Mass Media, according to Kitch (2006) “have become the primary means by which most people understand the past” (p. 94). Media are thus also considered the pre-eminent method of recreating memories and thus the past, especially when new media technologies enable media to circulate to heretofor inaccessible audiences. A 1994 video of Raissa Fatima Tabaamrante’s autobiography, Tihya, presently has had 10,000 views in the past 10 months on YouTube, primarily by youth viewers and those who would not have had access to the vieo otherwise. Further, almost all biographical entries about Tabaamrante include mention of her 1994 autobiography video, though its content is primarily fictional enactment with only a brief appearance of the star herself at the end of the video telling her story. Because the present is constituted by the past, the past’s retention as well as its reconstruction must be anchored in the present. As each generation modifies the beliefs presented by the previous generations, there remains an assemblage of old beliefs coexisting with the new, including old beliefs about the past itself…. (Glassberg, p. 234) Perhaps the fictional recreation of one woman’s past, in this case, extends beyond a focus on an individual, and functions to recuperate Amazigh culture as part of the Amazigh cultural revival movement. And new media has an important role to play in this movement. This 18 year old video may be as old as some of the viewers who turn to it to gain a perspective on their culture and reclaim their past. Amazigh identity and history, thus memory, is a source of political and ideological power, especially when an individual’s articulations mark them as representative of that identity. Amazigh cultural revivalists considered Tabaamrante’s musical and video representation of Berber cultural identity to comprise an important political statement. Therefore, while on one hand the Amazigh cultural identity movement in the third world context of Morocco had tremendous political and ideological import, the videos and artists themselves had been affected by globally circulating mass media images and technologies and used those technologies to both further their career, or in the case of images circulating in new technologies 18 years later still, to further the cultural identity movement as well.