Mermaid imagery in Egyptian amulets: protection & meaning

Mermaid imagery in Egyptian amulets: protection & meaning

by | Magic & Amulets

Water spirits

Mermaid imagery in Egyptian amulets: protection & meaning

Updated September 14, 2025

The terrifying truth behind mermaid imagery! At the end of the 19th century, silver amulets with images of mermaids were widely available in Egypt’s jewellery souks. In Egyptian folklore, water spirits and protective amulets went hand in hand: images of mermaids were believed to guard against illness, child mortality, and misfortune. Their blend of folklore, protection, and jewellery makes mermaid imagery on amulets especially fascinating. Why were these so popular, and what world hides behind the use of these things?

Water spirits, the Nile, and mermaid beliefs in Egyptian folklore

Obviously, the Nile has always been a defining factor for Egypt. It’s a bit of a cliché, but Egypt would not exist without the river. Up until the construction of the Aswan Dam in 1902, Egypt was dependent upon the yearly flooding of the river to deposit fertile soil on the banks of the Nile, and much of daily life on the river banks was connected to it. This vital significance has resulted in many gods, water spirits, ceremonies and rituals being associated with the Nile from Pharaonic times up until the present.

There are tons of water spirits in both ancient and contemporary folklore tales, and in this article, I’d like to zoom in on the mermaids. Because these are not as friendly and pretty as their depictions would have you believe!

Disease, child mortality and mermaid amulets

As early as 1916, Meyerhof brings up that water spirits are much feared as a source of disease. [1] You only need to look at the reality of Nile floodings to see how much truth there is in this statement: although the flood deposited much-needed soil for agriculture, when the water slowly withdrew, pools of stagnant water with rotting plants were an ideal environment for rats, mosquitoes and other creatures that spread disease.

And that is where the mermaids come in. This same author lists the mermaid Safīna right along with the Qarina in the category of female ‘demons’. Specifically, he notes that she is, again much like the Qarina, responsible for harm brought upon children.

This fear of mermaids killing children was very persistent in Cairo. Drieskens even records recent Cairene belief in a mermaid living in the Nile, determined to kill people: the negative associations attached to the mermaid apparently still linger.[2]

That fear was based both in drowning, and in disease: water-borne diseases such as salmonella, cholera, typhoid fever and parasitic infections affected children under the age of 5 signifcantly. [3]

As with anything that threatens children, here again reverse magic is practiced, too: mermaids were also assumed to help in cases of infertility – if they felt like it. Water spirits are extremely capricious, and can’t really be trusted.

The same ambivalence and connection to fertility beliefs can be seen in Nigerian river spirit Mami Wata and Moroccan water spirit Lalla Aicha Bahriya.

Mermaid imagery on Egyptian silver amulets: form, function, symbol

So, what about those amulets? At the end of the 19th and early 20th century, mermaid imagery often occurred on amulets. These were made in silver, readily available and were meant to protect the wearer from Safīna. [4] The mermaid amulets exist in various forms: embossed, pear-shaped amulets with a mermaid, the image of a mermaid engraved in a pendant, or as appliques to be sewn on to clothing.

Most of the time, the mermaids are depicted as we know them: a female with the tail of a fish. They are adorned with jewellery, hold lotus flowers or papyrus stalks, and look much friendlier than they are. That is also a form of magic: by depicting these scary creatures as beautiful and friendly, perhaps they would turn into benign beings….there’s always hope!

But: not all of them look pleasant. A few early pendants show mermaids with bald heads, or only a few strands of hair. They look considerably more terrifying in comparison to the well-coiffed mermaids that form the majority of the amulets.

Visualizing water spirits: mermaid amulets as reflection of everyday Egyptian life

The appearance of mermaid imagery in Egyptian amulets is more than a decorative flourish. It reflects a wider system of folk belief, protection, and everyday symbolism. The whimsical and volatile nature of the river spirits mirrors the realities of living with a river that has the power to nurture, but also to kill.

And when you look at amulets as a reflection of that everyday reality, this is where the true stories begin to unfold themselves. These amulets gave visible form to concerns about disease, fertility, and the dangers of the Nile: a simple silver piece of jewellery with a mermaid engraving carried with it a whole world of meaning — at once amulet, ornament, and expression of belief. I think that is the greatest power they have!

Amulets and charms in jewellery: learn to decode jewellery yourself!

If you are intrigued by the history, meaning, and traditions behind amuletic jewellery from North Africa and Southwest Asia, an in-depth exploration awaits! The online course on Amulets & Charms delves into the fascinating world of talismans, charms, and protective adornments, offering detailed insights into their cultural contexts and historical significance. Whether you are a collector, a jewellery enthusiast, or simply curious, this course provides the tools to deepen your understanding and appreciation.

Click here to see more, and enroll today to uncover the hidden stories behind these remarkable objects – you could be watching the first episode in 10 minutes from now!

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References

[1] Meyerhof 1916, p. 317-318 (and see also p. 314)

[2] Drieskens 2008, p. 102

[3] El-Kowrany, S. et al. 2016. See the article here: https://www.sciencedirect.com/science/article/pii/S2090123215001137

[4] Meyerhof 1916, p. 319.

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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.

What to do when gold gets too expensive?

What to do when gold gets too expensive?

by | General jewellery topics

Jewellery & Economy

What to do when gold gets too expensive?

Published on February 26, 2025

It’s 2025, the gold prices have been skyrocketing for some time now, and that seems to continue for the foreseeable future.

What happens when gold becomes too expensive for events such as weddings? This question isn’t new: across cultures, people have long found creative ways to adapt when the price of gold put it out of reach.

From renting jewellery for weddings, to turning to imitation pieces and replicas, to rediscovering silver jewellery, the traditions of adornment have always continued in one form or another. These practices reveal much about how jewellery functions: not just as wealth, but as heritage, identity, and cultural expression.

Renting jewellery as an alternative when gold prices rise

If it’s just for the day, you don’t actually have to own the jewellery. So, for both guests and the bride herself, it is possible to borrow someone else’s jewellery. That can be the collective jewellery of several family members, but also a set rented from a jeweller. [1]

Bear in mind that, while this has been an accepted custom for decades, wearing another person’s jewellery is limited to these individual occasions; jewellery has never been passed down from generation to generation. Each bride expects to be honoured with a new set of jewellery. Second-hand jewellery that has already been worn for an entire lifetime, is usually dismissed.

And finally, jewellery is sold to cover expenses throughout a woman’s life: it is constantly added to or sold off.

This practice, by the way, makes jewellery that is more than one generation old hard to come by; most jewellery was melted down and worked into new pieces over the course of the owner’s life.

Imitation jewellery & replicas: how cultures respond

If it’s not for the day, but for a considerable amount of time, that is when imitations come in. And these can actually be very, very good! That is because imitations as a phenomenon have been around for quite some time, too.

Should a woman have to sell her jewellery to cover expenses, that will have the neighbours talking for sure – unless they don’t see the difference. Both silver and gold jewellery can be replaced by cheaper substitutes.

Those replicas were so good that the difference between the originals and their cheaper counterparts could often only be discerned on close examination.

In Egypt, one particular company thrived on this demand for gold-plated replicas. The icon of their brand name ‘al-Gamal’, the camel, was stamped into the jewellery; at a distance this resembled the official gold hallmark and added to the illusion of authenticity [2].

Speaking of hallmarks, you could also imitate those to look like the real deal from a distance. Instead of the official marks, they would consist of a series of X’s for example, or, a beautiful variety that does not speak untruths: the word ‘metal’ stamped into the surface: just like a regular hallmark would mention silver or gold content.

Silver jewellery revival: heritage and value when gold fades

As a result of those skyrocketing gold prices, trend observers have seen a return to traditional silver jewellery instead of gold. And that may even include traditional heirloom jewellery: apart from its monetary value, authentic silver jewellery has been being revalued increasingly as cultural heritage in its own right for the past decades.

Born out of circumstances, it’s nonetheless a beautiful way of old jewellery gaining new meaning in today’s world!

See more here about changing values of materials used in jewellery: did you know aluminium used to be a precious metal?

Cultural resilience: jewellery, heritage and solutions beyond gold

When the price of gold rises, the world of jewellery does not stop — it transforms. Imitation jewellery, silver ornaments, and even the practice of borrowing or renting jewellery all show how people preserve the meaning of adornment in the face of economic limits.

So, here we see again how jewellery has never been only about precious materials. It also carries heritage, memory, and symbolism. In this sense, gold’s expense only highlights a timeless truth: jewellery is valuable not just for what it is made of, but for the role it plays in tradition, identity, and human connection.

Find out more about jewellery as a financial asset in the course!

More posts on the everyday life of jewellery? Browse them all here!

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References for the use of jewellery as financial asset

[1] See Lindisfarne-Tapper , N. & B. Ingham (eds), 2013. Languages of Dress in the Middle East. Routledge, London/New York, p. 62

[2] See Fahmy, A.  2007. Enchanted Jewelry of Egypt. The traditional art and craft. American University in Cairo Press, Cairo

 

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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.

Jewellery and Ramadan

Jewellery and Ramadan

by | General jewellery topics

Jewellery & religion

Jewellery and Ramadan

Published on February 25, 2025

Ramadan, the ninth month of the Islamic lunar calendar, is a period of deep spiritual reflection, fasting, and community engagement for Muslims worldwide. The end of the month is celebrated, too, and during both the holy month itself and the Eid-celebration after, jewellery is important. This blog tells you more about jewellery and Ramadan!

Can you wear jewellery during Ramadan?

The short answer: yes! There are no specific rules in place that forbid the wearing of jewellery during Ramadan. Given that Ramadan is a month of reflection, modesty and devotion to God, it is however encouraged to be not too ostentatious.

So, in the end, wearing jewellery during Ramadan is a personal choice, influenced by cultural traditions, religious interpretation, and personal intent. If it aligns with modesty and does not distract from worship, it is widely accepted.

Jewellery as Ramadan gift

Jewellery makes a wonderful Ramadan gift. Gifts can be exchanged when breaking fast together: not every day, but when families visit each other on the occasion of a more formal iftar (the first meal of the day, just after dusk) or suhoor (the last meal of the day, just before dawn), small gifts add to familial bonds and to the celebratory atmosphere. Gifts are also extended to members of the community. [1]

That is a tradition that large brands have picked up upon, too. In the Gulf and the Arab Peninsula for example, the period leading up to and during Ramadan sees jewellery brands launching special collections that resonate with the spiritual and cultural themes of the month.

These collections often feature designs incorporating traditional motifs, like the crescent or eye, or calligraphy of one of the Names of God: try an Internet search on ‘Ramadan jewellery’ and see what beautiful collections are offered each year!

Jewellery & sales during Ramadan

The month of Ramadan often leads to a surge in economic activity, particularly in the jewellery sector. The last ten days of Ramadan are typically the busiest: this is when Eid al-Fitr is around the corner and the preparations for the celebrations start.

The importance of Eid al-Fitr is hard to overestimate: even though it is not one of the major holidays, many stores and offices are closed for several days, and it comes with the same stress-levels as Christmas: think of thorough house-cleaning, family visits and lots of cooking and eating together!

On Eid al-Fitr, people wear new clothes, and it is customary to give gifts. These often include jewellery as well.

Where does this custom of jewellery gifts during Ramadan come from…?

This tradition itself is rooted in the economic significance jewellery has had for millennia. Giving small pieces of jewellery is a way of adding to a personal savings’ account, you could say: husbands, brothers and uncles present smaller pieces of jewellery to the women of their families on celebratory occasions, and Ramadan is one of those occasions.

The emphasis on jewellery as you’ll find it today, with special Ramadan collections and jewellery heavily marketed as suitable Ramadan or Eid gift, is however more of a marketing principle of the last decades: before that, there was no such thing!

There is another aspect of jewellery in relation to Ramadan, and that is whether or not you should pay zakat over it: that’s what the next blog is about!

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References for Jewellery & Ramadan

[1] Hilma Granqvist mentions the giving of gifts to a male school teacher in Artas, Palestine, in the 1920s. H. Granqvist, Birth and Childhood among the Arabs, Soderstroms, p. 148.

Discover more on jewellery today!
Would you like to quote this article? Please do! 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.

What is an amulet in jewellery? Meaning and tradition

What is an amulet in jewellery? Meaning and tradition

by | Magic & Amulets

Amulets and charms

What is an amulet in jewellery? Meaning and tradition

Published Feb 5, 2025

When you have been following this blog for a while, you know that the use of jewellery in informal ritual is one of my main research themes. Jewellery is so powerful when it has the role of amulet! But what is an amulet, exactly…? And what forms can it take? Let’s dive into that in this blog!

In this post, I’ll explore what amulets are, how they function in jewellery, and the many forms they take — from silver cases with inscriptions, to stones like carnelian or turquoise, to simple objects gathered from meaningful places. This blog is a great starting point for my wider exploration of amulets in jewellery traditions across North Africa and Southwest Asia, as it lays the foundation for understanding the world of amulets. At the end of this article, I’ll wrap everything up in a FAQ-section.

What is an amulet? Definitions and cultural meanings

Basically, an amulet is an object that is believed to provide protection, good fortune, or other benefits to its wearer. The word “amulet” derives from the Latin amuletum, which historically referred to an object worn to safeguard against harm.

They go by many names in the region: hirz, higāb, taweez or telsim are just a few of the indications for an amulet. [1] Amulets can take many forms, including inscriptions, gemstones, metals, or organic materials.

While their function varies across different traditions, the common thread is their role as a source of protection and well-being.

Amulets in jewellery: general forms and protective symbols

These objects are part of a longstanding tradition, where materials, shapes, and inscriptions are believed to offer protection, bring blessings, and keep evil away. And that long tradition is, in some cases, so old, that their meaning has changed over time.

Throughout history, specific symbols have persisted in jewellery designs, often without people fully remembering their original meanings. The triangle, for example, appears in numerous regional traditions. It may signify stability, fertility, or protection, depending on the cultural and historical context.

This post about the origin of the triangle shape shows you an example of how that works!

Dots, waves, and geometric patterns are also widespread, and while interpretations vary, their continued use indicates a shared understanding of their beneficial properties. Such motifs are deeply embedded in the visual language of jewellery, passed down through generations as carriers of protection and good fortune.

Amulets with inscriptions: Qur’anic verses and protective texts

What comes to mind often as the first thing when talking about amulets, are pieces containing inscriptions—verses from religious texts, prayers, or symbols created by practitioners skilled in their craft. These talismans are often written on parchment or metal, folded, and enclosed within amulet containers.

See more about those, and the history hidden in their shape, in this blog.

The inscriptions may include verses from the Qur’an, invocations for protection, or numerical and geometric configurations believed to protect. Such inscriptions are considered deeply personal and are rarely shared or displayed openly.

Should you open amulet containers…? Read more about that here!

But there is much, much more in jewellery that may function as an amulet.

Silver, stones, and organic materials in amuletic jewellery

The choice of material is another key factor in amuletic jewellery. Certain stones and metals are believed to hold inherent protective properties.

Silver, for example, is widely used for its association with purity and its supposed ability to ward off harm. Carnelian, turquoise, and amber are frequently incorporated into rings, necklaces, and bracelets due to their perceived protective and healing properties.

Organic materials, such as coral or specific animal parts, are also sometimes used, reflecting an understanding of the natural world as a source of power and protection.

Continuity and change in amulet traditions over time

The thing is, those capacities attributed to materials change significantly over time and per place. So, what may be important in one timeframe, may not carry the same meaning three centuries later, or 20 kilometres away. The power of amulets changes along with its humans, and while these traditions have deep historical roots, they continue to evolve.

They are also prone to commercialisation and marketing: see this article on why pink eye beads really are not a thing!

Understanding the cultural context of jewellery and amulets is crucial if you want to catch a glimpse of the lives of their wearers.

Locality and place: how geography shapes amulets in jewellery

That context sometimes is the literal, actual context of the person who once wore a piece of jewellery. And that is when it gets even more interesting: when we’re looking at materials that seem totally insignificant of themselves. Like pebbles, pieces of flint, a twig of a tree…what could possibly be the value in that, and how would we know? The significance of an amulet is often rooted in local geography: in many traditions, an object gains its power not only from its shape or material but from its origin.

A ritual specialist may prescribe that a piece of flint or a twig must be gathered from a specific location—perhaps a wadi, a mountain pass, or near an ancient well—because that place is believed to hold particular energy or spiritual potency.

This connection between amulets and their place of origin reflects a broader belief that land, history, and spirituality are intertwined. For those who wear these objects, the amulets serve as reminders of their place in the world and the protective forces believed to be inherent in their surroundings.

That is a most beautiful form of connection, and one that is most difficult to interpret for cultural outsiders, too. Sometimes, we are left with nothing more than what looks like a simple pebble, that once meant to world to someone. And when we only look at jewellery as adornment, something as worthless as a regular pebble gets discarded or deselected – its personal and cultural value goes unrecognised.

Frequently Asked Questions about amulets in jewellery

Q: What is an amulet in jewellery?
An amulet in jewellery is an object worn for protection, good fortune, or spiritual benefit. It can take any form imagineable, from religious texts to meaningful objects.

Q: How are amulets different from charms or talismans?
That depends on which definition is used. Broadly speaking, a charm often attracts good luck, while a talisman is made to bring about a specific effect. An amulet is usually worn to protect its wearer from harm or negative forces.

Q: What materials are used for amulets in jewellery?
A wide range of stones such as carnelian, turquoise, and amber, each valued for their individual properties; organic materials such as coral or wood; specific metals such as gold, silver, iron and aluminium for particular circumstances; and any and all materials that hold meaning to the wearer.

Q: Do amulet traditions change over time?
Yes. The meaning and use of amulets vary across regions and periods. A stone or shape that carried power in one century or location might mean something different elsewhere. There is no one-size-fits-all explanation for amulets.

Conclusion: what is an amulet in jewellery?

This short exploration has shown you that everything can be an amulet. Literally everything. Whether it is, depends on so many factors: its material, its symbolism, its cultural context, the process through which it became an amulet, and its importance to its wearer.

I think you may be able to relate to that: we all have that one thing, that ‘lucky charm’ that we carry with us during job interviews or when we travel. It does not even have to be jewellery, it can be a pair of socks, even…but when it makes us feel safer, comforts us or brings us happiness, it is effectively an amulet. But when that pair of socks ends up in the laundry after your trip, can anyone  tell their specific importance they hold, but you yourself?

This ‘extra’ use is one of the things that makes jewellery much more than an accessory. It is a repository of cultural memory, identity, spiritual belief, and protective symbolism. Amulets in jewellery are not a side story — they are at the very heart of how jewellery functions in culture.

In North Africa and Southwest Asia, amuletic jewellery has played an essential role in everyday life for a very long time. Jewellery shaped both personal and communal identity, functioned as portable asset, and served protective and symbolic functions simultaneously. I love that multifaceted nature of jewellery!

Amulets and charms in jewellery: learn to decode jewellery yourself!

If you are intrigued by the history, meaning, and traditions behind amuletic jewellery from North Africa and Southwest Asia, an in-depth exploration awaits! The online course on Amulets & Charms delves into the fascinating world of talismans, charms, and protective adornments, offering detailed insights into their cultural contexts and historical significance. Whether you are a collector, a jewellery enthusiast, or simply curious, this course provides the tools to deepen your understanding and appreciation.

Click here to see more, and enroll today to uncover the hidden stories behind these remarkable objects – you could be watching the first episode in 10 minutes from now!

—

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!

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References

[1] See Garcia Probert 2021, p. 55 for a discussion

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.

Jewellery and the senses: sound

Jewellery and the senses: sound

by | General jewellery topics

Sensory research

Jewellery and the senses: sound

Published on January 28, 2025

Ethnic jewellery is often studied for its aesthetic, symbolic, and material qualities. But there is much more to it, that is difficult to study from a book or when a jewel is lying in a museum case…and that is the sensory experiences it evokes for its wearers and the people around it. And imagine, for archaeological jewellery that is even harder, as there is no one left to ask! So, I wanted to introduce the relationship between jewellery and the senses: what did a piece of jewellery mean for its wearer? And what do we miss out as researchers and collectors, coming from another culture or timeframe? In this fourth article, we’ll look at sound.

Why study jewellery and sound?

Jewellery is not just a visual or tactile experience; it engages the sense of hearing as well. The jingling of bells, the clinking of chains, and the resonant hum of metallic discs brushing against one another are very important. They do something: they transform jewellery into an interactive and performative medium. That means that a piece of jewellery becomes much more than just a form of adornment: it is part of a living, moving cultural context. It moves along with its wearer, and it jingles!

In the Middle East and North Africa, where oral traditions, music, and rhythm are part and parcel of cultural expression, the sounds produced by jewellery play a significant role in daily life. Sound, by its very nature, requires interaction between object and wearer. Jewellery does not create sound when it’s lying around: it’s that interaction between human and thing again that makes jewellery into something more.

So that makes it a fascinating lens through which to study jewellery’s social and symbolic functions.

Sound: wearing sound in the Middle East

In many communities, jewellery that produces sound is not just a personal accessory but an extension of the wearer’s identity. The particular jingling, clinking, or ringing of a piece can make someone recognizable even before they appear in sight. If you are one of those people that loves to wear tons of jewellery, you know what I’m talking about…!

In this sense, jewellery becomes a kind of auditory signature, a way for individuals to announce their presence or movements. The tinkling sound of anklets for example would indicate to a mother where her child was playing (and all mothers know that when the sounds stops, it’s definitely time to go and check out what they’re doing!).

Wearing sound: dance

Obviously, dance provides a particularly vivid context in which jewellery’s auditory qualities come to life. The jingling of coins on belts or the clinking of bracelets creates an interplay between the dancer’s body and the ornaments they wear.

As such, they also contribute to the performance by creating an immersive sensory experience for the audience. The sound of jewellery becomes part of the rhythm, reinforcing the connection between dancer, music, and the spectators.

Wearing sound: amulets

As you know, jewellery almost always serves a protective function. And that definitely includes sound. Those small bells or coins attached to necklaces, bracelets, or anklets have as additional effect that they repel negative energies or the “evil eye.”

See more about amulets here!

Sound has the power to influence unseen forces – they will be scared off. Sound creates an audible barrier, and so you will find dangles and other jingling elements quite often in jewellery.

Jewellery and sound as a research field

Unlike visual or material qualities, sound (much like smell) is fleeting. You really need to experience jewellery in its original world, to get an idea of what its auditory capacities are. That is because jewellery is part of a living, breathing community: we often find it solitary depicted in books or showcased in exhibitions, but it is meant to move, shake and shimmy!

So how to go about that? Apart from listening to your jewellery itself, here context is everything. This is a topic where you’d need to dive into the world of everyday life: are there any references to the sound of jewellery in poetry, songs, sayings and expressions? How far does sound carry in the everyday surroundings where the jewellery was worn? Would it have been muffled by the fabric of clothing, are there occasions where sound is inappropriate? Does jewellery made of high-grade silver sound differently than jewellery of low-grade silver or base metal – can you distinguish between social statuses just by listening to the sound of jewellery…?

Jewellery never is just adornment – it is an unalienable part of its community, and that goes for its temporary capacities, too.

Jewellery and sound: an auditory world of meaning

So, by exploring the relationship between jewellery and sound, we may gain a deeper understanding of how these objects were experienced in their original contexts. It also helps us to consider what is lost when jewellery is removed from its sensory and cultural environment. That goes for all the sensory capacities of jewellery, of course, but when jewellery falls silent, we really miss out!

Read the earlier blogs on the sensory aspects of jewellery here:

Sight

Touch

Smell

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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.