Tag: Algeria

Pilgrims cast prayers to the skies from Algeria mountain peak

Pilgrims climb the Azro Nethor peak in the Djurdjura Mountain rangeto reach "el-Jammaa Oufella" (the upstairs mosque). (Pic: AFP)
Pilgrims climb the Azro Nethor peak in the Djurdjura Mountain rangeto reach “el-Jammaa Oufella” (the upstairs mosque). (Pic: AFP)

Determined to rise high enough for their prayers to be heard, climbers defy the stifling summer heat to conquer a summit in Algeria’s northern Kabylie region.

They are women desperate for children, youth seeking jobs, and the sick hoping for a cure.

At the heart of this restive Berber-speaking region, Azro Nethor – the zenith prayer rock – towers at 1 884 metres above sea level, at the end of a steep path in the Atlas Mountains, an exhausting, giddy climb up the rocky mountain side.

Thousands of people climb the peak every year to perform prayers hoping "the saints" will answer their pleas. (Pic: AFP)
Thousands of people climb the peak every year to perform prayers hoping “the saints” will answer their pleas. (Pic: AFP)

On the rock’s summit sits El-Jammaa Oufella (The Mosque at the Top), a small, stark place of worship. Inside, slim candles light the alcoves in its white walls.

For three successive Fridays each August, thousands of people from across Kabylie, and even from the capital Algiers, flock to the mountain peak, wheezing in the suffocating heat, for a pilgrimage rooted in a belief in the powers of holy men.

Islam does not recognise any intermediaries between God and men, but the cult of holy figures remains deeply rooted in Algeria, despite orthodox Muslims fighting to curb the practice.

Before the Bamiyan Buddhas were blown up in Afghanistan in 2001 and the Timbuktu mausoleums destroyed in Mali a decade later, armed Islamist groups in the 1990s destroyed many of the holy sanctuaries that dot the Algerian landscape.

Miracle men

Across the North African country, there is hardly a town or village that does not have at least one mausoleum, like that of Sidi Abderrahman, Algiers’ patron saint.

A pilgrim lights a candle inside the mosque. (Pic: AFP)
A pilgrim lights a candle inside the mosque. (Pic: AFP)

Azro Nethor is named after a legend passed down over the centuries. It says that an elderly wise man topped the mountain peak just as the sun reached its zenith and died there as he finished his midday prayer.

The wise man, said to have received God’s blessing, has since made endless apparitions in the villages dotted along these mountain crests.

His blessing has saved numerous local residents from grief, according to the legend, and once even a plate of couscous that hurtled all the way down the mountain without losing a single grain.

Since, a giant plate of couscous has been offered up to visitors at each pilgrimage, with dozens of sheep slaughtered for the occasion. Pilgrims quench their thirst at a spring said to have purifying properties.

At the foot of the mountain, in the shade of a tent, faith healers offer hope to those who have come to consult them.

Couples, young women and children place their head under a piece of fabric to hear a prayer.

“Next year, you will come back here with a husband on your arm and in two years’ time you will return with a child,” one healer promises a young woman, whose face bursts into a smile.

“I have been coming here since I was 20,” says a woman in her 70s who has made the journey from Larbaa Nath Irahen, some 50 kilometres from the sanctuary.

“The first time, I prayed for a husband, then to have children – and then for peace,” she says, referring to a civil war between the state and Islamist insurgents that abated in the late 1990s.

“The saints heard my prayers and they were all granted, which is why I always come back,” she says, her face beaming.

Prayers cast across the sea

Women make up the majority of those who come to climb the mountain, some launching calls to children snatched up by lives abroad, convinced that their voice will travel across the mountains and the nearby Mediterranean Sea.

A pilgrim lights a candle inside the mosque. (Pic: AFP)
A pilgrim lights a candle inside the mosque. (Pic: AFP)

Three years ago, 62-year-old doctor Mohamed came with his ailing mother, who was desperate for news from a child living in Italy. Her plea rose up to the skies and her son came home within days.

But it was the doctor who had begged his younger brother to make the journey, he says.

“My mother died relieved, convinced that her cry had reached Italy,” he recounts on his latest visit to the mountain, choking with emotion.

Like the doctor, youth huddling in groups nearby do not believe in these tall tales either. Many here say the annual pilgrimages were actually established as a pretext for match-making.

“The legend was made up by a feminist before his time, in revolt at the fate of young women in these mountains,” one explains.

“They were prisoners inside their fathers’ homes and had little chance of marrying outside their tribe’s circle. With the start of the legend, they could finally come to Azro Nethor where they could be seen by men from other villages and increase their chances of marrying,” he says.

“Today, we also come hoping to meet someone nice.”

Assia Djebar, acclaimed Algerian novelist, dies aged 78

Assia Djebar at the Academie Francaise in Paris on June 22 2006. (Pic: AFP)
Assia Djebar at the Academie Francaise in Paris on June 22 2006. (Pic: AFP)

The acclaimed Algerian novelist Assia Djebar, who explored the lives of Muslim women in her fiction for more than 50 years, has died.

Djebar, who was born and raised in Algeria and who was regularly named as a key contender for the Nobel prize in literature, died on February 7 in a Paris hospital, French press reported . She was 78.

French president François Hollande paid tribute to the writer on learning of her death, with a statement describing her as a “great intellectual” and a “woman of conviction, with multiple fertile identities which fed her work, between Algeria and France, between Berber, Arab and French”.

Djebar’s American publisher Seven Stories Press, which released three of her works in English translation, Algerian White, So Vast the Prison, and The Tongue’s Blood Does Not Run Dry, called her an “admired and beloved author, translator and filmmaker”.

“It is with extreme sadness that we mourn the great Assia Djebar, who passed away this week,” said the publisher in a statement . “Her novels and poems boldly face the challenges and struggles she knew as a feminist living under patriarchy and an intellectual living under colonialism and its aftermath. Djebar’s writing, marked by a regal unwillingness to compromise in the face of ethical, linguistic, and narrative complexities, has attracted devoted followers around the world.”

Djebar was born Fatima-Zohra Imalayan, but adopted the pen-name Assia Djebar after publication of her first novel in 1957. La Soif, which translates literally as The Thirst but was published in English as The Mischief, tells of a westernised young woman growing up in Algeria. Djebar would go on to write more than 15 novels in French, with her works translated into more than 20 languages. Les Enfants du Nouveau Monde (The Children of the New World), published in 1962, looked at the lives of women in a rural Algerian town drawn into the resistance movement

In 2005 Djebar became the fifth woman to be elected to the Académie Française. An academic, most recently at New York University, where she held the position of French literature professor, the author was also a playwright and filmmaker. She won a number of awards for her work, including the International Prize of Palmi, the Peace Prize of the Frankfurt Book Fair and the International Critics’ Prize at the Venice Biennale for the film La Nouba des Femmes du Mont Chenoua.

She was also the recipient of the International Literary Neustadt Prize, William Gass writing at the time that “Assia Djebar is not being celebrated here because she has brought us more bad news, or exotic treats, or even her eloquent imagination, worthy as much as that may be; we are lauding her here because she has given weeping its words and longing its lyrics”.

Amid chaos, African teams make history at the World Cup

Stephen Keshi had just finished repelling yet another query about the Nigeria player bonus payment issue when he wiped his brow, leaned forward and posed a rhetorical question.

“Can I ask if you work with the CIA?” the Nigeria coach said, sparking muffled laughter all around.

When it comes to African teams at the World Cup, the focus on football has sometimes taken a back seat to other distractions in Brazil.

Strike threats. Pay disputes. Bomb blasts back home. Presidential interventions. That’s on top of several unsavoury incidents on the field, with a Cameroon player head-butting his teammate and high-profile Ghana players getting suspended for physical and verbal attacks in training.

Yet somehow, through the turmoil, it has been the best World Cup for African teams in a way: for the first time, more than one of the continent’s representatives advanced to the knockout stage.

And if Nigeria and Algeria win their round-of-16 matches on Monday, they would play each other to guarantee Africa’s first semifinalist on football’s biggest stage.

“I hope Nigeria and Algeria can continue to make Africa proud,” Keshi said. “That would be a great World Cup.”

The Nigerian team sing their national anthem before taking on Iran in a Group F match on June 16. (Pic: AFP)
The Nigerian team sing their national anthem before taking on Iran in a Group F match on June 16. (Pic: AFP)

Many have reacted with a shrug to the off-pitch shenanigans that have blighted African teams’ World Cup campaigns. Just ask France coach Didier Deschamps, who is preparing his team to take on Nigeria in Brasilia.

“For them, I don’t think it is a very unusual situation,” he said. “I’m not saying it is part of the culture, but it has happened before this World Cup.”

Bonuses
Player disgruntlement over unpaid bonuses has followed the African teams around Brazil. Ghana’s president had to fly reportedly millions in cash to Brazil to ensure the team didn’t boycott a pivotal group game against Portugal.

Cameroon refused to travel to the tournament until a dispute over appearance fees was resolved. Most recently, Nigeria players’ concerns over bonus payments contributed to a training session being cancelled on Thursday and the country’s president, Goodluck Jonathan, having to intervene from long distance.

Hence the barrage of questions to Keshi on Sunday.

“There was not a major issue about the monetary aspect of it,” Keshi said. “It was just something we wanted to highlight.”

Nigeria is thriving on the pitch, despite tragedy back home. A day after its first group game, a bomb blast at a World Cup viewing site in Damaturu, northeast Nigeria, and killed 14 people. Last week, a bomb went off at a shopping mall in Abuja, the capital in central Nigeria, killing 24 people.

“It’s been quite a tragedy, but we are here – we have a job to do,” Nigeria midfielder John Obi Mikel said. “Things that happen back home, we shouldn’t let it affect us. Football unites everyone back in Nigeria.”

For Ghana, Cameroon and Côte d’Ivoire, the misery has been confined to the field of play.

The Ivorians were seen as Africa’s top hope but they again failed on the big stage, tumbling out after conceding an injury-time penalty that was converted by Greece in their final Group C match. It was seen as the last chance for the so-called “golden generation” of Didier Drogba, the Toure brothers and Didier Zokora at the highest level. The failure led to coach Sabri Lamouchi stepping down.

“There will no renewal,” Lamouchi said. “The reasons why are obvious.”

Investigations
The presidents of Cameroon and Ghana have called for investigations following disappointing World Cup performances.

State media said Cameroon President Paul Biya has given his prime minister one month to submit a report on the Indomitable Lions’ “inglorious campaign,” with a statement from his office urging “a profound and deep restructuring of Cameroonian football.”

Cameroon lost all three games, scored just one goal and was shamed when defender Benoit Assou-Ekotto thrust his head into the face of teammate Benjamin Moukandjo against Croatia.

Since reaching the quarterfinals in 1990, Cameroon has won just one of 15 games at the World Cup.

Ghana’s campaign ended in disgrace, too, with Sulley Muntari and Kevin-Prince Boateng thrown out of the squad on the morning of the match against Portugal for disciplinary reasons.

A 2-1 loss in that game meant Ghana failed to advance to the knockout rounds for the first time in three World Cups. It wasn’t long before Ghana President John Mahama also ordered an investigation, as well as replacing both the country’s sports minister and his deputy.

Nigeria, which takes on France in Brasilia, and Algeria, which takes on Germany in Porto Alegre, are flying the flag not just for their own countries but for a whole continent on Monday. – Steve Douglas for Sapa-AP

FiSahara – The world’s most remote film festival

As the great and the good of the world’s film industry prepared to descend on Cannes last week, a very different film festival was coming to a climax deep in the Sahara desert. Far from the red-carpeted Mediterranean opulence of the Croisette, the Sahara International Film Festival – known as FiSahara – took place in a sun-baked refugee camp deep in the Algerian desert. What it may have lacked in glittering VIP premieres and champagne-fuelled yacht parties, FiSahara made up for in spades with dune parties, camel races and multiplex-sized screenings beneath the stars.

Now in its 11th year, the FiSahara film festival attracted over 300 international actors, screenwriters and cinephiles, alongside thousands of Saharawi refugees exiled from their native Western Sahara for nearly four decades. Festival guests flew by chartered plane to the remote desert outpost of Tindouf where they boarded a convoy of buses and 4x4s and drove the dusty 100m to Dakhla refugee camp, in an area known locally as the Devil’s Garden.

The Sahara International Film Festival. (Carlos Cazurro)
The Sahara International Film Festival. (Carlos Cazurro)

There they were met by refugee families, with whom they lived for five days, sleeping in their stucco-and-tented homes and sharing their simple couscous meals and copious glasses of sweet tea. With midday temperatures topping 100 degrees, most activities were scheduled for mornings and late afternoons with screenings taking place after dusk, in makeshift cinemas or projected onto a giant screen attached to the side of an articulated lorry.

Experience of Saharawi students
The festival programme included over 30 films from around the world including documentaries, animations, short films and blockbusters as well as several made by refugees themselves in the newly established refugee camp film school. While some films such as the Oscar-nominated Egyptian film The Square, reflected stories of hope and struggle, others were purely intended to entertain offering the refugees a glimpse of what lies beyond their desiccated desert horizons.

“The cartoon about the boy who plays table football was so funny,” said 12-year old Liman Mohamed referring to the Argentinian 3-D comedy-animation Foosball by Oscar-winning director Juan Jose Campanella, which had filled the desert night with laughter.

The documentary Raíces y Clamor (Roots and Noise), which premiered at the festival explores the heart-wrenching experience of the Saharawi students who move to Spain to get an education. Fati Khadad, a 27-year-old Masters student who appears in the film was at the festival and explained how she was “adopted” by a Spanish family aged 10.

“I am slowly coming to terms with life in exile” she tells me. “Some people say I am lucky to have escaped the refugee camp and got an education but the reality is that I have spent my life apart from the people I love. We all suffer whether in the camps, whether in the occupied territories or whether in exile.”

The festival’s first prize – an actual white camel – was awarded to Legna, an evocative documentary about the traditions of Saharawi poetry. Second prize went to Clint Eastwood’s Invictus, screened as part of this years’ festival tribute to Nelson Mandela. The third prize for the documentary Dirty Wars was collected by the film’s scriptwriter, David Riker who also led a screenwriting workshop for refugee filmmakers.

“I have taught similar workshops for many years in many parts of the world, but I have never had such an exceptional group of students,” Riker said. “I think the reason is simply this – that the Saharawis have an overwhelming need to tell their stories.”

Cultural activities
As well as films and workshops the festival also offered cultural activities, children’s activities led by a team of clowns and evening concerts by renowned world music star Mariem Hassan and legendary musician Jonas Mosa Gwangwa who flew in from South Africa with his nine-piece band.

Gwangwa, who wrote the Oscar-nominated score for Richard David Attenbough’s Cry Freedom, was just one of large South African delegation invited as part of the festival’s tribute to Nelson Mandela. “Culture can replace the gun. It can be much more powerful,” Gwanga told an audience at a roundtable discussion which also included 88-year-old iconic anti-apartheid fighter Andrew Mlangeni, imprisoned with Nelson Mandela for 26 years. Together with Gwangwa, Mlangeni drew parallels with the Saharawi struggle for self-determination and South Africa’s own liberation struggle and highlighted the importance of culture as a weapon in freedom struggle.

“The South African experience is very inspiring and holds many lessons for the Saharawi,” said Jadiya Hamdi, the Saharawi government in exile’s minister of culture. “Creating our own film culture is important in the nation-building process because culture can carry an audience far beyond any political speech.

“The atmosphere in the camp during the week of the film festival is fantastic,” 70-year-old Abaya Ambarak Asalak says despite not having seen any films herself. “Why should I sit on the sand at watch a film when my life has been like a film?” she asks. Abaya has lived in the refugee camp since 1976 after fleeing Western Sahara ahead of the advancing Moroccan troops. “One night a plane dropped bombs from the sky,” she says describing a napalm attack that killed her young son and daughter. “The scars on my body may have faded but the wounds in my heart are still raw.”

And it is stories like these that David Riker feels need to be told. “Film can serve the Saharawi struggle both in helping to express a collective reflection on their circumstances, and by bring their unique story to the world” he says. “Unlike most things planted in the desert, the FiSahara film festival has taken root and continues to grow and flourish” actor said Javier Bardem ahead of this year’s festival. “It is increasingly attracting great films and great film-makers from around the world and in doing it sends a signal to our political leaders that this crisis that can no-longer be ignored and a signal to the Saharawi refugees that despite their isolation, they have not been forgotten.

Stefan Simanowitz is a journalist and the international co-ordinator of FiSahara. This post was first published on the Mail & Guardian Online.