Morocco's Tribeswomen See Facial Tattoo Tradition Fade

Amazigh women pose for a picture in the village of Imilchil in central Morocco’s High Atlas Mountains on September on August 19, 2024. Agence France-Presse
Amazigh women pose for a picture in the village of Imilchil in central Morocco’s High Atlas Mountains on September on August 19, 2024. Agence France-Presse
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Morocco's Tribeswomen See Facial Tattoo Tradition Fade

Amazigh women pose for a picture in the village of Imilchil in central Morocco’s High Atlas Mountains on September on August 19, 2024. Agence France-Presse
Amazigh women pose for a picture in the village of Imilchil in central Morocco’s High Atlas Mountains on September on August 19, 2024. Agence France-Presse

As a young girl growing up in the Atlas mountains, Hannou Mouloud's family took her to have her chin tattooed with the cherished lines that generations of Moroccan Amazigh tribeswomen wore.
"When I was six, they told me tattoos were pretty adornments," recalled the 67-year-old from Imilchil village of the once-common practice among women in North Africa's Amazigh groups, AFP reported.
Long referred to as Berbers, many tribespeople from the area prefer to be called Amazigh, or Imazighen, which means "free people".
Today, like in many of the Indigenous cultures across the world where facial tattoos were long prevalent, the practice has largely faded.
Many attribute the near-disappearance of facial tattoos to Morocco's changing religious attitudes in recent decades, with interpretations of Islam where inked skin and other body modifications like piercings are prohibited taking hold.
"We would use charcoal to draw the designs on our faces, then a woman would prick the drawing with a needle until blood came out," Mouloud told AFP, adding that they would rub the wound daily with a chewed green herb to deepen the tattoo's color.
The markings vary in design between the minority's tribes and were used to signify the wearer's origin while offering beauty and protection.
Being tattooed would hurt, said Hannou Ait Mjane, 71, and "we couldn't hold back our tears" but it "remains a tradition that our ancestors passed down to us".
Fundamentalism
Morocco has the largest Amazigh population in North Africa, with Tamazight, the community's language, recognised as an official language alongside Arabic.
According to the most recent census in 2014, more than a quarter of Morocco's 35 million inhabitants speak at least one dialect -- Tarifit, Tamazight or Tachelhit.
Abdelouahed Finigue, a geography teacher and researcher from Imilchil, told AFP that women often had their chins, foreheads or hands tattooed.
The designs held different meanings to the different communities.
"The woman, through her tattoos, expresses her beauty and her value as an individual independent of the man," he said, explaining what the different shapes can mean.
"The circle, for example, represents the universe and beauty, just like the moon and the sun which occupied an important place in local rites," he said.
But changing religious trends means fewer women are getting inked.
Bassou Oujabbour, member of local development association AKHIAM, said women with the markings have faced social pressure.
"Fundamentalists sometimes describe tattooing as the devil's book or as the first thing to be burned on the human body," he said.
"Some women even removed the tattoos long after getting them for fear of punishment after death."



Picasso’s ‘Guernica’ at Heart of Battle in Spain Over Location

A visitor looks at Spanish painter Pablo Picasso's master piece "Guernica" during a press conference presenting the "Year of Picasso" events, marking the 50th anniversary of the painter's death, at the Reina Sofia museum in Madrid, on September 12, 2022. (Thomas Coex/ AFP)
A visitor looks at Spanish painter Pablo Picasso's master piece "Guernica" during a press conference presenting the "Year of Picasso" events, marking the 50th anniversary of the painter's death, at the Reina Sofia museum in Madrid, on September 12, 2022. (Thomas Coex/ AFP)
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Picasso’s ‘Guernica’ at Heart of Battle in Spain Over Location

A visitor looks at Spanish painter Pablo Picasso's master piece "Guernica" during a press conference presenting the "Year of Picasso" events, marking the 50th anniversary of the painter's death, at the Reina Sofia museum in Madrid, on September 12, 2022. (Thomas Coex/ AFP)
A visitor looks at Spanish painter Pablo Picasso's master piece "Guernica" during a press conference presenting the "Year of Picasso" events, marking the 50th anniversary of the painter's death, at the Reina Sofia museum in Madrid, on September 12, 2022. (Thomas Coex/ AFP)

Pablo Picasso's anti-war masterpiece "Guernica" is swept up in a conflict in Spain, where Basque leaders want the government in Madrid to move the painting to their region, whose 1937 bombing inspired it.

The mural-sized painting has been on display since 1992 at the Reina Sofia museum in the Spanish capital, and repeated requests for it to be moved to Spain's Basque Country have been refused.

The latest demand was made by the head of the regional Basque government, Imanol Pradales, during talks with Socialist Prime Minister Pedro Sanchez.

The Basque government wants the painting to be hung in the Guggenheim Museum in Bilbao to commemorate the 90th anniversary of the April 26, 1937, bombing, in which forces from Nazi Germany and Fascist Italy razed the town of Guernica to help General Francisco Franco in the Spanish Civil War.

Bringing the painting to Bilbao from October until June would be a form of "reparation and historical memory", the Basque government said.

Sanchez -- whose minority government depends on the support of two Basque parties in parliament to pass laws -- did not reject the proposal outright, instead referring it to the culture ministry.

The ministry asked the Reina Sofia museum for a technical report on the viability of the request, which once again "strongly advised" against moving the painting.

The report said the painting is too fragile to travel, citing risks of damage from vibration or movement.

Picasso's black-and-white masterpiece is the highlight of the Reina Sofia museum, which welcomed around 1.6 million visitors last year.

The outspoken head of the regional government of Madrid, Isabel Diaz Ayuso of the conservative Popular Party (PP), weighed in on Monday, calling the request to move the painting "provincial".

"It makes no sense for everything to be returned to its origin. In that case we should send all of Picasso's works to Malaga," she said, a reference to the southern Spanish city where Picasso was born.

- Return from New York -

Asked about the controversy on Tuesday, Spain's central government spokeswoman Elma Saiz said the government relies on the advice of "professionals", referring to the museum report, and "never resorts to insults".

Painted in 1937 in the aftermath of the bombing, "Guernica" debuted in Paris at the World's Fair, then was placed in the care of the Museum of Modern Art in New York.

When Franco's forces overthrew the Spanish republic, Picasso stipulated that the painting should not return to Spain until democracy had been restored.

The work was moved to Spain in 1981, six years after Franco's death.

It was first displayed at the Prado museum, then moved to the Reina Sofia in 1992.

Picasso, who died in 1973, never lived to see the painting on exhibit in Spain.

In 1995, Spanish authorities refused to lend it to the Pompidou Center in Paris, citing the damage the work could suffer during its transport.


Cultural Development Fund Reports Strong Q1 2026 Growth and Impact

Cultural Development Fund Reports Strong Q1 2026 Growth and Impact
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Cultural Development Fund Reports Strong Q1 2026 Growth and Impact

Cultural Development Fund Reports Strong Q1 2026 Growth and Impact

The Cultural Development Fund has announced its results for the first quarter of 2026, demonstrating significant growth in financial performance and developmental impact. This underscores the fund's role as a key financial enabler and center of excellence in developing a sustainable cultural sector, enhancing Saudi culture as a vital economic and social pillar, SPA reported.

Since its inception, the fund has provided over SAR770 million in financial support to 165 cultural projects across various sub-sectors and regions of the Kingdom. It has also benefited more than 1,630 creative individuals and entrepreneurs through developmental services aimed at building entrepreneurial capabilities.

The fund achieved a 30% increase in financial returns compared to the same period in 2025, contributing an estimated SAR4.1 billion to GDP and creating over 12,540 job opportunities.

Additionally, it has stimulated private sector involvement with approximately SAR1.1 billion in contributions, reflecting growing confidence in developing the cultural sector.

These figures highlight the fund's essential role in empowering the private sector and fostering innovative financial solutions that promote growth and enhance the quality of life, aligned with Saudi Vision 2030.


Historic Jeddah Showcases Cultural Heritage at Umrah and Ziyarah Forum

The pavilion highlighted the distinctive architectural features of Historic Jeddah - SPA
The pavilion highlighted the distinctive architectural features of Historic Jeddah - SPA
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Historic Jeddah Showcases Cultural Heritage at Umrah and Ziyarah Forum

The pavilion highlighted the distinctive architectural features of Historic Jeddah - SPA
The pavilion highlighted the distinctive architectural features of Historic Jeddah - SPA

Historic Jeddah participated in the Umrah and Ziyarah Forum to highlight its historical role as a key gateway for pilgrims to Makkah, while introducing visitors to its cultural status and the ongoing development projects that reinforce its status as a heritage destination, SPA reported.

The pavilion introduced visitors to the "Historic Hajj Trail" supported by the Ministry of Hajj and Umrah, designed as a sequential narrative that retraces the pilgrim’s journey from arriving at Bab Al-Bunt Port, now the Red Sea Museum, to Makkah Gate, passing through prominent historical sites that reflect Jeddah’s role in serving pilgrims.

The pavilion highlighted the distinctive architectural features of Historic Jeddah and its long-standing role as a major port for pilgrims since the 7th century CE and also featured interactive content showcasing the area’s cultural and social fabric.

This participation forms part of the "Revitalization of Historic Jeddah" project, led by the Ministry of Culture, within the framework of the National Culture Strategy and Saudi Vision 2030.