Amazigh Berber jewellery
Amber and coral necklace from the Draa Valley, Morocco
Published Jan 17, 2024
A coral and amber stunner in the signature arrangement of the Draa Valley, Morocco. In this article, I’m zooming in on its composition, its meaning and its many lives.
An Amazigh necklace from the Draa Valley
You’ll find this type of necklace presented as Berber or Amazigh necklace: while ‘Berber’ is the word almost everyone knows, ‘Amazigh’ is actually how its people prefer themselves referred to. I’ll go into the reasons behind that in another post: this article analyzes the meaning and history of this beautiful piece of jewellery.
This huge, gorgeous Berber necklace was worn in the Draa Valley, Morocco. As you see in the gallery above (click the image to enlarge it), it’s made of eight strands of large branch coral beads and a central arrangement of chunky amber beads flanked by shells.
This necklace was worn by a married woman. As its individual components, notably the sizeable pieces of branch coral and amber, are quite expensive, the necklace was also a show of wealth. [1]
Draa Valley necklace: amulets and beads
Between the coral abundance is a treasure of other beads. Amazonite, agate, glass, shell and smaller amber beads are strung in with a variety of beads and pendants in low grade silver: there are coins, cones, cornerless cubes, bell-shaped beads and a few amulets. [2]
The amber holds several meanings: this is where you’ll find specific information about the hidden powers of amber in Berber jewellery. Amazonite beads were believed to be associated with fertility, because of its green colour: an association found with many green stones.
Ancient trade beads are a testimony to the long history of trade and commerce in the region. As are the polished brown and green agate beads, that were imported on a large scale from Idar Oberstein in Germany.
And it holds several low-grade silver beads, amulets and pendants. These are lovely in their variety, and are randomly strung in with the rest: this is where you’ll find the personal preference of the wearer reflected most closely, as these are the items that she would have selected herself.
She may have collected various beads and pendants over time. They may also come from other pieces of jewellery that had fallen apart – and that is another factor to consider when looking at these necklaces: they fell apart at some point during their lives.
Berber jewellery from the Draa Valley: its many lives
This piece is still in its original stringing. But what does that really mean? I think it’s important to consider that this is the last stringing with the purpose of wearing it within the culture itself.
‘Last’, because during its life, it would have been restrung multiple times anyway. Its threads would become worn after years of beads weighing them down. Eventually one of them would break, and then it would be restrung. That was also the perfect occasion to add some more beads and other pendants. So, with several actions of restringing, which ‘incarnation’ is the original one…? That’s why I think looking at its purpose is an important factor in determining whether stringing is ‘original’.
Another indicator of ‘original stringing’ is its closure, so let’s go into that next.
" Necklaces have several lives: they are restrung multiple times, each time with tiny differences to its arrangement and composition'
Draa Valley necklace details: its closure
What is even more remarkable about this Amazigh necklace is that it still has its original closure: the two large tassels of woolen cords. These are quite heavy themselves, and form a perfect counterweight to the weight of the beads.
They are held together by a woolen band. Like a scrunchy in your hair, that is what keeps the two heavy tassels together. The idea behind the tassels is not to knot them, that would be uncomfortable to wear, but to simply tie them closely together.
There are other cultural reasons to avoid knots in general: you’ll find those here.
You may find similar necklaces outfitted with a simple knot-and-loop closure: that is a later alteration to make these necklaces more suited to the taste of collectors who’d want to wear them. And that brings me to their afterlife.
Draa Valley necklace: its afterlife
Necklaces like these, in their original setup, are becoming increasingly rare. Many of these have been broken up in the past to be sold, as its individual coral, amazonite and amber beads may fetch a handsome price.
You’ll also find modern arrangements reflecting the style of the Draa Valley, sometimes put together with antique elements and sometimes with entirely newly made beads.
Some of these are used in traditional dance performances (you don’t want your antique piece snapping apart on stage, after all) both in Morocco itself and abroad. As such, the design of this necklace is still communicating the cultural identity of its wearers, and I think that is a beautiful thing!
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References
[1] Berber Women of Morocco, Fondation Pierre Bergé – Yves Saint Laurent 2014, p. 73.
[2] See the chapter Jewelry Art by Cynthia Becker in Berber Women of Morocco, Fondation Pierre Bergé – Yves Saint Laurent 2014.
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].
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. 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.