Abstract
Berbers living in North Africa outside the major Berberophone regions (sometimes called an internal diaspora) face special challenges in maintaining their Amazigh identity despite spatial dislocation from their region of origin. This paper examines how Berbers in the Numidya Cultural Association in the Arabophone city of Oran use theater as a pedagogical tool to remember and reconstitute their heritage as well as to recover and practice the Berber (Tamazight) language. The paper is centered around a play that the troupe rehearsed and performed extensively in 2008-2009, “Annegaru ad yawi tabburt” (The Last One Out Closes the Door), by the Oran-based Kabyle Berber playwright and director Djamel Benaouf. Drawing on data from weekly rehearsals I attended for six months, I consider how language pedagogy and theater pedagogy were brought together in the rehearsal process. I show how rehearsals came to constitute a site for developing fluency or, in some cases, for recovering the language itself. The text of the play served as a heritage tool in that it challenged the actors to make sense of a range of figures and events in Berber and Algerian history. Yet the text was a less important pedagogical device, I contend, than the rehearsal process, which became a de facto classroom for language training. Drawing on video recordings of a range of rehearsals, I show how learning the lines and the stagecraft of the play simultaneously served as a performance of linguistic proficiency or disfluency. I examine how different languages of instruction were mobilized (Berber, French, Arabic); how the frequent disfluencies were handled; and how interactions unfolded among troupe members themselves around issues of pronunciation and vocabulary. Finally, I consider how Tizi Ouzou, de facto capital of the Kabyle region (some 350 miles away) and one of the troupe's touring destinations, was turned into a kind of disciplinary figure whose very spatial and cultural distance from Oran enabled it to haunt the language practices of even the most fluent troupe members.
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