My topic is The Indigenous Imazighen Women of Morocco: Their Role in Preserving Their Culture and Identity in the Wake of Colonialism and “Orientalism.” As I researched and studied this topic, I learned that women are valued and an essential part of their cultural identity. I have written about their roles in society. Beyond homemaker, mother, and grandmother, the female Imazighen (Berbers) are brides, artists, cultural preservationists of art and linguistics, generational storytellers, domestic and political leaders, warriors, royalty, and so much more. I have used my research to argue that, despite years of Colonization and “Orientalism” in Morocco, the Imazighen women were instrumental in preserving their culture and identity. 

An innovative area I explored in my thesis writing and project pertained to the stages of the Berber women’s lives. In these stages, as a bride, mother, and grandmother, I was able to put a spotlight on the creative ways they embraced and preserved their identity. Brides wore, and continue to wear, the art on themselves in the form of garb, veils, tattoos, makeup, jewelry, and other adornments. Highlighting these women as the strong, resilient, multifaceted individuals they have been throughout history is incredible in and of itself. Still, when we examine the adversity they faced due to colonialism and “Orientalism,” it becomes even more remarkable that their culture has been so well preserved to this day. When the arabs invaded Morocco in the early 7th century CE, the Muslim conquest of the Maghreb lasted until the early 8th century. During that time period, both the Arabic language and Islam were introduced to the region. Assimilation of Arab religious and cultural practices was expected of the Berbers. Others may have faltered and lost their identity, but the Imazighen people fought hard against it. Although some cultural practices were altered or modified, they ultimately prevailed overall. A massive win has been the preservation of their Tamazight language. The women were primarily responsible for keeping their language relevant by speaking it in their domiciles.

For my final thesis project, I created three paintings as a triptych, similar to Henri Matisse's Orientalist paintings of Morocco, except mine focuses on three stages of the Imazighen women of Morocco, depicting them realistically during these stages of their lives. Whereas Matisse featured these women in an odalisque style paintings. They were often depicted as being part of harems, which technically did not exist in Morocco in this fashion. 

I patterned my paintings after the famous Moroccan-born artist, Chaïbia Talal. Her style was considered to be Naive art, Outsider art, and Brut art. This genre of painting is characterized by its vibrant colors, featuring organic lines and shapes. Talal painted in gouache and oil paint with India ink on both canvas and paper. Her paintings celebrated the world she grew up in, which embraced the environment around her. She also painted many portraits in this style. I have emulated this style and have also injected my artistic voice into these paintings in an effort to honor Talal and the Berber women who were instrumental in the survival of their art, language and culture.