Rubrique Culture
1/ Traditional dresses :
Any fashion that is lucky enough to fall under the influence of three civilizations are certain to
be an extraordinary blend of style and chic. Algeria sits at the crossroads of three worlds,
Arab, Mediterranean and African, and Algerian fashion has long been influenced by the fact
that its unique location has been a place of historic meetings and exchanges.
Not surprisingly, Algerian designers have succeeded in combining the culture traditions with
the influence of the environment of the country. These influences have found their way into
the fashion industry and have foreshadowed several changes in the choice of color, design and
pattern.
Women's costume in particular, successfully combines flamboyance, utility and elegance.
There is a strong emphasis on intricate decoration and colors. The use of colorful fabrics for
clothing stands out against the predominant surrounding earth tones and the Algerian woman
has kept her love for color and brightly colored patterns. Reds, yellows, greens and blues as
well as many other color combinations are combined and finely embroidered with gold and
silver threads.
The Karakou is a typical traditional dress and incorporates a velvet jacket embroidered in
gold and silver worn with the traditional saroual (Arab pants) and comes from Algiers, the
capital of Algeria.
The Blousa from Tlemcen, West Algeria is a full-length, straight-cut dress made entirely from
lace and sequined chest.
The Djeba Fergani is the traditional dress from Constantine in the eastern side of the country.
This dress is always made with velvet and embroidered by gold and silver thread. The sleeves
can be made of lace. In the central region of Tizi-ouzou, the dress is mainly made from cotton
and is completely embroidered at the neck and bodice as well as at the wrists. However, it is
at wedding and other special occasions that these traditional dresses do justice to the affair.
Distinctive jewelry is also worn.
The fact that these forms of traditional dresses are still used is a tribute to its comfort and
suitability for the climate. It also points to the pride that Algerians take in the tradition of their
ancestors and their identity in the modern world.
2/ Jwelery:
Inspired by a variety of sources, jewelry is the living testimony of an age-old creative force.
From prehistory and antiquity to the Middle Ages, from the Roman-Byzantine era to the
emergence of Islam, traditional jewelry has always expressed the very essence of those eras
through harmonious symbolism Not so long ago Algiers, Tlemcen and Constantine were
vibrant jewelry centers, if only because of the sheer number of stands and shops. Other
regions
are
also
known
for
the
quality
of
their
jewelry.
* Kabyle jewelry (Béni Yenni)
Ath Yennis are famous for their silver jewelry. The forms and colors used are specific to the
region. The glazing technique was introduced around the 15th Century. One could proudly
show off a renewed Ameslukh, Ikhelkhalen (anklet), Taharabt, Tbessaht, Letraks,
Tigwedmatin, Adwir, Tbzimin, or Tabzimt.
* Chaoui jewelry
While of a different shape than Kabyle jewelry, "full" or "hollow" Chaoui jewelry has stood
the test of time yet it has managed to preserve its authenticity. It is defined by the "Alaq
Tchoutchara" (earring) that is sadly not made anymore, the Timcherreft (also an earring), the
Korsa Bel Quota, a more recent creation, "Amquyas," the Abzim, whose close resemblance to
the Kabyle fibula can surely be rooted in an obvious ethnic analogy, the Lamessak, a recent
creation true to the Chaoui style, the Tinahissin, the Cherketh or Semsem, the khelkhal
(ancient ankle bracelet that women from the region never take off), the Guerrar, the Skhab, or
necklace, to be found throughout the Mahgreb region.
* M'sila jewelry
This tradition that very closely resembles Chaoui jewelry of a hybrid style, with Roman and
Byzantine external influences, and is based on traditions pertaining to daily life and the
environment. Besides the Akhelkhal, one can find Abzims and necklaces whose main
characteristic is a close resemblance to Chaoui jewelry, although of a less refined style.
* Touareg jewelry
This jewelry reflects a well-preserved and wisely maintained tradition, thanks mainly to the
legendary Inadens. It attained mythical social status. The Tuareg society is truly devoted to
artisans and noble trades, such as jewelry. Its symbolism echoes the perpetual quest of the
Tuareg to control natural elements. Pendants, rings, pectorals, earrings, anklets, brass rings,
and shell necklaces are all loyal representations of a bygone era. One should also mention the
Tareout, Tasralt, Tineralt, Khomessa, Tareout N'azeref, Tiseguin, Ihebsans, and Asarou ouam
Afer that combine utility and pleasure reminiscent of nearby Black Africa by their mystical
aspects. Tuareg jewelry reflects a constant concern for pure aesthetics.
3/ Painting
With artists such as Abdelhalim HEMCHEB, Azouaou MAMMERI, and later Mohamed
BOUZID, Bachir YELLES and Ali KHODJA, Algerian paintings of occidental inspiration
were quite remarkable, well before Independence.
Moreover, thanks to the Racims, Algerian miniature and illuminated art forms developed at an
accelerating rate. One must point out the role played by Mohamed Racim in preserving
Algerian authentic values. His school suddenly expanded with artists such as Mohamed
Temmam, Mohamed Ranem, and Hamminouna as well as new generations of artists who
drew inspiration and techniques from this art form.
The figurative trend also owes a debt to older artists. Each in their own way, Racim and
Dinet have greatly influenced this artistic movement that reflected Algerian traditions, social
values and daily life.
Baya and Benaboura are representatives of this so-called "naive" painting, which mirrors the
Algerian spirit. Zmirli, Samson, Abdoun and many others also adopted this expression of
stunning freshness and simplicity. More refined, the creations of
Issiakhem breathed new life into the art world and paved the way for the more abstract works
of Khadda, Mesli, Benanteur and Guermaz.
Finally, many other artistic movements flourished throughout the various Algerian regions
such as crude art, "El Aauchem" (sign painting), and "Essebaghines", all represented by artists
such as Hakkar, Ammar Bouras, Zineb Sedra, Samta Benyahia
and many others. Dalila Orfali, curator of Algiers' Museum of Fine Arts, characterized the
Algerian painting of recent years as follows: "The last decade was defined by the
intensification of such trends"
A major revival of artistic activities within the country, dominated by individual techniques,
defined the period between the 1990's and year 2000. As such, symbol-free figurative art
forms have made a strong revival.
Djemaï, Bourdine, Hafidh, Heinen-Ayech and Chegrane are some of the disciples of this
movement. The emerging school of contemporary painting was now spreading to every corner
of the globe, carrying a vision which inadvertently rallied historical and cultural heritage
patterns such as avant-garde compositions, transient art and others.
Moreover, in the early 1990's, in times of extreme hardship, women did not hesitate to affirm
themselves through their writings, even as others chose to remain silent:
_ Malika Modadem's "L'interdite," 1993
_ Mina Bouraoui's "La voyeuse interdite," 1991
_ Leïla Sebbar's "Le silence des rives," 1993
_ Assia Djebbar's "Loin de Médine," 1992
Nadia Ghalem was published in Canada, while other writers were published in Paris or
Damascus. Visual arts provide a diversified landscape, accessible to all, in fields such as
miniatures and illumination (Racim, Temmam, Bendebbag, Ghanem and Sahraoui), figurative
art (Yellès, Baya, Ali Khodja and Houamel), abstract art (Issiakhem, Khadda, Mesli, Guermaz
and Hakkar. As a matter of fact abstract art is quickly becoming the expression of choice for
those wishing to illustrate the obscure. Many painters decided to concentrate on landscapes,
such as Abderrahman Sahouli, Nedjar Bencheikh, Zermane, Hamchaoui and Chaouane. In the
quest for an authentic Algerian pictorial form of expression, some artists were self-taught,
some were "naiverealists," and others chose the forms of "photographers."
In the eighties, a new generation of artists such as Sid Ahmed Chabane, Slimane Ould
Mohamed, Amar Bourras, Yahia Abdel-malek, Myriam Aït Chehara, and Réda Tebib
emerged to enhance artistic expression by using new media such as powders, refined tar,
pelts, plants, plastics, wood, and cardboard, thus developing an art form permeated by modern
technologies.
One could hardly find a direct reference to the city's landscape in Nadia Laggoune's "Alger
dans la peinture”.
4/ Cooking:
Algerian cuisine has a wide range of dishes as varied as each other, the richness and variety of
ingredients used in cooking are very popular around the world.
Because of the location and the size of Algeria, Algerian cuisine consists of a set of typical
specialties of each region of Algeria, it also benefits from refinements and a multitude of
foreign influences. Algerian cuisine is also known to be a mother for cooking recipes are
often jealously guarded well.
Bread (Khobz) is the basis of the Algerian cuisine, it is eaten at every meal, it comes in
several genres: Khobz dar, kesra matlouh, kesra m'bessa, kesra rakhsis,...
We can say that couscous is the national dish of Algeria, there are approximately more than
150 different preparations of cousous including couscous with vegetables and meat, couscous
with milk (mesfouf), couscous with sugar , dates, raisins and eggs (seffa) and many others.