A pioneer of the Amazigh Cultural Movement and modern Amazigh poetics, and one of the first intellectuals to interrogate – from the margin – Moroccan official historiography, Ali Sidki Azaykou has produced two collections of poetry, Timitar (Signs) and Izmuln (Scars), in addition to a posthumous collection, Indguiguen Aghaman (“Eternal Sparks”), appearing in 2019. The present article examines “Taketbiyt” (1971), a poem about the Koutoubia Tower in Marrakesh. While considering the poem, I use Pierre Nora's notion of “site[s] of memory” and Paul Ricœur's “trace of memory” to probe the significance of this centuries-old tower in Azaykou's poetry. I argue that Taketbiyt is evoked as a “site of memory” or a “trace of memory” to both remember and celebrate the forgotten Amazigh ancestry and history. I demonstrate that Azaykou's central concern, through such an act of remembrance, is to interrogate the biased representation of the Moroccan past in the present. As such, the poem complicates Amazigh cultural identity vis-à-vis the hegemony of Moroccan official historiography. Along with an abundance of metaphors, the poem displays an unparalleled allusive diction and a copious array of historical and geographical symbols. I conclude that, with its intellectually-informed theme and its self-consciously weaved form, “Taketbiyt” is a quintessential architype of modern Amazigh poetry.

作为阿马齐格文化运动和现代阿马齐格诗学的先驱，也是最早从边缘质疑摩洛哥官方史学的知识分子之一，阿里·西德基·阿扎库(Ali Sidki Azaykou ) 在除了 2019 年出版的遗作《Indguiguen Aghaman》（《永恒的火花》）之外。本文探讨了一首关于马拉喀什库图比亚塔的诗《Taketbiyt》（1971 年）。在思考这首诗时，我用皮埃尔·诺拉（Pierre Nora）的“记忆场所”和保罗·利科（Paul Ricœur）的“记忆痕迹”的概念来探讨这座百年塔在阿扎库诗歌中的意义。我认为，塔克比特被视为“记忆之地”或“记忆痕迹”，以纪念和庆祝被遗忘的阿马齐格血统和历史。我通过这样的纪念行为表明，阿扎库的核心关注点是质疑现在对摩洛哥过去的偏见描述。因此，这首诗使阿马齐格人的文化身份相对于摩洛哥官方史学的霸权变得更加复杂。除了大量的隐喻外，这首诗还展示了无与伦比的暗示性措辞和大量的历史和地理符号。我的结论是，凭借其充满智慧的主题和自觉编织的形式，“Taketbiyt”是现代阿马齐格诗歌的典型原型。