Djerba gilded pendants

Djerba gilded pendants

by | Objects

Tunisian jewellery

Gilded and enameled pendants from Djerba

Published Feb 07, 2024

A selection of pendants from Tunisia, that show how jewellery may be reflecting the world of its wearers in its design. These illustrate the relation you might not think of immediately: that between jewellery, and architecture.

A set of Djerba pendants

In the gallery above, you’ll see a series of photos of a collection of square pendants. They were collected in Sousse, Tunisia, and clicking on the images will enlarge them, so you can take in their gorgeous details.

What do we know of these? All of them are made of silver. The majority have been gilded, and some are finely embellished with enamel. Enameling is characteristic of jewellery from Djerba: according to Gargouri-Sethom the art of enameling almost disappeared after the second World War, when many Jewish craftspeople moved to Israel. [1]

These pendants would be worn in sets of five, on a necklace with coral and lapis lazuli beads strung on woolen cord. The ensemble is called malāb (sometimes also spelled malaab) and was worn in Djerba, Tunisia. [2] A red fabric backing makes the design stand out even more: in an original stringing, it would match the red woolen cord.

Djerba necklace: reading the design

That design is after the mihrab or prayer niche. [3] This is the niche in every mosque that indicates the direction of Mecca. That is the direction that is prayed in, so this is a primary architectural element. It is often beautifully ornamented. Including it in jewellery brings the necklace and its wearer into the realm of faith and religion.

And there are more elements that serve to enhance its meaning. As you see (click on an image to enlarge it), each pendant repeats the mihrab motif three times, and has three dangles.

The presence of five of these on the necklace is also significant: it refers to the 5 daily prayers and the 5 pillars of Islam. ⁠The deliberate inclusion of the number five is another form of wearing a khamsa.

See why a khamsa does not always have to be in the shape of a hand here.

The red fabric and woolen cord also help keep evil at a distance: the colour red has been used as primary colour to fight evil for millennia.

Djerba pendants: the value of collecting

As you see, these are all different, even if ever so slightly: their collectors loved the shapes and collected them for their differences, not to complete a set.⁠ That is another angle of collecting than striving for completion and perfection: the choices you make as a collector have an impact on what a collection is going to look like.

So, these may not contain a complete set, but they certainly do hold information value. They showcase the variety and the skill of the craftsmen that made these, and in that way this collection adds to our understanding of Tunisian jewellery beautifully.⁠

And they also tell us what happened to these necklaces. Eventually they were broken up and their beautiful coral and lapis lazuli beads sold individually. The pendants have been sold separately as well for a long time, and found their way into the available literature as such, too. [4]

So you see, even loose bits and pieces may contribute to the history of its wearers!

These pendants are in the Van Dam-Canton Tunisian heritage collection of the Qilada Foundation.⁠

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References

[1] S. Gargouri-Sethom1986, Le Bijou Traditionnel en Tunisie, Edisud, p. 50.

[2] N. Baklouti, Les bijoux d’Argent de Tunisie, Office National de l’ Artisanat, p. 124.

[3] N. Baklouti, Les bijoux d’Argent de Tunisie, Office National de l’ Artisanat p. 124;  Les Bijoux de Tunisie, Dunes Editions, p. 146.

[4] Les Bijoux de Tunisie, Dunes Editions, p. 152 also shows individual, different pendants as collected items.

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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].

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.

Kabylia necklaces: a history

Kabylia necklaces: a history

by | Objects

History in jewellery

Kabylia silver and coral necklaces

Published Jan 29, 2024

Silver, enamel and coral necklaces from Kabylia in Algeria have evolved significantly over time. And the difference between older and newer pieces is a story in itself. These necklaces show us the importance of jewellery as a historic source, so keep on reading for a history of loyalty, betrayal and pride.

Splendid Kabyle jewellery in coral, enamel and silver.

Kabylia jewellery

In this article, I will zoom in on a type of necklace called azrar or tazlaqt. [1] Its design and workmanship are characteristic for the Kabylia region in Algeria.

In older literature, you may still find references to Greater and Smaller Kabylia (Grande or Petite Kabylie): drop those, as these names were never used by the people of the region themselves. These are divisions by the French administration. Kabylia it is.

The jewellery of Kabylia is distinctly recognizable by its fine enameling in blue, yellow, red and green and its abundant use of coral. You’ll see some examples above: tap the photos to enlarge them.

These necklaces evolved over the past century into forms that are different in execution, but similar in their design and symbolism. And that is where the story is!

I’ll start with older pieces, compare these to more recent versions, and tell you the history behind them.

An antique Kabyle necklace with coral and silver pendants
Three necklaces from Kabylia with coral and silver beads, enameling and pendants.

Kabyle necklaces: before 1962

The pieces above (click to enlarge the photos and see the details) are all older. The large necklace with the many pendants in the first image is strung on black thread. It consists of a flexible, heavy silver band, made of solid silver beads strung together, from which large silver pendants dangle.

The pendants have been enameled, set with coral cabochons, and chunky pieces of branch coral have been added in a zig zag pattern on top. The round pendants are coins (see the detailed photo), on which enamel, coral and filigree have been mounted.

The smaller necklaces in the third image are made of the same elements: solid silver beads, large coral and silver enameled pendants strung on thread.

What they have in common is that they all use heavy silver, large coral beads and sizeable pendants.

Finely worked silver and coral necklace from Kabylia, after 1962.
Detail of an intricate coral, enamel and silver Kabyle necklace.

Kabyle necklaces: after 1962

After 1962, the execution of necklaces changed. Above are two examples and their details: click to enlarge them.

In the first example, you see how the design of the previous generation is still closely followed. The three rows of solid silver beads have been replaced by 8-shaped links: through the central application on the links and their vertical position, they mirror the appearance of the older necklaces. But instead of strung on thread, this necklace is made of silver links.

There also new shapes of pendants added to the mix: the all-silver tiny domes with filigree and the enameled hand pendants are newer inventions. The lozenge shapes composed of enameled circles are also newer forms. The round pendants are no longer mounted on coins.

The workmanship on these is very detailed, as you see: this is an abundant necklace in its many dangles as well as their individual intricacy.

The second example shows further changes. Here, the colour scheme of the enameling has been expanded: those shades of bright green and orange yellow are different. We see other pendants of silver appear, the coral cabochons have become even smaller and fewer.

The changes in this jewellery have everything to do with Algeria’s recent history.

Kabyle jewellery: the story of fierce women

From 1954 to 1962, Algeria fought for its independence from France. Many women hid their jewels in these times of unrest and war, as they were afraid French troops might take them on one of their many raids.

After Algeria finally became an independent nation in 1962, the new state needed funds to rebuild. Makilam in her book l’ Argent de la Lune recounts how jewellery formed part of that effort. Women donated their jewellery to Fonds National de Solidarité (National Solidarity Fund) as financial contribution to the rebuilding of their country. And those jewels were not seen again, until…

…they appeared in an exhibition in Algiers in 1996. That exposition lasted only for a week, as it led to protests and anger. Thirty years earlier, women had fought alongside men, they had hidden their jewellery from the French, given it voluntarily to the state – and now it turned out their jewellery had not been used for rebuilding Algeria at all. It had been slumbering in a vault for over 3 decades. [2]

Changes in Kabyle necklaces

These lighter necklaces fit into the global development that we see everywhere form the 1960s onwards: traditional jewellery becomes less and less used, changes appearance and disappears. But in this case, there is more to the change in jewellery.

The donation of Algerian women after independence was not just that of heritage, but of finances as well: these jewels formed a woman’s personal asset, her savings’ account for everything from hospital treatments, dowries for sons or even life on her own after divorce or the death of her husband.

Imagine voluntarily emptying your bank account and donating it to the state, only to find out they did not use it at all!

This financial aspect is a second reason why later necklaces are much smaller. That is not just a matter of changing fashions, but also because these were less costly. They are lighter and hold less silver and corals.

And you’ll remember Kabyle women had not sold their jewellery to the Solidarity Fund, they had given it away – leaving them with considerably less to spend on new jewellery.

This is how jewellery reminds us that it is part of everyday life, not just simply adornment. It is so much part of cultural identity and society itself, that it plays an active part in fundamental historic shifts.

Kabyle jewellery today

These jewels are still closely related to the identity of Kabylia. The light and easy to wear necklaces (and other pieces of jewellery, of course) are still being made and proudly worn. [3] They continue to develop and change along with its wearers, and carry an ancient tradition into the future.

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References

[1] T. Benfoughal (ed) 2003. Bijoux & Parures d’Algèrie, p. 69. Paul Eudel in his Dictionnaire des Bijoux from 1909, p. 212, only mentions tazleqt as generic name for necklace in Kabylia. See for spelling differences this article.

[2] See Makilam L’ Argent de la Lune, p. 30 – 31.

[3] See examples of modern designs here and here, where tradition and cultural identity are combined with today’s lifestyle.

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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.

Draa Valley necklace

Draa Valley necklace

by | Objects

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.

A glorious Draa Valley amber and coral necklace with colourful woollen tassels
Close-up of a spectacular Amazigh Berber necklace from the Draa Valley in Morocco, showing its abundance in coral, amber and trade beads

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.

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].

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.

Magic of plastic

Magic of plastic

by | Magic & Amulets

surprising materials

The magic of plastic

Updated Jan 8, 2024

Jewellery made with materials that we consider less valuable, are often not taken seriously. Plastic has that effect in particular, and you may hear comments like: ‘this piece has plastic, so it’s not real’ or even ‘this is a fake because it should have coral instead of plastic.’ But who says that it should…?⁠ Plastic plays a role in ethnic jewellery quite often, and its use extends into the realm of amulets. Here are a few examples.

Silver and enamel brooch from Kabylia, with bakelite
Bedouin woman holding her child, with silver and imitation amber jewellery.
Silver Bedouin ring with turquoise-coloured plastic.
Silver Omani necklace with glowing red bicycle reflector.

Plastics in ethnic jewellery: Bakelite

Bakelite, a type of plastic invented in the early 1900s, was widely used in jewellery production in the early 20th century. Its popularity was due to its durability, versatility, and affordability. It could be shaped, carved, and molded into various forms, making it an ideal material for creating intricate and colorful designs.

So instead of thinking about this material as ‘fake’, I feel the use of bakelite in traditional jewellery highlights the intersection of technology and culture and tells us about the changing social and economic circumstances of that time. It shows how people adapted to new materials and incorporated them into their jewellery.

The bright red of the bakelite in the Kabyle brooch shown above (click to enlarge it) shows both the fascination for this new material, and works miracles for the wearer!

Plastics in ethnic jewellery: Imitation amber

One thing these plastics were used for, is to imitate the costly amber. Amber was valued for a number of reasons, including magical ones: a little more about that is here.

An example is the woman from el-Arish, shown in the photo above (click to enlarge it). Around her neck, visible behind the string of Maria Theresia Thalers her child is playing with, she is wearing a necklace made of dark beads: most likely these are the imitation amber beads in a dark cherry hue as shown in the image.

They also exist as proper amber imitations in an opaque amber colour, and are now rare themselves as they are no longer made. ⁠[1]

Plastics in ethnic jewellery: Colour over material

Plastic is also the material chosen for the Bedouin ring, shown above (click to enlarge it) where a piece of battered and damaged plastic has been carefully set in silver. Judging by the wear, it has kept its wearer safe from harm for a lifetime.

That is by virtue of its colour: these bluegreen shades are considered particularly effective against the evil eye, just like turquoise. This piece of plastic serves that purpose perfectly: it is the colour that matters here, not the material.

A plastic bicycle reflector against evil

A wonderful example of jewellery with apotropaic properties is the silver necklace from Oman shown above. It combines several well-known principles of magical protection, and adds to those a reinforcement of its own.

The colour red is the dominant colour when it comes to averting evil, and is present here in three splashes of vibrant red.

Three is a number that is regarded as beneficial, as it represents the trinities of life: man, woman and child, along with birth, life and death.

The dangles confuse evil with their unpredictable swaying and the sound of their jingling, while the tiny crescent moons bring prosperity and growth. ⁠

But it is the center piece that steals the show: a plastic bicycle reflector. Its reflecting capacity averts evil even more on top of all of the above: imagine how these would shine when they catch a ray of sunlight! ⁠I especially like this necklace as it shows that purpose beats material in some cases: there is nothing precious about a plastic reflector, and yet it may save your life from both evil forces and approaching traffic.⁠

Plastic in ethnic jewellery: a wonderful amulet

So you see how plastic may function as amulet in a range of ways. It can be a substitute for something else (such as imitation amber or coral), it can function as fully equal to other materials because of its colour, and it can even be the material of choice precisely because of its own capacities. In all cases, it would have been as real to the wearer as other materials: it is the desired effect that counts!

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References

[1] See the chapter on imitation amber in King, R. 2022 Amber. From Antiquity to Eternity.

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].

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.