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Decolonising Peace Education in Africa

Decolonising Education for Peace in Africa

Algeria

Common values: Overcoming Arab-Berber identity conflict in Algerian communities through indigenous arts (storytelling, medih-singing, artefacts, and dialogue) 

Project Introduction 

 

The DEPA research project, under the guidance of Fella Lahmar in Algeria, explores how Algerian ancestors used art forms as pedagogical tools to promote peace within their communities, emphasizing the values embedded in this cultural heritage across various linguistic groups. 

 

 

Algerian elders employed storytelling, poetry, and medihs (traditional melodies) to educate, transmit values, create and recall memories, and preserve their ancestors' traditions. These forms of indigenous knowledge formed a significant part of the DEPA Researcher’s informal upbringing in Algeria, passed down by grandparents who never experienced the formal colonial education system. 

However, colonialism disrupted these forms of knowledge through the inherited formal colonial system of education that marginalised the heritage of Algerian ancestors. Moreover, post-independence, the movement to "de-Frenchify" Algeria through the Arabization policy became emblematic of a deeper, long-standing identity struggle. Within this context, languages such as 'Arabic,' 'Tamazight,' and 'French' are entwined in politically charged debates. The challenge of reclaiming and returning to the 'original culture' has been a contentious issue, placing educational institutions at the forefront of the discourse. 

In this context, the study seeks to address a key question: How can the Algerian Art heritage, passed down through generations, foster an "inter-communal" space that encourages dialogue, imagination, and inclusivity among the Arab-Amazigh speaking communities in Algeria? To provide insights, the research explores the shared knowledge and values for peace as presented in the Algerian Art heritage, focusing on stories, melodies, and poetry. 

 

Project Methodology 

 

Algerian Map, DEPA Research Provinces 

The study was conducted across five provinces in Algeria in May 2023. These included three Northern Algerian provinces: Beni Maoush village, in Béjaïa province, which has a majority of Kabyles – a Tamazight-speaking community; Ain Beida, in Oum El-Bouaghi province, predominantly a Chaouia-Shawiyyah- Tamazight speaking community; and Guelma, as a supplementary site, which mainly comprises Arabic-speaking individuals of mixed ethnic heritage. The study also extended to two provinces in Southern Algeria: Ghardaïa, home to the Mozabites- Tamazight and Shaanbeh-Arabic speaking communities, and Tamanrasset, inhabited by the Tuareg- Tamazight -speaking community. 

 

Ain Beida 

Beni Maoush village 

Ghardaïa,  

Tamanrasset 

 

 
 
 
 
 
 

Province 

 
 
 
 
 

Region 

 
 
 
 
 

Community 

 
 
 
 
 

Methods Used 

  • Jama’a discussion focus groups (DG) 

Semi- Structured Interviews 

 
 
 
 
 

Number of participants 

 
 
 
 
 

Gender Distribution 

 
 
 
 
 

Béjaïa 

 
 
 
 

Northern Algerian 

 
 
 
 

Majority of Kabyles – Tamazight speaking community. 

 
 
 
 

1 JG, 2 Interviews 

 
 
 
 

6 

 
 
 
 

1F + 5M 

 
 
 
 
 

Ain Beida, Oum El-Bouaghi Province 

 
 
 
 

Northern Algeria 

 
 
 
 

Chaouia-Shawiyyah- Tamazight speaking community. 

 
 
 
 

1 JG, 2 Individual Interviews 

 
 
 
 

7 

 
 
 
 

7M 

 
 
 
 
 

Ghardaïa 

 
 
 
 

Southern Algeria 

 
 
 
 

Mozabites-Tamazight & Sha’anbeh-Arabic speaking communities 

 
 
 
 

2 JG, 3 Individual Interviews 

 
 
 
 

10 

 
 
 
 

6M + 4F 

 
 
 
 
 

Tamanrasset 

 
 
 
 

Southern Algeria 

 
 
 
 

Tuareg- Tamazight-speaking community 

 
 
 
 

2 JG, 9 Individual Interviews 

 
 
 
 

15 

 
 
 
 

12M + 3F 

 
 
 
 
 

Supplementary- Guelma 

Just follow up on certain emerged themes from the previously four core sites. 

 
 
 
 

Northern Algeria 

 
 
 
 

Majority Arabic speaking community – mixed race province 

 
 
 
 

5 Individual Interviews 

 
 
 
 

5 

 
 
 
 

3F + 2M 

 
 
 
 
 

Total 

 
 
 
 

 

 
 
 
 

 

 
 
 
 

 

 
 
 
 

43 

 
 
 
 

11F + 32M 

 

 

 

 

 

The selection of participants and provinces was based on accessibility and the enrichment they could provide regarding the local art heritage related to educating for peace in their communities. 

 

 

 

To capture the complex relationships of educating for peace across multiple levels - individual, interpersonal, community, national, international, and global - this study adopts Recep Åžentürk’s multiplexity framework. This framework was chosen due to its ability to encompass the multifaceted ontological, epistemological, and methodological nuances of examining such a social phenomenon while accounting for its interconnectedness across vertical and horizontal dimensions. 

 

 

 

 

 

The research methods employed to address this study’s research question were: 

 

In-person, one-on-one, in-depth interviews with elders, community members, artists, educators from both lower and higher education sectors, and mosque imams. 

 

 

 

 

Jama'ah group (JG) discussions (the assembly or traditional gathering): Functioning similar to focus groups, these discussions held respect for local customs, values, and sensitivities. The format and etiquette of these sessions were tailored to the community's traditions. Each group consisted of 4-7 people. The lead and etiquette of these discussions were tailored to respect local customs, values, and sensitivities. 

 

 

 

Both the individual interviews and JG discussions emphasised the Algerian art heritage as an educational tool for peace. Traditional stories, medihs (traditional melodies), amthal (proverbs), and traditional art objects were used to stimulate further in-depth discussions around peace values within their communities. 

 

 

 

Imzad players, Khoulene Alamine (mother) and Fatimati Alamine (daughter), Fella Lahmar (Ceremonial Tuareg attire) 

 

In terms of data generation, based on the participants' informed consent, either audio or video was recorded. All participants underwent a thorough informed consent process, ensuring they fully understood the research objectives, their role in it, and the potential use of their data. Data formats included: 

 

  • Digital audio recordings of interviews. 

  • Textual transcriptions of individual interviews and group discussions. 

  • Digital video recordings for those consenting to video, capturing their oral presentations and custom traditions. 

  • Digital still images of any art objects subjects chose to share. 

  • Notes taken by the researcher.