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.

Our Breakfasts: A Taste of Tradition Noureddine Boutahar

In the countryside of the The Sixties and The Seventies, our breakfasts
were seasonal affairs, woven from the land’s bounty and sustained by the fruits of our labor. Our table depended heavily on home-grown produce, yet it was never the same; it shifted with the seasons, transformed on holidays, and took on special flavors when guests and visitors graced our home.

Each morning, our breakfast was grounded in the earthy taste of homemade bread or harcha—the quintessential Amazigh breakfast semolina flatbread baked from wheat grown in our fields, or sometimes corn or barley, depending on the season. Shaped over a wood fire on a clay griddle, these loaves were often as big as a medium size car wheel, sized to satisfy a family of many mouths, eating in shifts most of the time. The women who prepared and served breakfast often ate last, tucked away in the kanoun—the small space reserved for cooking. The scent of warm bread wrapped around them like a soft shawl as they ate, often while still tending to the meal of latecomers.

Preparing a meal was a ritual that required firewood or dried cow dung, three stones to prop up the griddle, and a raboz (bellows) to breathe life into the flames. At a pinch, if the bellows were busy or the rush was urgent, the women blew into the fire themselves, often at the cost of teary eyes from the smoke. Bread, our dawn companion, called the women from their beds in the wee small hours. They would grind the grain by hand with a traditional stone mill, turning it with the strength of, usually, two women across from each other. Then, they’d sift the flour, knead the dough, and leave it to rise. The soft, rhythmic voices of women turning the grinder, singing traditional and religious songs, became a gentle lullaby to my drowsy ears.

Alongside the bread, there was always fresh butter from our cows and rich olive oil from our trees, ready to be dipped and savored. Mint tea, steaming and fragrant, was our staple drink, though sometimes the luxurious aroma of coffee with milk slipped into the morning air. Two cups were the rule, but we, the children, knew how to stretch that rule, coaxing our way to a third and sometimes even a fourth.

For special days—Eids, visits from guests, or simply a change from routine—there was a stack of sheets of meloui, delicate pastry sheets slathered with butter and honey, and sfenj, my mother’s specialty. These airy, fried dough rings were a rare treat, appearing only two or three times a year, which made each bite feel like a small celebration.

In the winter’s chill, hearty soups, rich with medicinal herbs and spices to ward off colds, joined our breakfast. The scent of garlic, fenugreek, parsley, and coriander from our kitchen garden would drift through the house, calling us to the table. Chickpeas, broad beans, lentils, and chopped turnips added their flavor, scent, and texture to harira, our region’s signature soup. Sometimes, just before serving, my mother would crack a few eggs into the pot, and I’d delight and boast in finding a soft piece of egg in my bowl.

Summer had its own traditions. For us kids, breakfast began in the fig trees. Our family’s orchard was a small treasure trove, with each branch laden with figs in shades of tawny, yellow, brown, maroon, and purple. Armed with a hunk of bread, we’d climb to the highest branches, reaching for the ripest figs. Often, the birds had beaten us to the best ones, but we didn’t mind, biting around their pecked portions and eating figs straight from the branch, dirt and all; hygiene was a distant thought. If one of us found an untouched fig, we’d boast about it to the others, showing off our prize before devouring it or sharing it to let everyone in on the moment’s sweetness. Sometimes, we’d stop by the kitchen garden, picking a tomato, carrot, or turnip, rinsing it in the irrigation ditch, and eating it whole and unpeeled before heading inside for the formal breakfast. The elders would wash the figs we brought in baskets, adding them to the table—a vibrant splash of color against the bread and tea.

In the countryside where I grew up, life often began after a nourishing breakfast and a revitalizing cup of mint tea. My uncle, the hardest-working man I knew, held fast to the motto, "Breakfast is the fuel for champions." He wasn’t a learned man, but he believed deeply in the power of a hearty meal to stoke the fires of energy and set the day on the right track. And so, each morning, breakfast became a veritable feast we eagerly anticipated, preparing us to face whatever the day held in store.

Grandma is the Best Noureddine Boutahar

On the 8th of March, I was driven by an undeniable urge to pen down these cherished memories, a heartfelt tribute to my grandmother, a truly remarkable woman, whose influence shaped my character, instilling within me a profound sense of appreciation, respect, care and love for all women.

In the vast expanse of my childhood, Grandma was the towering beacon of my life. She wasn't just my guardian; she was my closest friend, teacher, and partner in navigating life's twists and turns. Her bedtime stories fueled a burning love for books as I journeyed through the landscape of growing up.

My childhood nights back in the late 1960s and early 1970s held a special enchantment that I eagerly looked forward to. My family gatherings over dinner with my siblings and cousins were about more than just the meal; they were an occasion for good-natured banter, playful teasing, and the occasional sibling rivalry. Nevertheless, the zenith of these evenings undeniably belonged to my grandmother's captivating stories. Her storytelling was nothing short of an art form, her narratives transcended mere tales; they were intricate voyages through time and the realms of imagination. With each story she spun, she effortlessly captured our complete attention. What truly set her apart was her gift for adorning her stories with unexpected twists and vivid details, rendering them all the more enthralling. On occasion, she would revisit the same story, but with a completely different tone, style, and voice, leaving us in rapt fascination with her storytelling versatility. These nights, brimming with laughter and wonder, were indelibly etched into our memories, weaving themselves into the rich fabric of our family's customs and togetherness.

There were nights when the cozy embrace of my grandmother's storytelling would lull me into a peaceful slumber even before the end of her captivating tales. Drifting into the realm of dreams mid-story was a common occurrence. However, the beauty of it all lay in my beloved grandmother's unwavering readiness to resume the narrative where she had left off on the following evening. She possessed a wellspring of patience and affection that she poured generously into her stories.

The nights my grandmother began her narratives became a ritual, a communal gathering around the story telling hearth where every eye was transfixed on her. In those moments, the world outside seemed to dissolve, leaving us immersed exclusively in the captivating universe she wove for us. The way she brought her tales to life, with that twinkle in her eye and the cadence of her voice, was nothing less than magical.

As the stories unfurled, time itself seemed to blur, and fatigue would occasionally catch up with us. One by one, in a gradual succession like falling dominos, the heads of my siblings, cousins, and myself would nod and eventually surrender to the sweet call of slumber. It was a testament to the power of her storytelling, its capacity to captivate our thoughts while guiding us with a gentle touch into the realm of dreams. This enabled us to bask in the warm familial unity until the dawn of a new day. 

My grandmother was a remarkable storyteller who effectively acted as my first novels, especially since we had no books at home. However, Nanna, as we used to call her, was not only a fable-teller but also a culinary magician who could whip up any delectable delight my heart desired. She would not only prepare savory dishes tailored to my whims and cravings, but she also had a fascinating talent to conjure up the most mouthwatering sweet treats. Being naturally tall and slender, she indulged me with her culinary delights, always insisting that I needed to eat heartily to become stronger.

Grandma’s love knew no bounds so much so that she was embraced and adored by the entire community. Her kind-hearted nature and the multitude of roles she fulfilled in our village endeared her to everyone. She donned the hats of an experienced midwife, a trusted advisor to women in their marital issues, a competent traditional healer offering herbal treatments for a variety of ailments to women and children. I always found joy in accompanying her in her house calls to neighbors or relatives because, as a guest, I was always treated to the most delectable pastries and the choicest roasted chicken piece, usually a chicken thigh.

 In the days when I couldn't accompany my grandmother on these visits, there was a heartwarming tradition she held dear. She would often return home with a succulent piece of chicken enveloped in a slice of home-made bread soaked in the aromatic stew. She always wrapped the treat in a white piece of cloth she habitually carried with her for just such a purpose. My ritual was always to start with the juicy meat before relishing the soaked bread. What an exquisite treat it was, and what a cherished memory that remains etched in the treasure grooves of my heart.

Living with my grandparents who had lived to a ripe old age was an opportunity for me to glean wisdom from their rich life experiences. Nanna and Dadda, as I called them, served as my educators, my guides, my guardians, my refuge, my source of solace, and so much more. They offered me a wellspring of knowledge, wisdom, and life lessons. They instilled in me the deep-rooted values of integrity, humility, and the power of unconditional love.

Rest in peace, Nanna. You were truly unparalleled, a cut above, the epitome of excellence. I'll cherish your memory in my heart for as long as I walk this earth.