العودة

Camel Narrative Reflections: Unveiling Cultural Memory through the Collective Unconscious

Mishael Alalsheikh

Growing up, I was deeply fascinated by the portrayal of animals in different cultures in movies and stories. Each culture has a unique and mesmerizing relationship with its animals. This relationship seemed mystical, private, and too complex to decipher. As I matured, my fascination shifted to the relationship between my own culture in the Arabian Peninsula and its animals. I encountered numerous artifacts, from ancient drawings on mountain walls to modern-day literature, that showcased a profound bond between the Sahara people and their animals, particularly camels. As my life shifted to academia, I stumbled upon Saad al Suyan’s "The Arabian Desert" in which one of the chapters Al Suyan suggests that the camel figure in bedouin literature could be a representation of the alter ego of Arabs. Dr. Al Suwayn hinted at the concept of camels as the alter ego of Arabs but did not provide further explanation or examples. Although I liked Alswyan’s suggestion, I thought it was somewhat narrow.

This paper takes Alswyan’s argument further by arguing that camels in Arab culture particularly Saudi region can be a representation of both personal and collective unconscious. I will build upon his idea by providing specific examples from majils tales and nabtai poetry. By examining how camels feature in Saudi Arabian oral traditions, I will explore their deeper significance within the collective unconscious and cultural memory, shedding light on how these narratives shape and reflect the cultural memory within the region.

Memory studies, nested within cultural studies, offer a profound exploration of how societies construct and interpret their past, influencing their present identities and cultural practices. Central to this inquiry is the concept of cultural memory, which delves into how societies remember and commemorate their history, thereby shaping their sense of identity, belonging, and shared heritage. Cultural memory encompasses of individual remembrances as well as collective narratives, traditions, and rituals that contribute to the formation of cultural identity and memory. Maurice Halbwachs' theory of collective memory enriches this discussion by emphasizing that memories are not formed in isolation but within social frameworks. Halbwachs argued that collective memory is sustained through social groups, institutions, and cultural practices, which provide the structure and context. These collective memories ensure that specific narratives and interpretations are preserved and transmitted across generations, shaping a shared sense of history and identity.

Building upon Carl Jung's concept of the collective unconscious and its connection to cultural memory, this paper investigates the representation of camels in Saudi Arabian oral traditions. In exploring these traditions, The study delves into dissecting different Jungian architypes. The paper will focus on the anima, shadow, and messenger archetypes, key constructs in Jungian psychology. The anima represents the inner feminine aspect within a man's psyche, influencing his emotions and interactions. The shadow embodies the hidden or suppressed parts of the personality, often reflecting our darker impulses and unacknowledged traits. The messenger archetype serves as a canal between the conscious mind and the collective unconscious, often appearing in myths and dreams to deliver crucial insights or guidance. Alongside these archetypes, psychological projection emerges as a significant phenomenon. Psychological projection involves attributing one's own unconscious thoughts, feelings, or desires onto other external entities, often without realizing it.

By examining these three archetypes within the context of Saudi Arabian oral traditions, this essay aims to explain their significance and impact on cultural memory and the collective unconscious by using the motif of the camel. This integrated approach offers a deeper understanding of the complex dynamics at play within Saudi Arabian oral traditions and their broader implications for the collective cultural memory.

Documenting oral traditions presents unique challenges compared to academic literature, often resulting in the loss of origin and authorship of famous stories and even the accuracy of such tales. However, many of these narratives have been engraved in the cultural fabric of the society and preserved in the hearts and oral traditions of many generations. Over time, they have found their way into written collections. This process ensures their preservation for future generations. One such collection is "Swalf al Majlis" by Sulaiman Al-Tami, which compiles narratives shared during gatherings or "majlis." In this series of books, the following story is mentioned, The story begins with a man and his family living in the Sahara Desert in the Arabian Peninsula. While their land is okay and green, the man hears of an even greener land and decides to move there. He takes his wife, young son, and his male camel “ba’eer” with a caravans of female camels “thood”. His older son says he will follow them later. Upon arrival in the new land, the ba’eer decides to return as he was happier and satisfied in the home land and takes the female caravans with him. The man stops him by scolding the ba’eer other versions of the story illustrate he hit the ba’eer while other versions of the story claim he only stopped him, and the next day the camel tries again but is stopped once more by the man. On the third day, the ba’eer doesn't allow the man to stop him, so he kills the man and takes the caravans back to the old land. When the older son arrives and finds out his dad was killed, he takes his mother and younger brother to move back.

Upon arrival, they encounter the angry ba’eer, who decides to kill the older son because he knows he is the son of the man and is afraid he will force him to move again with the female herd. The ba’eer attempts to kill the son, but the son is faster and shoots the ba’eer, causing it to die.

In my personal experience, I've often encountered this story, often followed by the assertion that camels are aggressive, vicious and stubborn. But aren't these characteristics associated with human behavior rather than animal behavior? After all, animals generally act instinctively and don't display complex human-like emotions and motivations. Therefore, I suggest that the ba’eer in the story represents something deeper, rooted in the collective subconscious.

Jung introduced the concept of psychological projection, where individuals attribute certain traits they find in themselves or in a broader cultural context to external entities. In this case, animals can become symbols for these traits, which may vary from culture to culture. If we look at the camel as a symbol for the archetypal shadow, we can better understand how it embodies traits such as stubbornness, malice and aggression. By looking at the camel's behavior through the lens of psychological projection and archetypal symbolism, the story takes on a new level of meaning. Rather than simply portraying a troublesome animal, it becomes a reflection of a deeper psychological dynamics at play within the human psyche and collective unconsciousnes If we divide the story and its characters into symbolic representation of the self we can say that the man in the story represents the ego the conscious part of a human. The ego in this case is more rational and acts upon logic. The man's decision to relocate his family to a supposedly greener land can serve as a manifestation of ego-consciousness in action. The man's rational decision-making, motivated by a conscious desire for improvement and betterment, reflects the ego's tendency towards pragmatic solutions and calculated risks. As the head of the family, he assumes responsibility for the well-being and security of the family and thus embodies the ego's function of maintaining order and control in the individual's inner and outer world. However this peaceful relocation is soon disrupted by the ba’eer stubborn actions. The camel in this case becomes a representative of the shadow. The unconscious aspects of the psyche in the collective unconscious that are often repressed or denied by the ego. In the story, the camel's rebellion against the man's authority symbolizes the eruption of unconscious impulses and desires that threaten to disrupt the man's conscious sense of control and security. The camel's sudden rebellion against the man's authority serves as a powerful metaphor for this. Throughout the story, the camel's behavior challenges the man's perceived order and stability and symbolizes the dark, repressed aspects of his psyche that lurk beneath the surface. The camel's stubbornness and refusal to obey the man's commands reflect the shadow's defiance against the ego's attempts to maintain control. By asserting its autonomy and independence, the camel is symbolic of the unconscious forces that seek to disrupt the conscious mind's carefully constructed image of stability and security.

In addition, the camel's actions act as a catalyst for conflict, compelling the man to confront the repressed aspects of his psyche. The man's efforts to control the camel reflect the ego's instinct to resist change and preserve familiar routines. As the confrontation intensifies, he must acknowledge the limits of his conscious control and face the shadow directly. The camel mirrors the man's inner turmoil and psychological complexity. Its rebellion symbolizes the tension between ego-consciousness and the unconscious, highlighting the struggles arising from this interplay within the psyche.

Overall, the camel's actions symbolize the disruptive influence of the shadow on ego-consciousness. By challenging the man's authority and sense of control, the camel represents unconscious impulses threatening the conscious mind's stability. The story thus explores the complexity of the human psyche and the ongoing struggle for self-awareness.

The son, on the other hand, represents a stronger form of the ego, and in this case the son can represent the youth or the younger generation and the way these generations encounter the shadow. Returning to the father figure in the story, we observe his offering of two chances to the camel. However, the son, learning from his father's past tragic experience, promptly takes decisive action against his own shadow. This demonstrates a clear learning from his father's history, indicating a transmission of a collective cultural memory within the familial context.

Within the framework of cultural memory, influenced by Maurice Halbwachs' concept of collective memory, the camel can be viewed as a vessel for psychological projection, encapsulating collective anxieties, desires, and aspirations within the cultural consciousness. Through this mechanism of projection, the camel becomes infused with layers of cultural meaning and significance, mirroring the details of cultural identity and the collective unconsciousness within the society.

The son's swift response to his shadow, informed by his father's experience, highlights the importance of generational transmission of cultural memory through narratives. This process ensures that past events, including tragic experiences, are preserved and passed down, allowing future generations not only to learn from them but also to collectively develop strategies to prevent their recurrence. By drawing upon previous memories and the lessons embedded within them, the collective consciousness of the society is empowered to shape its actions and decisions accordingly, thereby contributing to the prevention of similar tragedies in the future.

Moreover, storytelling serves as a powerful tool for fostering empathy and solidarity within the community, aligning with Maurice Halbwachs' theory of collective memory. Through the retelling of past experiences and the sharing of collective memories, the community gains a deeper understanding of shared struggles and triumphs, cultivating a sense of unity and common purpose. This shared understanding nurtures empathy and solidarity, strengthening social bonds and facilitating collective action in the face of adversity. In this way, narratives become embedded within the collective memory of the community, shaping its identity and informing its values and behaviours for generations to come

In this context, narratives involving camels serve not only as symbols of cultural identity but also as repositories of collective wisdom and experience. By drawing upon these ingrained memories, individuals are equipped with insights and lessons that inform their actions and decisions, spreading the endurance of cultural identity and values within the society.

The previous story is but an example of many different stories that follow the same pattern of a man/ Ba’eer conflict that usually results in one of them getting killed by the other. These tales can illustrate the symbolic nature a Ba’eer carries in the collective unconsciousness. Having explored the role of male camels in Arabian culture we now turn our attention to their female counterparts.

In Arab culture, there is a fascinating and complex relationship between humans and female camels “Naqa”. In addition to their practical use as mounts and milk suppliers, the Naqa occupies a special place in the hearts of the people, characterized by a tender and unique bond. This bond is not just a matter of convenience, but is deeply embedded in the cultural fabric, as evidenced in numerous narratives, whether they poems, stories or even everyday idioms.

Numerous stories and poems deal with the tender bond between a Naqa and its impact on the narrator. This relationship may seem strange and inexplicable to those who haven't experienced the same bond as the people of the Arabian Peninsula with the animals in their environment. I will focus on an example chosen for its cultural significance and dual representation of the different roles embodied by the Naqa and how these roles are connected to the collective unconscious and cultural memory

Before I go into the analysis of the poem, it's important to understand the cultural and historical context in which it's set. This particular poem was written by Alawani at a period of displacement, when his homeland fell under the rule of Ibn Rasheed. It appears that Ibn Rasheed was not favored among the local inhabitants, causing many to abandon their ancestral land. Among these displaced people was our poet Alawani, who felt displaced and alienated in his new surroundings in Al-Kuwait. One day, the poet encounters a touching scene that inspires him to write his poem and documents his call for tribal resistance. He witnesses a Naqa who seems to have lost her offspring and is in distress. It's worth noting that camels possess a strong maternal instinct and the loss of their young affects them deeply, often causing them to stop eating and make sounds similar to human crying throughout the day. The Naqa who loses its offspring at birth or shortly after is called Khuluj

Khuluj’s, cries and continuous weeping broke my heart, never-ending due to the intensity of its wailing.

her crying troubles my restless conscience with each increase in her screams and wails.I beg you Khuluj , to cease your weeping; do not distress and disturb my soul with what has befallen on it . Do not burden my heart, I beg you. I ask Allah to grant you tranquillity,

O troubled camel whose death has soured. You weep for the loss of your daughter, who may have been lost among the camels

Be patient, O camel; she may return. Even if she has died or gone astray, she has a replacement.

However my misfortunes are countless, and my problems have no solution. I cannot complain.

if crying could bring back the dead, I cried until my tears dried up

(Masnad, 70 -75)
(my translation)

The opening lines vividly depict the scene in which the poet begins his verse with the word "Khuluj'," a term reserved for the Naqa mourning the loss of her offspring. He describes her grief and sorrow as if it is piercing his heart with every cry, noting the interruption of her wails and crying, which indicates a struggle to continue amid overwhelming grief. In the second stanza, the poet addresses the personal impact of the camel's cries, describing how they awaken his conscious with each cry. He implores her to stop, as her cries evoke memories that he wishes to suppress. He urges and begs her to stop, as he does not want to face the feelings and emotions and memories that her wailing triggers. He also tries to console her by telling her that perhaps her offspring may only have been lost and not dead, and that even if they are gone, she will give birth to another child. However, he contrasts this with his own struggles and laments that his deeper problems cannot be soothed by tears. In a broken confession, he admits that if crying could solve his problems, he would cry incessantly.

The encounter with the mourning Khuluj is a profound trigger for the awakening of the poet's anima, responsible for emotions and vulnerability. However, this awakening is not a gentle stirring, but a powerful emergence that the poet can only accept with difficulty. a powerful emergence that plunges the poet into a unrestrained inner journey. The emergence of the anima is portrayed as a powerful force disrupting the poet's inner cultural built balance and challenges his preconceived notions of the self. Like a stormy tempest, the awakening of the anima rages within him and demands recognition and integration. Despite the poet's initial resistance, the presence of the anima becomes increasingly undeniable. These aspects of his psyche rooted in empathy and tenderness and emotions long neglected and pushed into the forgotten realms of the psyche, now demand recognition and expression.

In this struggle to awaken his anima, the poet struggles with feelings of vulnerability, insecurity and discomfort. The social expectations and cultural norms that refuse and deny such feelings to be felt by a man also act as resistant force that eventually fails to conquer Thus, the encounter with Naqa becomes not only a reflection of her own suffering, but also a mirror through which the poet confronts the complexity of his own inner landscape and psyche. The awakening of the anima marks a pivotal moment in the poem challenging him to embrace the vulnerability and unleash his suppressed emotions and connect with the emotions that lie beneath the surface.

As the Khuluj cries echo through the land, they awaken something deep in the poet's soul, awakening feelings and memories that he had long buried. Each long cry acts as a relentless call to confront the shackled aspects of his psyche associated with the anima that he had previously ignored or suppressed.

The poet's refusal of the awakening is evident in his desperate plea to the Khuluj to stop her cries. He resists the intrusion of the anima from his subconscious into his consciousness because he fears the emotional turmoil it threatens to trigger. The awakening of the anima is depicted as violent and an unwelcome invasion that violently breaks through the barriers the poet has built to protect himself from such vulnerability. Despite his resistance, the poet cannot deny the power of the anima's awakening. It forces him to confront truths about himself and his emotional world, even as he struggles to reconcile himself to them.

Moreover, the emotions and feelings associated with the anima are not valued in the society the poet belongs to in Arab peninsula cultures, where endurance and resilience are revered as virtues, expressions of vulnerability and sensitivity, traits often associated with the anima, are viewed with scepticism or denial. The poet's unwillingness to confront the awakening of his anima reflects this societal expectation to suppress or deny emotions that might be perceived as weak or unflattering for a man.

Thus, we cannot definitively state that the Khuluj is a direct representation of the anima in this case, but rather a key that unlocks access to the anima and allows it to surface. It also serves as a mask that the poet can use to justify unleashing his emotions. When the poet builds an imaginary scenario with the Khuluj, he indirectly expresses his suppressed emotions. To society, this is justified as he appears to be consoling the Khuluj. This masking technique highlights how the poet navigates social norms to reveal deeper psychological truths while maintaining cultural acceptability. The Khuluj allows the poet to tap into the collective unconscious and cultural memory. By using the Khuluj as a symbolic tool, the poet aligns his personal emotions with shared cultural narratives and archetypes. The tender bond between the people and the Naqa is engraved in the cultural memory, having been used long before the poet's time. He is part of a larger generational chain that employs this motif to express emotions while remaining socially acceptable. This connection legitimizes his feelings and resonates with the community, reinforcing social norms and collective identity. Through this process, the poet uses art to bridge individual expression and collective memory, providing a socially accepted way to explore and express complex psychological and emotional experiences. It allows the poet to go and discover the hidden and neglected aspects of his psyche. The emotions triggered by the Khuluj grief dominate the rest of the poem and serve as aship for the poet's to voyage his inner turmoil and self-exploration.

As the poet grapples with the turbulent awakening of his anima, the Khuluj cries serve as a channel for the expression of suppressed emotions and memories. Through her grief, the poet is confronted with aspects of himself that he had long neglected, ultimately leading to a deeper understanding of his own psyche and the complexity of human emotions. The poet freely admits that if crying was the solution, he would shed tears until every last drop had dried up from the source. He would also weep over the tragedies of his past allowing the raw emotions to flow freely. The anima in its full force guides the poet through this emotional journey of past tragedies and homeland urging him to confront the depths of his sorrow and embrace it.

As the poet immerses himself in the imagery of his homeland, the influence of the anima intensifies, weaving its presence into every aspect of his reflections. With vivid emotions, he paints a vivid portrait of the land and describes its geographical features with an intensity born of longing and homesickness. In doing so, the poet also creates a geographical collective memory of his land. As previously stated, these oral traditions become part of the cultural memory, influencing the perception of the culture. This process not only preserves the poet's personal reflections but also shapes and reinforces the collective identity and shared heritage of his people.

His longing for his homeland is intense In a striking metaphor, the poet compares his homeland to a naked mother whose screams and crying echo through the landscape, unheard by her absent children. The poet's imagery evokes a sense of abandonment and neglect He confronts himself and his people and the metaphorical motherland of the harsh reality of their abandonment. Furthermore, the poet expresses his disappointment in himself and his people questioning how they could allow their motherland to be consumed by the enemy while they live on unheeded. This introspective contemplation reveals a deep sense of disillusionment and sorrow as the poet grapples with the consequences of their collective indifference to the destiny of their homeland.

The relationship between mother and children that the poet evokes reflects the connection he shares with his homeland, a connection that is reinforced by the echo of the Khuluj’s mournful cries over her offspring. This maternal symbolism serves as another representative for the anima, infusing the poet's reflections with a deeper emotional resonance and symbolic image evoked by the Khuluj desperate cries. Through this scenario found in nature, the poet is forced to explore the complexities of emotions, belonging and the enduring ties that bind him to his homeland. The connection between the poet's homeland and the anima can be understood through the archetypal image of the mother. In Jungian psychology, the anima represents the feminine aspect of the psyche, which is often symbolized by figures such as the mother, the sister or the lover. In the poet's reflection on his homeland as a grieving mother, we can see parallels to the anima archetype. The homeland, portrayed as a nurturing and protective figure, embodies the qualities traditionally associated with the mother archetype: nurturing, caring and deeply emotional. The anima, as a manifestation of the poet's unconscious mind triggered by the Khuluj scene, infuses his perception of the homeland with maternal qualities that in away mimic the grieving Khuluj. Through these lens, the poet's longing for his homeland becomes not just a physical yearning but a deeply emotional figure of a child longing for the nurturing embrace of the mother.

Furthermore, the poet's disappointment and cynicism with himself and his people can be seen as a reflection of the anima's role as a guide to the unconscious. The anima prompts the poet to confront uncomfortable truths and grapple with the consequences of neglecting their connection and ties to the homeland, much like a mother guiding her child toward self-awareness and growth. Thus, the image of the mother that was manifested by the awakening of the anima serves to deepen the thematic exploration of the poet's relationship with his homeland, infusing his reflections with emotional depth and symbolic resonance. It is only through this forceful uncomfortable awakening the poet navigates the complexities of alienation, belonging, and emotional expression, guided by the nurturing presence of the anima archetype that was evoked by the grieving Khuluj. The maternal instinct of the Naqa serves as a profound reminder for the people of its habitat, evoking emotions long forgotten and neglected. Through its nurturing manner, the camel becomes a symbol of care and compassion, deeply ingrained within the societal fabric. Its role extends beyond mere functionality, intertwining with the cultural and emotional landscape of the community.

In essence, it appears that the camel in general and the Naqa in particular embody a canal to reconnect with primal instincts and sentiments, allowing locals to tap into their innermost emotions. Their presence serves as a tangible reminder of the symbiotic relationship between humans and animals, fostering a sense of a private harmony and mutuality within the community. Therefore, it can be said that due to the nature of this remarkable creature, the locals are able to access and reconcile with their anima—the feminine aspect of their psyche, representing their unconscious suppressed emotions. In this way, the camel becomes not just an animal, but a revered symbol of emotional communication.

However، this is not the only role the Naqa serves in the poem the next part of the poem we see the Naqa in a new role. The messenger, this architype is very profound and important in Sahara cultures as these cultures are naturally isolated and in order to reach with others a messenger is needed to deliver the message. So important that it becomes a crucial part of the cultural memory and is found in many narratives. AL Khuluj is one example that dedicated an entire part of the poem to describe the messenger that will deliver the poet’s poem which in this case is a tribal call for resistance.

O rider on a camel, her speed is as if she doesn't touch the ground,

Swift as if she's scared of her own shadow, so she flees from it.

She's eight years old and no one has used her for heavy loads, She's not meant for carrying burdens, but for racing.

Oh rider, you must be skilled in handling her well,

you need to hold her reins tightly to control her.

(Masnad, 70 -75)
(my translation)

After the poet was able to understand his emotions and liberate these long-suppressed sentiments, he feels an urgent need for his poem to reach the children of the abandoned mother scattered across various corners of the land, as fast as possible. In his verses, he conjures another Naqa, a creature with attributes that verge on the mythical, for another mission, to serve as the messenger of his message. He paints a portrait of a creature both swift and uneasy, embodying the essence of youth and vitality. He observes her with keen detail, noting her swiftness of foot and her tendency to startle at her own shadow, a quirk that propels her even faster along the desert paths. At eight years of age, she stands at the height of prime youth, her body strong and alert, perfectly suited for the difficult journey that lies ahead. The poet recognizes her as more than just a beast of burden but as a partner in this collective shared quest with her nameless rider, her youthful and fit physique are a vital asset in their race against time.

In a moment of insight, the poet addresses her rider directly, cautioning against burdening the camel with heavy loads that might slow their progress. He implores the rider to travel lightly and swiftly, urging him to avoid sleep until their destination is reached. In this edict, the poet reveals his understanding of the delicate balance required to achieve their goal. A balance that hinges on the Naqa unconstrained speed and endurance.

What is perhaps most striking is the poet's acknowledgment of the rider as a potential obstacle, rather than the Naqa herself. He sees the rider's actions and decisions as critical factors in their success, recognizing the need for cooperation and adherence to his guidance in order to maximize their chances of delivering the poet's urgent message—a call to arms in the name of tribal resistance. In this way, the poet's detailed description of his messenger Naqa serves not only to highlight her physical attributes but also to underscore the importance of strategy, cooperation, and swift action in the pursuit this collective shared mission.

In the poet's portrayal of his Naqa, we witness the embodiment of the Messenger archetype as described by Carl Jung. Through vivid detail, the poet paints a picture of a creature poised at the threshold of youth and strength, perfectly suited to serve as the delivery channel of his urgent message of tribal resistance. It is in the poet's acknowledgment of the rider as a potential obstacle that we see the true essence of the Messenger archetype at play. He recognizes the importance of clear communication and cooperation in navigating the challenges that lie ahead, understanding that the success of their mission depends on the seamless synergy between messenger and rider. In this way, the poet's depiction of his Naqa resonates with Jung's concept of the Messenger archetype, serving as a vessel for communication, transformation, and revelation in the pursuit of collective growth and resistance.

Having delved into the psychology of the poet and the way he uses previous cultural memory, it becomes evident how he draws upon deeply ingrained traditions and collective narratives. The poet taps into the shared cultural memory, using motifs and symbols like the Khuluj and the tender bond with the naqa, which have been preserved and transmitted through generations. By doing so, he not only expresses his personal emotions but also aligns them with the collective unconscious, making his reflections resonate with the broader community. The poet’s use of past cultural memory involves invoking these shared symbols and themes, allowing him to channel his feelings in a manner that is both personally meaningful and socially acceptable. He draws on the collective memory to create his poem, embedding his individual experience within a larger cultural context. This process of using and reinterpreting existing cultural motifs helps to maintain the continuity of cultural memory while also allowing for its evolution. The question that naturally arises is: where does this position our poet in the cultural memory?

In the argument above, the imagery of the Naqa serves as a symbolic representation of suppressed or masked emotions within the collective consciousness of the society. My argument claims that through an analysis of Saharan oral traditions it becomes evident that the symbolism of the Naqa functions as a cultural mechanism for expressing and negotiating complex emotional experiences that may be difficult to articulate directly. Drawing from memory studies theorist Maurice Halbwachs' concept of collective memory, and by taking insights from cultural memory dynamics, we can understand the delicate connection between the symbolism of the camel, the expression of suppressed emotions, and the transmission of cultural memory within Sahara cultures. Maurice Halbwachs' theory of collective memory can shed light on the link between masked emotions and cultural memory in Sahara cultures, specifically in how the Naqa symbolize this connection. Halbwachs argued that memory is not just an individual phenomenon but is shaped by social frameworks and group interactions. In the context of Sahara cultures, the imagery of the Naqa serves as a symbolic representation of suppressed or masked emotions within the collective unconsciousness of the society. Stories, myths, and rituals involving a Naqa are shared and retold within Sahara cultures, becoming engraved within the collective narrative of the society. These narratives provide a means of expressing and negotiating complex emotional experiences that may be difficult to articulate directly. The camel becomes integrated into the cultural landscape of Sahara societies, shaping how individuals within the society remember and interpret their own emotional experiences in different artistic forms. By engaging with the imagery of a Naqa, individuals indirectly express and engage with their own suppressed emotions, contributing to the construction and transmission of cultural memory within the society.

Furthermore, the presence of the messenger archetype in Sahara cultures adds another layer to the symbolism of the camel and its connection to cultural memory. In many Saharan societies, it was a known practice to document events and transmit cultural knowledge through poetry and oral traditions as it is easier to remember. The spreading of poems, often carried out by messengers on camels, served as a form of broadcasting or spreading of information, similar to modern-day methods of communication. The act of the Naqa carrying the poet's poem transcends the boundaries of mere artistic expression, transforming it into a catalyst for the broadcasting and spreading of cultural memory and historical documentation. As the Naqa navigates the desert, carrying the poet's words across tribal territories, the poem takes on a life of its own, spreading like wildfire among the tribes. Each retelling, each recitation amplifies the call to resistance, echoing across the vast expanse of the desert and resonating with those who hear it.

In this way, the poem becomes more than just a piece of art—it becomes a living testament to the collective experience and memory of the tribe, a collective cry for unity and defiance in the face of adversity. Through its spreading, the poem weaves itself into the fabric of cultural memory, engraving itself into the hearts and minds of generations to come. In addition, the poet himself becomes a guardian of cultural memory, not just as an artist but as a chronicler of events and a participant in shaping the narrative of his time. Through his words, he is able to immortalize the struggles, triumphs, and aspirations of his people, ensuring that their stories are preserved for future generations. By using past memories to create the poem and all its elements, the poet contributes to the ongoing chain of cultural memory. This new poem and the experiences it encapsulates become part of the collective memory, influencing future perceptions and cultural narratives. Thus, the poet not only draws from the past but also adds to it, ensuring that his work and the emotions it conveys are woven into the cultural fabric, shaping the collective identity for future generations. Thus, the act of the camel carrying the poem becomes an essential moment in the creation of cultural memory, forging connections between past, present, and future, and leaving an indelible mark on the collective consciousness of the tribe.

Accordingly, the Naqa is not just a messenger of the poet emotions from the unconscious to the conscious but also a messenger of the cultural memory the poet vividly paints in his poem. In examining the poem's representation of a Naqa delivering a message, we can differentiate not just a narrative element, but the poet's intention to shape a future event. This merging of anticipation and reality, albeit with some exaggeration, can confuse readers. Yet, Al Khuluj serves as a paradigm for this phenomenon. The act of delivering a message on a camel becomes a symbolic representation of collective memory transmission within the society, highlighting the significance of oral traditions and storytelling in preserving and transmitting cultural memory across generations.

The effect of the message delivered on the camel in the poem, as envisioned by the poet, demonstrates how cultural memory and collective narratives can influence real-world events and actions within the society. The poet becomes a sort of a mediator or a link between the imagined world of the poem and the lived experiences of the society, influencing how the message on the camel is remembered and interpreted over time. Although the poet initially imagines the resistance after delivering his message, the poem profoundly affects the people. As it spreads, the imagined scenario becomes reality, and the people return to resist. The spreading of the poem on a camel becomes a powerful metaphor for the enduring impact of cultural memory on collective identity and the formation of historical events within Sahara cultures. Although the poet initially imagines the resistance after delivering his message, the poem profoundly affects the people. As it spreads, the imagined scenario becomes reality, and the people return to resist. The spreading of the poem on a camel becomes a powerful metaphor for the enduring impact of cultural memory on collective act and the formation of historical events within Sahara cultures.

The historical context of the poem further emphasizes its significance. This poem didn't just remain a piece of art but had a tangible effect on real-life events, particularly in the resistance movement that followed and the return of al Uqialt. (alsuwyda 113-119). The poet's words didn't merely reflect the collective consciousness; they actively shaped it, influencing the actions and decisions of the people. Thus, the poem transcends its role as a work of literature and becomes a catalyst for change, illustrating the profound connection between cultural memory, artistic expression, and historical outcomes.

By analyzing the symbolism of the camel, the expression of suppressed emotions, and the transmission of cultural memory within Sahara cultures, we gain insights into how oral traditions, storytelling, and collective narratives shape the transmission of cultural memory within societies. The camel serves as a symbolic carrier of cultural memory and collective identity, whether in the form of emotional experiences or the transmission of memory. These are just two examples that the paper examines, and it is certain that this unique creature presents various other roles that are yet to be analyzed and documented more thoroughly.

In conclusion, through the examination of a majlis tale and a poem within Sahara cultures, this paper has explored the profound connection between the symbolism of the camel, the expression of suppressed emotions, the transmission of cultural memory, and the phenomenon of psychological projection. These narratives highlight the significance of oral traditions in preserving and transmitting cultural memory, with the camel serving as a powerful symbol of collective identity and cultural heritage. However, it's important to acknowledge that this paper only scratches the surface of this complex topic. There is still much more to be explored and analyzed in future research. By delving deeper into the layers of oral traditions, cultural symbolism, and psychological processes, scholars can continue to unravel the intricate relationship between storytelling, cultural memory, and the enduring symbolism of the camel within Sahara cultures.

    Glossary
  • - Ba'eer: An Arabic term denoting a male camel.
  • - Khuluj: A specific designation given to a naqa (female camel) who experiences the loss of her offspring shortly after birth.
  • - Majlis: In Arabic culture, "Majlis" refers to gatherings where people discuss politics, culture, and society. It fosters social interaction and sharing of ideas, often embodying the value of hospitality. Within these gatherings, cultural narratives are shared, preserving collective memories and reinforcing cultural identity.
  • - Naqa: A term used in Arabic to refer to female camels.
    • Works cited
  • 1- ʻAbd al-ʻAzīz Masnad. ‏سفينة الصحراء:‏ tahama, 1985, pp. 70–75.
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