Amazigh tattoos in Morocco: symbols, life and identity

Amazigh tattoos in Morocco: symbols, life and identity

by | Cultures & People

Identity and future

Amazigh tattoos

Published July 3, 2025

Have you ever wondered how identity isn’t just expressed in words, but also lives in daily gestures, and is inscribed on skin? Among Amazigh women in Morocco, traditional tattoos are not mere decoration but a living visual language. Each mark—from spirals to crescents—speaks of resilience, protection, fertility, and the cycles of time. So, in this blog, I’d like to explore the world of permanent Amazigh tattoos, focusing on Morocco.

Amazigh tattoos and their meaning

What is the meaning behind Amazigh tattoos? Like I said, permanent Amazigh tattoos are far more than mere embellishments; you could say that they are a visual language. That language expresses the world of women, and what mattered most to them. You will find references to protection from evil [1], to healing and beauty [2], but also to fertility and family [3] – a theme often found in women’s lives throughout the region, as you will find in several other articles on this blog!

See how that works in an Omani pendant here

See how mermaids are feared because of that here

And there is more that relates to their everyday world: symbols such as the crescent moon, spirals and circles acknowledge the cycles of time [4], similar to the meaning of crescents and spirals in jewellery, as I explore in this blog here.

Vintage photo of an Amazigh woman with abundant jewellery and facial tattoos on her cheeks. This photo is part of a blog article on Amazigh tattoos on the Bedouin Silver Blog.

Amazigh tattoos and the stages of life

The thing with tattoos is that they not just carry symbolism, but they are active agents themselves. They are connected to the stages of life and the social roles a person moved through, especially for women. From childhood into adulthood, Amazigh women’s body art marked key transitions. The first facial tattoo, known as “siyala” – a vertical line from the lower lip to the chin – was commonly applied at the onset of menstruation, symbolizing the transition into womanhood. [5] These marks were more than personal adornment: they communicated that a young woman was now part of a different social category, with new responsibilities and expectations.

Marriage was often accompanied by additional Amazigh tattoo traditions. Designs on the chin, forehead, or hands could mark fertility, family bonds, and readiness for motherhood. You could say that tattoos served almost like a visible record of biography.

For example, a square could be added to the skin after marriage to symbolize a new home [6]. For widows, there was even a tattoo extending from ear to ear, symbolizing their deceased husband’s beard [7].

And tattoos displayed tribal allegiances, making it clear to anyone which tribe the wearer belonged to.

These patterns and their meaning vary from region to region, from tribe to tribe, and throughout time: what carries meaning in one time and place, may be simply a pretty decoration in another.

Amazigh tattooing as a process

You could say that the process of getting such a tattoo was a ritual in itself, helping the wearer with that transition into the next stage of life. The tattooing process was typically carried out by a middle-aged woman from the wearer’s community [8]. These sessions were not merely transactional; they created a form of time used for exchanging advice and news, but also to talk about the upcoming changes in the life of the person being tattooed.

This would be a moment for the person being tattooed and her immediate family to gather and talk about shared experiences and offering advice for this new stage of life.

Why are Amazigh tattoos disappearing?

Like the use of silver jewellery, the tradition of Amazigh tattooing has significantly declined in recent decades. Why is that? There are several factors at play here.

Like in many areas of North Africa and Southwest Asia, the rise of Islamism after the 1970s has been a major factor in the decline of tattooing. Tattooing is considered a sin, as it alters what God has created. With more and more people adopting this viewpoint, carrying tattoos was frowned upon, and the practice started to disappear as a result of social pressure.

Combined with that development, tattoos also began to be regarded as old-fashioned and backward. [9]

See more on henna art as World Heritage here!

How are Amazigh tattoos revived?

Despite this decline, notably within the Amazigh diaspora there are to revitalize the tradition. There are many fabulous projects like the Timazighin-initiative by Raissa Lei, which aims to to connect the new generation with the traditions embodied by their grandmothers through jewellery, dress and the wearing of tattoos. These are temporary, but serve let the wearer experience what it is like to appear in her full ancestral regalia.[10]

These revival efforts aim to make the “invisible more visible” by celebrating Amazigh identity and history through art. A spectacular example was the 2025 Awad Summit in Paris.

Amazigh scholars, such as Malika Ouacha, do raise awareness against an Orientalist glorification of Amazigh traditions, and wanting to read ‘meaning’ into everything: she notes that seeking deep meanings for Amazigh tattoos might be misplaced, as many Amazigh women simply found them beautiful, or used patterns from crafts like weaving as practical memory aids [11]. Especially among a Western audience, the need to clarify patterns is high: I’m often baffled to read what made-up explanations of meaning people attribute to lines and patterns in jewellery, and for tattoos it is no different – it’s important to realise that sometimes, a design is just chosen because the wearer liked its form or shape. Meaning, form and even size of patterns change and evolve constantly: body aesthetic is a living heritage.

Empowering women: Amazigh tattoos as cultural identity

For Amazigh women, dress, facial tattoos, and jewellery collectively form a living representation of their cultural identity and their history. That identity is also present in the patterns in carpets, pottery, dress, and the decoration of houses: they are all rooted in the same North African heritage.

By reclaiming and safeguarding these traditions, Amazigh women transform their crafts into a source of economic empowerment through initiatives like cooperatives and other ways to create an income [12].

That is yet a new layer of meaning to an ancient tradition, and one that will carry body aesthetic into the future!

—

Find out more about the symbolism of jewellery in the e-courses!

More posts on people and cultures? Browse them all here!

Join the Jewellery List and receive new articles, jewellery news and more in your inbox!

—

Discover more on jewellery today!

References

[1] H. Mesouani 2019. Inked Bodies, Blank Pages: A Study of Amazigh Tattooing. MA-thesis, Illinois State University, p. 34.

[2] Mesouani, 34.

[3] Mesouani, 36.

[4] https://www.lilithmag.nl/blog/2021/6/4/ade-traditie-en-schoonheid-van-amazigh-gezichtstatoeages-uitgelegd.

[5] https://www.lilithmag.nl/blog/2021/6/4/ade-traditie-en-schoonheid-van-amazigh-gezichtstatoeages-uitgelegd.

[6] Mesouani, 38.

[7] https://amazightimes.nl/de-verdwijnende-amazigh-traditie-van-gezichts-en-lichaams-tattoos/

[8] https://amazightimes.nl/de-verdwijnende-amazigh-traditie-van-gezichts-en-lichaams-tattoos/

[9] B. Laghssais 2023. Amazigh Feminism Narratives: Aspirations, Agency, and Empowerment of Amazigh Women in the Southeast of Morocco, PhD-thesis, Universitat Jaume I, p. 345 – 346. Download the full thesis here for free (yay for open access!)

[10] See more on Timazighin here!

[11] https://www.lilithmag.nl/blog/2021/6/4/ade-traditie-en-schoonheid-van-amazigh-gezichtstatoeages-uitgelegd

[12] Laghssais, p. 358 – 405.

See other sources here:

History of Amazigh tattoos

https://www.newarab.com/features/amazigh-tattoos-are-fading-it-too-late-revive-them

The Bedouin Silver blog gives credit where credit is due! Transparent referencing and citing sources helps us all grow. Would you like to do the same and quote this article? Here’s how:

S. van Roode, [write the title as you see it above this post], published on the Bedouin Silver website [paste the exact link to this article], accessed on [the date you are reading this article and decided it was useful for you].

The Bedouin Silver Jewellery Blog: Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. Her main field of expertise is jewellery from North Africa and Southwest Asia, as well as archaeological and archaeological revival jewellery. She has authored several books on jewellery, and obtained her PhD at Leiden University on jewellery, informal ritual and collections. Sigrid has lectured for the National Museum of Antiquities in Leiden, Turquoise Mountain Jordan, and many others. She provides consultancy and research on jewellery collections for both museums and private collections, teaches courses and curates exhibitions. She is not involved in the business of buying and selling jewellery, and focuses on research, knowledge production, and education only. Sigrid strongly believes in accessibility of knowledge, and aims to provide reliable and trustworthy content: that’s why the Bedouin Silver blog provides references and citations.

EU regulation on cultural goods: what collectors need to know

EU regulation on cultural goods: what collectors need to know

by | Tips for collectors

Collecting jewellery

What do the EU-rules on cultural goods mean for me?

Published June 25, 2025

Rules and conventions that affect how you collect jewellery keep on changing, so here is a new blog on a new set of rules! From June 28, 2025, a new European Union law – Regulation (EU) 2019/880 – is in full effect. And if you’re a collector of Middle Eastern jewellery, or someone who sells it internationally, this regulation actually matters. So I’d thought I’d give you the main breakdown of when and why this matters to you!

The main point: you can’t import ancient beads or jewels into the EU without an import licence and sound provenance. Details, exceptions and what to do as either a buyer or seller are in this blog.

Before we start, again a disclaimer up front: I’m a jewellery historian, not a lawyer. But I would like to give you a heads’ up on this development, so you know this exists.

Let’s see how this works!

What is EU Regulation 2019/880 on the import of cultural goods?

This one is not about modern trade tariffs or commercial sales tax. It’s about something deeper: cultural heritage. This regulation governs the import of cultural goods into the EU and is designed to stop the illegal trade of cultural items – especially those removed from their countries of origin during times of conflict or without permission.

This EU-wide regulation sets rules for how cultural goods can legally be brought into the EU from non-EU countries. Its goal is to:

  • Prevent looted or illegally exported cultural items from entering the EU.
  • Protect cultural heritage, particularly from countries affected by conflict.
  • Create a more uniform and transparent system for imports across EU countries.

This is not a new idea: international conventions have been calling for this kind of protection for years. But this is the first time the EU has set up a unified legal framework to enforce it at the border. And as such, this regulation is a gamechanger for many businesses.

How Regulation 2019/880 affects jewellery collectors

If you collect traditional jewellery from North Africa and the Middle East, Regulation 2019/880 probably will not have that much effect. Because after all, there is not that much traditional jewellery that is older than 250 years and that meets the value threshold of the regulation (which I will go into below).

But there are implications for one particular category, and that is why I chose to devote a blog to it. Many old beads, especially those labelled as archaeological, dug-up, or ancient, fall under this regulation. Those are the kind of beads that you will often find in modern designs, and that are avidly collected by jewellery collectors and designers alike. So, if you are selling trade beads and also include ancient beads in your offerings, or designing new jewellery pieces from ancient components, selling these to customers in the EU requires your attention. Even if they’ve been in circulation for decades.

Which jewellery counts as a ‘cultural good’?

So, what is a cultural good? The regulation follows a specific definition of cultural goods. That is a different definition than UNESCO 1970 or the CITES-definitions: I can’t help that, but here we are.

See more about UNESCO 1970 here

See more about CITES here

The definition of cultural goods includes objects of archaeological interest that are over 250 years old. It doesn’t matter how small or unassuming the item is.

So yes: ancient beads, dug-up items, grave goods, or antique adornments that have archaeological origins fall into this category. Jewellery that has been excavated, or that is believed to come from historical sites, even if it’s only a strand of stone or glass beads, may be covered by the regulation.

Still wondering if that affects you? Have a look at these terms, often found on auction platforms, Ebay or Etsy stores:

Saharan ‘Neolithic’ beads. Mummy beads. Sassanian seals. Roman glass beads. Nila beads. Carved seals and intaglios. Ancient Egyptian faience amulets. Islamic glass beads. Etched carnelian beads. Roman/Islamic glass bangles. Ancient melon beads.

Any of these look familiar, or like something you’d buy or sell? That’s when you need to be aware of this regulation on cultural goods. And just to be clear: obviously, I know that many of these items have been above ground for a very a long time. I am also aware that many of these are actually fake or, at best, misrepresented recent productions. In fact, I even can’t help but wonder if we will be seeing a whole lot less of those presumably ‘archaeological’ items, now that these regulations are in place.

But on the other hand… the Sahara is still being robbed of its beads today, as are grave sites on various locations. The point of the regulation is to prevent the illicit trade in those items – and the legislators have chosen to create a definition that includes everything.

Categories of cultural goods: what collectors should know

There are different categories of cultural goods under this regulation. The most relevant for collectors and traders of older jewellery include:

Category B: Objects older than 250 years (these include archaeological objects from excavations or finds, but also things like statues and icons), regardless of their value.

Category C: Other cultural goods older than 200 years, and with a value of 18,000 euros or more.

This last category is more for high-end galleries; I suppose the goods in Category B are most relevant for most collectors and sellers of beads. Note that Category B includes all archaeological objects, regardless of value: that 10 USD ancient bead you have purchased on Ebay, now needs a whole lot more before it may be imported into the EU.

So where is Category A…? Those are cultural goods that have been obtained illegally, and cannot be imported at all.

Licence and documentation requirements for importing cultural jewellery

Customs authorities in the EU will require documentation for cultural goods entering the EU from outside. Depending on the object’s category, age, and origin, importers will need to provide either:

  1. An Import Licence, or
  2. An Import Statement

Import Licence (for Category B goods) If you’re importing archaeological items, such as beads or artefacts that were excavated or likely dug up, you will need an import licence. To get this, you must prove:

  • The goods were legally exported from the country of origin.
  • Or, if they were exported long ago, that they were legally in the seller’s possession before the regulation came into effect.

This licence is issued by the EU country where the goods will enter. Without it, the items can be held or sent back at customs.

Import Statement (for some Category C goods) For other items, such as ethnographic jewellery older than 200 years but not archaeological, you may be able to submit a simpler ‘import statement’ confirming lawful export and supporting documents (like a bill of sale, a certificate of origin, or a collection record). That’s everything from before 1825 at this point.

There are two exceptions:

  • The country where the objects were created can not reliably be determined;
  • The objects legally exported from their country of origin before April 24, 1972.

Both you’ll still need to prove, and it does not end there: in these two cases, you will also need to prove it was lawfully exported from the last country it has been in for a period longer than 5 years.

So that 10 USD ancient bead….let’s assume it is unclear where it was actually made in Antiquity. In that case, the seller will need to prove they obtained the bead themselves legally from the last country it has been in for 5 years. That means keeping close track of your inventory records.

I’m in the EU and want to buy old jewellery: what does the cultural goods-regulation mean?

If you are buying old beads or jewellery from outside the EU, say, from a seller in the Middle East, North Africa, or elsewhere – here are 4 pointers:

  • Ask about the item’s origin and age. Beads described as “ancient,” “excavated,” or “dug-up” may fall into Category B, and you’ll need an import licence.
  • Check documentation. Ask the seller to provide evidence of lawful export, such as a government-issued export permit or a dated invoice showing it was acquired before the regulation takes effect.
  • Expect delays at customs. If the documentation isn’t complete, the item could be held, inspected, or refused entry. Factor this into your timeline and budget.
  • Use reputable couriers and declare goods clearly. Mislabelled or undeclared cultural items can lead to seizures or penalties.

I’m outside the EU and want to sell jewellery: what does the cultural goods-regulation mean?

If you’re a seller based outside the EU and you sell older beads or jewellery to EU buyers, your business got significantly more difficult. Here are 4 pointers that might help:

  • Assess your stock. Beads that were excavated, or come from archaeological or burial sites, are now considered sensitive cultural goods. Selling them into the EU requires supporting documentation.
  • Provide export documentation. If your country issues cultural export permits, include a copy. If the item was acquired long ago, include invoices, collection records, or customs documents from that time.
  • Be clear in your listings. If your item is over 250 years old, say so. If it’s not, and you’re confident it’s modern or a reproduction, state that clearly to avoid confusion or unnecessary red tape.
  • Prepare for extra steps. Your EU buyers may ask you for additional documentation, especially for archaeological items. Having it ready builds trust and smooths the process.

Ethnic jewellery may get tangled up in procedures

A point to be aware of here is that regular ethnic jewellery may get tangled up in customs’ procedures.

Many customs’ officials do not recognise the difference between ethnographic and ancient pieces, because it requires a trained eye. That is not their fault: it’s a specific expertise. I am contacted on a regular basis by customs’ consultants both in my own country and in the U.S. to assist in identifying jewellery, because I am both an archaeologist and a jewellery historian. For transparency’s sake: that’s a ‘blind’ consultancy – I only get shown the objects themselves, but nothing on the seller or buyer.

In the experience I have with these identifications, I have found that most of it is actually ethnographic, not ancient: trade beads, vintage glass bangles, vintage rings…

And so while this technically has no consequence for the import and export of vintage traditional jewellery into the EU (compliance with UNESCO 1970 or CITES is another matter!), it does cause delays. That is just my personal observation, but one I wanted to share with you anyway. As I expect that ‘old-looking’ items may be subject to increased scrutiny, I would advise to be as accurate and complete as possible in the descriptions and documentation with each piece you wish to import into the EU.

The importance of provenance

When you have been following this blog for a while, you probably guessed that this section was coming…provenance! Provenance is now more important than ever. Honestly. There is no way around it anymore.

While not all older beads come with perfect paperwork, I would advise buyers and sellers to do what they can to build a clear record:

  • Note when and where the item was acquired.
  • Keep dated invoices, customs declarations, and permits.
  • Avoid vague terms like “ancient style” if the item is in fact ancient.

It all boils down to keeping accurate track of your collection or inventory. And as time progresses, I suspect that this need for provenance will only continue to increase in the foreseeable future. Because while this particular regulation mainly affects archaeological items and cultural goods older than 250 years, it’s a matter of time before ethnographic jewellery starts to attract similar attention of lawmakers.

This blog on provenance is a good start!

EU-regulation on cultural goods: main takeaway for collectors of ethnic jewellery

Regulation (EU) 2019/880 isn’t about restricting trade for its own sake – although it definitely has serious effects for sellers and buyers alike. It’s about protecting cultural heritage and ensuring that items move across borders legally and ethically.

The main takeaway is that solid provenance is essential – to prove that an item you’re buying or selling has been excavated legally, or to prove it is not archaeological at all, or to prove it is younger than 250 years. The more complete and reliable your documentation is, the less hassle you’ll have at customs.

If you’re unsure about whether a specific item falls under the regulation, contact an import/export advisor or your national customs office. Better to check now than face difficulties later!

—

Get started with documenting your collection in the e-course!

More posts on collecting, legislation and collection management? Browse them all here!

Join the Jewellery List and receive new articles, jewellery news and more in your inbox!

—

Discover more on jewellery today!

References

See more on EU 2019/880 here:

https://www.europeanheritagehub.eu/document/regulation-eu-2019-880-of-the-european-parliament-and-of-the-council-of-17-april-2019-on-the-introduction-and-the-import-of-cultural-goods/

https://global.lockton.com/eu/en/news-insights/new-eu-regulation-on-cultural-goods-risk-implications-and-guidance

https://www.fieldfisher.com/en/insights/eu-regulation-2019-880-on-the-importation-of-cultural-goods-the-eu-commission-q-a

The Bedouin Silver blog gives credit where credit is due! Transparent referencing and citing sources helps us all grow. Would you like to do the same and quote this article? Here’s how:

S. van Roode, [write the title as you see it above this post], published on the Bedouin Silver website [paste the exact link to this article], accessed on [the date you are reading this article and decided it was useful for you].

The Bedouin Silver Jewellery Blog: Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. Her main field of expertise is jewellery from North Africa and Southwest Asia, as well as archaeological and archaeological revival jewellery. She has authored several books on jewellery, and obtained her PhD at Leiden University on jewellery, informal ritual and collections. Sigrid has lectured for the National Museum of Antiquities in Leiden, Turquoise Mountain Jordan, and many others. She provides consultancy and research on jewellery collections for both museums and private collections, teaches courses and curates exhibitions. She is not involved in the business of buying and selling jewellery, and focuses on research, knowledge production, and education only. Sigrid strongly believes in accessibility of knowledge, and aims to provide reliable and trustworthy content: that’s why the Bedouin Silver blog provides references and citations.

Amazigh fibulas of North Africa

Amazigh fibulas of North Africa

by | Objects

Dress and jewellery

Amazigh fibulas of North Africa: jewellery and identity

Published June 24, 2025

It’s the most iconic piece of Amazigh jewellery in North Africa: the fibula or clothing fastener. From the Atlantic coast of Morocco to the oases of Libya, Amazigh fibulas are both functional and highly symbolic. What is more, they reflect regional identities, social structures, and even showcase connections between landscape, dress, and daily life. So, let’s have a look at these beautiful objects of adornment!

What are Amazigh fibulas? Use, names & regional styles

What are Amazigh fibulas used for? Fibulas basically serve as fasteners. You’ll find them used on a variety of garments, including outer wraps, shawls, and head coverings. Their forms vary by region and community, ranging from simple functional items to more elaborately worked items that may also carry symbolic meaning.

While you may find them repurposed into pendants, that is not how they were used originally: they really are pins!

That capacity of joining two things together is also why there is also a lot of informal ritual involving fibulas: see more about that here!

A silver and enamel fibula from the Tiznit region, Morocco
A selection of beautiful silver fibulas from the Maghreb, against a brilliant blue background.

What is the correct term for Amazigh fibulas?

The term fibula is obviously not local; it comes from Latin, where it referred broadly to a clasp or brooch used to fasten clothing. The use of garment pins dates back much earlier, though – examples made from metal and bone have been found in Bronze Age contexts across Europe, the Mediterranean, and North Africa.

The specific form most common in North Africa today, the rotating ring-and-pin mechanism, is associated with Roman innovations in clothing fasteners. These Roman-era brooches, widely distributed across the empire, introduced a functional design that remained in use and was adapted across different cultures over time.

While fibula is the standard term used in archaeological and art historical literature, the objects themselves are known by a range of local names in Amazigh communities. In Morocco, they are referred to as tizerzai or tisernas; in Algeria, terms such as adwir or tabzimt are used; and in Tunisia and Libya, they are commonly known as khlel. These vernacular terms reflect linguistic diversity, but also a regional variation in design and use.

Anatomy of a fibula: ring, pin, head, and variation

The most common type of fibula found in North Africa is based on the penannular brooch design. That is a ring that is incomplete or open at one point. A typical fibula consists of three main components:

1. The head: a terminal or decorative element at the end of the pin;

2. The ring: a circular or penannular ring;

3. The pin itself.

These elements are visible in the illustration above.

The large crescent-shaped fibulas of Libya and Tunisia follow the same design, but have no head: in these types, the ring is aggrandized to the point where it also becomes the eye-catcher.

How do you actually fasten a fibula…?

That’s a question I get asked a lot – so, here is how! To fasten a garment, the pin is pushed through two the layers of fabric that you’ll want to secure together. Push the pin through and bring it back to the front by perforating the fabrics again: by pushing it through and through, you’ll end up with the head of the pin and its lower half visible on the outside of your garment. Once in place, rotate the ring so that the pin lies across the gap in the ring. Push the pin through the gap, and twist the ring so the opening moves away from the pin itself. The tension between the ring and the fabric holds the pin securely, preventing it from slipping out. This design allows the fibula to act as both a clasp and a visual feature of the garment.

Here is a quick video showing you how it’s done! (click this link, and then scroll down to the bottom of the page)

Spendid silver fibula set from Algeria

Amazigh fibulas and dress

Obviously, fibulas are integrated with the textiles they secure. That in turn tells you a lot about those textiles just by looking at the pins themselves. Heavier, more substantial fibulas are used with robust fabrics, while lighter versions suggest finer or differently structured cloth.

The outer garments they secure are wraps: garments that envelop the body and shoulders. In winter, these would be heavy, wool wraps, and in summer they might be lighter fabrics.

You will notice that the heads of the fibulas are the heaviest part of the piece. That tells you where they would have been placed: not at the upper end, as you often see them in books, but at the lower end. The pins themselves stick out upwards, the head is pointed downwards. That is an important difference between theory and practice: fibulas are almost invariably depicted with their heads upwards and their pins downwards, but that is not how they would have been worn in real life!

How fibulas reflect Amazigh identity

Fibulas are part and parcel of the cultural practices of Amazigh communities. They are not simply adornments, but part of a broader visual and symbolic language that links body, clothing, architecture, and environment. And you know that is how I love to study jewellery: in its cultural context!

Because this allows us to understand how material culture communicates identity, memory, and place, rather than just admiring them as beautiful objects in a showcase.

This interconnectedness is of course very evident in recurring patterns and motifs. The same geometric forms found on fibulas frequently appear on carpets, blankets, pottery, and woodwork, suggesting a shared visual vocabulary across media.

But there is much more. Fibulas offer further insights into the world of their wearers, especially through the design of the pin head or terminal. This is the most visually prominent part of the fibula, and it often serves as a marker of regional or communal identity. Its shape and decoration vary by area, village, or group, allowing the piece to signal belonging and local affiliation.

These terminal forms often reference features from the wearer’s environment. They literally show us what that environment looked like, or what iys wearers considered important.

Some derive from animal forms, for example, the ram’s head motifs found in fibulas worn by the Ihahen of coastal Morocco, which may evoke associations with pastoral life. Others reflect built structures: domed tombs, arched doorways, or the stepped crenellations of kasbah walls.

These visual echoes suggest that fibulas do not only exist in relation to the body, or even just in relation to dress, but also participate in a wider cultural landscape – drawing meaning from the world around them and embedding that meaning into daily dress.

How fabulous is that, when your dress and jewellery fit into your surroundings…?

Amazigh fibulas today: living heritage & revival

Although Amazigh fibulas are no longer commonly worn in daily life, they still carry meaning. They are living heritage, and continue to be produced for ceremonial use, like local festivals, as well as for tourist markets. The fibula itself appears on beauty products, metalwork, and doors. It has grown into a symbol of Amazigh identity, notably in the diaspora – Amazigh fibulas of North Africa are still deeply meaningful and continue to evolve.

—

Find out more about the symbolism of jewellery in the e-courses!

More posts on amulets, charms and magic? Browse them all here!

Join the Jewellery List and receive new articles, jewellery news and more in your inbox!

—

Discover more on jewellery today!

References

Read more on fibulas and their cultural meaning here (not exhaustive, there is much more out there!):

Benfoughal, T. 1997. Bijoux et Bijoutiers de l’ Aurès. CNRS Editions, Paris

Cheylan, G. (ed.) 2007. Coutumes et décors de Tunisie. Ceres Éditions, Tunis

Eudel, P. 1906. Dictionnaire des Bijoux d’Afrique du Nord. Maroc, Algérie, Tunisie, Tripolitaine. Ernest Léroux, Paris

Gargouri-Sethom, S. & J. Pérez 2005. Les Bijoux de Tunisie. Dunes Editions, Tunis El Hafsia

Ghellali, H. 2024. Jewellery and Adornment of Libya. Blikveld Uitgevers Publishers, Zandvoort

Tamzali, W. 1984. Abzim. Parures et Bijoux des femmes d’Algérie. Dessain et Tolra, Entreprise algérienne de presse, Algers

The Bedouin Silver blog gives credit where credit is due! Transparent referencing and citing sources helps us all grow. Would you like to do the same and quote this article? Here’s how:

S. van Roode, [write the title as you see it above this post], published on the Bedouin Silver website [paste the exact link to this article], accessed on [the date you are reading this article and decided it was useful for you].

The Bedouin Silver Jewellery Blog: Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. Her main field of expertise is jewellery from North Africa and Southwest Asia, as well as archaeological and archaeological revival jewellery. She has authored several books on jewellery, and obtained her PhD at Leiden University on jewellery, informal ritual and collections. Sigrid has lectured for the National Museum of Antiquities in Leiden, Turquoise Mountain Jordan, and many others. She provides consultancy and research on jewellery collections for both museums and private collections, teaches courses and curates exhibitions. She is not involved in the business of buying and selling jewellery, and focuses on research, knowledge production, and education only. Sigrid strongly believes in accessibility of knowledge, and aims to provide reliable and trustworthy content: that’s why the Bedouin Silver blog provides references and citations.

Silver grooming sets from Afghanistan: everyday tools with many meanings

Silver grooming sets from Afghanistan: everyday tools with many meanings

by | Objects

Vanity and faith

Silver grooming sets from Afghanistan: everyday tools with many meanings

Published May 27, 2025

Among the many forms of Afghan silver jewellery, one of the most charming is the silver grooming set. You’ll find them every now and then for sale on the Internet, and their description usually does not extend beyond ‘Kuchi grooming set’ or ‘Kuchi earspoon’. At first sight, these small pendants might look like simple trinkets, but they combine multiple roles: they were functional tools for personal care, amulets believed to offer protection, and jewellery worn as part of dress. Exploring them reveals how everyday objects could hold layered meanings in traditional Afghan culture, so let’s have a look at these!

Silver grooming tools from Afghanistan and cultural traditions

What do these tools look like? Typically, you’ll see them as an earspoon and a toothpick suspended from a ring: that is the basic pairing of tools. More elaborate sets also carry a pair of tweezers, they may be combined with other items such as perfume containers or kohl applicators.

Their use is not limited to Afghanistan, you’ll find these tiny items in many cultures around the world. And in all those cultures, their execution and style places them in the realm of jewellery: they have been designed and produced in the same styles as the local jewellery has.

They are small and portable, practical in everyday life, but also for hosting: Janata mentions that wealthier families in Afghanistan would have a set of these in their guest chambers – how’s that for hospitality? [1] The toothpick and earspoon allowed the user to maintain personal hygiene throughout the day, and were worn by both men and women. [2] And there is more to these than just vanity. In staying clean, one was also protecting oneself from the dangers of impurity – both social and spiritual. So, how does that work?

A vintage silver earspoon from Afghanistan against a black background. The earspoon has two sets of tiny bells on either side, and is decorated with red, green and blue glass. Below the image is a caption, clearly listing the photo credentials. The caption reads: Silver earspoon from Afghanistan. Collection Qilada Foundation. Photo by Sigrid van Roode'.
A vintage silver grooming set from Afghanistan against a black background. The set shows an earspoon and a toothpick, both decorated with lots of tiny bells and.red, green and orange glass. Below the image is a caption, clearly listing the photo credentials. The caption reads: Silver grooming set from Afghanistan. Collection Qilada Foundation. Photo by Sigrid van Roode'.
A vintage silver toothpick from Afghanistan against a black background. The toothpick is decorated with red, green and blue glass. Below the image is a caption, clearly listing the photo credentials. The caption reads: Silver toothpick from Afghanistan. Collection Qilada Foundation. Photo by Sigrid van Roode'.

Spiritual and protective roles of Afghan silver grooming sets

You might think these are just vanity sets, aimed at keeping presentable throughout the day. But that is not all they do. In the Islamic tradition, personal hygiene is not a superficial concern. Cleanliness is repeatedly emphasized in religious texts: not only as a virtue, but as a form of protection. It’s believed that jinn are particularly attracted to filth and unclean environments. [3]

In this context, grooming is not just self-care; it’s spiritual defence. These silver tools were made for precisely that purpose: to maintain cleanliness in everyday situations as an act of faith.

But…that is also where the dilemma is.

The dilemma of beauty and the Evil Eye

Because these are pretty things, they may be dangerous. Jinn enjoy dirt, but they also love shining objects. Beauty attracts their jealousy and brings danger to humans. And these silver earspoons, tweezers, toothpicks….they shine!

In many communities across North Africa and Southwest Asia, beauty is not seen as harmless. It draws attention – and attention can bring harm. The concept of the evil eye (see much more about that in this blog article) is widespread, and believed to affect those who are particularly fortunate, healthy, or aesthetically pleasing. Shiny objects, in particular, are thought to attract jinn or malicious spirits, which are drawn to brightness.

And even worse, jinn may possess humans by entering them through the openings in the body: nose, ears, mouth…exactly those places you would be caring for with one of these tools. What if your shining, gleaming earspoon actually guides a jinn to your body?

How to reconcile these two points of view?

From grooming tools to Afghan silver jewellery and amulets

The solution is elegant and simple: they were made with built-in amuletic features. Tiny bells were attached, not just for aesthetic pleasure, but for their sound, intended to scare off harmful spirits. Beads in blue, a colour commonly associated with protective properties in the region, were also common. Red glass insets flash like a warning sign.

In this way, these grooming tools are hybrid objects. They are tools of hygiene and piety, but also talismans of protection. Their ambiguous nature reflects the balance their wearers sought to maintain: to remain clean and healthy, without drawing negative attention through their beauty.

Why Afghan silver grooming sets matter: context is everything

Silver grooming sets from Afghanistan blur the lines between the everyday and the symbolic. They were tools for hygiene, pieces of Afghan silver jewellery, and objects of faith. For the Kuchi and other Afghan communities, their value lay not only in their usefulness but also in their role as protective amulets. They are examples of how the everyday object, in traditional cultures, is rarely just ‘everyday’.

To use an earspoon or toothpick was not a private act of vanity. It has cultural and religious significance, too. It was part of being a clean, pious, and protected person. This dual role of ordinary objects is often overlooked, but once you catch a glimpse of the context they were used in, they make much more sense – and become even more meaningful!

—

Find out more about the symbolism of jewellery in the e-courses!

More posts on amulets, charms and magic? Browse them all here!

Join the Jewellery List and receive new articles, jewellery news and more in your inbox!

—

Discover more on jewellery today!

References

[1] Janata, A. 1981. Silberschmuck aus Afghanistan, Graz, p. 180.

[2] Idem, p. 180.

[3] See my book Silver & Frankincense on how this works, or join the course on Scents of the Middle East

The Bedouin Silver blog gives credit where credit is due! Transparent referencing and citing sources helps us all grow. Would you like to do the same and quote this article? Here’s how:

S. van Roode, [write the title as you see it above this post], published on the Bedouin Silver website [paste the exact link to this article], accessed on [the date you are reading this article and decided it was useful for you].

The Bedouin Silver Jewellery Blog: Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. Her main field of expertise is jewellery from North Africa and Southwest Asia, as well as archaeological and archaeological revival jewellery. She has authored several books on jewellery, and obtained her PhD at Leiden University on jewellery, informal ritual and collections. Sigrid has lectured for the National Museum of Antiquities in Leiden, Turquoise Mountain Jordan, and many others. She provides consultancy and research on jewellery collections for both museums and private collections, teaches courses and curates exhibitions. She is not involved in the business of buying and selling jewellery, and focuses on research, knowledge production, and education only. Sigrid strongly believes in accessibility of knowledge, and aims to provide reliable and trustworthy content: that’s why the Bedouin Silver blog provides references and citations.

Verdigris in Middle Eastern jewellery

Verdigris in Middle Eastern jewellery

by | Tips for collectors

What every collector needs to know

Verdigris in Middle Eastern jewellery

Updated June 6th, 2025

So, this happened… Recently, a Yemeni jewellery set came up for sale at an online auction. A friend sent me the listing, and one phrase in the description stopped me mid-sip:

The piece was labelled:

“A vintage metal ornate dress regalia, with decorative chains and turquoise decoration.”

I nearly choked on my coffee.

‘Turquoise decoration’?! No way. That greenish substance was not turquoise. It was verdigris – a corrosive compound that damages jewellery. Calling it a “decoration” is not just misleading – it’s potentially harmful to collectors and collections. The jewellery set in question is shown below: take a good look at that greenish hue, because that is what we’ll zoom in on here.

I made a 5 second reel out of it on Instagram (which got over 25k views) – but this topic needs a little more explanation than a social media caption. So, here’s a blog on verdigris, the Green Monster!

What is verdigris?

Verdigris is a corrosion product that forms on copper, brass, or bronze when these metals are exposed to moisture and air. The word comes from the French vert-de-gris. It means ‘grey-greenish’, and was used as main component in green pigments. Because it is unstable, and reacts with other materials, it ceased to be used in art as soon as other green pigments became available.

In scientific terms, it’s a mixture of copper salts, formed through the reaction of copper with water, oxygen, and carbon dioxide, often catalysed by organic materials like skin oils, textiles, or leather.

Traditional jewellery from North Africa and Southwest Asia often includes silver-copper alloys or decorative elements containing copper or brass. When these metals are exposed to humidity or stored improperly, verdigris can begin to develop. It looks like green crusts, patches, or powdery growths on the surface. The header above this blog post shows you what that looks like, as does the image of the Yemeni jewellery set.

Why is verdigris a problem for Middle Eastern jewellery?

While it may look picturesque (well, to an untrained eye: me, it makes me scream), it’s far from harmless. Verdigris is corrosive and unstable. If left untreated, it will continue to eat away at the underlying metal, weakening structural components, eroding fine details, and compromising the overall integrity of your jewellery.

If one piece shows signs of verdigris, this may indicate its storage conditions are too humid. If you have more than one piece in the same storage conditions, chances are verdigris may develop on those, too. [1] This makes it not just a problem for one piece, but a risk to an entire collection. It’s a nightmare, honestly.

In museum contexts, verdigris is treated as an active conservation concern. For private collectors, the risk is no different. Ignoring it can lead to permanent loss of historical material, diminished value, and potentially hazardous conditions if the corrosion product interacts with skin or textiles.

How to protect your Middle Eastern jewellery collection from verdigris?

Here are 5 things you can do to protect your collection of traditional jewellery from North Africa and Southwest Asia from verdigris:

Learn to identify verdigris

Verdigris appears as a surface deposit—often flaky, waxy, or powdery. It typically forms in crevices or where metal has been in contact with other materials.

Approach vague or overly positive descriptions with caution

Phrases like “turquoise decoration,” “aged patina,” or “natural wear” can mask underlying issues. If an image shows green deposits on a piece of jewellery that traditionally wouldn’t include turquoise, it’s likely corrosion.

Isolate affected items

If you discover verdigris in your own collection, remove the piece and inspect its storage conditions (see below). Wrap it in clean, acid-free paper or cloth and store it in a well-ventilated, dry area until you can address the issue. This is also why you will want to carry out regular inspections of your jewellery, so you can catch it early.

Store your collection correctly

Avoid high humidity. And if you cleaned an item: make sure it is dry through and through before storing it. Don’t use sealed plastic bags or containers, which trap moisture. Ziploc bags are fine, but don’t seal them shut. Use acid-free tissue and breathable materials. Keep metal components from direct contact with skin oils, leather, or synthetic materials that might accelerate corrosion.

Clean with care

Do not scrape or scrub verdigris off with household tools: this may scratch the metal or force corrosion deeper into the surface. Dry brushing or gently dabbing with a cotton swab under professional guidance may be appropriate, but for valuable pieces, always consult a conservator.

See more about cleaning your jewellery here (….and read this blog post first!).

Caring for Middle Eastern jewellery: know your stuff

And finally, a few thoughts…

The misidentification of verdigris as ‘turquoise decoration’ highlights a broader issue: lack of specialized knowledge in non-dedicated auction settings.

Because sellers, especially those listing pieces at generalist or online platforms, do not always have the training to accurately assess traditional jewellery from North Africa and Southwest Asia. Mislabelling corrosion as decorative inlay is so stupendously ignorant that it left me baffled, but you might also see signs of wear and damage described as part of the ‘design’. Now, don’t get me wrong, this is not necessarily out of bad intent! In most cases, it’s simply not-so-blissful ignorance.

But the thing is: the consequences are real.

For collectors, this basically means one thing: buyer beware. It’s essential to develop the skills to recognize materials, assess condition, and interpret seller descriptions critically. Accurately interpreting what you’re seeing (…and what you’re being told!) requires more than just an eye for beauty. It requires contextual knowledge: of materials, techniques, and signs of deterioration.

This is why learning matters. Because every piece tells a story – and it deserves to be heard, not eaten away.

So, thank you for being here and following my jewellery blog: together, we learn and preserve this heritage jewellery for the future!

—

More tips for collectors of Middle Eastern jewellery? Browse them all here!

Join the Jewellery List and receive new articles, jewellery news and more in your inbox!

—

References

[1] An earlier version of this blog mentioned that verdigris spreads. A knowledgeable reader of this blog pointed out to me that this is not the case, saying ‘keeping jewellery perfectly dry will prevent verdigris from occurring and prevent existing verdigris from affecting other areas’. Thank you!

The Bedouin Silver blog gives credit where credit is due! Transparent referencing and citing sources helps us all grow. Would you like to do the same and quote this article? Here’s how:

S. van Roode, [write the title as you see it above this post], published on the Bedouin Silver website [paste the exact link to this article], accessed on [the date you are reading this article and decided it was useful for you].

The Bedouin Silver Jewellery Blog: Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. Her main field of expertise is jewellery from North Africa and Southwest Asia, as well as archaeological and archaeological revival jewellery. She has authored several books on jewellery, and obtained her PhD at Leiden University on jewellery, informal ritual and collections. Sigrid has lectured for the National Museum of Antiquities in Leiden, Turquoise Mountain Jordan, and many others. She provides consultancy and research on jewellery collections for both museums and private collections, teaches courses and curates exhibitions. She is not involved in the business of buying and selling jewellery, and focuses on research, knowledge production, and education only. Sigrid strongly believes in accessibility of knowledge, and aims to provide reliable and trustworthy content: that’s why the Bedouin Silver blog provides references and citations.