marketing in the weekly markets, and made, in against part, the purchase of the foodstuffs and other products which they need to live. From artistic point of view, the best carpet is still made in certain Berber areas containing local natural products (colorants).Les decorative reasons used is the expression of the culture of the tribe in which the product is originating. These reasons report the spirit of cohabitation which always existed in these tributes since a history remote with the people of various convictions and of various civilizations (Moslems, Jews, Berber, Christian) the Berber tribes constitute the example more striking this spirit of tolerance and cohabitation; because in more the share of them one can even, today still, to meet Jewish craftsmen. Control of art to weave the carpets transmitted of mother to girl, which constitutes a tradition of training in the rural mediums. The common traditional visual language of the community as well as the techniques making it possible to tie with doigter the wire of a weaving is also learned on the heap, in confrontation with reality. The decorative reasons being reproduced on various weavings are very significant. These elements different from a tribe with another, which makes this art a true mosaic. The presentation of the figures and the decorative symbols are made poetic manners and reveal a musical?uvre, a table of art made with taste and the good direction. The tonality of the colors forms an unequalled visual melody. The carpet is a tradition rather berberophone bus, C ` is in the Moroccan South, the Top and the Average Atlas, that the carpet knew its blooming (under the name: Tazarbit). The improvement of this?uvre of art significant of a plural culture, and of knowing ancestral, is one of the daily concerns of the families of these areas. The Center Has Ouaouzguit, in the province of Ouarzazate, is one of the principal cradles of this artisanal production. This Center of world fame, is located in the High Atlas, where the clothes industry of the carpets prevails. As a high place of the craft industry in general and carpet in particular, Ouaouzguit Has is in its turn made up of several points of production and in particular: - Tamassin - Semgane Has - Have Waya - Ougharda Has - Tidili - Taznakt - Ouchen Has - Ameur Has, Znaga and Sektana like points bordering. The area of the thousand Kasbahs counts two principal co-operatives: The co-operative of Ouarzazate, the Co-operative of Taznakt. The classification of the carpets: The carpets are classified in two main categories: 1 the Berber carpet of tradition: it is the most important category and most representative at world level C' is a production typically Atlasique with a decoration and reasons exceptional, specific to a quite precise tribe. We consider, for this purpose, under following categories: Has the carpet of the average Atlas (area of Meknes, - Reduction), tribe Zemmour- Zaer- Zain- Bani After the various operations related to the preparation of wool, weaving itself can start. It is in fact of the smoothness and the solidity of wire of chain and weft threads that the value depends on a carpet. Two essential parts make it up: the long wool and the basic fabric. The number of n?uds to the square decimetre varies between 50 in a carpet from the High-Atlas and 400 in a town carpet of Reduction. One classifies in the family of the rural carpets the carpets of the Average Atlas, the carpets of the High Atlas and the carpets of Haouz de Marrakech. Tease and weaving Nowadays still, in certain areas of Morocco, the wool is regarded as a gift of the sky; one allots the gift to protect to him the man from the malefic forces. From shearing to warping, the wool thus is treated carefully and is worked according to a very precise ritual, which is transmitted from generation to generation. Thus, after shearing, the wool is kept in a discrete corner of the house. At the time of the washing of wool to the river the tisseuses ones pronounce these words: "the wool as corn generates abundance". As for the dyeing, which has the aim of modifying the aspect of wool without modifying of them principal qualities of heat insulator, resistance with use and visual and tactile comfort, it still obeys in certain areas with a precise rite. The day before of the operation of dyeing, one exposes the various baths to the gleam of stars to drive out the malefic forces. The tisseuse one, fumigates wool lends to being dyed and hiding place it far from the glances, then, it purifies itself as if it prepared for the prayer. The following day, at dawn, the tisseuse one turns over towards the bath which it exposed to stars without turning itself neither left nor on the right then it begins the operation of dyeing after having pronounced a prayer, the "Basmala". For warping, the tisseuse request with two neighbors to help it to assemble her weaving loom. After having planted the two stakes of the warping frame, the owner of the weaving loom pronounces the "Basmala" then crushes a few pieces of sugar between the two stakes. Then, the three tisseuses ones start to sing the following sentences: "We want to assemble the trade, each trade being born must be completed". Unfortunately, the ancestral techniques of dyeing tend to be lost. If the oral tradition of the vegetable dyeings is always in the memories, they any more are not very often employed nowadays for the wools which use the manufacture of the Moroccan carpet. For a few years, the authorities have begun research in order to find the old processes of natural dyeing. An ambitious project which will return to the carpets its letters of nobility. Did you know? In certain tribes of the Atlas, when a woman buys a carpet (of which the clothes industry takes often more than one year), the advent is lived like a basket of God and gives place to a true festival. On the other hand, in other tribes, the completion of a carpet is regarded as the loss of a child whom one designed, raised and considering growing for finally seeing it leaving. Its completion is then accomodated by cries and tears. Town carpets The name of "town carpets" applies especially for the carpets of Reduction and Mediouna, both of Eastern inspiration. Those count between 40.000 and 90.000 points with the square meter following the desired level of quality. The carpets of Mediouna are made conspicuous by the importance attached to the central field which often comprises several medallions. The town carpets are in general very long, almost disproportionate. It is a simple adaptation to dimensions of the Moroccan rooms, of Andalusian architecture. Carpets of the Average Atlas The Average Atlas shelters the major part of the tribes which weave the carpets (Blessed to Me Guild...). These carpets are known for their white and silky velvets. The n?uds have a height which reaches sometimes 10 cm or more. These carpets are used of mattress, covers, and show a simple decoration makes rhombuses. These carpets are called "achdif". The carpets of the Average Atlas are woven according to techniques' which somewhat vary from one tribe to another. Carpets of the High Atlas The carpets of the High-Atlas are woven according to a similar technique with that of the town carpet. The carpets of the High Atlas are also called the carpets of Ait Ouaouzguites, tribe which populates the territory being between Ouarzazate and Taznakht. Weaving looms The weaving looms used called locally "Astta" are in their great majority out of wood and metal. The amounts are metal, the beams are containing madrilliers out of wooden at rectangular base. Weaving on these trades gives a carpet with fringes on only one side. The entirely metal trades, cylindrical beams allows the weaving of carpet with fringes on the two sides. They are very few. Carpets of Haouz de Marrakech The carpets of Haouz de Marrakech form part of the rural carpets. The knotty tribes of carpets which surround Marrakech are almost very of Arab origin; one quotes here the carpets of Rehamna, the carpets of H' mar and the carpets of Oulades Bousebaa. In these three tribes, the n?ud used is the symmetrical n?ud. The wire of chains are in hair of goat or in a mixture of hair of goat and black wool, the lines of n?uds are separated by four to twelve weft threads, the screen is often out of red wool, the weaving of these carpets is loose, one notes the same number of n?uds in length and width. One of the characteristics of the carpets of Haouz is their edge woven in teeth of saw penetrating tied velvet, these border are woven in hair of goat. In a general way, the artistic composition uses simple reasons which take all the possible forms: rhombus, square, triangle, line in zigzag etc...
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