We had the chance to sit down with Prof. Fatima Sadiqi, author of Women and the Codification of the Amazigh Language, to talk about her groundbreaking research into indigenous Moroccan languages and knowledge.

Sadiqi works on Amazigh women’s ancestral arts, specifically, weaving. These works have often been brushed off as “folkloric” or “quaint,” but Sadiqi’s book argues says there is a lot more going on. The intricate rug designs were beautiful, but the may also have inspired Tifinagh, the Amazigh alphabet. She looks at manuscripts, oral traditions, and archival research and draws from linguistics, archaeology, history, and anthropology to make the convincing argument that that women were preserving and codifying language with their art.

She writes about Tuareg women who have been teaching alphabet by tracing letters in the sand for generations. It’s might appear to be a quiet, everyday practice, but it is helping to keep the language alive.

One eye-opening claim in the book is that Tifinagh has stayed resilient, even though the Amazigh language has had to adapt to Arabic, Hebrew, and Latin scripts over the years. This is important because, as Sadiqi points out, Tifinagh is unique—homegrown and tied directly to Amazigh identity, unlike other scripts that were imposed from outside.

This is really powerful work for the way that it centers everyday women in the creation of culture. These women are codifying the Amazigh language, that is recording, organizing, and passing it on from generation to generation. Her work centers women in the making, history, and transmission of language.

Get her book (here)or ask your local library to get it. It is very important work. In this interview, Sadiqi shares more about what she uncovered, the surprises along the way, and what she hopes future scholars will pick up from where she left off.

 

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Brittle Paper

What was the motivation behind this book? What made you decide to write it? Why do you focus on Amazigh?

Fatima Sadiqi

My passion for the Amazigh language dates to my university years, where I dedicated both my MA and PhD theses to the subject. My PhD thesis holds the distinction of being the first written in English on Amazigh syntax by a native speaker. Later, I authored a comprehensive grammar of the language in French. The book was published by L’Harmattan. What ultimately inspired me to write Women and the Codification of the Amazigh Language, however, was the striking absence of women’s representation in the transnational extensive literature on the Amazigh language.

Brittle Paper 

You talk about Amazigh as a part of a “native scenario.” Could you speak more about this term? How is this similar to or different from thinking about indigeneity and race? How do you situate Amazigh populations in North Africa historically and contemporarily?

Fatima Sadiqi

What I mean here is that only recently have the Amazigh people themselves begun to address and articulate the history of their language. By moving beyond race and ideology, their native perspective brings authenticity and depth to the production of knowledge about the language. I see it as a much-needed insider’s account. The Amazigh are the indigenous inhabitants of North Africa, and their survival into the present era is largely attributed to their language which, more than culture, created what I refer to as ‘linguistic unity across cultural diversity’.

Brittle Paper

Relatedly, you describe your book as engaging with “knowledge production which is not related to the West.” Could you say more about what you mean by this? What is the Western mode of knowledge production that your work is countering, and how does it do so?

Fatima Sadiqi

The book explores knowledge production about the Amazigh language by drawing on various disciplines, such as history and archaeology, in an effort to decolonize the narratives shaped by biased perspectives. In describing my book as engaging with “knowledge production which is not related to the West,” I am referring to an approach that challenges the dominance of Western-centric frameworks in the way knowledge is generated, interpreted, and disseminated. The Western mode of knowledge production often privileges certain epistemological traditions, methodologies, and worldviews that are rooted in European or North American historical contexts. These include scientific rationalism, empirical objectivity, and often an individualistic, Eurocentric perspective that has shaped much of global academic thought. By contrast, my work aims to center non-Western perspectives, particularly those from my own Amazigh culture and language, which have often been marginalized or overlooked in mainstream scholarship. I seek to highlight ways of knowing that are embedded in indigenous traditions, oral histories, and cultural practices that do not conform to the linear, reductionist models of Western thought. This is not just a matter of challenging the content of knowledge, but also its methods—embracing, for instance, holistic, context-dependent, and community-oriented approaches rather than abstract, detached analysis. In doing so, my work counters the Western epistemological dominance by asserting that knowledge is not universal, but is instead deeply connected to cultural, historical, and geographic contexts. It offers an alternative framework that values indigenous and local ways of understanding the world, thus contributing to a more diverse and inclusive global intellectual landscape.

Brittle Paper

This book maps a relationship between orality, art, and writing. Could you say more about this relationship, and the art of weaving in particular? How does this relationship also contribute to cultural identity?

Fatima Sadiqi

The relationship between orality, art, and writing forms a dynamic and interconnected triad, deeply embedded in the cultural and historical fabric of the Amazigh societies. Orality, as the oldest form of human communication, preserves cultural knowledge, history, and traditions through spoken narratives, songs, and proverbs. Art, particularly in its visual and material forms, translates these oral traditions into tangible expressions, while writing serves as a bridge, codifying and perpetuating these traditions across generations and geographies. The art of weaving offers a particularly striking example of this interplay. In many cultures, weaving is more than a craft—it is a storytelling medium. The patterns, symbols, and techniques employed by weavers often encode narratives, beliefs, and social values that are passed down orally from generation to generation. Among Amazigh women, for instance, weaving serves as a canvas for expressing individual and collective identities, with motifs that symbolize fertility, protection, and ancestral connections. The oral knowledge of these symbols, combined with the tactile art of weaving, transforms the loom into a living archive of cultural identity. This relationship between orality, art, and writing is pivotal in shaping and preserving The Amazigh cultural identity. Weaving, for example, acts as a repository of shared heritage, linking the past with the present. Through its motifs and techniques, weavers maintain a dialogue with their ancestors, even as they adapt their art to contemporary contexts. This is often expressed by contemporary young artists. Similarly, when oral traditions are documented in writing, they gain permanence, enabling broader dissemination while also inviting reinterpretation in artistic forms. In sum, the symbiosis between orality, art, and writing underscores the richness of Amazigh cultural expression. Weaving exemplifies this interplay, embodying both an art form and a means of preserving and celebrating cultural identity. Through its intricate patterns and the oral traditions that inform them, it fosters a profound connection to heritage, anchoring individuals within their communities while ensuring that their stories continue to endure.

Brittle Paper

Could you speak more about this concept of “female ancestral agency” that your book mobilizes? How is this different from how we might typically think of women’s agency?

Fatima Sadiqi

In my book, the concept of ‘female ancestral agency’ refers to the power and influence that women hold, not only in the present but also across generations. This idea draws upon the understanding that women are custodians of cultural heritage, traditions, and knowledge passed down through their maternal lines. It underscores the ways in which women shape and preserve the ancestral legacies of their communities, while also actively participating in the construction of new narratives for future generations. Unlike conventional notions of women’s agency, which often focus on individual empowerment or resistance against patriarchal structures, ‘female ancestral agency’ places emphasis on the collective, intergenerational role that women play. It connects individual actions to a larger, more enduring framework of communal responsibility. This perspective highlights how women are not merely reacting to the forces around them but are integral to the ongoing transmission of cultural identity and historical continuity within their families and societies. In this way, ‘female ancestral agency’ is not only about personal autonomy or breaking free from constraints, but also about the stewardship of shared heritage, which can be a powerful, though sometimes overlooked, form of agency.

 Brittle Paper

What is something interesting or surprising you discovered during the process of researching this book that perhaps did not make it into the final draft?

Fatima Sadiqi

During the process of researching this book, I came across a fascinating insight that, while it didn’t make it into the final draft, greatly influenced my understanding of the subject. I discovered how certain Amazigh linguistic features, previously thought to be purely structural or functional, are deeply intertwined with cultural identity and social dynamics. For instance, there are regional variations in syntax that go beyond simple geographical differences and are connected to the social roles and status within different Amazigh communities. This connection between language and social structure was both surprising and thought-provoking, but unfortunately, due to the book’s scope, it was a nuance I couldn’t fully explore. Nonetheless, it enriched my understanding of the complex relationship between language and identity.

Brittle Paper

What impact do you hope the book will have? What do you hope readers will get out of it?

Fatima Sadiqi

The impact I hope the book will have is twofold. First, I aim for it to raise awareness about the significance of the Amazigh language and its cultural heritage, especially in the context of the lack of representation and recognition it has historically faced. I also want to challenge existing linguistic narratives by presenting a fresh perspective, particularly from a female scholar’s point of view, which is often underrepresented in the field. I hope readers will gain a deeper understanding of the complexity and richness of the Amazigh language and its syntax. Additionally, I wish to inspire future scholars, particularly women, to explore and contribute to the field of Amazigh studies, encouraging them to bring their own unique voices to the conversation. Ultimately, I hope the book fosters a greater appreciation for linguistic diversity and encourages a more inclusive approach to the study of minority languages.

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You can buy a copy of the book here!