Archive for the ‘Music and Cultural Criticism’ Category

Native Son: How could David Galula have so misunderstood the Berbers?

Friday, January 6th, 2012

Native Son

http://www.tabletmag.com/arts-and-culture/books/87345/native-son/

A Tunisia-born Jew and French officer who fought the Berbers in Algeria pioneered the counterinsurgency warfare still used in Iraq and Afghanistan

By Ann Marlowe|January 5, 2012 7:00 AM

David Galula, a Tunisia-born Jew and French military officer who has been dead more than 40 years, was the greatest single influence on American counterinsurgency practice in Iraq and Afghanistan after Gen. David Petraeus. The idea that winning the population’s loyalty, not winning territory, is the key to quelling an insurgency has roots dating back 200 years to the Prussian theorist Carl von Clausewitz, but Galula was the conduit through which the U.S. Army learned it. The notion of active patrolling of hostile cities, of dispersing U.S. forces in small groups rather than stationing them on large bases, the insistence on getting to know the local culture—all these are Galula’s ideas.

His precepts, developed from his two years as a company commander in Algeria between 1956 and 1958, became American doctrine through two books. The authors of the U.S. Army counterinsurgency field manual [1] FM 3-24, of whom the most famous is Petraeus, cite one: “Of the many books that were influential in the writing of Field Manual 3-24, perhaps none was as important as David Galula’s Counterinsurgency Warfare.” But Galula’s other book [2], Pacification in Algeria, written for the RAND Corporation in 1962 and classified until 2005, is the more useful book for the soldier and the more interesting for the military historian.

Pacification gives a nearly week-by-week account of how Galula implemented his theories in a tiny, mountainous area of Algeria’s Kabyle region. The Kabyle is 100 percent Berber, to use the old word—or Amazigh, to use the word Berbers call themselves—and it was a hotbed of the insurgency. Galula admits that the two officers who followed him in command were both quickly killed by the insurgents. Yet he suggests that his ideas were taken up by French generals and resulted in tactical successes in the Algerian war. Of course, France lost that war, but in Pacification Galula emphasizes, correctly, that the Algerian revolutionaries had largely been defeated when Charles de Gaulle decided for political reasons to give Algeria its independence. Given Galula’s importance in recent years, it was only a matter of time before someone would try to revisit the historical record and assess his actual achievements.

Galula in Algeria [3], by Grégor Mathias, takes a deep dive in the French military archives to examine, almost day by day and village by village, what Galula accomplished and how his area fared after he left. (It is such a deep dive that only military historians will want to join in.) Unfortunately, the book is marred by what may have been unclear syntax in the French original, which I haven’t seen, and a sloppy translation. The reader’s confidence is undermined by small errors throughout (“it was to Galula to conduct counterpropaganda,” reads one). In the crucial “Conclusions” chapter, there are sentences that make no sense: “The main criticisms of Galula’s tactics, having never been compared against the archival record and are more focused on the simplicity of its methods with respect to other, more elaborate French counterinsurgency doctrine thinkers.”

Sadly, Mathias is also cavalier with extrapolations from material I know well. He frequently cites a magazine article I published on Galula and my biographical study [4] of Galula for the Army War College, but he loosely interprets and re-transmits the details. To take one case, where I wrote that Galula “apparently met” Samuel Griffith, a translator of Mao: Mathias has “Galula knew Griffith well.” This does not inspire confidence in his use of other sources.

As to the larger points—Was Galula effective? Did he report his results accurately?—Mathias finds that Galula was just as likely to gloss over his failures and trumpet successes as most of the rest of us. He also convincingly suggests that despite some military successes and an impressive decrease in violence, Galula never eradicated the political substructure of the insurgency in his area.

I would suggest that Galula’s inconclusive results stem from an obvious error that the French officer made that neither I nor Mathias noticed. I understand it now because I recently spent a lot of time among Berbers in Libya, where tensions with the Arab majority are similar to those in Algeria. Put simply, the Kabyles don’t like the Arabs very much—and the best way to get them to go over to the French side might have been to capitalize on the ethnic, religious, and linguistic tension between the two groups.

Galula, along with every French commander in Algeria I’ve read about, missed the elephant in the room: If the French had been able to drive a wedge between the roughly 30 percent of Algerians who are Berbers and the Arab majority, they might have stopped the insurgency in its tracks. The potential of this idea is confirmed by the fact that the newly independent Algeria quickly set about oppressing its Kabyle citizens. One of the first acts of the new Algerian government was eliminating Berber studies at Algiers University in 1962. It was forbidden to name children traditional Tamazight names, and the Berber radio station was limited to four hours of broadcasting daily. In a country 30 percent Berber, the study of the Berber language was banned [5] at the national university.

While the Kabyle produced a disproportional number of revolutionary leaders—and casualties—many were marginalized or slain by the Arabs in the 1960s. Meanwhile, the Algerian government built mosques throughout the Kabyle in towns that had never had them, including some that were and are Christian. This campaign was so unpopular that some Kabyle separatist leaders, like the exiled Ferhat Mehenni, openly support [6] recognizing Israel.

Continue reading: Born and bred in North Africa [7]

The “Berber Spring” of 1980, which culminated in a bloody government crackdown, was the point of no return for the Kabyle. In 1994 and ’95, 10 million Kabyles kept their children out of school to protest the Arab-only curriculum. Since 1981, autonomy or even independence for the Kabyle has been a popular, if not successful, cause.

There are at least three obvious points of tension between North African Berbers/Amazigh and Arabs. The first is over the historical fact of the Arab conquest. Every Berber I have met has told me that Amazigh were the original inhabitants of North Africa and that all of that land was once theirs. As one Libyan Amazigh told me, “I’m tired of hearing about the Palestinians and how the Jews took their land. What about how the Arabs took our land?”

There is also the fact that the official language of all the North African countries is Arabic—yet in Morocco 60 percent of the population are Tamazight or Berber-speaking, in Algeria 30 percent, and in Libya perhaps 10 percent. In most of North Africa, the Arabophone majority has suppressed or (in the case of Qaddafi’s Libya) outright prohibited the use of Tamazight, a language that is estimated to be anywhere from 2,200 to 3,000 years old; its tiffinagh script has more than 30 letters, differing somewhat from region to region, and some of them look like ancient Greek.

The third clear point of conflict is religious. Many Amazigh are at pains to distinguish between their moderate Islam and the intolerance sometimes found among their Arab neighbors. This Galula recognized [8] in Pacification:

Of all the people of North Africa, they are the least influenced by Islam. They do observe the main religious rites such as the annual month-long fast, but not in a rigid way. The local Moslem priest has little moral or temporal authority.

Almost all Berbers will readily acknowledge that their ancestors were either Christian or Jewish before they became Muslim. Galula hints at this in a footnote, “St. Augustin was a Kabyle. Kabylia was Christianized before the Arab invasion.”

The French should have pressed hard on all three points of tension. They should have told the Berbers that they would be trampled in a new, professedly Arab and Muslim state, as in fact happened. They should have encouraged identity politics to alarm the Arab Algerians. They should have told the Berbers that the Arabs were fundamentalists and told the Arabs that the Berbers were secularists, both of which are exaggerations with a strong kernel of truth. (Even today the Kabyles accuse [9] the Algerian military dictatorship of covertly supporting jihadi groups within the country while simultaneously telling the West that dictatorship is necessary to keep a lid on al-Qaida.)

Furthermore, Galula had an advantage over most of the other French field commanders in having been born and bred in North Africa. How could he have ignored the ethnic composition of the country in which he was fighting a fierce and protracted counterinsurgency campaign? In part, I would chalk it up to the tendency of French governments to downplay regional differences, to standardize language, and to cultivate a national, secular identity. France had fought a centuries-long battle to eradicate the use of regional dialects—a battle won only around the time of World War I.

Galula himself was not primed to value minority cultures or encourage cultural balkanization. He was an assimilated Jew whose family had embraced the possibilities of metropolitan France and its dominant secular culture. And he grew up in a time of growing anti-Semitism, when Judaism was best kept quiet. What is particularly ironic, and sad, is that Galula was also more or less a Berber himself by ancestry, a fact that he also did his best to efface.

***

David Galula was born in Sfax, Tunisia, to a Jewish family that claimed to be original to North Africa. One of Galula’s paternal first cousins, Magda Galula, told me that the family was from a town called Galula near the Libyan border, whose residents converted to Judaism 2,000 years ago. In other words, the Galulas were Berbers, or possibly a mix of Roman and Berber blood. They could have been nothing else if they were indigenous to North Africa.

But the Galula family had begun their emergence from centuries of traditional life in David’s grandfather’s time. Galula’s grandfather had been the doyen of the Jewish community of Sfax, and while his family spoke Judeo-Arabic rather than French at home, he sent his sons to French lycées, rather than the traditional Jewish schools common at the time. Galula’s father went out of his way to register David as a French citizen in 1924, when he was 5.

During Galula’s adolescence, anti-Semitism gained force in North Africa as in Europe. It was a time to keep one’s Judaism discreet. There were anti-Jewish riots in Sfax in 1932 and a pogrom that killed 23 Jews in Constantine, Algeria, in 1934. Galula went to the small, insular French military academy at Saint-Cyr, half of whose cadets were themselves the sons of officers, not exactly a philo-Semitic group just a generation after Dreyfus. Shortly after he graduated in 1939 all Jews were expelled from the French officer corps by the Vichy government. Later, Galula ignored his mother’s plan to arrange a marriage with a rich, attractive Jewish girl and married a Christian American he fell in love with while they were both working in China.

Re-reading Pacification in Algeria with Berber identity in mind, Galula’s willful blindness leaps out:

The Kabyles are aborigines belonging to the same Berber stock as the Schleuhs in Morocco.

They have their own language, quite different from Arabic, but it is only a spoken one, for they never developed a writing system.

How could Galula not know that the Berbers had a written language? His home town of Sfax is the nearest big city to Djerba, which is Berber, and to the Libyan coast inhabited by Berbers. (There was of course no “Libya” when Galula was a child.) Galula spent his teenage years in Morocco, a majority Berber country that has been the first to encourage a revival of the written language. Galula repeatedly refers to the Kabyles as illiterate: It is possible that the Kabyles he met had lost their ancient script, but it is also possible that they were literate in Tamazight—the written language Galula seemed to think didn’t exist.

Galula’s attitude toward the Kabyle whose loyalty he was trying to win was ambivalent: contempt leavened with grudging admiration for some features of the culture:

In spite of some intermarriage with Arabs, they have generally retained their distinct physical and intellectual features. Kabyles have a primitive yet definite talent for organizing, which puts them far above the Arabs in this respect. They have also an amazing sense of dialectic, which often put to shame some of my young officers when they thought they could press a fuzzy propaganda line on the villagers.

Perhaps, like the minority group Galula was a part of—the Jews—the Kabyles had had plenty of practice in arguing for their dignity and their rights. But perhaps because Galula was not given to emphasizing his Jewishness, he did not get the Kabyles’ passionate sense of their own identity.

The French blindness to Kabyle identity was tragic. It is arguable that the Algerian revolution worked out badly for all of Algeria, but still more so for the Kabyle. Meanwhile, Galula spun a brilliant theory that resonates with military strategists to this day—yet he ignored obvious facts about his particular area of operations that he was uniquely equipped to exploit, had he been open to seeing them plain. The lesson of Galula and the French in the Kabyle may be: Whatever a leader or a nation tries hardest to suppress in itself is likely to rise up and defeat it. It is too soon to diagnose the parallel issues for the United States in Iraq and Afghanistan, but they are surely there.

Pop Goes Libya: a little musical rebellion among the Amazigh

Monday, November 21st, 2011

http://www.weeklystandard.com/print/articles/pop-goes-libya_609216.html?page=2

November 28, 2011, Vol. 17, No. 11

Zuwarah, Libya

This is my city and I came back again

I found myself where I was born.

The jam session was stirring, though it took place in the proper bourgeois living room of Khaled el Naggiar, a 55-year-old cultural activist here. Two or three young men played acoustic guitar while one kept beat on the bundeer, a thin drum resembling a tambourine. One, sometimes two, sang—always in the Tamazight language, sometimes originals, sometimes covers such as “My City” (1975) by Zuwarah’s Ismail Jafaz, sometimes favorites from the well-known Algerian Amazigh group Idir (“horizon”), and sometimes musical settings of the poems of the late Libyan Amazigh poet Said Sifaw al Mahrouq (1946-1994), a local cultural icon.

The sound was both familiar—Amazigh music uses half tones, like European classical music, rather than Arab music’s quarter tones—and hard to pin down. There are suggestions of Spanish and Cuban music, which makes sense given Libya’s proximity to the former Muslim kingdoms of Al Andalus and to Niger, Mali, Sudan, and other points of origin for Afro-American music. The bundeer, of course, is African.

And while this music sounds as though it were the fruit of a long tradition, it is not. The guitar arrived in Zuwarah only in the 1970s, as part of a North African Amazigh cultural awakening—“Berber” is the term outsiders use—and all of Zuwarah’s young players are self-taught. While Amazigh have always sung at weddings, the first modern song written in the Tamazight language dates only to 1975, when “My City” was sung. When he heard “My City,” the poet Mahrouq wrote “Amousnaw” and gave it to his disciple Naggiar to sing. Neither song was recorded at the time.

“If I had recorded it, I would have been in jail,” Naggiar tells me.

Zuwarah’s music has never been performed in public, except at weddings, and the performers have never earned any money for it. Even now, when songs are played on one of Libya’s new radio or television stations (Zuwarah now has a radio station of its own), the performers don’t get royalties. The young men are either unaware of the financial rewards of striking it big in the music business, or have no belief they can do it. For them, music is a hobby appropriate to this stage in their lives.

“Our young men play by age groups, until they get married,” explains Naggiar, who makes his living as a commercial pilot. He is just now writing his first song after decades away from performing. He estimates that 40 or 50 young Zuwarah men are now pursuing the guitar. Women don’t play, perhaps because jam sessions occur in private homes, often late at night. When I left at 2:30 the other morning, the young men were heading to another house to work on new songs all night.

The core group is two guitarists, 20-year-old Haj Ibrahim Ftees and 18-year-old Badr Al deen F’ees, and Allah Abudeeb, a tall 17-year-old who plays bundeer. F’ees did most of the singing, although Naggiar performed one song in a rich baritone of professional quality and expressiveness. Naggiar’s son Youliasin, 19, a former revolutionary fighter, sometimes drops in on guitar. He also puts out one of Zuwarah’s first newspapers. After a couple of hours a few more young men came by and sat in.

There were just 15,000 weeloul—inhabitants of Zuwarah—around the time of Libya’s independence, and there may be 45,000 today. Yet Zuwarah has a distinctive local culture, dialect, and music. This is unusual even in Libya, which in many ways resembles 15th-century Italy: a group of loosely allied city-states, whose citizens’ first loyalty is to their locality. There are other Amazigh towns, such as Jadu and Nalut in the Nafusa Mountains, but Zuwarah’s culture is the most distinctive.

“We are like an island,” Naggiar says. Zuwarah is the only coastal Amazigh city from the Egyptian border to Djerba in Tunisia, and then it’s a big jump to Algeria. Before the Algerian revival of Amazigh culture in the 1970s, he explains, “We were really isolated. We didn’t know millions of people were speaking our language in Morocco and Algeria.” Morocco is about two-thirds Amazigh and, with a king who is Amazigh through his mother, has been the most friendly to the culture and language of the North African nations. Algeria may be one-third Amazigh and has the most organized and political Amazigh, with one group seeking regional autonomy for the Kabylia region.

Zuwarah’s guitar culture isn’t an updating of a previous devotion to the oud, an Arab instrument; in fact, the first instrument played by Naggiar, who brought the guitar to Zuwarah, was an oud lent him by a sympathetic Egyptian music teacher who recognized his gifts. He bought his first guitar in Tripoli while on a road trip and began teaching himself to play in the car.

Historically, four major instruments have been used by the Zuwarah Amazigh, three of them varieties of drums made of stretched animal skin, and one, the zakera, resembling a bagpipe, made from the skin of a goat. Today, Zuwarah musicians only use one of the four, the bundeer. Like other drums, it isn’t considered haram—that is, religiously forbidden by Salafi extremists—but the guitar is definitely haram. Naggiar explains that even carrying a guitar case around town used to be thought bizarre. When I asked the young musicians about playing in a café, they looked as though I’d suggested a concert on a loading dock. There is simply no local tradition of playing music in public spaces.

Under Qaddafi, the public expression of Amazigh culture was prohibited. For this reason, and because of the place of music in the Amazigh cultural revival in Algeria, Zuwarah’s music is “counted as politics,” says Naggiar. During the Qaddafi regime, even performing Tamazight songs in public outside Libya was risky: A 24-year-old Zuwarah guitarist, Bunduq Bunduq, had his passport confiscated when he returned from a trip to Morocco, where he had sung a Tamazight song in public. Bunduq, incidentally, is the only young Zuwarah man musing about giving a musical career a shot.

Zuwarah is an insular town in an insular country, and it’s hard to say how far these young guitarists will take their talents. They speak vaguely of writing songs in English to reach people outside Libya. (No one in Zuwarah is very keen on Arabic, the language of their conquerors and oppressors.) For now, the guitar music of Zuwarah remains a secret.

After Gadhafi, Hope for Modernity (orig. pub. in WSJ, 11/2/2011)

Wednesday, November 16th, 2011

ARTS & ENTERTAINMENT

NOVEMBER 2, 2011

After Gadhafi, Hope for Modernity

http://online.wsj.com/article/SB10001424052970204528204577008601153277034.html

Tripoli, Libya

‘Now we have to hurry to do everything we want. Everyone from his place. Me, from this museum.” Fatheia al Howasi, the director of Libya’s National Museum since 2007, is soft-spoken, determined, and refreshingly honest in her serviceable English. She is also eager to get to work bringing the museum up to international standards and reopening it to the Libyan public—it has been closed since the revolution started in Benghazi on Feb. 17. Though the capital grows calmer every day, life is far from normal; armed men are ubiquitous and there is a serious shortage of cash. On Sunday, Ms. Howasi led me on an all-too-brief tour of the five-story structure, built in 1988 with Unesco help inside Tripoli’s 17th-century Saraya al Hamra, or Red Palace.

A 1984 graduate of Benghazi’s Garyounis University who has spent her entire career in Tripoli’s Department of Antiquities, Ms. Howasi tells the recent history of the museum without drama. While the museum was closed, she visited every day and her staff of 70 looked after the physical plant. When Moammar Gadhafi fled Tripoli on Aug. 19 and the uprising began, Ms. Howasi and the staff hid “some important small pieces”—a half-dozen glass display cases are still empty—but otherwise took no extraordinary measures.

Soon, revolutionary fighters from the Nafusa Mountains and nearby Zawiyah poured into Tripoli. (One of the major brigades that entered Tripoli hails from Zintan, Ms. Howasi’s hometown.) “Some thuwar [revolutionaries] came into the museum,” she says, but they damaged only the exhibits in the six galleries devoted to Gadhafi and smashed the windows of two of Gadhafi’s cars that are incongruously exhibited among Roman artifacts in one of the main galleries on the ground floor. (One is a lime-green Volkswagen Beetle from the 1960s.) Upstairs, the area that once held Gadhafi mementos is now empty. When I expressed the hope that the history of the Gadhafi period would not be lost to the next generation of Libyans, Ms. Howasi quickly agreed: “These things are for another time, but we need to remember and correct.”

Ms. Howasi says that the Gadhafi exhibits were the extent of the regime’s interference with the museum’s exhibition contents, though she also admits that the reason so few of the Arabic signs are translated into English is that the museum “was not allowed to write by English” during one period when Gadhafi burned foreign-language textbooks and forbade the teaching of foreign languages in schools. When he changed his mind in recent years, “somebody start and stop, somebody start and stop.” This, too, is typically Libyan: There is a sort of national attention-deficit disorder, perhaps the result of 42 years under a madly capricious ruler. When I visited, Ms. Howasi was unable to find any English guide or catalog to the museum.

While there are no classical pieces of earth-shattering importance—a fair amount of Libya’s classical heritage made its way to Italian and other European museums during the Italian occupation—there are vibrant, dynamic mosaics of daily life from the ancient cities of Leptis Magna and Sabratha, many centered around fishing and sea creatures, and important panels from the arch of Septimius Severus at Leptis Magna. The mosaics compare with the best in Tunisia, with tiny fragments that capture light and allow for great naturalism. But the Roman glass on show is mediocre, and even if the empty cases that once held jewelry and other small artifacts were full, they would not compare in extent with the holdings of the Metropolitan Museum of Art in New York, not to mention the Italian museums. The Islamic artifacts are substandard, which probably reflects the fact that Libya was a backwater for most of the postclassical period.

The well-traveled foreign visitor will be most thrilled by the pieces from Libya’s indigenous civilizations, mainly unfamiliar to Westerners. There is a fascinating bijou third-century mausoleum and panels of bas reliefs from Ghirza, south of Misrata, whose endearingly naive depictions of animals and foliage show a fusion of local and Greek art. There are also artifacts from the mysterious Garamantian desert empire, thought to be a Berber civilization. Work is still being done on the remote desert sites where these objects were found. The exhibits on Libya’s rich prehistoric heritage only hint at its splendor and importance. The vast desert covering most of the country below the Mediterranean coast contains some of the world’s finest prehistoric rock art—represented here mainly by photographs and reproductions—along with shards of the indigenous pottery and the 5,400-year-old mummy of a 7-year-old girl found in the Acacus Mountains in 1958.

Libyan cultural and educational institutions usually have a Rip Van Winkle quality, with decades-old signage, little Web presence, and an insular orientation—and the museum is typical. Libyans are not big on maintenance, and many of the light bulbs were out when I visited. But Ms. Howasi is quick to note that most of the improvements she hopes for are cosmetic. In her opinion, the museum does not need a major cash infusion. She did not ask for foreign help. (That is much more necessary to conserve Libya’s neglected archaeological treasures, as Saleh Alagab, head of the Department of Antiquities, has noted.) Ms. Howasi’s attitude, which is common here, reflects the pride and self-confidence of a people who won their freedom with their own blood. And the fact that the museum’s treasures were respected by the revolutionaries is an encouraging sign for Libya’s future.