Remembering Yamna Naaziz and the Soulful Art of Thamawayth. Noureddine Boutahar

I remember it not just as a dream, but like a song carried on the wind. I was just a child, too small to hold a memory steady, let alone guide a mule. Yet there I sat, in front of my aunt Yattou on our sorrel molly mule named Gazella, trotting from my parents’ nomadic camp toward my grandparents’ permanent home. Once the tent disappeared behind the hill, my aunt broke into song—not just any song, but Thamawayth. Her voice rose and fell with the rhythm of the trail, weaving stories of longing, sorrow, hope, and love. I didn’t know it then, but that moment was my first brush with the heartbeat of the Middle Atlas—and the unforgettable voice of Yamna Naaziz, the woman at the heart of this article. 

Thamawayth is a unique form of Amazigh poetry, traditionally performed solo. It’s often sung by a lone traveler crossing forests or a shepherd among his flock—a melody born of solitude and carried by the breeze. According to Amazigh linguist Mohamed Chafik, the word itself derives from the idea of companionship: a presence that keeps one company as one journeys through mountains and valleys. More than just music, Thamawayth is the soul’s voice, echoing into the silence. As one Quora user aptly put it, "Folk songs are important because they are a cultural phenomenon that reflects the values, dreams, and struggles of a people." That is precisely what Thamawayth embodies: it is the cry of a culture, shaped by time, hardship, and hope.

Structurally, it floats between poetry and prose—usually three to five lines, free from rhyme but rich in melody and vocal ornamentation. While both men and women perform it, it’s the female voice—with its emotive depth and tonal richness—that often leaves a deeper mark. In the Amazigh world, Thamawayth is no passing fancy. It accompanies harvests, sheep-shearing, village celebrations, punctuates a singing night, and preludes the galloping pageantry of Tbourida horsemen. When performed before an audience, it ends in a swell of applause, uproarious cheers, trilling ululations, and the beat of drums. Even animals seem to respond—I’ve seen horses nod, step, and rear as though the song/poem stirred something deep within. They say music soothes the savage beast; in this case, it awakens its soul.

Yamna Naaziz, later known as Yamna Tafersit, was born in 1930 in the countryside near Khénifra. She began singing at fifteen, around 1945, and never looked back. Her voice was a rare gift: it carried sorrow and joy in the same breath and seemed to pour feeling straight into form. Raised in the grandeur of the Middle Atlas—where even the stones seem to hum—she didn’t just sing Thamawayth; she became it.

Unlike today’s stars who rise under bright spotlights, Tafersit’s talent bloomed in fields, valleys, mountains, and meadows. While village girls gathered firewood and fodder or toiled in the fields, Yamna sang to them—lightening their burdens with each verse. She never sought fame; it came to her. She was a companion in labor, a balm for the weary, and a voice for the voiceless. As Hank Williams once said, "Folk songs express the dreams and prayers and hopes of the working people." And that’s exactly what Thamawayth has done for generations of Amazigh women and men—it has carried their burdens and dreams through the echo of every mountain pass.

The story behind Tafersit’s name is the stuff of legend. According to scholar Abdelmalek Hamzaoui in Treasures of the Middle Atlas, Yamna’s original family name was Ifersten. Her grandfather, Moha Ouhammo, was a man of great strength. One night, he was ambushed by six or seven thieves aiming to steal his livestock. But instead of fleeing, he stood his ground and chased them all off single-handedly—no bloodshed, just sheer courage. The next morning, the tribe was abuzz: “Moha devoured the thieves!” they said—not literally, of course, but in admiration of his bravery. In Amazigh, they said Ifersten Moha, and over time, the name became Afersi. After his death, his son—Yamna’s father—was called Aziz Afarssi. When Yamna registered for her administrative documents in 1968, she feminized the name and became Tafersit.

Yamna Naaziz was a contemporary of Amazigh music legends like Hammou El Yazid, Moha Oumouzzoun, El Ghazi Bennacer, Abchar El Bachir, and Mimoun Outouhan, with whom she sang the timeless epic, Awa Thaamithi Awa Thanghithi (“My Sight You Stole, My Life You Claimed”), and the Ahidous maestro Lhouceine Achibane. She also sparred in poetic duels with masters like Hmad Nmynah and Ichou Hassan. Tafersit didn’t merely drift with tradition—she carved its course.

Yamna’s voice was unmistakable, unforgettable. It carved its own generous space in the world of Thamawayth, somewhere between the velvety softness of Aicha Tagzafet—known for her duets with Hammou El Yazid—and the commanding strength of Hadda Ouakki, whose iconic performances with Bennacer Oukhoya need no introduction. Yamna’s voice also danced with the playful lilt of Itto Mouloud, famous for her songs with Lahcen Aâchouch, and echoed the vast, heartfelt tones of Fatima Tawsidant, who sang alongside Mohamed Rouicha and Mohamed Maghni. Among these luminaries, Yamna’s voice shone like a full moon in a cloudless sky—neither overshadowed nor imitative, but radiant with its own light and legend.

Before phones and loudspeakers, Thamawayth often served as a secret language—an artful way to convey veiled love messages or warn of impending danger, all wrapped in metaphor and melody. One striking example comes from the first piece recorded by Tafersit at RTM (Moroccan Radio and Television) in 1966, which opened with these powerful lines:

زايْذْ كْعذيل إوْحْذاذي نشْ أوانْ يِوينْ أبْريذْ كّولّا يْمعيذانْ نقّانْش

“Fill your horse with more fodder, you who prepare for travel! Your enemies have sworn to destroy you!

This haunting verse wasn’t born in a vacuum. Its roots reach back to the time of the French occupation of Moroccan lands. As the story goes, a woman spotted a young man preparing his horse for a journey. Aware that enemies lay in ambush, planning to kill him, she didn’t shout a warning—she sang one. With danger in the air and spies possibly nearby, she used poetry as a shield, sending him this cryptic message wrapped in metaphor and melody. In a time when every word could cost a life, her voice became his lifeline—a subtle warning hidden in plain sight.

Yamna Naaziz’s poetry spanned the full spectrum—from the depths of personal sorrow to the heights of national pride. Yet the piece that every Amazigh, young and old, carries in their heart is a love story woven in legend, and it goes like this:

أذْروخْ أوا روياخْ كاخْ ثينْ اجظاظْ  أياسْمونْ قّاري يعقوب أرْش قّارخْ 

“You weep, and I weep—like two stranded birds. Darling, call me Jacob, and I’ll call you [Isaac].”

A line of aching simplicity, full of longing and love. Its roots lie in a legend many Amazigh children grew up hearing—often around a glowing fire, wrapped in ahandirs (Amazigh handwoven blankets), their grandmothers’ voices weaving memory into myth. Though the three popular versions of the legend differ slightly in detail, their core meaning and theme remain the same across them all.

My own grandmother, may she rest in peace, told it often. She said that long ago, a virtuous woman in the tribe sent two young boys—Jacob and Isaac—to deliver food to a pregnant woman with cravings. But, as children often do, they were overtaken by curiosity and hunger. They tampered with the food—tasting it, playing with it—until it was spoiled. When the woman found out, her reaction was swift and fierce. Not only had they ruined the food, but they had betrayed a trust. In her anger, she cursed them: May God turn them into two birds, perched forever on the same tree—each calling out to the other, yet never able to see or hear one another again. And so it came to pass. The heavens heard, and the boys were transformed—left to chirp and cry endlessly, close in distance, yet forever out of reach.

Tragically, Yamna Naaziz’s final years were marked by hardship. Despite her enormous contribution to Amazigh heritage, she passed away in 2006, in illness and poverty, in a modest home in Khénifra. No fanfare, no state honors. And yet, though her body departed quietly, her voice still lingers—echoing through valleys, drifting on radio waves, etched in old recordings, and stitched into memory. A voice like hers doesn’t go silent—it haunts the wind.

For me, Thamawayth is more than a genre—it’s a refuge. I don’t just listen to it; I sing it. Whenever I hike the mountains of my hometown, Boukashmir, and find myself in a vast, open space—a canvas of wind, solitude, and memory—I let my voice roam. And when I am truly alone, I return to these favorites:

أوا شْمِذِرُورانْ أثِيزي نو، أوا گبدّلّ إغْصان إخاثارّ سْوِ دّايْمْزّين!

I wish I could bring back my youth! I wish I could trade these old bones for young ones!

أوسيخْشْ أ لْمْري ذا وْرْ ياذاسْ عقّيلْخْ إيْخْفْ إينوْ أورْ ثْنوگيزْ ألّيگالْ ساوالخْ

I held the mirror, but I didn’t remember myself, nor did I recognize my reflection until I spoke.

ثْنّا يِثْگيظْ أوخا تيتْگّا بوتسْمّارث إ لْقالْب إسْمخازّا باظاظْ إغْصانِينو

What love has done to me—even a hammer couldn’t do to a sugar cube; love has crushed my bones.

أوا زيخْ ثايْتشّين أيْدّايْ سّالاْيْن غدْ أيْدّا يْسْظارّ إوْرگازْ ألْمْسّي نْسْ

It is the woman who elevates or diminishes a man's status and his home.

أدّا يْناوْظْ عاري أثوگا خْسْ أشمانّيخْ إكْسْ لْقْنْظْ إِ وُولِنو أوا يْغّوذا أوراعا نْمْ

When I climb the mountain and see the greenery, despair leaves my heart because of the beauty I behold.

إوا يا يوذْماوْن زيلّينْ، أموديسْنوفا وْرْتْمْثاثم أتقّيميم أوما دّويْث أتافْظ

To you, good faces, I wish you hadn't died, even if it meant the end of all existence.

أجّانْخ أنْسّارا ثيميزار ثْنّا وْري يْعْجيبن رْحْلْخ، أناوْظ ثيدّا وْرْسّينْخ.

Let me roam the world. Should a place displease me, I'll depart, seeking lands yet unknown.

أثا حوذْرْ أ طّْيّارَا أوشيدْ أفرْ أذامْ نارو ثابْراتْ أوِيتْ إِيواينْحوبّا غرْ يْخامْن

Bend down, airplane, and give me your wing, so I can give you a letter to take to my beloved’s tent.

أوا عْدّان ميدنْ زيلّين وْرِيد إسْ قْلّان، إوا ماني شا يْعْزّن غورِي أذيگ أمْ ثاسانْو

Many good people exist; they aren’t hard to find. But where are those as cherished as my own heart?

أثاظْفي نْدّونيث أموريد إِ لْموث أ لْحْرّ لِّيخْرا وْرْذا دّيتْعاياذْ وْنّا ثِيوْيْ

How sweet life would be if not for death! Oh, the bitterness of death—for whoever it takes never returns.

Sadly, it’s a crying shame that thousands of Thamawayth poems—rich in beauty, metaphor, imagery, and subtle encryption—have been lost to the sands of time. Not from neglect, but simply because they were never written down. This loss flows from the deeply oral nature of Amazigh culture—or perhaps from the fact that it was kept that way by force or fate. Every time an Amazigh poet, man or woman, passes away, it’s as if a priceless book has been turned to ash—its pages never read, its wisdom gone forever.

A Journey into the Heart of Thaanasarth Noureddine Boutahar

 There are moments in life that rise from the fog of memory like smoke from a slow fire. For me, the ritual of Thaanasarth—an ancient Amazigh celebration observed each year on July 7—is one such moment. The scent of burning harmel (rue), the bleating of goats, the sharp commands of my grandfather summoning us children to gather—all remain etched in my senses like an ancestral song echoing through time.

This was more than a ritual; it was a way of life, a spiritual and agricultural anchor that tied us to the land, to one another, and to a heritage older than memory. As Marcus Garvey once said, “A people without the knowledge of their past history, origin and culture is like a tree without roots.” Thaanasarth was just that—roots stretching deep into the soil of tradition, memory, and meaning.

Growing up in the Moroccan Amazigh countryside in the 1970s, I remember waking to the crackle of fire and the sight of smoke curling into the sky. My grandfather, alongside my father, uncle, the shepherd, and our fieldworker, would gather around a large bonfire. They were preparing for Thaanasarth in Tamazight, or Laansra in Arabic—a celebration that marked not only the height of summer but the very heartbeat of rural life.

The celebration coincided with one of the most critical agricultural periods in Morocco and North Africa. Farmers called this time Smaim—the dog days of summer, when the sun blazed fiercest and the stakes were highest. During this sweltering stretch, the fate of crops, fruit, and livestock often hung in the balance.

The rituals of Thaanasarth were as varied as the Moroccan landscape itself. In our village, and across much of rural Morocco, people would burn harmel, green oleander, and sprigs from most local herbs and trees to produce thick, aromatic smoke. This smoke was then wafted beneath the branches of fig, pomegranate, grape, and other fruit trees. It was believed to protect the fruit from premature drop, pests, and blight. But more than a remedy, the smoke was a blessing—a plea to nature’s uncertain hand for abundance and continuity.

And the smoke wasn’t reserved for trees alone. It enveloped homes, courtyards, animals, and people alike. Livestock were led through its clouds in a purification ritual meant to ward off nasal parasites afflicting goats, sheep, and cows. Some even believed it could prevent miscarriages among animals, reinforcing the sacred aura of the practice.

While modern science may raise an eyebrow at the mystical claims of Thaanasarth, it doesn’t entirely dismiss them. Research shows that harmel seeds contain harmine and harmaline—alkaloids with antibacterial, anti-parasitic, and mild psychoactive properties. These compounds can affect dopamine levels in the brain, perhaps explaining the sense of calm and clarity often reported by those inhaling the smoke.

But the villagers didn’t need scientific approval. Their faith was rooted in generational wisdom. They trusted what their hands had done and what their hearts had always known. Even if some rituals now seem quaint or superstitious, they carried symbolic weight—meaning that can’t be measured, only felt. As W. Somerset Maugham wisely put it, “Tradition is a guide, not a jailer.” Thaanasarth was never about rigid obedience—it was about navigating the rhythms of life with reverence and belonging.

Across Morocco, Thaanasarth takes on many forms. In the oases of the southeast, it is known as Asaansar, where smoke is used to fumigate trees and fields. Nomadic tribes lead their herds through the smoke in acts of ritual cleansing. In Figuig, the celebration becomes a water festival called El Graba, with children joyfully dousing one another before girls leap over fires to dry off—an act symbolizing rebirth. As someone once said, “The greatness of a culture can be found in its festivals, in its celebratory details.” And Thaanasarth is nothing if not a mosaic of such details—each gesture, plant, and chant a thread in a larger cultural fabric.

In other regions, families prepare traditional dishes like Bisara, Abadir, Marchouch, and Tharfist. Children are playfully tapped with smoldering harmel branches, and homes are ritually blessed by the smoke. In the Rif and Jbala, young people leap over bonfires in a gesture echoing ancient rites of purification and renewal. In some Amazigh areas of Algeria, the finest sheep are dusted with ash, marking them as emblems of abundance and prosperity.

During the Islamic Andalusian period, religious scholars condemned Laansra as an innovation bordering on heresy. Fatwas were issued to suppress it, encouraging alternatives such as the celebration of the Prophet’s birth (Mawlid). Yet the people stood their ground. As with many deeply rooted traditions, attempts at erasure only deepened their cultural hold.

Some historians argue that these practices reflect Christian, Jewish, or Latin influences. But to say the Amazigh merely borrowed such rituals misses the forest for the trees. It’s just as plausible—perhaps even more so—that these faiths absorbed older, indigenous traditions. After all, the Amazigh were lighting sacred fires and honoring the earth’s rhythms long before monotheistic religions or Mediterranean contact ever reached them.

In local Amazigh dialects, not observing Thaanasarth carries social consequences. To say someone ur iansir is to label them unbalanced, undisciplined—even morally suspect. The celebration was more than seasonal—it was a test of belonging. In this way, fire became more than heat or light; it became the glue that held the community together.

Interestingly, fire was not the only element in play. Water held equal importance in many regional versions of Thaanasarth, symbolizing joy and renewal. Smoke represented protection; fire, purification; water, blessing. Together, they formed a triad of natural forces reflecting a worldview where nature and spirit were deeply intertwined.

And yet, for all its depth and beauty, Thaanasarth is slowly fading. Urbanization, rising religious conservatism, and cultural amnesia have pushed it to the margins. Today, it lingers mostly in isolated villages and the fading memories of elders.

Still, it remains a vivid window into how rural Moroccans once viewed and interacted with the world. Thaanasarth was never just about fruit, herds, or fire. It was about gratitude—gratitude for what the land gave and trust that life’s cycle would go on. It was, in essence, a symbolic handshake between humans and the earth.

In an age when we lean on screens, sensors, and spreadsheets to understand the world, the wisdom of Thaanasarth offers something elemental: a communal, sensory, and intuitive bond with nature. Perhaps it’s time we stopped brushing aside such traditions as mere folklore and started seeing them as archives of ecological, spiritual, and cultural intelligence.

We may no longer light the same fires or chant the same prayers, but the spirit of Thaanasarth—the call to honor the land, live with gratitude, and draw strength from community—remains as vital as ever. For when we lose traditions, we don’t just lose practices—we lose our compass. And that’s why, in whatever form it takes, we must safeguard our intangible cultural heritage—and keep the smoke rising.