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	<title>Andy Morgan Writes</title>
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		<title> NEW BOOK:  MUSIC, CULTURE &amp; CONFLICT IN MALI</title>
		<link>http://www.andymorganwrites.com/new-book-music-culture-conflict-in-mali/</link>
		<comments>http://www.andymorganwrites.com/new-book-music-culture-conflict-in-mali/#comments</comments>
		<pubDate>Thu, 16 May 2013 21:32:15 +0000</pubDate>
		<dc:creator>Andy Morgan</dc:creator>
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		<guid isPermaLink="false">http://www.andymorganwrites.com/?p=1189</guid>
		<description><![CDATA[My new book <i>MUSIC, CULTURE &#038; CONFLICT IN MALI</i>  takes an in-depth look at the crisis that overtook Mali in January 2012 and lead to a ten-month occupation of the northern two-thirds of the country by armed jihadi groups. The book examines the roots of those tumultuous events and their ef- fect on the music and culture of the country. There are chapters on music under occupation in the north, the music scene in Bamako, the destruction of mausoleums in the north, the fate of Mali’s precious manuscripts, Mali’s film and theatre industries and the response to the crisis from writers, poets, journalists, intellectuals and film-makers.]]></description>
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<h1 style="text-align: right;"><a href="http://www.andymorganwrites.com/wp-content/uploads/2013/05/Freemuse-Mali-Bk-Cover-4-Web.jpg"><img class="alignleft  wp-image-1190" style="border: 3px solid black; margin-bottom: 5px; margin-right: 15px;" alt="Music, Culture &amp; Conflict in Mali COVER" src="http://www.andymorganwrites.com/wp-content/uploads/2013/05/Freemuse-Mali-Bk-Cover-4-Web.jpg" width="309" height="436" /></a><strong></strong></h1>
<h1 style="text-align: right;"><strong>MUSIC </strong></h1>
<h1 style="text-align: right;"><strong>CULTURE </strong></h1>
<h1 style="text-align: right;"><strong>&amp; CONFLICT </strong></h1>
<h1 style="text-align: right;"><strong>IN MALI</strong></h1>
<h2 style="text-align: right;"><em>By Andy Morgan</em></h2>
<p>&nbsp;</p>
<h2 style="text-align: right;">A Freemuse Publication</h2>
<h2 style="text-align: right;"> 220 Pages</h2>
<h2 style="text-align: right;">Out on May 21st 2013</h2>
<p style="text-align: right;"><em>PRICE: (Digital) £5.99 / €6.99 / $8.99  </em></p>
<p style="text-align: right;"><em>(Paperback On Demand): £12.99 / €14.99 / $19.99</em></p>
<p>&nbsp;</p>
<p style="text-align: right;"><strong> &#8221;Essential reading for anyone who has been touched by Saharan music. It gives a clear and gripping picture of what it&#8217;s like to live through the chaos of a 21st century conflict&#8230;A really valuable piece of work.&#8221;  <em>JUSTIN ADAMS</em></strong></p>
<p><span style="color: red;"> </span><br />
<span style="color: red;"><br />
</span></p>
<h3 style="text-align: justify;"><strong><em></em><em><strong><em>AVAILABLE FOR ALL E-READERS &amp; IN PRINT FROM:</em></strong></em></strong></h3>
<h4 style="text-align: justify;"><em><a title="Freemuse Book Store" href="http://www.lulu.com/spotlight/andymorgan" target="_blank">Freemuse Bookstore</a> (Links to Amazon, iTunes Bookstore, Barnes &amp; Noble coming soon)</em></h4>
<p><span style="color: red;"> </span><span style="color: red;"><br />
</span></p>
<h3 style="text-align: justify;"><strong><em>READ THESE EXTRACTS:</em></strong></h3>
<h4 style="text-align: justify;"><em><a title="&quot;We don't want Satan's music!&quot; - Scenes of musical life under Shari'a law" href="http://www.andymorganwrites.com/we-dont-want-satans-music/" target="_blank">&#8220;We don&#8217;t want Satan&#8217;s music!&#8221; &#8211; Scenes of musical life under Shari&#8217;a Law</a></em></h4>
<h4 style="text-align: justify;"><em><a title="Music in the red zone - The Festival in the Desert and the advance of Islamism in the north" href="http://www.andymorganwrites.com/music-in-the-red-zone/" target="_blank">Music in the red zone &#8211; The Festival in the Desert and the advance of Islamism in the north</a></em></h4>
<h4 style="text-align: justify;"><em><a title="&quot;We have come here to teach you the true faith,&quot; - Vandalism and destruction along the great fault line of the Sahel" href="http://www.andymorganwrites.com/we-have-come-here-to-teach-you-the-true-faith/" target="_blank">&#8220;We have come here to teach you the true faith,&#8221; &#8211; Vandalism and destruction along the great fault line of the Sahel</a></em></h4>
<h4 style="text-align: justify;"><em><a title="Tisrawt - The epic tale of theatre company from northern Mali" href="http://www.andymorganwrites.com/tisrawt-the-epic-tale-of-a-theatre-company-from-northern-mali/" target="_blank">Tisrawt &#8211; The epic tale of a theatre company from northern Mali</a></em></h4>
<p>&nbsp;</p>
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<p style="text-align: justify;">Freemuse, the international freedom of musical expression organisation, are pleased to announce the publication of their first book Music, Culture and Conflict in Mali, which is due to appear in a digital and on-demand paperback edition on May 21st 2013.</p>
<p style="text-align: justify;">Music, Culture and Conflict in Mali is by the writer and journalist Andy Morgan, who used to manage the Touareg group Tinariwen and has been working with and writing about Malian musicians for many years. He is also a reputed commentator on the music, culture and politics of Mali and the Sahara.</p>
<p style="text-align: justify;">Music, Culture and Conflict in Mali takes an in-depth look at the crisis that overtook Mali in January 2012 and lead to a ten-month occupation of the northern two-thirds of the country by armed jihadi groups. The book examines the roots of those tumultuous events and their effect on the music and culture of the country. There are chapters on music under occupation in the north, the music scene in Bamako, the destruction of mausoleums in the north, the fate of Mali’s precious manuscripts, Mali’s film and theatre industries and the response to the crisis from writers, poets, journalists, intellectuals and film-makers.</p>
<p style="text-align: justify;">Music, Culture and Conflict in Mali will be available on May 21st as a digital edition from Amazon, iTunes Bookstore and Barnes &amp; Noble (Price: £5.99 / €6.99 / $8.99) and in paperback from Amazon (Price: £12.99 / €14.99 / $19.99).</p>
<p style="text-align: justify;">The income from sales of this book will support Freemuse in its work to help musicians who suffer persecution, discrimination or imprisonment around the world.</p>
<p>For more information, press enquiries and review copies, please contact Executive Director Marie Korpe at Freemuse: <a title="Click to open e-mail" href="mailto:marie.korpe@freemuse.org">marie.korpe@freemuse.org</a></p>
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		<title>Tisrawt: The epic tale of a theatre company from northern Mali</title>
		<link>http://www.andymorganwrites.com/tisrawt-the-epic-tale-of-a-theatre-company-from-northern-mali/</link>
		<comments>http://www.andymorganwrites.com/tisrawt-the-epic-tale-of-a-theatre-company-from-northern-mali/#comments</comments>
		<pubDate>Thu, 16 May 2013 19:26:45 +0000</pubDate>
		<dc:creator>Andy Morgan</dc:creator>
				<category><![CDATA[Ansar Eddine]]></category>
		<category><![CDATA[AQIM]]></category>
		<category><![CDATA[Azawad]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[Book Extracts]]></category>
		<category><![CDATA[Festival in the Desert]]></category>
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		<category><![CDATA[Tisrawt]]></category>
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		<guid isPermaLink="false">http://www.andymorganwrites.com/?p=1174</guid>
		<description><![CDATA[BOOK EXTRACT:  “Tisrawt is a microcosm of Touareg society,” Melissa explains. “That’s to say, it is a group of people who come from many different clans. Some are pro-MNLA. Some are pro Ansar ud-Dine. Some are pro-Mali. Others say that it’s all nonsense. And the aim is to understand each other, to live together and work together on a common project.”]]></description>
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<p><strong><strong>[pp 202-208]</strong></strong><em><strong> &#8220;Tisrawt is a microcosm of Touareg society&#8221;<br />
</strong></em></p>
<p>Masks are central to the work of the one of the most extraordinary theatre companies to have come into being in the years leading up to the great crisis of 2012. Called Tisrawt, it is remarkable because it was created by local Touareg actors in Kidal, right up in the heartlands of both the Touareg rebellion and the recent Islamist occupation. Tisrawt is the only theatre company that exists in the far north of Mali.</p>
<p>The genesis of Tisrawt is an epic tale in itself. Its origins go back to 2005, when a Parisian theatre company called La Calma specialising in street theatre and education was invited to Kidal to work with up to 70 local young people and develop their theatrical skills. The first fruit of their work was a programme of short masked sketches that were performed at the Saharan Nights Festival in es-Souk in January 2006. Es-Souk is a ruined city situated about 60 kilometres north of Kidal at the foot of the Tegharghar Mountains where, as I write, the French and Chadian armies are fighting a sustained and brutal battle against the remnants of the Islamist coalition that occupied Mali for ten months from April 2012. Guerrilla warfare aside, es-Souk a magical place and the sight of so many Kidalian youth, all masked, acting out often hilarious scenarios on subjects as diverse as education, health, pubic hygiene, insecurity and clandestine immigration amplified that magic exponentially. Music for the show was provided by the embryonic Touareg band Tamikrest, then still a year away from launching their international career.</p>
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<p>After that inaugural project in 2006, the French actress and director Melissa Wainhouse, a long-standing member of La Calma, returned regularly to Kidal, despite the growing threat of kidnapping and always against the advice of the French foreign ministry. After 2009, the trip could only be made with an escort of bodyguards. She continued to develop short sketches with what had now become a solid core of actors from the Kidal region, both Touareg and Songhoi.</p>
<p>The murder of the British tourist Edwin Dyer by Abou Zeid and his AQIM militia in June of 2009 impregnated the entire northern two thirds of Mali with a heightened sense of danger and paranoia. 2010 was in effect the year that the region shut down to the outside world. Nonetheless, in January 2010, Wainhouse and the players from Tisrawt managed to defy the cowering zeitgeist and perform at the Camel Festival in Tessalit, a beautiful village in the far north east of Mali up by the Algerian border. They also travelled to the Festival in the Desert in Essakane. This was to be Melissa’s last visit to the Kidal region before the Islamist occupation of 2012.</p>
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<p>Nonetheless, as far as Melissa was concerned, being barred from Tisrawt’s home region wasn’t reason enough to shelve the whole project. “The only solution was for the actors themselves to come to Bamako,” she told me in September 2012. “It isn’t an easy task to transport six people from Kidal to Bamako, to house them, feed them and create the right conditions for working.” And it wasn’t just the logistics that were challenging; it was the novelty of the project itself. “There are no Touareg actors apart from ours and no Touareg theatre troupe apart from Tisrawt,” Melissa told me. “But because we were extremely persistent and desirous of success, bit by bit, there was a gathering awareness amongst Touareg leaders and notables of the importance of the work of these young people and what it meant symbolically, even if the troupe wasn’t on a professional level yet. It was too early to talk about professionalism but the very fact that these young Kidalois were getting involved and setting themselves the goal of transmitting messages in French and Tamashek through theatre, messages of peace, was important enough in itself.”</p>
<p>Whilst the north degenerated into a lawless playground for mafia business and Salafists with AK47s, Tisrawt tackled issues such as trafficking, crime and banditry. At the end of one particular sketch that revolved around these themes, the players would turn to their audience and declare that it was up to them, the Touareg, the northerners, to preserve and value their own culture. It was up to the teenagers and parents of teenagers in the audience to make sure that smuggling and crime didn’t destroy society itself. That sketch was performed at the inauguration of the Biennale Artistique et Culturelle in Sikasso in 2010, in front of President Amadou Toumani Touré and a large gathering of dignitaries.</p>
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<p>In 2011, Tisrawt received funding from Norwegian Church Aid (AEN) to prepare a new show that would tour the three regions of the north; Timbuktu, Gao and Kidal. A programme of writing, rehearsals and workshops was organised in Bamako, involving professional actors and technicians from La Calma. The ambition was to take Tisrawt to a new level of proficiency and give them the impetus and know-how to carry on developing their art on their own. Nevertheless, with the tumultuous build up to the outbreak of hostilities in northern Mali in January 2012, the tour, which was due to visit schools, cultural centres and festivals in the north, never happened.</p>
<p>The scuppering of Tisrawt’s first opportunity to do a well- funded and well-prepared tour was a severe blow. The group had been gearing up to tackling the hardest topic of all; religious extremism. But in the end, with the cancellation of the tour, the opportunity passed. When I spoke to Melissa in September 2012, she was getting ready to go back to Bamako to start a new project with the troupe. Religious extremism was still on top of the list of potential themes for the next phase of work. “Will we tackle the subject of Islamism? Right now I can’t say yes or no. It will really depend on the members of the troupe. Luckily theatre allows us to deal with subjects in a symbolic or transposed way, but having said that, the subject is so sensitive. The most important thing for me is not to put them in any danger.”</p>
<p>The outbreak of rebellion in January 2012 turned Tisrawt upside down. “In a profound way it was a complete shock,” according to Melissa. “Some of the actors took refuge in Bamako and were living a very precarious situation there. Some stayed in Kidal, and were probably caught up in the reality of what was going on. They were sucked into that spiral. I think that right now [ed. September 2012] the youth up there in the north have a very stark choice. If they stay they are forced to ally themselves to one or other of the various movements. Some just don’t have the means or the opportunity to leave, because families can’t go with them for diverse reasons. You have to realise that this youth wasn’t old enough to have been combatants in the rebellion of the 1990s. They were children at the time, but they have been soaked in that whole climate, a climate in which taking up arms has always been a noble act. That is very cultural with the Tamashek. But what’s incredible is that I’m in touch with all of them. I’ve managed to gather my troupe together and all of them tell me that their aim, their only glimmer of hope, is the work of the company.”</p>
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<p>It was the actors themselves who urged Melissa to let them go and perform in the refugee camps in front of people who have been driven from their homes by the conflict. “Their aim is to make them laugh, to bring them hope and given them a feeling of solidarity and to value their culture, which is in extreme danger right now.”</p>
<p>So, in an indistinct fog of crisis and instability, Melissa gathered her players together in Bamako in November 2012 and started work on a new piece called Tisrawt “Le Royaume d’Idjirane”. It was about a king who considers himself to be a good king. His motto is “Each man for himself, and everyone for the king.” Nonetheless, there’s trouble ahead. Drought descends and the harvests are bad. The royal council is convened to try and sort out the crisis. One day a stranger called Albana (‘Misfortune’ in Tamashek) arrives and announces that a spring called ‘Goulou Goulou’ is situated right there, under the king’s throne. He sows calamity and chaos by pitting one person against the other and manipulating the king. His aim is to make the riches of the kingdom his own. Tisrawt was a star attraction at the 2012 Festival des Théatre de Réalités in Bamako.</p>
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<p>“Tisrawt is a microcosm of Touareg society,” Melissa explains. “That’s to say, it is a group of people who come from many different clans. Some are pro-MNLA. Some are pro Ansar ud-Dine. Some are pro-Mali. Others say that it’s all nonsense. And the aim is to understand each other, to live together and work together on a common project.”</p>
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<p>The Tisrawt threat group is just a beginning, albeit a powerful and promising one. The actors are learning their trade. They’re hacking a new trail. “You know, new Touareg bands have it much easier because Tinariwen have already opened up and mapped out the onward path,” Melissa said. “They’re examples, sentinels, who have reached at least some of their goals. For my actors that doesn’t exist yet. They don’t have a culture of the theatre. They don’t have access to everything that we have access to here in Europe; festivals, books, films. I have to operate at their rhythm. And I’m there, their mother, their sister and their teacher. I’m also their artistic director and I’m determined not to let them become the instrument of another person or entity, nor of the chaos the political chaos that the country is in right now.”</p>
<p>Heroism is a loud word. It becomes more dignified in its quiet, barely visible incarnations. That quiet heroism exists everywhere, in Mali too, abundant in its obscurity. The quiet courage and dedication of people like Adama Traore, Melissa Wainhouse and the actors in Tisrawt and all the many other small theatre troupes in the country is keeping discourse, culture, education, entertainment and hope alive.</p>
<p>Theatre, in its simplest incarnations at least, costs relatively little. That’s why it has power as folk art and as a simple means of bringing problems out into the open where they can be discussed, understood and possibly tackled. In a country like Mali, a country that urgently needs to speak to itself and make its wiser voice heard over the white noise of fear and revenge, theatre is no longer a mere cultural delicacy. It has become essential.</p>
<p>&nbsp;</p>
<p><strong>Taken from the book <em>Music, Culture &amp; Conflict in Mali</em> by Andy Morgan (Freemuse Publications)</strong></p>
<p><strong>(c) Andy Morgan / Freemuse Publications 2013</strong></p>
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		<title>&#8220;We have come here to teach you the true faith&#8221;</title>
		<link>http://www.andymorganwrites.com/we-have-come-here-to-teach-you-the-true-faith/</link>
		<comments>http://www.andymorganwrites.com/we-have-come-here-to-teach-you-the-true-faith/#comments</comments>
		<pubDate>Thu, 16 May 2013 19:06:17 +0000</pubDate>
		<dc:creator>Andy Morgan</dc:creator>
				<category><![CDATA[Algeria]]></category>
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		<description><![CDATA[BOOK EXTRACT:  In important ways, the scenes of vandalism and destruction that were played out in Timbuktu following the Salafist takeover in April 2012 weren’t new at all. There was something very old about them. Mostly white Arabic or Hassaniya speaking men from the northern deserts were ‘teaching’ the blacks how to worship Allah in the ‘proper’ manner.]]></description>
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<p><strong><strong>[pp 129-133]</strong></strong><em><strong> Vandalism and destruction along the great fault line of the Sahel<br />
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<p>“We have come here to teach you the true faith,” says a tall mujahid, or Islamist soldier, to a small gathering of local Timbuktu people. He wears a plain brown bouboul – a traditional ankle length robe – and a light sandy coloured cheche, the turban worn by men, which covers his entire head, leaving only his eyes visible to the world. An AK47 hangs over his left shoulder, and khaki pouches festoon his belt. His voice is calm, ‘reasonable’, and his hands accompany his words with elegant gestures.</p>
<p>A local Songhai man gives the camera capturing the scene a bemused, conciliatory smile. He looks neither doubtful nor convinced, just gently puzzled. “Ouaha,” someone says softly in Arabic, “ok.” The mujahid and his fellow fighters continue to smash up old wooden statues of African deities, pounding them into the dusty street of Timbuktu. They’re the kind of statues that might have sat in the corner of a local home, like old friends, or formed expectant ranks in the dark interior of some local tourist emporium, waiting to be bought and carried back to Europe as a memento; dusty, mute and alien to foreign eyes.</p>
<p>Then another mujahid brings out a piece of paper, on which a benediction has been written. With it, he holds a little wrap containing a talisman, the kind that thousands and thousands of Malians wear in small leather pouches around their necks as a humble plea to invisible powers for protection and baraka – blessings. The mujahid brandishes the paper as if it were proof of some great sin and unwraps the package in front of his audience, which comprises mostly children who can barely hide their puzzled glee at this unexpected diversion from the banality of their daily routine. The mujahid then lights the piece of paper and holds disdainfully between thumb and forefinger while it burns to ash.</p>
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<p>Just a piece of paper. Just a little wrap. Just an old statue. Just a mud hut.</p>
<p>The tomb of Sidi Mahmoud Ben Amar Mohammed Ben Aqit, which used to stand to the north of Timbuktu in the cemetery that also bears his name, was certainly no architectural marvel. It was a simple one roomed adobe hut, with old wooden roof joists, semi-ornate doors and windows and a rendering of more modern breezeblocks to protect it from the annual rains. During the saint’s lifetime, this modest structure had been part of his home. Around him in the Sidi Mahmoud cemetery lay the tombs of another 167 of Timbuktu’s 333 saints.</p>
<p>When mujahedeen claiming to belong to the Touareg militia Ansar ud-Dine, but more likely to be affiliated directly to Al Qaida in the Islamic Maghreb, came to vandalise the tomb on Friday May 4th 2012, there was little danger of the world losing a grand piece of architectural heritage. This wasn’t the Taj Mahal or the mausoleum of Tamerlane in Samarkand. But something was most definitely lost, something more powerful to local people than art. It was the peace and repose of a friend, a protector; it was a sense of respect and reverence that made life stable and liveable; it was a place to contemplate, to give thanks, to utter supplications for comfort or good fortune; it was a piece of history of immense worth not only to Timbuktu, but to the whole of Africa and the Muslim world.</p>
<p>It was this symbolic value that the Ansar ud-Dine militiamen objected to. “What you’re doing is sinful! Ask God directly, rather than a dead man,” they shouted at the mute crowd who had been carrying out their observances at Sidi Mahmoud’s tomb that Friday of prayer. An angry cluster of bystanders gathered to watch as the mujahedeen, led by a Mauritanian man who had just arrived in Timbuktu for the purpose, smashed the door to the mausoleum and ripped down the thin white veils covering the tomb of the saint. Those veils, left by supplicants in the hope that their prayers would be granted, were then burned in full view of the onlookers. One of them tried to protest, but he was bound, gagged and bundled into the boot of a car. It wasn’t the first such act of religious iconoclasm in modern Malian history, but it was the first to make a victim of the memory of a saint as great as Sidi Mahmoud and it provoked local grief and international outrage.</p>
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<p>In important ways, the scenes of vandalism and destruction that were played out in Timbuktu following the Salafist takeover in April 2012 weren’t new at all. There was something very old about them. Mostly white Arabic or Hassaniya speaking men from the northern deserts were ‘teaching’ the blacks how to worship Allah in the ‘proper’ manner. Granted, some of the mujahedeen might have been black Africans from the Nigerian Islamist terror group Boko Haram or soldiers of fortune from southern Mali, Burkina Faso, Senegal and Guinea. But the ringleaders and spokespersons were mainly Arab northerners; either local Berabiche from the Timbuktu region, Sahrawis from northern Mauritania and Western Sahara or Algerians from the Touat and Tidikelt. Some of them were Touareg. Just as the Ikhwan of Saudi Arabia unleashed their righteous ire on the people of the Hijaz, the AQIM overlords of Timbuktu were imposing an alien religious philosophy by force of arms on local people with a very different cultural outlook to theirs and, in this case, a different skin colour too. It was a scenario that had been replayed for centuries along the cultural ‘fault’ line that stretches from Mauritania in the west to the Sudan in the east, separating the ‘white’ Arab and Berber people of the north from the ‘black’ African peoples of the south.</p>
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<p>Unsurprisingly, black Malian religious leaders were averse to the idea of being re-educated about Islam whilst men from the north pointed a gun at their heads. Something that characterised many of the local responses to the Salafist occupation of Timbuktu and other parts of northern Mali was the defiant claim that Mali had no need of any lessons from strangers on how to be good Muslims. Mali is proud of its own religious traditions, however innovative and sinful they may seem to the followers of Abd al-Wahab.</p>
<p>After the Islamist takeover there was a constant war of words between the leaders of AQIM, MUJAO and Ansar ud-Dine and the religious hierarchy in the larger northern towns. Points of religious law were debated with the imams of the great mosques, often on absurdly abstruse grounds of contention. A fine example occurred when the Islamist occupiers entered the Djinguereber Mosque in Timbuktu to try and prevent the Grand Imam from using a microphone and loud speakers during prayers. For the Salafis, the use of such a modern technology was anathema simply because it didn’t exist in the time of The Prophet. The imam of Djinguereber turned the argument on its head and asked the assailants to produce the verse from the Quran that specifically forbids the use of microphones and speakers during prayers. The Islamists had no answer and grudgingly left.</p>
<p>“Everything they do is contrary to the principles of Islam,” was the sweeping rebuff expressed by Alphadi Wangara, the imam of Sidi Yahya mosque in Timbuktu, in an interview for the Malian newspaper 22 Septembre. “That’s been obvious from day one. At the first meeting they held with all the imams of the city, they wanted us to believe that they had to come to move Islam forward in Timbuktu. We’ve subsequently learned what their word is worth&#8230; We met them and made it clear that we know the principles of Islam. The Prophet Mohammed, peace be upon his name, explained the word of God to men using his wisdom. We pointed out to them that the very fact they’re trampling our soil, forcing their way into places of worship and roaming around town with their weapons in their hands is forbidden under Islam. All good Muslims know that in order to impose shari’a law, one must be righteous oneself. Whereas these Islamists are far from being righteous men.” The fact is however, that imam Wangara gave this interview in Bamako. In order to speak his mind without fear, he had been forced to leave his home and go into exile. The pride and defiance of Mali’s traditional religious leaders meant little in the face of whips and AK47s.</p>
<p>&nbsp;</p>
<p><strong>Taken from the book <em>Music, Culture &amp; Conflict in Mali</em> by Andy Morgan (Freemuse Publications)</strong></p>
<p><strong>(c) Andy Morgan / Freemuse Publications 2013</strong></p>
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		<title>Music in the red zone</title>
		<link>http://www.andymorganwrites.com/music-in-the-red-zone/</link>
		<comments>http://www.andymorganwrites.com/music-in-the-red-zone/#comments</comments>
		<pubDate>Thu, 16 May 2013 16:23:14 +0000</pubDate>
		<dc:creator>Andy Morgan</dc:creator>
				<category><![CDATA[Algeria]]></category>
		<category><![CDATA[Ansar Eddine]]></category>
		<category><![CDATA[AQIM]]></category>
		<category><![CDATA[Assouf]]></category>
		<category><![CDATA[Azawad]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[Book Extracts]]></category>
		<category><![CDATA[Festival in the Desert]]></category>
		<category><![CDATA[Islamism]]></category>
		<category><![CDATA[Mali]]></category>
		<category><![CDATA[Mali Rebellion]]></category>
		<category><![CDATA[Mauretania]]></category>
		<category><![CDATA[MNLA]]></category>
		<category><![CDATA[MUJAO]]></category>
		<category><![CDATA[Niger]]></category>
		<category><![CDATA[Political Writing]]></category>
		<category><![CDATA[Sahara]]></category>
		<category><![CDATA[Sahel]]></category>
		<category><![CDATA[Touareg]]></category>
		<category><![CDATA[Manny Ansar]]></category>
		<category><![CDATA[Tablighi Jama'at]]></category>
		<category><![CDATA[Wahabism]]></category>

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		<description><![CDATA[BOOK EXTRACT:  Life in the early 1990s was convivial. There was music. Women felt free to come and go. Some people smoked cigarettes and drank alcohol. The bonds between those young Touareg, their music and their culture seemed strong and unbreakable. No one quite knows why some senior Touareg figures from the northeast, including Iyad Ag Ghali, began to succumb to the message of Pakistani preachers belonging to Tablighi Jama’at.]]></description>
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<p><strong><strong>[pp 41-45]</strong></strong><em><strong> The Festival in the Desert and the advance of Islamism in the north</strong></em></p>
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<p>After the Tamanrasset accords of January 6th 1991 that put an end to the rebellion, many Touareg musicians began to ‘resurface’ and reintegrate into normal civilian life. Members of Tinariwen who had taken part in the fighting found themselves in Bamako or Kidal, playing music, hanging out, doing what they could to earn a living and survive.</p>
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<p>Manny Ansar was Tinariwen’s manager at the time. He remembers a whole group of Touareg musicians, ex-rebel leaders and <em>ishumar</em> who spent time together, in each other’s houses, out in the bush or, if they were in Bamako, out along the banks of the Niger, where it was quiet and the nature and solitude reminded them of home. &#8216;Ishumar&#8217; is a Tamashek adaptation of the French word ‘chomeur’ – the collective noun for the young Touareg men who left their homes in Mali and Niger in the 1970s and 1980s thanks to drought and lack of opportunity to find work in Algeria, Libya, Burkina Faso and beyond. It was these men who became the foot soldiers of the rebellions of 1990.</p>
<p>Life in the early 1990s was convivial. There was music. Women felt free to come and go. Some people smoked cigarettes and drank alcohol. The bonds between those young Touareg, their music and their culture seemed strong and unbreakable.</p>
<p>No one quite knows why some senior Touareg figures from the northeast, including Iyad Ag Ghali, began to succumb to the message of Pakistani preachers belonging to Tablighi Jama’at. Perhaps it was due to a general disillusion with the nationalist cause, fuelled by the bitter in fighting and recrimination between different Tamashek tribes and clans that followed the Tamanrasset Accords of 1991 and the National Pact of 1994. Perhaps they were sick of petty politics and yearned for something loftier, purer, and more holy. Perhaps the very notion of dividing up Muslims into nation states seemed suddenly ungodly. The Wahabi have always preached that national boundaries are a Western imposition, designed to divide and weaken the Islamic umma, which should by rights exist in one borderless and divinely ruled polity.</p>
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<p>“The Pakistani Salafists came through Bamako,” Manny remembers. “People saw them with their beards and their white robes. They were nice people. Then they went up to Kidal and that’s where certain Touareg leaders came into contact with them.” It is hard to establish the precise date when all this happened, perhaps sometime in 1995 or just afterwards.</p>
<p>Manny remembers that everything happened very slowly and gradually. “There was a kind of psychological preparation, done in a really friendly way,” he says. “Then certain friends started to distance themselves bit by bit from our circle, people who had liked partying and beautiful women. They were still friends and we would still meet and talk about the situation of the country and the Touareg, but one felt that they were drifting away. They started to disapprove of my lifestyle, the travelling, my friendships with Westerners, the festivals, musicians, alcohol, the life of pleasure. They still had respect, esteem, even friendship towards me but my lifestyle didn’t suit them any more. They left very gently.”</p>
<p>When they came back from their trips to Pakistan and Mecca, the dedication of these daw’ah devotees deepened. “They were really like monks,” Manny remembers, “dressed in white, very simple, eating the minimum, praying all the time, unconcerned about life’s problems except spreading messages of peace, togetherness and, of course, God. The first thing that shocked us is that they asked their wives not to shake hands with men any more. Suddenly you would stop seeing their women at all. They would stay in another room where they entertained their women friends.”</p>
<p>Meanwhile, Manny had helped to launch the Festival in the Desert in January 2001 at Tin Essako, a tiny little village to the east of Kidal. The festival was born thanks to an immense team effort involving Manny and his EFES association, Tinariwen, the French group Lo’Jo and various other French and Malian funders and supporters. The only threat felt during that first edition was that of petty criminality and banditry. The year before some Dutch tourists had been attacked and murdered up near Tessalit, north of Kidal. On the way up to the festival itself, the truck transporting a small PA system that had been flown in from France was stopped by armed bandits. It took the verbal skill and courage of Kheddou Ag Ossade, one of the core members of Tinariwen who later went on to form the group Terakaft, to dissuade the muggers from taking the equipment and ruining the festival.</p>
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<p>A smaller event took place a year later in Tessalit, but it was the third Festival in the Desert in January 2003, and the first in the silky white dunes of Essakane which were to become the festival’s permanent home, that really established the event’s worldwide reputation. The number of visitors, both local and international, had tripled or even quadrupled. Well- known names like Robert Plant were present. The stage looked like a proper stage. The sound was of the same professional standard as a festival in Europe. The festival had ‘arrived’.</p>
<p>And still no sign of any Islamists. A month after that 2003 edition of the festival, the GSPC kidnapped 32 European hostages in the Tassili region of southern Algeria, between Illizi and Djanet. It was the first major crisis involving the kidnapping of Western tourists that the Sahara had ever known. Fifteen of the hostages were sent down into Mali, where they were held prisoner while the chief of the GSPC cell, Amari Saïfi aka Abderrazak El Para, negotiated a ransom with the Malian, Swiss and German governments. A team of northern ‘notables’, including Iyad Ag Ghali and Ibrahim Ag Bahanga, were sent to speak to El Para and his men. Links were forged and promises were made then that led eventually through many a twist and turn to the Islamist takeover of 2012.</p>
<p><strong>Taken from the book <em>Music, Culture &amp; Conflict in Mali</em> by Andy Morgan (Freemuse Publications)</strong></p>
<p><strong>(c) Andy Morgan / Freemuse Publications 2013</strong></p>
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		<title>&#8220;We don&#8217;t want Satan&#8217;s music!&#8221;</title>
		<link>http://www.andymorganwrites.com/we-dont-want-satans-music/</link>
		<comments>http://www.andymorganwrites.com/we-dont-want-satans-music/#comments</comments>
		<pubDate>Thu, 16 May 2013 16:11:01 +0000</pubDate>
		<dc:creator>Andy Morgan</dc:creator>
				<category><![CDATA[Algeria]]></category>
		<category><![CDATA[Ansar Eddine]]></category>
		<category><![CDATA[AQIM]]></category>
		<category><![CDATA[Assouf]]></category>
		<category><![CDATA[Azawad]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[Book Extracts]]></category>
		<category><![CDATA[Islamism]]></category>
		<category><![CDATA[Mali]]></category>
		<category><![CDATA[Mali Rebellion]]></category>
		<category><![CDATA[MNLA]]></category>
		<category><![CDATA[MUJAO]]></category>
		<category><![CDATA[Political Writing]]></category>
		<category><![CDATA[Sahara]]></category>
		<category><![CDATA[Sahel]]></category>
		<category><![CDATA[Writing]]></category>
		<category><![CDATA[Bob Marley]]></category>
		<category><![CDATA[Gao]]></category>
		<category><![CDATA[Timbuktu]]></category>

		<guid isPermaLink="false">http://www.andymorganwrites.com/?p=1145</guid>
		<description><![CDATA[BOOK EXTRACT:  In Gao, a group of teenagers sat around a ghetto blaster listening to Bob Marley. A Landcruiser pick-up loaded with tooled-up Islamic police came by and seeing the reggae fans, stopped and accosted them. “This music is haram!” – forbidden by Islamic law – said one of the MUJAO men as he yanked the cassette out of the blaster and crushed it under his feet. ]]></description>
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<p><strong><strong>[pp 23-26]</strong></strong><em><strong> Scenes of musical life under Shari&#8217;a law</strong></em></p>
<p>On Wednesday 22nd August 2012, the following announcement was made by Osama Ould Abdel Kader, a spokesperson for MUJAO based in the city of Gao: “We, the mujahedeen of Gao, of Timbuktu and Kidal, henceforward forbid the broadcasting of any Western music on all radios in this Islamic territory. This ban takes effect from today, Wednesday. We do not want Satan’s music. In its place, there will be Quranic verses. Shari’a demands this. What God commands must be done.”</p>
<p>In Gao, a group of teenagers sat around a ghetto blaster listening to Bob Marley. A Landcruiser pick-up loaded with tooled-up Islamic police came by and seeing the reggae fans, stopped and accosted them. “This music is haram!” – forbidden by Islamic law – said one of the MUJAO men as he yanked the cassette out of the blaster and crushed it under his feet. “Listen to this instead,” he barked, handing the startled reggae fans a tape of Cheikh Abderrahmane Soudais, the highly revered Quranic chanter from Mecca in Saudi Arabia.</p>
<p>In Timbuktu, a young teenager received a call on his mobile phone while he was standing on a street corner in the town centre. As the tinny ringtone sent out a looping riff lifted from a song by local singer Seckou Maiga, it was overheard by a group of Ansar ud-Dine soldiers who were standing nearby. One of them, not much older than the teenager with the phone, broke off from the group and strode over. “Hey! Give me that here!” he ordered. The youth handed over his phone slowly, his face blank and grim. Giving his shoulders an impatient shrug to better seat his AK47, the Ansar ud- Dine fighter opened the back of the phone, picked out the SIM card, and ground it into the dust with his feet. He then gave the phone back in pieces. “None of that Godless music, understand?!”</p>
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<p>In Kidal, a group of women gathered on the dirt airstrip to the east of the town. They sat close, at least thirty of them, in a large huddle of shimmering indigo robes. One woman started to beat the tindé drum, while another sprinkled water on its goatskin to keep it taut and resonant. Their chanting ululating rose up to the hazy skies and sent old poetry out to the flat horizons; calling, responding, propelling, forward, me, you, us, all, together. The tindé is the mitochondrial DNA of all Touareg music. Its horizontal trance-beat powers the communal joy of major feasts and gatherings in Touareg lands. Like so much traditional Touareg music, it is played by women and only women. The tindé is an essential ingredient in the glue that binds female society together and gives it power and confidence. But as the men gathered around to watch, as they had been used to doing for as long as they could remember, Ansar ud-Dine militiamen with black headbands and AK47s strapped to their chests sliced into the crowd and shattered it into angry fragments, shouting at the men to keep away from the women and go home. Then they ordered the women to stop what they’re doing and go back to their homes as well. The mood burst, and the joy leaked away to be replaced by surliness and frustration.</p>
<p>On the outskirts of Gao, a local takamba musician was stopped at a checkpoint on one of the major roads out of town. Takamba is the sound of Gao. With its loping rhythms, sensual dance, skyward vocals and raw cranked-up teherdents (lute) and guitars, it has long been the preferred style of musical entertainment at weddings, baptisms and Tabeski feasts in the town and the surrounding country. It is a style that also unifies the Touareg and Songhai people, often at odds with each other, as it is performed and enjoyed by people from both ethnic groups. Gao without takamba would be like Rio without samba; hard to imagine.</p>
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<p>Our musician was on his way to a wedding in a village outside Gao, his car laden with instruments and equipment. At the checkpoint he was ordered to step down from his car by a MUJAO militiaman who then proceeded to search it. All the instruments are taken out and piled up by the side of the road; guitars, teherdent, amps, speakers, calabashes. The pile was doused in petrol and set alight. The musician was too scared to shout out, or cry, or flee. There were guns everywhere. He just stood and watched as his livelihood went up in flames. If he made a scene or showed any emotion, he knew that his own life would be in danger.</p>
<p>All these incidents were reported to me either by the people involved or by third parties living in Mali. I have deliberately not used anyone’s real name to protect the subjects and their families.</p>
<p>In Timbuktu a posse of local Islamist militiamen turned up at a radio station and took out four large hessian rice bags. They proceeded to fill them up with music cassettes, hundreds and hundreds of them, an entire archive of local musical culture, painstakingly collected over a decade or more. The station manager stood by, distraught, knowing that all this music, that has been a gift to the world and an ember of pride in local hearts, will be lost forever.</p>
<p>In Gao a family watched a programme called ‘Mini Star’ on television. It is a Malian adaptation of the X-factor idea, in which young up-and-coming singers and musicians imitate the greats of Malian music; Salif Keïta, Ali Farka Touré, Mangala Camara, Sekouba Bambino and others. The performances are judged by a panel and each week a group is eliminated by popular vote. TV is an important means for broadcasting new music in Mali. TV is the family’s window onto the world. The weather was hot in Gao and all the windows of the family home were open. A patrol of Islamic policemen heard the sound of music coming from the TV as they passed by the house. They doubled back and entered the premises, grabbing the TV and smashing it out on cracked paving stones of the yard with the butts of their rifles. The family were warned that next time they would get the whip.</p>
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<p>In Gao and Timbuktu the dusty streets rang with the synthetic sound of babies laughing, a strangely joyless sound. Forbidden to use musical ringtones on their mobiles, the local population adopted this ironic alternative. The effect was often eerie.</p>
<p>These are just a few snapshots of musical life in what was the most literal and brutal Shari’a jurisdiction in the world.</p>
<p>The MUJAO declaration of August 22nd 2012, was disingenuous for several reasons. First, music had been effectively banned in the north for several months already. The declaration only gave that ban a rubber stamp. Secondly, when the declaration spoke of ‘Western’ music, Satan’s music, it did in fact mean most forms of music; modern, traditional, electrified, acoustic, foreign and local. Only Sheikh Abderrahmane Soudais and his ilk were deemed entirely halal.</p>
<p>&nbsp;</p>
<p><strong>Taken from the book <em>Music, Culture &amp; Conflict in Mali</em> by Andy Morgan (Freemuse Publications)</strong></p>
<p><strong>(c) Andy Morgan / Freemuse Publications 2013</strong></p>
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		<title>REVIEW: CATRIN FINCH &amp; SECKOU KEITA. The Royal Welsh College of Music and Drama, Cardiff &#8211; 20/03/2013</title>
		<link>http://www.andymorganwrites.com/review-catrin-finch-seckou-keita-the-royal-welsh-college-of-music-and-drama-cardiff-21032013/</link>
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		<pubDate>Wed, 10 Apr 2013 15:01:51 +0000</pubDate>
		<dc:creator>Andy Morgan</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[Catrin Finch & Seckou Keita]]></category>
		<category><![CDATA[Journalism]]></category>
		<category><![CDATA[Reviews]]></category>
		<category><![CDATA[Senegal]]></category>
		<category><![CDATA[Kora]]></category>
		<category><![CDATA[Welsh Harp]]></category>

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		<description><![CDATA[This was only a first taste but it was already golden, despite occasional rawness and hesitation, easily forgiven. With albums to be made, tours to be done and an inevitable maturing yet to come, the marriage of harp and kora seems blessed to be long, warm and fruitful.]]></description>
				<content:encoded><![CDATA[<div class="wp-caption alignnone" style="width: 727px"><a href="http://www.andymorganwrites.com/wp-content/uploads/2013/04/Catrin-Finch-Seckou-Keita-Welsh-College-of-Music-20-03-2013.jpg"><img title="Catrin Finch &amp; Seckou Keita - Welsh College of Music 20-03-2013" alt="Catrin Finch &amp; Seckou Keita - Welsh College of Music 20-03-2013" src="http://www.andymorganwrites.com/wp-content/uploads/2013/04/Catrin-Finch-Seckou-Keita-Welsh-College-of-Music-20-03-2013.jpg" width="717" height="587" /></a><p class="wp-caption-text">Catrin Finch &amp; Seckou Keita soundchecking at The Royal Welsh College of Music  Photo by Andy Morgan (c)</p></div>
<p>This wasn’t so much of a grand opening as a work in progress preview before an audience of warmth-seeking guinea pigs. The coldest March in fifty years brought them to The Royal Welsh College of Music and Drama in Cardiff for a night of a thousand and one strings. After the last had been plucked, they disappeared into the slate grey gloom halo&#8217;d by what connoisseurs of the British breakfast might call a “Ready Brek&#8221; glow.</p>
<p>Apart from a brief first attempt a few years ago involving the great Toumani Diabate, Catrin Finch and Seckou Keita had only been working on their mission to marry the classical harp and the West African kora in total, on an off, for less than a week. This was hard to tell at times given the instinctive intertwining of notes that cascaded up the aisles, eddied round the rafters and poured into the ears of the magnetized audience. Discerning precisely whose flurried fingers were responsible for which cascade often proved fruitless.</p>
<p>Dressed in what he called his “Chelsea Blue” robes, brick brown babouches and tight black skull cap, Seckou Keita wore an absorbed smile in which both the delight in being there and the relief that a marriage of such distant relatives actually seemed to be working were present. Catrin Finch meanwhile, in floating black cape, black tights and spangled gold pumps, was focussed on throwing away her compass, log book and the other paraphernalia of precision that 25 years of classical music training had afforded her to go beyond calculation and lose herself in the flow.</p>
<p>Old Welsh harp songs, Manding kora staples, Latin dashes, Celtic arias and more were woven together to create something new that also possessed enough depth to sound sage, even timeless. If you closed your eyes you might just have glimpsed the late medieval Welsh harpist Robert ap Huw landing on a West African shore, trading his slate-grey skies for the shimmering light of Africa and the busy dark flow of the Taff for the lazy effortless meander of the Gambia river.</p>
<p>Cross-cultural musical collaborations are strange beasts, sometimes beautiful and coherent, sometimes daft and flat. A marriage of kora and harp, distant members of the same family, makes sense on paper. But whether it would work in flesh and bone was uncertain.  Catrin Finch and Seckou Keita each have the requisite courage, open-mindedness, patience and affability for the task. They’re also undeniable masters of their own instruments and determined to devote the necessary time for the alchemy to work.</p>
<p>This was only a first taste but it was already golden, despite occasional rawness and hesitation, easily forgiven. With albums to be made, tours to be done and an inevitable maturing yet to come, the marriage of harp and kora seems blessed to be long, warm and fruitful.</p>
<p><em><strong>Andy Morgan (c) 2013</strong></em></p>
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		<title>SAHARA SOUL: Bassekou Kouyate, Tamikrest, Sidi Toure.</title>
		<link>http://www.andymorganwrites.com/sahara-soul-bassekou-kouyate-tamekrist-sidi-toure/</link>
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		<pubDate>Mon, 04 Feb 2013 11:01:38 +0000</pubDate>
		<dc:creator>Andy Morgan</dc:creator>
				<category><![CDATA[Artists A-Z]]></category>
		<category><![CDATA[Assouf]]></category>
		<category><![CDATA[Bassekou Kouyate]]></category>
		<category><![CDATA[Berber]]></category>
		<category><![CDATA[Brochures & Programmes etc]]></category>
		<category><![CDATA[Featured Right Column]]></category>
		<category><![CDATA[Mali]]></category>
		<category><![CDATA[Sahara]]></category>
		<category><![CDATA[Sahel]]></category>
		<category><![CDATA[Sidi Toure]]></category>
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		<description><![CDATA[The conversation won’t be easy. But listen to the spirits there in the music and they’ll tell you a deeper tale. They’ll tell you that in that vast desert which outsiders are content to call a wasteland, good for nothing except for the oil, phosphates and uranium that lie under its soil, there exists an endless calm, tranquillity and beauty that makes the nomad cry in his heart every day he is forced to spend in exile.]]></description>
				<content:encoded><![CDATA[<div id="attachment_1079" class="wp-caption alignleft" style="width: 464px"><a href="http://www.andymorganwrites.com/wp-content/uploads/2013/02/Tamekrist-group-shot.jpg"><img class=" wp-image-1079 " title="Tamikrest " alt="Tamekrist group shot" src="http://www.andymorganwrites.com/wp-content/uploads/2013/02/Tamekrist-group-shot.jpg" width="454" height="339" /></a><p class="wp-caption-text">Tamikrest</p></div>
<p>When people discover that many of the songs by leading Touareg artists like Tamikrest, Tinariwen or Terakaft are about nostalgia, they’re often puzzled. Nostalgia for what exactly? Surely the black and barren hills of the southern Sahara, the scorpions, the 50C summer temperatures, the droughts, the political turmoil, the brittle harshness of sun-baked nature all amount to something godforsaken, unworthy of longing or nostalgia.  And yet the love of a Touareg (or ‘Kel Tamashek’ as they call themselves), a Songhai, a Moor or any of the other desert peoples for their sandy wilderness is every bit as strong as that of an Irishman for the green green grass of home.</p>
<p>A powerful symbol of that love is the enormous dune the Songhoi call ‘Koïma Hondo’, which lies on the banks of the broad Niger River, not far from the ancient city of Gao. The dune, whose ‘feet’ cool themselves in the blue waters of the Niger, turns pink when the sun sets. Hence its nickname; <i>La Dune Rose</i>. Until recently it was Gao’s premier tourist attraction, but now that there are no more tourists, its older populace, the wise spirits and sorcerers who the Songhoi believe use the dune as a meeting place, have reasserted themselves. They’re holding the dune in trust, while the world around them descends into confusion, conflict and barbarity.</p>
<p>On 22<sup>nd</sup> August 2012, a heavily bearded spokesperson for the MUJAO (Movement for Oneness and Jihad in West Africa), a motley militia of radical Islamists and big time drug barons, who, at time of writing, currently control Gao, issued a decree banning all western music in northern Mali. “We don’t want Satan’s music,” the spokesman declared. “Sharia demands it.  It is the will of God and we must obey.”</p>
<p>The decree effectively outlawed music and forced musicians like Sidi Toure, who had been the director of Gao’s prestigious regional orchestra, the Songhoi Stars, into exile. Anyone caught listening to the radio, watching TV, or playing songs on his or her mobile phone risks a whipping. Musicians have been stopped at checkpoints, their instruments impounded and burnt. Music, the lubricant of life and community, has been driven underground, or out of the territory completely. Tamikrest have fled north over the border into Algeria.  Bassekou Kouyate lives down south in Bamako, the economically blighted capital city where musicians spend their days wondering where their next meal will come from.</p>
<p>It’s fitting that Sidi Touré has called his latest album ‘Koïma’, which literally means “go and listen” in Songhoi. Even if it might be impossible in a physical sense, this is the time for all Songhoi to go their Ayers Rock, Koïma Hondo, to ask their guardian spirits for courage, honesty, peace and understanding.  It’s time for all Touareg to commune with the Kel Essouf, the spirits of the wilderness, to find answers to the pain and suffering they are experiencing. It’s time for the Manding of Segou, the home of Bassekou Kouyate, to do the same.</p>
<p>That spirit world is ancient, and it lives in all the instruments that you’ll hear on stage today; the <i>ngoni</i> lute of Bassekou Kouyate, the electric guitars of Tamekrist, themselves descended from the <i>teherdent</i> of the Tamashek griots, and the acoustic guitar and <i>sokou</i> monocord violin of Sidi Touré.  Go, listen, and you’ll hear all those spirits talking to each other, like they have done for centuries.  What are they saying?</p>
<p>Their exchange won’t necessarily be one of love and blissful co-habitation. Songhoi and Tamashek have fought periodic wars against each other since the 16<sup>th</sup> century, when Gao become the capital of a vast Songhoi empire under the emperor Sonni Ali. In the 1990s Songhoi vigilantes killed Touareg civilians, and vice versa. Since the outbreak of the Touareg rebellion in January 2012, which lead directly to the Islamist take over of the northern two-thirds of the country, southern Malians are deeply suspicious of Touareg secessionist intentions.  Many Touareg however feel that they need independence in order to preserve their unique nomadic and Berber culture.</p>
<p>So the conversation won’t be easy. But listen to the spirits there in the music and they’ll tell you a deeper tale. They’ll tell you that in that vast desert which outsiders are content to call a wasteland, good for nothing except for the oil, phosphates and uranium that lie under its soil, there exists an endless calm, tranquillity and beauty that makes the nomad cry in his heart every day he is forced to spend in exile. They’ll tell you about their home, where space and time are so abundant that they make a visitor from the time and space-starved west feel light-headed and reborn.  They’ll tell you that various ethnic groups – Tamashek, Songhoi, Manding &#8211; may have battled each other continuously throughout history, that they may be fighting each other now, but that, in truth, they have also always been neighbours, sharing the same vast space, ribbing each other with gentle humor, tolerant of each other’s presence in times of peace. They’ll tell you about the Sahara’s true soul, a musical soul that no bearded tooled-up Islamist militiaman can destroy.</p>
<p>The spirits are waiting for that soul to reassert itself. You’ll hear them singing their hearts out tonight, out under the stars, around the fire, on the pink dune, by the silvery waters of the great Niger river.</p>
<p>&nbsp;</p>
<p><em><strong>Andy Morgan (c) 2012</strong></em></p>
<p>Programme notes for the &#8216;Sahara Soul&#8217; concert at The Barbican, London &#8211; January 26th 2013</p>
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		<title>What next for Mali?</title>
		<link>http://www.andymorganwrites.com/what-next-for-mali/</link>
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		<pubDate>Mon, 04 Feb 2013 10:37:12 +0000</pubDate>
		<dc:creator>Andy Morgan</dc:creator>
				<category><![CDATA[Algeria]]></category>
		<category><![CDATA[Ansar Eddine]]></category>
		<category><![CDATA[AQIM]]></category>
		<category><![CDATA[Azawad]]></category>
		<category><![CDATA[Blog]]></category>
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		<description><![CDATA[Like a massive dose of chemotherapy administered to a patient with advancing cancer, France’s intervention in Mali will serve to halt and stabilise the situation. But negative side effects are inevitable, and a complete cure seems as far away as ever.]]></description>
				<content:encoded><![CDATA[<div id="attachment_1070" class="wp-caption alignleft" style="width: 441px"><a href="http://www.andymorganwrites.com/wp-content/uploads/2013/02/Festival-in-the-Desert-Tin-Essako-2001.jpg"><img class=" wp-image-1070 " alt="Festival in the Desert 2001, Tin Essako, north eastern Mali . (c) 2001 Andy Morgan" src="http://www.andymorganwrites.com/wp-content/uploads/2013/02/Festival-in-the-Desert-Tin-Essako-2001.jpg" width="431" height="644" /></a><p class="wp-caption-text">Festival in the Desert 2001, Tin Essako, north eastern Mali . (c) 2001 Andy Morgan</p></div>
<p><em></em>France’s MIGs and attack helicopters met little resistance when they swooped into the skies over northern Mali last Friday to halt the southwards advance of Islamist militias near Mopti, the country’s second largest city. Mercifully for the French, there was no sign of the surface to air missiles that the Salafist mujahedeen were reported to have stolen from Ghadafy’s arsenals in Libya at the end of the 2011 civil war. Nonetheless, whereas achieving air superiority in Mali was always going to be a walkover, winning a ground war and restoring peace and unity to the beleaguered West African nation presents an altogether more complex challenge.</p>
<p>The French government claim that they are merely softening up the territory in preparation for a military intervention lead by the Malian army and a coalition of ECOWAS forces. What they have failed to mention is that the Malian army hasn’t won a military encounter against Touareg rebels in the north of the country since the early 1960s, at least not without the help of local pro-government Touareg and Arab militias who know the terrain. Unfortunately, these militias won’t be on hand to help the Malian invasion this time round, not in the short term at least.</p>
<p>The north of Mali is as alien to the average soldier from southern Mali as the Alaskan tundra is to a citizen of Massachusetts or Vermont. That sense of alienation will be felt even more keenly by troops from Nigeria, Senegal, Benin and Ivory Coast, who are more used to jungle and savannah bush warfare, when they finally roll onto the vast treeless plains of the southern Sahara.</p>
<p>This is the land where the local Touareg or Arab in his souped up turbo 4&#215;4 Landcruiser is king. Iyad Ag Ghali, the Touareg leader of the Salafist Ansar ud-Dine militia, is a master of the kind of super-fast hit-and-run guerrilla warfare that suits both the desert conditions and the sheer size of territory in question, which is roughly equal to that of Spain. His mujahedeen showed their verve last Sunday by capturing the small town of Diabaly, due north of Mopti, with a lightening strike that originated over the border in Mauretania. The ability to crisscross borders with little hindrance is another important aspect of the Islamists’ Houdini-esque style of combat.</p>
<p>Even if the Malian and ECOWAS troops manage to march in and recapture most of the major cities in the north, they’re likely to find that their enemy has become strangely invisible. All those foreign jihadists from Libya, Mauretania, Morocco, Algeria and even as far afield as France, Pakistan and the Middle East will slip away and return home. The local youth who have been fighting for one or other of the Islamist <i>katibat</i> or cells will simply stash their Kalashnikovs and don the ‘uniform’ of the local inhabitants; a civilian robe and a turban that covers the head and face, leaving only the eyes exposed.</p>
<p>A junior army officer from Lagos, Cotonou or even Bamako will find it very hard to tell the Islamist <i>mujahid</i> apart from the innocent native city-dweller or nomad. No doubt local informants will tender their services to the African coalition and no doubt summary executions and brutality against both the guilty and the innocent will ensue. Feelings of revenge against ‘white’ northerners &#8211; Touareg and Arab mainly – that have been brewing in the hearts of southern blacks and the darker skinned northerners will spill over into racial and ethnic violence. Vigilante groups, such as the feared militia of the black Songhoi people, the Ganda Izo, will rage into action with their machetes and petrol cans. Human rights organisations will have to work overtime.</p>
<p>The secular Touareg nationalist movement, the MNLA, are currently playing the good guys and offering to help the international community rid northern Mali of their bitter Islamist adversaries. This offer however is conditional on the autonomy, if not complete independence of the northern two thirds of the country, a condition which Mali is unlikely to accept. Moreover, the struggle between the MNLA and the Touareg-dominated Islamist Ansar ud-Dine militia will be a fratricidal one, pitting Touareg against Touareg, often within the same family or clan. It is unlikely to do much good to the social fabric of the region.</p>
<p>Meanwhile the Algerian and Mauritanian leaders of the Islamist groups who currently control the north of the country will simply vanish into the desert, possibly to live and fight another day. The Touareg, discredited by an association with Al Qaida in the Islamic Maghreb and other jihadist groups that only a small handful of their leaders ever really sought or wanted, will be back where they were before the great rebellion of the early 1990s; a marginalised, harassed and vilified people living under military occupation and watching their nomadic lifestyle and culture slowly disappear.</p>
<p>The question that France and international community need to answer is not how they can bomb Islamist columns and arms dumps without killing too many civilians, or how they can best support the Malian army and ECOWAS in their bid to retake the north, but how they can help to bring about a stable, functioning and harmonious Malian Republic to which all its people, northerners and southerners, feel they belong.</p>
<p>The joy expressed at the arrival of French fighter jets and paratroopers by most Malians in the south of the country and by a large tranche of the bruised and battered people of the north, who have been groaning under a doctrinaire Salafist regime since last April, is completely understandable. And perhaps the Islamist advance southwards towards Mopti had to be stopped in its tracks, threatening as it did the most strategic airport in the centre of the country and even the capital city Bamako further south. But if sanctioning a Malian army lead invasion of the north means returning Mali to the status-quo ante that existed before the Touareg uprising in January 2012, then it’s simply not a credible long term option. The Touareg ‘question’, the endemic corruption, the collusion between Mali’s security apparatus and shady northern criminal and Islamist elements, the lack of democratic accountability, the breakdown of law and order, all of these issues were alive and rampant back in 2011 and they’re still far from being resolved.</p>
<p>Like a massive dose of chemotherapy administered to a patient with advancing cancer, France’s intervention in Mali will serve to halt and stabilise the situation. But negative side effects are inevitable, and a complete cure seems as far away as ever.</p>
<p>&nbsp;</p>
<p><em><strong>Andy Morgan (c) 2013</strong></em></p>
<p>First published on The Guardian&#8217;s website, January 15th 2013.</p>
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		<title>Northern Mali &#8211;  Options, what options??!!</title>
		<link>http://www.andymorganwrites.com/northern-mali-options-what-options/</link>
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		<pubDate>Fri, 01 Feb 2013 13:37:07 +0000</pubDate>
		<dc:creator>Andy Morgan</dc:creator>
				<category><![CDATA[Algeria]]></category>
		<category><![CDATA[Ansar Eddine]]></category>
		<category><![CDATA[AQIM]]></category>
		<category><![CDATA[Azawad]]></category>
		<category><![CDATA[Berber]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[Journalism]]></category>
		<category><![CDATA[Mali]]></category>
		<category><![CDATA[Mali Rebellion]]></category>
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		<guid isPermaLink="false">http://www.andymorganwrites.com/?p=1019</guid>
		<description><![CDATA[The Rubik's cube-like complexity of Mali's problems, especially in the north, presents one of the greatest conflict resolution challenges in recent African history. Success relies on solving a short list of pressing problems, each of which look like a challenge fit for gods not men.]]></description>
				<content:encoded><![CDATA[<div id="attachment_1049" class="wp-caption alignleft" style="width: 746px"><a href="http://www.andymorganwrites.com/wp-content/uploads/2013/02/A-panorama-of-Kidal-in-north-eastern-Mali.jpg"><img class=" wp-image-1049 " alt="A panorama of Kidal in north" src="http://www.andymorganwrites.com/wp-content/uploads/2013/02/A-panorama-of-Kidal-in-north-eastern-Mali.jpg" width="736" height="493" /></a><p class="wp-caption-text">A panorama of Kidal in north eastern Mali. (c) Andy Morgan 2001</p></div>
<p>The MNLA and MIA have taken control of Kidal and welcomed in the French army. Chadian troops, who are less welcome thanks to bitter memories of the conflict between Touareg fighting for Ghadafi and the Chadian army in the Aouzou strip three decades ago, are also in Kidal. Following a reported meeting between the MNLA top brass and the Chadian government a few weeks ago, this move was probably carefully premeditated.  It&#8217;s also clear that the MNLA made some kind of deal with the French in the days, or even weeks, leading up to the arrival of French helicopters and transport planes on Kidal&#8217;s makeshift beaten-earth runway last Wednesday. What seems spontaneous in northern Mali often proves to have strategic and well-planned roots.</p>
<p>As far as the Touareg leadership in Kidal is concerned, the most important aspect of the French arrival in Kidal is that they didn&#8217;t bring the Malian army with them. This intelligent decision benefits all parties.  First it avoids the prospect of the Malian army running riot in the heart of &#8216;enemy territory&#8217; and no doubt suffering considerable casualties at the hands of the MNLA / MIA coaltion, who are still heavily armed. Secondly, it gives the French time to pursue the remnants of the Islamist coalition who are apparently still hiding out in the remote Tegharghar mountains north of the town, although I suspect that most of the foreign jihadists have already vanished from the region altogether.  Thirdly, it gives France and the international coalition behind it the chance to say that the mission in northern, or rather its first phase, has been successfully completed.  It also gives the region some breathing space to contemplate the must harder challenges that lie ahead.</p>
<p>Meanwhile, the remaining jihadists in northern Mali have already switched from occupation to insurgency mode. Holding the cities is not longer part of their strategy.  They will now resort to a mix of classic guerrilla and terror tactics to pursue their holy war. Defeating them will be akin to exorcising ghosts or bad spirits. It will be as asymmetrical as warfare can possibly get.</p>
<p>The recent resurgence in the fortunes of the MNLA begs many questions.  Either the secular Touareg nationalist movement found the backing from somewhere to take Kidal before trying to negotiate some kind of collaboration with the French and thus avoid seeing their town, which has been the epicentre of Touareg rebellions in Mali since 1962, handed back to the Malian army and placed under a martial law far worse than the one imposed on it between 1964 and 1990.  Or Alghabass Ag Intalla, the heir to the chiefdom of the local Ifoghas &#8216;nobility&#8217;, and his new Islamic Movement of Azawad (MIA) let the MNLA back into the town because they see a partnership with the MNLA as the best way of saving their own skins and avoiding execution / arrest / the ICC and the terrible vengeance of the Malian army.  Last week&#8217;s demonstration in the town in favor of the MNLA and against a Malian army occupation, with all the summary brutality against Touareg and Arabs that the local population fear it will bring, is clear proof that the secular nationalist are on the rise again.</p>
<p>The MNLA / MIA will use their hold on Kidal to strengthen the case that they have been putting  to France and the international community for the past three months and more, namely that they should be accepted as natural partners in the continued struggle to rid northern Mali of violence Salafi extremism and foreign jihadists, a struggle which is likely to last months if not years.  Such a partnership between western powers and the MNLA is likely to be entirely unacceptable to the Malian government and most of the Malian people.  However, France might well use its accumulated kudos and leverage to impose such a solution on Mali, whilst forcing the MNLA to accept autonomy rather than independence. After all, in present circumstances, France can pretty much dictate terms in Bamako. Possibly even in Kidal for that matter.</p>
<p>What&#8217;s certain is the the Malian army is entirely incapable of pursuing the fight against a protracted Islamist guerrilla insurgency in the north on their own, or indeed, with the help of ECOWAS forces from countries such as Nigeria or Ivory Coast.  So unless France envisages extending their military intervention from the original to months or years, a most unappealing prospect no doubt, they&#8217;ll need to build coalitions with other local anti-Islamist groups who have at least some chance of success.  Who will those groups be?  The MNLA?  MIA?  The Chadian army?  Algeria?  Local ethnic militias lead by tainted strong me like Alhaji Ag Gamou or Abderrahmane Ould Meydou?  From France and Mali&#8217;s point of the view, the list of candidates is unappetizing to say the least.</p>
<p>Whatever the scenario, the Rubik&#8217;s cube like complexity of Mali&#8217;s problems, especially in the north, presents one of the greatest conflict resolution challenges in recent African history. Success relies on solving a short list of pressing problems, each of which look like a challenge fit for gods not men.</p>
<p>First, Captain Sanogo and his felow putchistas in Bamako must be thrown out (and in jail preferrably) and control of the country handed back to an interim government with some kind of legitimacy.  The army must then be put under the firm control of that government.</p>
<p>Then the north must be stabilized and secured.  As I&#8217;ve already said, this cannot be done by the Malian army and ECOWAS forces.  Other partners will need to be involved.</p>
<p>Then a long lasting relationship between the remote desert regions in the north and Bamako must be defined and negotiated.  Federalism?  Autonomy?  Devolution?  The status quo ante?   In order to define and negotiate this relationship, a legitimate and representative forum must be created in the north, in which all the people&#8217;s of the north have both a stake and trust.  Such an assembly cannot be dominated by one ethnicity, especially not the Touareg. Anybody who knows the history of northern Mali will know that this challenge in itself is truly gargantuan.</p>
<p>Once the future form of the Malian nation is agreed upon, elections must be help to bring the political process back onto legitimate foundations.  Meanwhile war criminals on all sides must be identified, arrested and tried.  A process of truth and reconciliation must be implemented.</p>
<p>Then the most destructive of the smuggling rackets, the ones that have helped to fund insurgency and destabilize the entire southern Sahara &#8211; arms, people, cigarettes, hashish, cocaine and stolen cars &#8211; will need to be dealt with.  This will involve weeding out all the corrupt politicians, officials and military / security personal in Mali, Algeria and other countries, who have benefited from this system for decades, and continue to do so.  In short, it will involve recalibrating the entire Saharan economy away from lucrative but illegal trades and back to more or less benign but legal ones &#8211; tourism, mineral wealth, and the important and exporting of legal goods.  This will take years and a huge amount of investment.</p>
<p>And meanwhile the social, political and economic fabric of northern Mali must be repaired and rebuilt.  Touareg, Arab, Songhoi, Fulani and others must learn to live together again.  Smashed and looted hospitals, banks, schools and shops must be put back together again.  Nomadic herds must be restocked. Society must be nurtured back to health and prosperity.  Once again this will take enormous  amounts of time and money.</p>
<p>So before François Hollande and the  Malian President Dioncounda Traore contemplate staging a Bush-on-the-deck-of-the-USS-Abraham-Lincoln-mission-accomplished &#8220;We beat &#8216;em boys&#8221; moment, I&#8217;d like to see them give a hint of how they propose to tackle all these challenges.  Most intelligent observers agree that it&#8217;s far too early to hold Presidential elections next June.  The Malian people need to decide precisely what the future shape of their country might be before they immerse themselves in the divisive games of African democracy and vote for the people who will try to make that future work.  Mali&#8217;s utterly discredited political class, its more than 150 continually bickering political parties and its head-in-the-sand insistence that if only everything could go back to the way it was in December 2011, then all would be fine, prove that a lasting solution to the northern question is as far away as it has ever been.</p>
<p>All in all, I&#8217;m getting a horrible feeling that the often painful history of western intervention in the complex affairs of Africa, southern Asia and the Middle East is about to repeat itself.</p>
<p>&nbsp;</p>
<p><strong>Andy Morgan (c) 2013</strong></p>
<p>First published by Aljazeera English Online &#8211; January 2013.</p>
<p>&nbsp;</p>
<p>&nbsp;</p>
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		<title>What do the Touareg want?</title>
		<link>http://www.andymorganwrites.com/what-do-the-touareg-want/</link>
		<comments>http://www.andymorganwrites.com/what-do-the-touareg-want/#comments</comments>
		<pubDate>Fri, 01 Feb 2013 12:14:36 +0000</pubDate>
		<dc:creator>Andy Morgan</dc:creator>
				<category><![CDATA[AQIM]]></category>
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		<category><![CDATA[Tinariwen]]></category>
		<category><![CDATA[Touareg]]></category>

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		<description><![CDATA[A nation or people rarely if ever think as one. In the case of the Touareg, difference and disharmony is exacerbated by their vast desert habitat and dispersed nomadic lifestyle, both of which tend to place allegiance to blood and tribe above allegiance to nation or ideology and militate against collective thought or action. This is an attempt to analyze the various current of political thought in the Touareg community of northern Mali.]]></description>
				<content:encoded><![CDATA[<div id="attachment_1034" class="wp-caption alignleft" style="width: 441px"><a href="http://www.andymorganwrites.com/wp-content/uploads/2013/02/Touareg-watching-Camel-Race-Tin-Essako-Jan-2001.jpg"><img class=" wp-image-1034 " alt="Touareg boy watching Camel Race, Tin Essako, Jan 2001" src="http://www.andymorganwrites.com/wp-content/uploads/2013/02/Touareg-watching-Camel-Race-Tin-Essako-Jan-2001.jpg" width="431" height="644" /></a><p class="wp-caption-text">Touareg boy watching Camel Race, Tin Essako, Jan 2001</p></div>
<p>What do the Touareg want? Well, find me a person called &#8216;the Touareg&#8217; and maybe he or she will tell us. You might as well find ‘the English’ or ‘the Japanese’ and ask them what they want while you’re at it.</p>
<p>A nation or people rarely if ever think as one. In the case of the Touareg, difference and disharmony is exacerbated by their vast desert habitat and dispersed nomadic lifestyle, both of which tend to foster an allegiance to blood and tribe that is stronger than their attachment to nation or ideology and militate against collective thought or action.</p>
<p>It can be argued that the very notion of a people called ‘The Touareg’ is an invention of 19<sup>th</sup> century explorers and anthropologists, who adopted this supra-tribal and alien, i.e. Arab, collective noun to group together the <i>Amazigh</i> or Berber speaking nomadic tribes of the southern Sahara. Before ‘Touareg’ there were only different clans loosely affiliated by their language and cultural habits; Taitoq, Kel Ghela, Kel Ajjer, Kel Gress, Kel Fadey, Kel Ferwan, Ifoghas, Taghat Mellet, Iwellemeden, Chamanamas, Kel Antessar, Daoussahak…the list is long.</p>
<p>And all these clans were further sub-divided into sub-clans and sub-sub-clans. Within one of the six large confederations &#8211; the Kel Ahaggar, Kel Ajjer, Kel Aïr, Kel Adagh, Iwellemeden and Kel Taddemakkat &#8211; clans and sub-clans were organized into a complex hierarchy of nobles, vassals, warriors, artisans, marabout and slaves. This intricate social structure, which is well nigh-impossible for an outsider to grasp instinctively, underpins modern Touareg politics, despite the considerable erosion of the old clan system in the past century or so.</p>
<p>This historical backdrop, coupled with the fact that the Touareg share their living space with other ethnicities like the Arabs, Fulani and Songhoi, all of whom have their own layered clan structure, makes the Sahara one of the most complex places on earth for an outsider to understand.</p>
<p>Today, the Touareg are a made up of individuals with residual tribal allegiances, different levels of wealth and social position, different attitudes to religion, life and the world beyond their horizon.</p>
<p>Amongst the Touareg of northern Mali, you will find every shade of opinion from diehard nationalist through moderate Islamist, convinced Salafist and heartfelt loyalist – loyalist to the Republic of Mali that is. Some of the secular cadres and footsoldiers of the National Movement for the Liberation of Azawad (MNLA) still cling to their nationalist dream of complete independence from Mali. Others realize that forces beyond their control won&#8217;t them to realize this ultimate goal, and are pragmatically realigning the aims and objectives with a autonomy within the current borders of Mali, or some kind of federal solution.</p>
<p>The leaders of what remains of the hardline Islamist militia Ansar ud-Dine trust that Allah and his unbending law will put their world to rights, whilst maintaining links with out-an-out mafia-terrorist organisations such as Al Qaida in the Islamic Maghreb (AQIM) or the West African Movement for Oneness and Jihad (MUJAO). The &#8216;moderate&#8217; Islamic Movement of Azawad (MIA), either for ideological or opportunistic reasons, most likely both, has severed all ties with Ansar ud-Dine, and is pursuing a more conciliatory line which nonetheless shares most of the MNLA&#8217;s autonomous ambitions. Loyalists like the Touareg militia leader Alhaji Ag Gamou, who has re-entered the fray in northern Mali after languishing for ten months in exile in Niger, keep faith with the Republic of Mali and its promise of advancement for Touareg social groups that were once firmly at the bottom of the tribal pile.</p>
<p>Disharmony and enmity between different Touareg groups and individuals has always existed. At independence in 1960, Mali, Algeria and Niger effectively co-opted the French strategy of divide and rule to deal with their Touareg populations, favoring and advancing ‘friendly’ tribal chiefs whilst curtailing the power of hostile ones. When seething tensions in the north east of Mali burst into open rebellion in 1963, the two sons of the <i>amenokal</i> or chief of the noble Ifoghas clan who ruled in northeastern Mali, were on opposite sides of the argument. Intallah Ag Attaher favoured making peace with the Malians and finding an accommodation within the new socialist republic, whilst his brother Zeyd Ag Attaher sided with the rebels and paid for it by spending over a decade in one of the remotest prisons on earth, up near the salt mines of Taodenni in the far north of Mali.</p>
<p>Perhaps, at this stage, it’s worth giving a brief answer to the most essential of questions: why did the Touareg of northeastern Mali rebel in the first place? Nina Wallet Intallou, ex-Malian politician and member of the MNLA’s executive council, proffers the simplest of answers; because the new nation was a mistake. What she means is that the new borders of Mali divided the Touareg of north eastern Mali from the Arab and Berber dominated desert lands further north, with which they had deep economic, cultural and historical ties, and lumped them together with the sedentary black people of the south, with whom they had less in common.</p>
<p>Many Touareg could not see why the Bambara, Soninké and Malinké people of the south should impose their language, culture and socialist ideas on them, especially as these ‘blacks’ had never actually vanquished the Touareg in battle, which, although painful, might at least have given their new overlords some kind of legitimacy. And, yes, racism was part of mix as well. Some northern Touareg and Arab leaders argued that they came from noble <i>Cherifian</i> lineages that went right back to the Prophet Mohammed and, as such, found the idea of being subservient to less ‘favoured’ southern blacks completely unacceptable.</p>
<p>Meanwhile, the new rulers of Mali, hundreds of kilometres down south in the capital Bamako, thought of the Touareg as belligerent, racist, feudal, arrogant and lazy. They couldn’t understand why these recalcitrant nomads refused to salute the new Malian flag and accept the government’s bright new socialist ideas, especially their modern ‘scientific’ collectivised farming methods or the secular school curriculum, all of which, the new leaders hoped, would drag the Touareg kicking and screaming from their outmoded, ‘medieval’ way of life and into the 20<sup>th</sup> century.</p>
<p>It was, in short, a dire mismatch. The first rebellion of 1963 and its brutal suppression by a paranoid and inexperienced Malian army ensured that relations between the central government and their far-flung nomads in the north got off to the worst possible start. The bitterness generated by the conflict was deepened by the terrible droughts of 1972-3, during which up to 80% of the northern animal herds died and thousands of Touareg families were forced to flee the country in search of food and work. The corrupt misappropriation of aid by government officials during the crisis only made things worse.</p>
<p>From about 1985 right through to the signing of the National Pact in 1992, which signaled the official end of the great rebellion of 1990-1, the Touareg rebel movement was perhaps more unified under the leadership of the then firmly secular and nationalist Iyad Ag Ghali than it has ever been, before or since. But after the Pact was signed, the movement split along tribal lines into a chaotic alphabet soup of different militias, some of which ended up actually fighting each other in open combat. At the roots of this split was a jealousy and fear of the ruling Ifoghas tribe, to which Iyad Ag Ghali belonged. Other competing tribes like the Idnan and Taghat Mellet formed their own rival rebel group, in which <em>Imghad</em> or &#8216;vassal&#8217; groups, think of them as the Touareg working classes (a gross over simplification, but I fear more complexity at this stage will simply loose you dear reader), slowly gained prominence and eventually ended up fighting a bitter internecine war with the Ifoghas.</p>
<p>As the 1990s progressed, the new democratically elected Malian government of President Amadou Toumani Touré, an ex-soldier who many Touareg accused of perpetrating atrocities against civilians during the rebellion, did little to honour the promises made in the National Pact and continued the policy of divide and rule in the north. Rebellion broke out again in 2006 and then again in January 2012. In fact, many Touareg argue that the north has been in one constant state of rebellion, with periods of greater or lesser open armed conflict, since 1963.</p>
<p>Nonetheless, the status of the Touareg within the Malian republic has undoubtedly changed over the years, whatever the ultra-nationalist Touareg might say. When Mali threw out the military dictatorship of Moussa Traore and brought in multi-party democracy in 1992, which heralded a period of great hope and social dynamism in the country, the total isolation that the Touareg of the far north east had known since independence was broken. Touareg leaders were given representation in national politics, and in 2002, for the first time ever, a Touareg was nominated prime minister. Even though many of the funds allocated to developing the north were embezzled, either by corrupt local leaders or central government officials, some of the money did get through and some schools, wells and clinics were built, although far too few in the eyes of those who continued to clamour for development and independence.</p>
<p>Touareg clans who had been subservient to the warrior-nobility in colonial times, such as the vassal Imghad or Bellah (‘slaves’) favoured the weakening of the old social hierarchies that being citizens of the Republic of Mali inevitably entailed. It gave them the chance to climb up the social ladder and achieve both wealth and status, a redrawing of social boundaries that often angered old clan bigwigs.  The Malian government also favoured a few talented Imghad men when it came to filling important vacancies in local administration or the army, much to the envy and fury of some belonging to &#8216;nobler&#8217; tribes.</p>
<p>Furthermore, many younger Touareg, born after the years of drought and deprivation in the 1970s and 1980s were less driven by the notion that a future within Mali was impossible. They had, de facto, been Malian all their lives. Many had traveled to the south and learned at least a few words of Bambara. They listened to southern music and watched TV programmes made in Bamako. Whilst they still felt separate in many ways, that sense of alienation was weaker than it had been in their parents’ day.</p>
<p>But the bitterness and frustration remained and so did the marginalization. Touareg soldiers like Hassan Ag Fagaga, leader of the 2006 uprising, seethed at being denied promotion in the Malian army. Touaregs saw injustice in the fact that there was hardly any Tamashek music on national TV and absolutely no Tamashek language programmes. They bemoaned the lack of proper schools, clinics and roads in the north east. Furthermore, bitter old memories continued to die hard. Most of the Touareg rebel leaders in northern Mali are the “sons of ‘63”, in other words, men whose parents suffered great injustices in the uprising of 1963. Ghali Ag Babakar, the father of Islamist leader Iyad Ag Ghali, was killed in that uprising, as was the father of Mohammed Ag Najm, the military leader of the MNLA. Their hurt is still visceral and deep, as is their mistrust of the government in Bamako.</p>
<p>Islamism, however, is an entirely new element in this story. Until the mid 1990s, no Touareg leader had ever fought a rebellion in order to impose his brand of Islam on others by force. It was around 1995 that proselytising preachers from the Tablighi Jama’at, a peaceful Pakistani Muslim missionary organisation, started spreading their daw’ah or ‘summons’ throughout Mali. Iyad Ag Ghali, fascinated by their message, invited them up to Kidal in the northeast. He was disillusioned by the fractiousness of Touareg tribal politics and had more or less come to the conclusion that an independent Touareg state in northern Mali would never work. Moreover, although he doesn’t belong to the sub-clan of the Ifoghas from which the clan chief is chosen, he hoped that by associating himself with this new Islamism he would reinforce his prospects of becoming the first non-hereditary leader of the Ifoghas Touareg. No one doubted his supreme talents as a military and political leader, but Ag Ghaly lacked legitimacy as a religious figure. He figured that an association with the ‘alien’ Salafi doctrines of the Tablighi Jama’at and their logical ‘modern’ view of Islam might provide him with that legitimacy and allow him to contest the authority of Intallah Ag Attaher, the current aging leader of the Ifoghas clan.</p>
<p>Other figures in the Ifoghas nobility were also seduced by the ‘purist’ Salafi teachings of the Tablighi preachers, including Alghabass Ag Intalla, the current leader of the MIA, and the notorious war lord Ibrahim Ag Bahanga, who was killed in a &#8216;car crash&#8217; in the summer of 2011. [NB Getting 'killed in a car crash' is often a desert euphemism for being assassinated in some way]. But in the end it only was Iyad Ag Ghali and a very close coterie of fellow Ifoghas who immersed themselves entirely in this new religious philosophy. Some, including Iyad, went so far as to further their studies at a Tablighi centre near the city of Lahore in Pakistan and at mosques in Bamako and Paris. He also became very strict and puritanical in his outlook and personal habits.</p>
<p>After Islamist terror groups from Algeria started to operate in northern Mali from about 2001 onwards, they soon made common cause with Iyad and a small but growing group of Touareg Salafists. Moreover, the GSPC, precursor of Al Qaida in the Islamic Maghreb (AQIM), began to earn large sums from kidnapping, smuggling and money-laundering. Their presence and nefarious activities skewed the economy of northeastern Mali, such as it was, and realigned it around kidnapping, and the smuggling of drugs, arms, cigarettes, stolen cars. Tourism died a swift death, and, thanks more to desperation than religious fervour, some young Touareg accepted employment with the Islamists as drivers, informers, foot soldiers and runners.</p>
<p>In order to undermine the continuing Touareg insurgency, the governments of Mali and Algeria at best tolerated this presence and, at worst, actually encouraged it in clandestine ways. Confusing the cause of Touareg self-determination with that of Islamic militancy bought Mali kudos in the international community and enrolled their decades old secessionist problem into the much wider and better publicised global war on terror. France and the USA reacted to the creeping presence of Al Qaida-affiliates in northern Mali by boosting military aid, money that often disappeared into the pockets of corrupt politicians and generals. Eventually, the Touareg nationalist cause became synonymous with Islamism, Al Qaida, Osama Bin Laden and the global war on terror. The effect was a very neat emasculation of Touareg dreams and a deep tarnishing of the Touareg image in the eyes of the rest of the world.</p>
<p>With weapons stolen from Colonel Khadafy, a man who had always dampened Touareg ambitions whilst seeming to support their cause, the latest and most far reaching rebellion was launched a year ago. But it was hobbled from the outset by disunity. A large number of the Touareg soldiers who returned from Libya belonged to a tribe called the Idnan who had traditionally competed with the Ifoghas for dominance in the northeast. Iyad Ag Ghali demanded to become leader of the new rebellion but his advances were rejected. He also tried to impose his Salafi philosophy on the movement, but he was once again turned down. Smarting from this rejection he formed his own militia, Ansar ud-Dine, to which the best Ifoghas fighters soon swore allegiance. Blood proved thicker than water, or political philosophy for that matter, and furthermore, his coffers full of AQIM money, Iyad was able to pay and equip his army properly. His aim was not independence but Shari’ah law for all of Mali. He ‘lent’ his muscle to the MNLA but when the Malian army were defeated in May, he and his backers in AQIM hi-jacked the whole uprising and turned it into an Islamist takeover. The MNLA meanwhile, abandoned by most potential backers at home and abroad, limped along without the necessary funds.</p>
<p>Now, the Touareg nationalist cause has been as good as buried under a tempest of paranoia about “Al-Qaida linked terrorists” in the Sahel, a new front in the global war on terror and all the other pat phrases that the media habitually resort to in these circumstances.  Iyad Ag Ghaly and his fellow Ifoghas Salafists will obviously bear the brunt of the blame for this turn of affairs. His reputation in certain Touareg circles, once fairly glowing and venerable, is now devilish indeed.</p>
<p>France has piled in to stop the rot. Malians are understandably jubilant. But contrary to what the British Prime Minister David Cameron said in the House of Parliament recently, this isn’t primarily a global problem. It’s a very local one. Yes, the Algerian terrorists who run AQIM have sworn allegiance to the global Al Qaida franchise. Yes, they dream the same dreams and talk the same flowery language as jihadis in Somalia, Yemen and Afghanistan. But the prime reasons behind the existence of radical armed terrorist groups in northern Mali are all to do with local problems; poverty, underdevelopment, corruption, crime, regional self-determination, ethnic aspiration etc etc.  To wade in with MIGs, tanks and boots on the ground without understanding the specific local problems facing people in northern Mali is to court eventual defeat and disaster.</p>
<p>Perhaps, on deep reflection, it’s possible to define a few hopes and dreams that unite most Touareg. I say ‘most’, because total agreement seems virtually impossible. A visceral attachment to their earth, to the beauty, pristine wildness, simplicity and space of their desert home seems to be almost universal. So is the deep nostalgia or <i>assouf</i> felt by most Touareg when they’re absent from it, either by compulsion or of their own free will. This feeling alone accounts for the emotional power of 90% of all Touareg music, including that of world famous Touareg guitar groups like Tinariwen, Tamikrest and Terakaft.</p>
<p>Most Touareg want to see this natural beauty, this freedom of the wide open spaces preserved and with it the nomadic pastoralism that has been practised there for millennia. Then again, there are some, a few, that consider nomadism to have no future at all and who urge their fellow Touareg to accept the sedentary life as the only route to a modern and sustainable future.</p>
<p>Allied to nature and nomadism is the Touareg’s unique Berber culture, especially their language, which is called Tamashek and their alphabet, the oldest in the world to have been kept in continuous use, which is called Tifinagh. Keeping Tamashek alive has been a major motivation behind the Touareg rebellions of the past, spurring demands for Tamashek education and Tamashek speaking television channels</p>
<p>Then there are the other mainstays of Touareg culture that most Touareg treasure. Among them are music, poetry, jewellery-making, leather-working, story-telling, traditional healing, camel breeding and more. But, once again, this cultural pride isn’t felt by all Touareg. A tiny &#8216;lunatic&#8217; fringe of Salafi Touareg consider their Berber culture to be backward and irrelevant in the modern world, a folksy throw-back kept alive by meddling western anthropologists. They would prefer their people to adopt Arabic, the language of the Qu’ran and of the wider Muslim community. With that they would welcome a greater Arabisation of the Touareg. They deem certain other aspects of Touareg culture, especially music and dance, to be licentious and ungodly and they object to the relative freedom and social power that Touareg women enjoy. They also revile the old ‘backward’ Sufi traditions of Islam that most Touareg adhere to.It’s important to stress however that these Salafi attitudes are shared by a small minority of Touareg. Unfortunately, that minority includes a few of the most powerful men in Touareg society, including Iyad Ag Ghali.</p>
<p>Lastly, almost all Touareg bemoan the dearth of social and economic development in their homeland since the end of colonialism. They would like to see more schools, more health clinics, more wells, better roads, cheaper petrol, cheaper food, better distribution of goods, less criminality, more peace and stability. When a Touareg musician sings that his desert is dying of thirst, this is what he means. Without development, the desert is going nowhere.</p>
<p>These then are the dreams that most Touareg share. It’s the conflicting views on how to make those dreams come true that divide them. The nationalists believe that Mali can no longer be trusted to serve the best interests of the Touareg. They argue that the Touareg and other northern ethnic groups, especially the Arabs, will forever be marginalised and discriminated against within a Malian state. Only independence can guarantee a future for the Touareg people and their culture. The MNLA have also been at pains to prove that this opinion is shared by all the major ethnic groups in the north – Touareg, Arab, Songhoi, Fulani, Bozo etc. Mostly however, it’s only Touareg and Arabs who buy into it in large numbers. The nationalists also look outwards and favour alliances with foreign powers and international institutions such as the UN and the EU, as long as they further the cause.</p>
<p>The hardline Islamists believe that borders only serve to divide up the great Muslim community or ‘ummah’ and will eventually lead to greater human suffering and evil. For them, a simple and strict adherence to the word of God and to his law is all the Touareg and the greater Malian nation need in order to eradicate the vices introduced from the west and re-establish a safe, clean and prosperous state of affairs in the Sahel. They distrust the west of course, and if help is needed, prefer to consider local resources or appeal to other Muslim states, especially those in the Middle East like Saudi Arabia or Qatar, for support. Iyad Ag Ghali himself is especially adamant that Muslims should help each other and not go running cap in hand to infidels. That is why he chose to make a pact with Al Qaida and accept their ‘dirty’ money in his fight to create an Islamic Republic in the north of Mali, even though he doesn’t necessarily share AQIM’s cold hatred of all things non-Muslim or their propensity to target innocent people. More moderate Islamists like Alghabass Ag Intalla have rejected this alliance with the &#8216;narco-terrorists&#8217; and aligned themselves with MNLA whilst maintaining their insistence that the future autonomous region of Azawad should essentially be founded on Islamic principles, in legal, political and moral terms at least.</p>
<p>It must be said that what motivates Touareg Islamist leaders like Iyad Ag Ghali and what spurs young Touareg men to join his cause isn’t necessarily the same. For the latter, the promise of safety within a large, powerful and well-armed group coupled with the prospect of good equipment and regular salary are major attractions. Furthermore, for a young man who has known only poverty, unemployment and hopelessness is recent years, a job and concomitant status with Ansar ud-Dine can seem bright and attractive.  The fact that Ansar ud-Dine has seem its ranks heavily depleted almost overnight following the French intervention is proof of the opportunistic motives of many of its former footsoldiers.</p>
<p>Some have even claimed, probably too charitably, that Iyad Ag Ghali created Ansar ud-Dine in order to given young Touareg a chance to express what he believed to be their natural Islamic identity whilst avoiding the compromise of joining the Arab dominated Al Qaida in the Islamic Maghreb.  In other words Ansar ud-Dine offered young Touareg the opportunity to be both genuine Islamists whilst preserving their essential <i>Targuité </i>or Touaregness<i>.<br />
</i></p>
<p>Lastly, there are the loyalists who prefer to see Mali remain intact. They believe that a Touareg dominated state in the north is an impossibility. The Touareg are simply too internally divided, they say, too inexperienced in terms of administration and statesmanship and too dominated by self-serving clan elites to make an independent state viable. They’ll probably admit that Mali is far from perfect, but better to build a future within its democratic and republican confines than accept the possibility of an autocratic ruler in the north, who needs must will inevitably resort to repression and violence in order to keep all the disparate tribal and ethnic tensions in an independent Azawad at bay.</p>
<p>Moreover, what would an independent Azawad actually live on. Gold? Oil? Phosphates? Livestock? Tourism? The economic life of the Sahara is simply too fragile, and too dependent on more urban societies to the south and north to exist independently. Lastly and most importantly, Azawad is an impossibility simply because Algeria would never allow it.</p>
<p>This loyalism is common not only among the Imghad clans of the far north east, but among other Touareg tribes who have had a less tortured relationship with Bamako in the past than that of the Ifoghas. These include the giant Iwellemeden confederation of the Menaka area, the Kel Antessar of Timbuktu and Goundam and the Chamanamas of the Gao region.  But then again, within all those groups, the full range of opinions can still be found.</p>
<p>So what do the Touareg want?  Impossible to say in one snappy soundbite. Except perhaps, a good drenching of rain to soak the parched earth every summer.  But that, only the Almighty can provide.</p>
<p>&nbsp;</p>
<p><em><strong>Andy Morgan (c) 2013</strong></em></p>
<p>First published in Al Jazeera English Online eMagazine.  <a title="Download it from iTunes" href="https://itunes.apple.com/us/app/aje-magazine/id551599653?ls=1&amp;mt=8http://" target="_blank">Download it from iTunes!</a></p>
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