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A REPLY TO HELENE E. HAGAN'S REVIEW OF AMAZIGH ARTS IN MOROCCO, WOMEN SHAPING BERBER IDENTITY (IJMES 40 [2008]: 341–42)

Published online by Cambridge University Press:  01 November 2008

Cynthia Becker
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International Journal of Middle East Studies , Volume 40 , Issue 4 , November 2008 , pp. 725 - 727
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Copyright © Cambridge University Press 2008

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References

NOTES

1 Donald Clay Johnson and Helen Bradley Foster, eds., Dress Sense: Emotional and Sensory Experiences of the Body and Clothes (Oxford: Berg, 2007). This book, written to honor the renowned scholar of African textiles and dress Joanne Eicher, advocates a multisensory approach to textile scholarship. See also Henry Drewal, “Senses in Understandings of Art,” African Arts 38 (2005): 1, 4, 6, 88, 96.

2 Sidney Kasfir, “One Tribe, One Style?: Paradigms in the Historiography of African Art,” History in Africa 11 (1984): 172.

3 Cynthia Becker, Amazigh Arts in Morocco: Women Shaping Berber Identity (Austin, Tex.: University of Texas Press, 2006), 12.

4 Ibid., 20.

5 See Ross Dunn, Resistance in the Desert (Madison, Wisc.: University of Wisconsin Press, 1977).

6 Hsain Ilahian, “Small-Scale Irrigation in a Multiethnic Oasis Environment: The Case of Zaouit Amelkis Village, Southeastern Morocco,” Journal of Political Economy 3 (1996): 95. See also Hsain Ilahian, Ethnicities, Community Making, and Agrarian Change: The Political Ecology of a Moroccan Oasis (Lanham, Md.: University Press of America, 2004).

7 Ibid., 95. Please refer to my article on this topic: Cynthia Becker, “‘We Are Real Slaves, Real Ismkhan’: Memories of the Trans-Saharan Slave Trade in the Tafilalet Oasis of South-Eastern Morocco,” Journal of North African Studies 7, no. 4 (2002): 97–121.