Amazigh poetry in the Merrit region in the Middle Atlas
Amazigh poetry is an important tributary of world literature, as it has lived through peoples and cultures since the Romans, Byzantines, Pharaohs and others. It expresses the feelings and culture of the Amazighs in the Maghreb and the Sahara, through the expression of their issues and their lives. It is a collective memory and a reservoir the size of the Amazigh man's heritage in general. It was believed who said that the death of a person in Africa is like a fire in a library. This is because many of the Amazigh poetic poems died in the hearts of their authors, and we have only received a few of them.
Amazigh poetry expresses the existence of a North African person. Amazigh poetry is characterized by its multiplicity of styles according to the structure of the poetic text, its places and occasions. As for the poetic body, it is possible to distinguish between two major patterns that contain sub-patterns, which are the poem pattern (Tamdiazt or Tayfart) and the house pattern (Fardari or Isli), then the Tamawat pattern, and I will talk in this article about the poem called (Tamdiazt) as I will touch To the pioneers of this style in the Aït Sokou region of the Middle Atlas.
P (Tamdiazt) ⵜⴰⵎⴷⵢⴰⵣⵜ or (Tivart) ⵜⴰⵢⴼⴼⴰⵔⵜ is a poetic pattern that is subject to a special construction and consolidation that makes it the unified structure that means the poem. It is a skillful and honest creation by rigorously manipulating language/speech to produce poetry. Due to the vertical length element of Tamdiazt, the poet tries to divide it into syllables, one of which is repeated twice, or his assistants do so, namely (imalasn) or (ء- imalasn / irddadn / so that he can catch his breath and arrange his thoughts and perhaps make up for what he may overlook, as he does this technique To grab the attention of the recipient/listener.
Tamdiazt is based on formal and apparent construction on elements that have become sculpted in Amazigh literature and criticism, and they are elements that characterize the Amazigh poem, especially the traditional ones. These three elements are the first element: the introduction, the introduction, or the opening, and it is usually a religious introduction in which there is supplication, hope, and a request by which Amdias/the poet addresses God Almighty, praising and praising Him, reviewing His blessings upon him and the rest of his creation. This opening may be lengthened or shortened, according to the diversity of spaces for recitation and chanting.
The second element, the subject or purpose for which Tamdiazt was organized, is considered the focus of the poem, whether it is praise, slander, description, or one of the poet's social, political, cultural, or other concerns. The subject is a world open to the inspiration of reality, history, feelings and emotion. The third element ꞉ related to the conclusion of the poem and giving a focused summary of the topic, and it is called the qaflah in Berber (argal/ⴰⵔⴳⴰⵍ-tiɣuni/ⵜⵉⵖⵓⵏⵉ). The conclusion is often related to the introduction, in which there is a supplication, a remedy for what has fallen in the middle, or references to future topics. It could also be a wisdom, a will, or the like, which would mark the end of the poet's adventure.
I will focus on the poets of the Mrirt region and its environs, starting with the Ait Aziz group and the Ait Othman group, and then ending with the unique feminist experience of the Aitou Agchoui group. The Ait Aziz group is made up of three poets belonging to the Ait Aziz tribe, in the Mriret region, which is administratively affiliated to the Khenifra region.
The poet Boutaam Sidi Mohamed bin Lahcen, and his mother, Fathima bint Al-Orabi, grew up in 1943, and died on July 27, 1998, and was buried by Ait Aziz. His father had emigrated from Ait Atab, the district of Azilal, while the poet Al-Sahli Al-Mustafa bin Ahmed bin Muhammad, known as Mustafa Osoussi, and his mother Aisha bint Al-Mustafa. His father was a jurist in the Ait Aziz tribe, and he was from the Sous region. As for the Olmec poet Sidi Muhammad bin Khouya Belhassan, and his mother, Fathima Lahcen, he saw the light in 1940 and is still alive, may God prolong his life. His father migrated from the corner of Ait bin Abd al-Sadiq in Rashidiya.
The poet Mustafa Akno Emdiaz Mustafa Akno grew up in 1968 in the Ait Othman tribe, his actual beginning was in 1990, which was influenced by the pioneering experience at the level of Mrirt, which is the experience of the Ait Aziz group, then the poet Moussa Abyadawi Al-Zadawi in 1978 in the Ait Othman tribe, and his beginning was in 1996, where he was influenced by He loaned poetry to each of the Ait Aziz group in the Ayth Sokou region and the poets of the Ekrawan region, as he stated, in addition to the poet Muhammad Al-Yousifi, who saw the light in the Irshkeken tribe in 1960 and was also influenced by Ayith Aziz, and his beginning was in 1990. As for the poet Muhammad Ohman from the Aith Othman tribe, Al-Mazd in 1977 was affected, like the rest of the group, by Ayith Aziz's experience in poetry.
As for women’s poetry, we mention Aitou Agchoui, who was born in 1977 in the Bouzgour region, the Hammam-Mariret group, and belongs to Ait Issa, the Ait Abdullah tribe. 2000, the group started in 2017, and was influenced by the aforementioned group of poets, Ait Aziz, and participated in a number of national forums, festivals and poetry competitions, with the need to refer to the Ait Belhadj group, which consists of Olgazi and Mohamed Nashrif, but it disappeared due to special circumstances and the last of us remained From time to time.
(*) A poet and researcher in Amazigh culture, one of his Amazigh poetic works is Diwan: • ⵢⵓⵍⵉⴷ ⵡⴰⵙⵙ • ⴰⵏⵣⴳⵓⵎ ⵏ ⵓⵎⴰⵜⴰ
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