A War over the People

2016 ◽  
pp. 247-268
Author(s):  
Ryme Seferdjeli
Keyword(s):  
Large Scale ◽  
Colonial Period ◽  
Algerian War ◽  
Nationalist Movement ◽  
War Of Independence ◽  
High Profile ◽  
The People ◽  
Participation Of Women ◽  
Algerian War Of Independence ◽  
International Diplomacy

This chapter provides an overview of the Algerian War of Independence. The first part looks at the colonial period and at the origins of the Algerian nationalist movement. The second part is a detailed account of the war. The third part discusses some important characteristics of the Algerian war, such as the nature of the war, the use of violence, the significance of international diplomacy, and the large-scale participation of women. In addition, this last section examines how, during the war, Algerian women were incorporated into the war strategy of the French authorities and the French army as well as that of the FLN-ALN by looking at the itinerary of two high-profile women during the war: Djamila Bouhired and Nafissa Sid Cara.

Algerian Nationalism: From the Origins to Algerian War of Independence

2017 ◽  
Vol 97 (1) ◽  
pp. 89-110
Author(s):  
Marisa Fois
Keyword(s):  
Algerian War ◽  
International Context ◽  
Arab Nationalism ◽  
Nationalist Movement ◽  
War Of Independence ◽  
Long Period ◽  
Algerian War Of Independence ◽  
Colonial Order ◽  
Definition Of ◽  
Independent Country

Arab nationalism is not a monolithic construct. In the case of Algeria, the nationalist period undoubtedly played a significant role in determining the nature of its nationalist movement, its foundational principles and the nature of the future independent country. It was during the nationalist period that disputes regarding the colonial order, autonomy versus independence and the definition of Algerian identity emerged. The anti-colonial revolution occurred after a long period of gestation, the result of a combination of people’s spontaneous initiative, the action of forces fed by new or existing ideas and the influence of the international context. This article provides an overview of Algerian nationalism—including both Arab and Berber nationalisms—from the 1920s to the 1950s, identifying parties, leaders and currents of thought.

Epilogue

2019 ◽  
pp. 183-196
Author(s):  
Arthur Asseraf
Keyword(s):  
Frantz Fanon ◽  
Algerian War ◽  
Colonial Rule ◽  
War Of Independence ◽  
The People ◽  
Algerian War Of Independence ◽  
The Media

The epilogue extends the story to the Algerian War of Independence (1954–62) and beyond to the role of news in independent Algeria and post-1962 France. It summarizes the findings of the previous chapters and ties them together by reconsidering the writings of Frantz Fanon on radio and the development of television in the last years of colonial rule. While nationalists hoped that independence would bring uniformity between the media and the people, no such thing happened. This should lead us to consider whether news under colonialism was particularly exceptional, and when, if ever, the news stopped being electric. It ends by considering what might be a new relationship between the historian and the news.

scholarly journals Revolutionizing Maghrebi Art to Move Toward a Cultural Identity

2017 ◽  
Vol 2 ◽  
Author(s):  
Ali Haider ◽  
Class of 2018
Keyword(s):  
Cultural Identity ◽  
Contemporary Art ◽  
North Africa ◽  
Large Scale ◽  
Artistic Expression ◽  
Algerian War ◽  
War Of Independence ◽  
Algerian War Of Independence ◽  
Happy Marriage ◽  
Tunisian Revolution

The Maghreb, or North Africa west of Egypt, has encountered countless revolutions since the early 1950’s, such as the Algerian War of Independence from 1954 to 1962, the Moroccan protests against King Mohammed VI in 2012, the Tunisian Revolution which forced the exit of President Zine el-Abidine Ben Ali , and the Libyan Civil War in which the dictator Muammar Gadhafi was executed by rebels. The steady rise in these political revolts was not simply a rise to sovereignty, however; these revolutions and wars devastated families who could no longer continue their businesses and lives in their homelands, pushing the large-scale diaspora of Maghrebi people into Europe. After years of attempting to assimilate into European communities, Maghrebi immigrants and refugees have been left on their own to discover where they come from and who they identify as. Pushed out of their homes into more unwelcoming territory, they have founded a culture of their own through artistic expression. In a worldwide exhibition tour called Memory, Place, Desire: Contemporary Art of the Maghreb and Maghrebi Diaspora, artists conceive a culture of expression out of the conflicted emotions arising from their immigration. This essay examines how this exhibition and the combination of various elements of different Maghrebi artists’, scholars’ and writers’ work—such as Tahar Ben Jelloun’s The Happy Marriage and Bouchra Khalili’s Mapping Journey Project—embodies collective feelings of displacement, nostalgia, guilt, and loss of identity. 

Memories of a French Migration Crisis

2018 ◽  
pp. 56-72
Author(s):  
Laura Jeanne Sims
Keyword(s):  
Algerian War ◽  
African Origin ◽  
North African ◽  
Structural Racism ◽  
Internment Camps ◽  
Collective Memories ◽  
War Of Independence ◽  
Algerian War Of Independence ◽  
Migration Crisis ◽  
North African Origin

This chapter examines how the French state created a crisis through its management of the arrival and installation of the Harkis in 1962. The Harkis, Algerians of North African origin who supported the French army during the Algerian War of Independence (1954-1962), faced reprisal violence in Algeria at the end of the war and many were forced to migrate with their families to France. In response, French officials attempted to prevent the Harkis from escaping to France and placed some of those who succeeded in internment camps. Comparing the treatment of the Harkis with that of the Pieds-Noirs, the descendants of European settlers in Algeria who likewise fled to France in 1962, highlights the structural racism underlying French perceptions of and reactions to Harki migration. This chapter also explores the ways in which second-generation Harkis have constructed collective memories of the crisis and their attempts to hold the state responsible for its actions.

6. Hybridity

2020 ◽  
pp. 77-90
Author(s):  
Robert J. C. Young
Keyword(s):  
African Americans ◽  
American Music ◽  
Cultural Hybridity ◽  
Traumatic Experiences ◽  
Algerian War ◽  
War Of Independence ◽  
African American Music ◽  
European Culture ◽  
Algerian War Of Independence ◽  
The Us

‘Hybridity’ explains that cultural hybridity can be seen as an expansion of W. E. B. Du Bois’ concept of ‘double consciousness’: a painful incompatibility between how people see themselves and how society sees them only in terms of their race. Nevertheless, this has also formed the basis of the extraordinary cultural creativity of African-Americans. Drawing on cultural memory of their African roots, African-Americans have adapted and transformed aspects of European culture encountered in the US, particularly noticeable in the realm of African-American music. A comparable development of a hybridized culture is considered by tracing the emergence of raï music in 1970s Algeria, following the traumatic experiences of the Algerian War of Independence.

What You See Is What You Get

2018 ◽  
Vol 10 (2) ◽  
pp. 129-148
Author(s):  
Alexandra Binnenkade
Keyword(s):  
Knowledge Production ◽  
History Textbooks ◽  
Textbook Analysis ◽  
Algerian War ◽  
French History ◽  
War Of Independence ◽  
Multimodal Analysis ◽  
Visual Knowledge ◽  
Algerian War Of Independence ◽  
Verbal Content

French history textbooks occupy a pivotal position in the colonial fracture. They impart difficult knowledge about the Algerian War of Independence, knowledge that impacts the relationships between the communities of memory in France today. Textbook analysis has focused on their verbal content and, recently, in the work of Jo McCormack, on corresponding teaching practices. This article highlights graphic design as one layer of visual knowledge production and primarily contributes to the methodology of textbook analysis with an exemplary multimodal analysis. It reveals a hidden narrative about the postcolonial relationship that is not expressed in words.

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