Personnages de “l’entre-deux” chez les touaregs

Claudot-Hawad, Hélène

doi:10.4000/books.iremam.2859

Cited by 3 publications

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“…In many rural Tuareg communities, the ‘wild’ aspect of essuf still tends to be opposed to the community of culture, the latter often represented metonymically as the tent or ehan (Casajus 1987; Claudot‐Hawad 1993; Rasmussen 1995). The phrase Kel Essuf usually denotes ‘people of the wild or solitude’, and refers to spirits in the local cosmology, most of whom are considered evil, opposed to the human moral and social community organized around the tent.…”

Section: The Legacy Of Essufmentioning

confidence: 99%

“…In Tamajaq, the language of the Tuareg people in northern Niger and Mali, West Africa, there is a concept called essuf . In ritual healing and cosmology, this denotes approximately ‘the wild’ or ‘solitude’; it is at once a mental state, a place where the soul of a possessed person travels, and also a literal remote space, far from the nomadic tent and camp (Casajus 1987; 1989; Claudot‐Hawad 1993; J. Nicolaisen 1961; Rasmussen 1995).…”

Section: Introductionmentioning

confidence: 99%

“…Bernus 1981; S. Bernus, Bonte, Brock & Claudot 1986; Claudot‐Hawad 1993; Keenan 1976; I. Nicolaisen & Nicolaisen 1997).…”

Section: Introductionunclassified

“…In all the nations where they reside, Tamajaq‐speakers tend to be minorities, far from the centres of official decision‐making (Claudot‐Hawad 1993; 1996). Until recently, they were under‐represented in higher education, jobs, and government.…”

Section: Introductionmentioning

confidence: 99%

“…1 1 For descriptions of Tuareg social and political organization, traditional and changing, see Claudot‐Hawad (1993; 2002); Keenan (1976; 2003); I. Nicolaisen & Nicolaisen (1997).…”

mentioning

confidence: 99%

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The people of solitude: recalling and reinventing essuf (the wild) in traditional and emergent Tuareg cultural spaces

Rasmussen

2008

Royal Anthropological Inst

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This article explores continuities and discontinuities in conventional and changing meanings and uses of essuf, a term which denotes approximately the ‘wild’, ‘solitude’, or ‘nostalgia’ in dialects of the Tamajaq language spoken by Tuareg peoples in Mali and Niger. In this analysis of creative reinventions of essuf in both local and ‘borderlands’ spaces of psycho‐social crises, oral art performances, and ‘modern’ literature, the wider goal is to produce more nuanced anthropological understandings of local/global and structure/agency connections. The data illustrate the connections between sacred spaces – literal, imagined, and remembered – in African philosophical modes of thought and socio‐political power and agency. The Tuareg case opens up perspectives on how cultural spaces of varying scale are affected by selective remembering, and creative re‐enacting of key philosophical notions. The data caution anthropologists against reifications and binaries of global and local, and structure and agency. Résumé L'article explore les continuités et discontinuités dans les significations et usages conventionnels et changeants de l'essouf, qui désigne approximativement le monde sauvage, la nostalgie ou la solitude dans les dialectes du langage tamajaq parlé par les Touareg du Mali et du Niger. Dans cette analyse des réinventions créatives de l'essouf dans les espaces locaux et « frontaliers » des crises psychosociales, des performances d'art oral et de la littérature « moderne », le but plus large est de parvenir à une compréhension anthropologique plus nuancée des liens entre local et global, entre structure et agency. Les données illustrent les liens entre les espaces sacrés, littéraux, imaginés et remémorés, dans les modes de pensée et de pouvoir sociopolitique africains. Le cas des Touareg ouvre de nouvelles perspectives sur la manière dont les espaces culturels d'échelles variables sont affectés par la remémoration sélective et la réincarnation créative de notions philosophiques essentielles. Ces données sont aussi une mise en garde aux anthropologues contre les réifications et les concepts binaires de global et local, de structure et d'agency.

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Section: The Legacy Of Essufmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

“…Bernus 1981; S. Bernus, Bonte, Brock & Claudot 1986; Claudot‐Hawad 1993; Keenan 1976; I. Nicolaisen & Nicolaisen 1997).…”

Section: Introductionunclassified

Section: Introductionmentioning

confidence: 99%

“…1 1 For descriptions of Tuareg social and political organization, traditional and changing, see Claudot‐Hawad (1993; 2002); Keenan (1976; 2003); I. Nicolaisen & Nicolaisen (1997).…”

mentioning

confidence: 99%

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The people of solitude: recalling and reinventing essuf (the wild) in traditional and emergent Tuareg cultural spaces

Rasmussen

2008

Royal Anthropological Inst

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Global Media and Local Verbal Art Representations of Northern Malian Tuareg

Rasmussen¹

2017

Afr. stud. rev.

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Abstract:This article offers a critique of widely disseminated portrayals of northern Malian Tuareg by outside media, which tend to portray all Tuareg as warriors and criminals and to project pseudo-scientific concepts of “race” onto relationships between Tuareg and other Malians, recalling the now discredited colonial “Hamitic Myth” in Rwanda. It also analyzes local oral historical accounts that present themes of Mali as both a protected fortress and welcoming crossroads, a country that both resists and absorbs intruders, and that also express concepts of identity based on language, culture, and flexible social affiliation. The article is based partly on interviews with internationally known local musicians who function as mediating “third voices,” and concludes with a discussion of wider implications of these findings for notions of voice, authority, and the mutual construction of ideas of Africa.

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Du beau à l’identité. Représentations touarègues de l’expression esthétique

Hincker¹

2003

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En se promenant dans le centre des grandes villes françaises, force est de constater que les bijoux touaregs sont à la mode. Ils bénéficient de l'engouement pour « l'ethnique » qui sévit depuis quelques années dans toute l'Europe occidentale. Nous achetons des bijoux touaregs parce qu'ils nous plaisent, et dans certains cas, parce que nous les trouvons beaux, au même titre que les Touaregs trouvent beaux certains des modèles vendus en Europe, et vont chercher à se les procurer. 2En poussant la logique de ce raisonnement, nous serions tentés de conclure que Touaregs et Européens partagent, au moins sur certains points, les mêmes conceptions esthétiques parce qu'ils apprécient les mêmes bijoux. Lorsque deux groupes, culturellement distincts, se rejoignent sur l'appréciation portée à un objet, s'agit-il ou non d'une coïncidence ?

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Personnages de “l’entre-deux” chez les touaregs

Cited by 3 publications

References 0 publications

The people of solitude: recalling and reinventing essuf (the wild) in traditional and emergent Tuareg cultural spaces

The people of solitude: recalling and reinventing essuf (the wild) in traditional and emergent Tuareg cultural spaces

Global Media and Local Verbal Art Representations of Northern Malian Tuareg

Du beau à l’identité. Représentations touarègues de l’expression esthétique

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