For Djamel Arezki, talented writer, writing in his native language, learned in the natural environment and this work is to be achieved to restore life to even the language for several centuries. In this interview, Djamel Arezki leaning back on his writing projects and especially his view of a world as vast as the literature, particularly that related directly to its culture, taqbaylit.
La Depeche de Kabylie: How did you get the idea to write and publish the first book?
Arezki Jamal: Well, this book is the result of a collection of rather old. Over time, I felt the need to put some order into what was in my drawer. Deliver these stories of how gross I do not sing. I thought about how to present them to the public. I finally opted for the new: it's fun and it's short. Into a novel, it is possible but I have little chance of being read.
As for writing itself, the idea goes back when I was a student in college. I liked to read and then write. I think the main motivation was a sort of frustration I felt in being an adolescent. I was good at languages, but of course I was missing something. I am from a rural background, I have kept the traditions of yesteryear. I sucked Taqbaylit the Kabylité in nature, in contact with mine, it belongs to me. At school, I realized very early the gap that existed between what the teacher wanted us to learn and what I learn outside in society. It was two different things, opposed. I told myself when I was already in our elementary teacher lied! I think it's there, that I had the urge to write is a kind of revenge on history.
And that gave birth to Wawal of Akal. Are there any other writing projects?
As I told you already in college I wrote my way with my own rules, I was composing poems, I transcribed tales, stories, texts I translated from French just for the Kabyle pleasure. I always kept everything I was writing or translating. Arrived at school, I was interested in everything that was written in Tamazight, clandestinely elsewhere. This first book titled: Akal wawal of a collection of 11 stories, edited by Tira Bejaia in June 2009 is just a revamped version of what I noticed being a teenager. I have another novel translated from the French by Driss Chraibi kabyle, mother of spring-s-n Tafsut Yemma, forthcoming, I also have a collection followed by a study on "The poetry and songs of war Region Has Mlikech "(forthcoming as in bilingual French-Tamazight) and a collection of" Tales and Legends of Kabylia, "forthcoming in Flies France (Paris) soon, those, they are ready.
And how do you explain the choice of language (Tamazight) as a writing language?
Well, I have already partially answered your question. Choosing my first language is a vital need. Speak their language is all that is natural. Then I tell myself it is time to reclaim its identity, its culture, its personality. Write in a language other than his own this assumes, consciously or unconsciously, intentionally or not, compromise, or easements. For proof, look no further than the Algerian writers of the fifties who have experienced this problem acutely. I think the choice of language is important. In addition, if you want to go his own, as do their language is a form of respect. I do not see why I would borrow red herrings, detours as vain and useless, especially since now, Tamazight is taught in school, so the readership is. However, it is possible to write in other languages. Besides, I intend to do
Can you tell us a little of the content of this book?
As I said before, this is a collection of eleven (11) new four to six pages each, for a wide audience but also (as I explained in the introduction) to a public school. I started from the observation that the proposed texts in textbooks do not meet all the objectives. For example, there is in the curriculum typology of texts. But the vehicles offered do not meet the expressed needs, so I tried to satisfy this requirement by introducing, for example, different types of description: description static, dynamic, historical and contrastive, this one hand; secondly, I knowingly introduced a vocabulary former is threatened with extinction. My goal is to save these words with the media, things they designate no longer part of daily or almost Kabyle. I can cite the case of all the vocabulary related to tillage, basketry and other ancient crafts, place names etc..
As for stories, most belong to the oral heritage Kabyle. I kept the wire, the framework, but I invented the whole dressing: the circumstances, characters, locations (place names used are all authentic) and time.
Are these stories true or not? And where is the Amazigh language literature?
By definition, literature is fiction. The eleven stories included in this collection are fictitious, so imaginary. The Amazigh language literature is, in my view, on the right track compared to other languages and cultures more prestigious. Given what she had suffered for three millennia, I'd say we made a giant leap. In just one decade, fifty novels have emerged, not to mention the short story collections, countless plays, translations, poetry and studies (student theses) written entirely in Tamazight. This is not negligible for a language whose contemporaries have long since disappeared (I think especially in Greek and Latin).
What are the problems with writing in Tamazight?
Yes, problems do exist and I am aware. There are general problems common to all languages here in Algeria. Tamazight especially (and other languages too) lacks a cultural policy to encourage the same handwriting. Tamazight is first victim of its official status, a language which is barely tolerated. Needless to hide the sun with a sieve! That is obvious. At school, it is far from universal, it remains and unfortunately still optional.
Then there is the problem of writing itself, the audience (which is still restricted), publishing and distribution. There are initiatives by here and there, but it remains, in my opinion, insufficient even if my book was published with support from the Ministry of Culture.
writing projects? Will there be more books soon?
Yes, I have many projects and I'm working on now. First, on the literary level, I have writing projects (novels, short stories, translations). I already on another collection of short stories in Kabyle. I just put a story to my editor. This is a translation, it will appear in a bilingual, French and Tamazight. It is a project set up under the PANAF 2009. This is a book of a writer Justine Mintsa Gabon, entitled: My First Reading, a tale for teens. Pedagogically, I join a group of teachers and inspectors of Tamazight to create a center for educational research in Bejaia, a project already well advanced. We planned to create a review and an educational resource center. We call on the occasion, or all those all who are able to contribute, to approach the association CERPAM (Centre for Research in Educational Amazigh) created for this purpose. To do this, we have also scheduled training days in action research, symposia, seminars in collaboration with the University Paris 8 with which we work from January 2007 to date.
About the author: Jamal Arezki Tazmalt was born in 1966 in Bouira Inspector French and Tamazight teaching at the University of Bouira. An MA (Master 1) in modern literature from University Paris 8. By
Achiou Lahlouh La Depeche de Kabylie
La Depeche de Kabylie: How did you get the idea to write and publish the first book?
Arezki Jamal: Well, this book is the result of a collection of rather old. Over time, I felt the need to put some order into what was in my drawer. Deliver these stories of how gross I do not sing. I thought about how to present them to the public. I finally opted for the new: it's fun and it's short. Into a novel, it is possible but I have little chance of being read.
As for writing itself, the idea goes back when I was a student in college. I liked to read and then write. I think the main motivation was a sort of frustration I felt in being an adolescent. I was good at languages, but of course I was missing something. I am from a rural background, I have kept the traditions of yesteryear. I sucked Taqbaylit the Kabylité in nature, in contact with mine, it belongs to me. At school, I realized very early the gap that existed between what the teacher wanted us to learn and what I learn outside in society. It was two different things, opposed. I told myself when I was already in our elementary teacher lied! I think it's there, that I had the urge to write is a kind of revenge on history.
And that gave birth to Wawal of Akal. Are there any other writing projects?
As I told you already in college I wrote my way with my own rules, I was composing poems, I transcribed tales, stories, texts I translated from French just for the Kabyle pleasure. I always kept everything I was writing or translating. Arrived at school, I was interested in everything that was written in Tamazight, clandestinely elsewhere. This first book titled: Akal wawal of a collection of 11 stories, edited by Tira Bejaia in June 2009 is just a revamped version of what I noticed being a teenager. I have another novel translated from the French by Driss Chraibi kabyle, mother of spring-s-n Tafsut Yemma, forthcoming, I also have a collection followed by a study on "The poetry and songs of war Region Has Mlikech "(forthcoming as in bilingual French-Tamazight) and a collection of" Tales and Legends of Kabylia, "forthcoming in Flies France (Paris) soon, those, they are ready.
And how do you explain the choice of language (Tamazight) as a writing language?
Well, I have already partially answered your question. Choosing my first language is a vital need. Speak their language is all that is natural. Then I tell myself it is time to reclaim its identity, its culture, its personality. Write in a language other than his own this assumes, consciously or unconsciously, intentionally or not, compromise, or easements. For proof, look no further than the Algerian writers of the fifties who have experienced this problem acutely. I think the choice of language is important. In addition, if you want to go his own, as do their language is a form of respect. I do not see why I would borrow red herrings, detours as vain and useless, especially since now, Tamazight is taught in school, so the readership is. However, it is possible to write in other languages. Besides, I intend to do
Can you tell us a little of the content of this book?
As I said before, this is a collection of eleven (11) new four to six pages each, for a wide audience but also (as I explained in the introduction) to a public school. I started from the observation that the proposed texts in textbooks do not meet all the objectives. For example, there is in the curriculum typology of texts. But the vehicles offered do not meet the expressed needs, so I tried to satisfy this requirement by introducing, for example, different types of description: description static, dynamic, historical and contrastive, this one hand; secondly, I knowingly introduced a vocabulary former is threatened with extinction. My goal is to save these words with the media, things they designate no longer part of daily or almost Kabyle. I can cite the case of all the vocabulary related to tillage, basketry and other ancient crafts, place names etc..
As for stories, most belong to the oral heritage Kabyle. I kept the wire, the framework, but I invented the whole dressing: the circumstances, characters, locations (place names used are all authentic) and time.
Are these stories true or not? And where is the Amazigh language literature?
By definition, literature is fiction. The eleven stories included in this collection are fictitious, so imaginary. The Amazigh language literature is, in my view, on the right track compared to other languages and cultures more prestigious. Given what she had suffered for three millennia, I'd say we made a giant leap. In just one decade, fifty novels have emerged, not to mention the short story collections, countless plays, translations, poetry and studies (student theses) written entirely in Tamazight. This is not negligible for a language whose contemporaries have long since disappeared (I think especially in Greek and Latin).
What are the problems with writing in Tamazight?
Yes, problems do exist and I am aware. There are general problems common to all languages here in Algeria. Tamazight especially (and other languages too) lacks a cultural policy to encourage the same handwriting. Tamazight is first victim of its official status, a language which is barely tolerated. Needless to hide the sun with a sieve! That is obvious. At school, it is far from universal, it remains and unfortunately still optional.
Then there is the problem of writing itself, the audience (which is still restricted), publishing and distribution. There are initiatives by here and there, but it remains, in my opinion, insufficient even if my book was published with support from the Ministry of Culture.
writing projects? Will there be more books soon?
Yes, I have many projects and I'm working on now. First, on the literary level, I have writing projects (novels, short stories, translations). I already on another collection of short stories in Kabyle. I just put a story to my editor. This is a translation, it will appear in a bilingual, French and Tamazight. It is a project set up under the PANAF 2009. This is a book of a writer Justine Mintsa Gabon, entitled: My First Reading, a tale for teens. Pedagogically, I join a group of teachers and inspectors of Tamazight to create a center for educational research in Bejaia, a project already well advanced. We planned to create a review and an educational resource center. We call on the occasion, or all those all who are able to contribute, to approach the association CERPAM (Centre for Research in Educational Amazigh) created for this purpose. To do this, we have also scheduled training days in action research, symposia, seminars in collaboration with the University Paris 8 with which we work from January 2007 to date.
About the author: Jamal Arezki Tazmalt was born in 1966 in Bouira Inspector French and Tamazight teaching at the University of Bouira. An MA (Master 1) in modern literature from University Paris 8. By
Achiou Lahlouh La Depeche de Kabylie
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