Berber Memories

Berber Memories

by | Reviews

Berber Memories

private collection

Berber Memories

Updated August 11, 2024

It has been some time since an overview of Amazigh jewellery has been published, but the latest publication of a private collection is not to be missed! The impressive volume Berber Memories presents the stunning Gillion Crowet-collection in nearly 600 wonderfully illustrated pages.

Berber Memories: the outline

The collection itself has been assembled by the couple Anne-Marie and Roland Gillion Crowet during 5 decades of travel in Morocco. It consists of hundreds of spectacular objects, all provided with a caption by their daughter, Nathalie de Merode.

The text of this hefty volume (it weighs several kilos!) is by renowned art historian Michel Draguet. The book is divided into two parts, and I will walk you through both of them to give you an idea of the scope of this publication.

Before we start, it is important to note that the author is an art historian, as opposed to for example an anthropologist or ethnographer. This difference is most noticeable in his choice of words, for example in his treatment of the topic ‘Ornamentation vs Decoration’ (p. 47): the discourse presented there is based on Western theoretical approaches of art. The emic perspective, how the Amazigh themselves experience their jewellery, is not explicitly included here or elsewhere in the book (the acknowledgements do extend heartfelt thanks to quite a number of knowledgeable people).

Speaking of Amazigh, the book consistently uses the word ‘Berber’: although the Amazigh have been rejecting the word ‘Berber’ for quite some time now and reclaim their own name, this is not addressed. It struck me as odd, as this book does much to celebrate Amazigh history and culture.

Berber Memories: Part 1, ‘Gazing’

The first part is an excellent introduction into Amazigh history. Where other jewellery books do not include Amazigh history or present it briefly, here the author takes his time to explore. This is incredibly valuable, as it is a history of exchange, cultural contacts, and adaptations to changing climate circumstances, all of which have left their mark on jewellery traditions.

What is more, this history is not presented as indisputable facts: where conflicting views exist, these are briefly introduced, enabling the reader to obtain a sense of both the ‘unknowns’ of history as well as of the way how any historical tale is shaped by the cultural background of those that write it.

What emerges is a portrait of the Amazigh people not as a monolithic entity, but as an ever-changing, rich ‘pluralistic culture’ (p. 79). Starting out in the Neolithic, the book discusses interaction across the Sahara all the way to Egypt, and later with Phoenician and Roman cultures, followed by the Arab conquests and their profound consequences for the Amazigh, the rise and fall of Amazigh empires, the balance between nomads and city-dwellers, Jews and Muslims, and the adapting and improving of techniques like for example enameling.

The author uses jewellery to illustrate his point at regular intervals, such as the balanced discussion of the khamsa, produced by Jewish craftsmen, worn by Jews and Muslims alike, and incorporating much older beliefs. All in all, this part provides insight in the venerable time-depth of Amazigh history.

Berber Memories: Part 2: ‘Feeling’

The second part introduces the world of women. Here, jewellery is combined with poetry, craftmanship and body aesthetic to illustrate its place in a wider context. This is a hugely important factor that I can’t emphasize enough: jewellery does not exist in a vacuum.

It is closely related to rug making, basketry, clothing, body aesthetic and oral traditions. This wider significance is touched upon here and there in the book, by likening jewellery patterns and styles to other examples of personal adornment and objects in the personal space.

Also introduced are the uses of jewellery as capital, as amulet and as status indicator, before moving to the jewellery pieces themselves.

The collection is presented regionally, starting out in the north and ending in the south. Each section starts with a map of the area, which I love: this way, you’ll get a sense of where the jewellery comes from and how jewellery designs are interrelated. Additionally, on the inside of the cover you will find a map of Morocco, on which jewellery items and drawings of regional dress by Jean Besancenot have been placed –a very helpful visual tool to get a general idea of main regional differences for anyone unfamiliar with the wide variety of Amazigh jewellery in Morocco.

Throughout the book, the historic photographs of Besancenot and others have been paired with the jewellery items shown, which makes for a visual dialogue between the black-and-white photographs and the splendor of the colour images of jewellery.

Berber Memories: the collection Gillion Crowet

Part 2 continues with the presentation of the collection – and what a superb collection it is! Iconic fibulas, stunning headdresses and head ornaments, sumptuous necklaces and rich bracelets form the vast majority of the collection. Each of these has been expertly photographed and displayed in such a manner that the wide variety of techniques, colours and shapes can be fully appreciated.

A very strong point of the collection is that it shows variety within the same type of ornament: for example, the famous worm-hole fibulas are represented by no less than 40 pages with nearly as many different pairs. I find this to be very instructive for the way we look at jewellery. There is not one ‘standard type’ with a ‘standard composition’, which somehow excludes other executions of the same sort of ornament as ‘not right’. See more about how that line of thinking comes about in this article.

The collection Gillion Crowet illustrates the point abundantly, by showing us a wide range of ever so slightly differing jewellery items within a singular type. Here, the art historian expertise of the author is to the advantage of the reader: his descriptions guide the eye and enable us to take in details, appreciate choices made by the craftsmen and see the evolving of styles.

Alongside these jewels, there is a vast amount of information about production centers, techniques used, materials sourced and traded, interwoven with meaning and power attributed to shapes and styles. We learn how climatic, economic and political factors caused silversmiths to relocate, trade centers to flourish or dwindle, and techniques to travel: an exceptional view on the background of these jewellery items.

Berber Memories: the meaning of jewellery

The meaning of patterns, colours and materials to their wearers varies immensely, not only over time but also geographically. This is partly due to the manner in which knowledge about meaning, magic and power is transmitted, both within the culture and certainly to cultural outsiders.

What is a meaningful shape in one region may carry less importance in the next, and what an older generation recognized as significant may have changed for a younger generation.

Another reason for this variety in agency is because it is attributed to objects by humans: they do not intrinsically carry it, which is why they lose their voice if their meaning is no longer understood. Naturally, these meanings and powers attributed to material forms evolve over time, following changing circumstances of the cultures that bring them forth. The book deals with this given in a number of cases, by presenting varying explanations for one and the same shape simultaneously.

This results in a overview of what individual shapes might mean, instead of presenting these as sole truths. Examples are the well-reasoned discussion about the possibly anthropomorphic elements known as atnarich (p. 312), the meaning attached to amber (p. 350) and many other elements.

Berber Memories: a few critical observations

Notwithstanding the importance of this volume, there are a few critical observations to made as well. Every now and then little inconsistencies pop up, like the assertion that Amazigh necklaces ‘generally feature enameled pendants’ (p. 128): the abundance of jewellery without enameled pendants in the book proves otherwise.

Some attributions I can’t quite follow as well, like the statement that the support system of a particular head ornament with three hooks is based on the ‘bulla etrusca model’ (p. 332) – I fail to see the connection, or how an Etruscan chest pendant of 300 BC would be the model for the ‘support system’ of this head ornament. Perhaps there is a similarity that I’m missing, but the direct linkage of Etruscan piece as model for a type of Amazigh jewellery without presenting solid proof of continuation in between is a step too far for me.

Berber Memories – an invaluable reference source

I highly recommend, no, I urge you to buy this book before this, too, becomes one of those sought after out-of-print books that we all know so well: it is remarkably friendly priced for such an important volume. The collection of jewellery presented is outstanding and a testimony to the long and rich cultural history of the Amazigh. Together with the wide historical overview, the wealth of old photographs and the detailed information per region this monumental book constitutes an invaluable reference source for the finest of Amazigh jewellery.

Berber Memories. Women and Jewellery in Morocco (2021). By Michel Draguet.

600 pages, full-colour, available in both French and English.

Available through the publisher Mercatorfonds, distributor Yale University Press and all major bookstores (online and offline).

The book was gifted as advance review copy by the publisher. Images sourced from the publishers’ website.

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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, and obtained her PhD at Leiden University on the jewellery of the Egyptian zar-ritual. 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.

Juifs du Maroc

Juifs du Maroc

by | Reviews

Juifs du Maroc

photography
jean besancenot

Juifs du Maroc

One of the photographers whose work is widely circulated in the jewellery world is Jean Besancenot. His portraits of men and women from Morocco are featured both on the Internet and in books, as they provide detailed insight into how dress and adornment were worn. The Musée d’art et d’histoire du Judaisme in Paris has selected a variety of his photographs for their exhibition Juifs du Maroc – Photographies de Jean Besancenot 1934 – 1937. Unfortunately, I have not been able to admire the exhibition itself, but the accompanying publication is a delight.

The main asset of this book, besides the photographs themselves of course, is that it provides personal and historical context to the photographs. This is very valuable, as photographs often circulate in a vacuum and the who, what and why of their background is not always presented. This concise book combines the photographs with original notes from the photographer. These are taken from his 1988 publication Costumes du Maroc as well as from his notes that are kept in the Institut du Monde Arabe in Paris. Additionally, essays from various other authors provide context to the photographer as well as the world he was photographing. A personal account of the daughter of one of the young men portraited relates how she discovered it was her father – throughout the book the names of the persons portraited are given where possible. An essay about costume and dress along with a glossary complete this exploration into Jewish dress in Morocco.

The photographs themselves are subdivided into several regional areas. First, the cities are presented, followed by inhabitants of the Souss region, the Todhra and Dades Valleys, the region around Tafafilet and finally the Draa Valley. Each photograph is presented with an excerpt from his notes, detailing dress and jewellery items or presenting general observations. We learn for example how Jewish women would use the same facial designs as their Amazigh neighbours, because they shared the same local beliefs; the difference being that Jewish women did not tattoo these signs but painted them on with the paint mixture known as harqus (p. 62 and 108).

This book is not a complete overview of dress and adornment of the Jewish population in Morocco, and is not intended as such. Rather, it offers glimpses of this world through the photographs. By reading the captions and short descriptions with the pictures, you’ll learn a great deal about the names of items of dress and adornment and the occasions on which certain items would have been worn. Through the captions, we also get an idea of what the photographer wanted to convey. Many photographs are indeed posed portraits, but unlike the staged studio portraits we also encounter in North Africa: here, the ladies themselves showed the photographer how a certain dress was worn and what jewellery it would be paired with. Occasionally, the photographer himself orchestrated a picture, like the group photo of several ladies from Tahala (p. 51). His reason for this group photo was to show the abundance and similarities of jewellery worn. The context given about the motives of both photographer and photographed allows us to place the result in more context.

What I liked most about this book, apart from the amount of information it provides, is the incidental candid snapshot. As most of the photographs are portraits, the persons in them clearly pose: eyes downcast and posing with the static awkwardness we all feel when asked to stand still for a picture. But a few photos break this mould: a glance upwards in a synagogue courtyard where a few boys are sitting, a woman pouring water from a container, a radiant smile…

This is a book you will want to add to your bookshelf!

Juifs du Maroc. Photographies de Jean Besancenot, 1934-1937. 159 pp, black & white with a few colour plates, in French. Available through the super helpful shop of the Musée d’art et de l’histoire de Judaisme, Paris.

The book was purchased from the museum.

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Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. She considers jewellery heritage and a historic source. She has authored several books on jewellery from North Africa and Southwest Asia, and on archaeological jewellery. Sigrid has lectured for the Society of Jewellery Historians, the National Museum of Antiquities in Leiden and the Sultan Qaboos Cultural Center, among many others. She curates exhibitions and teaches online courses on jewellery from North Africa & Southwest Asia.

Knot magic in adornment

Knot magic in adornment

by | Magic & Amulets

the magic of tying

Knot magic in adornment

Updated Jun 25, 2025

In many forms of adornment from the Middle East and North Africa, you’ll find a form of intricacy. Interwoven patterns, knots and complex shapes are added to jewellery and adornment for a reason: there is power in intricacy. That power goes back to the cultural significance of knotting, tying and binding.  In this article, we’ll have a look at the magical meanings behind that simple act we all carry out on a daily basis, and that is tying a knot in something.

The history of knot spells

Knots are an ambivalent symbol; they are believed to have curative properties, but they are also said to restrain, bind and strangle.

Even in everyday language, the mention of knotting and untying is often used as a reference to having or solving problems: in Cairo for example, the question ‘Did you get untied?’ actually means ‘Did you solve your problems?’ [1] This power attached to knots dates back deep in in history. One way of undoing magic spells cast on you is untying the knots with which these have been bound together: untying knots is undoing magic.

Babylonian cuneiform texts from as far back as the eighth century BC reveal spells using knots [2], and in ancient Egypt, the hieroglyph denoting protection depicts a series of knots in a rope. In ancient Rome, the Hercules knot was regarded as a powerful talismanic symbol.

Knot magic in the Middle East: what do knots mean?

Knots have many meanings in magic: they can bind, but also strangle. In contemporary Egypt, a wool cord with seven knots, called an ‘uqad,is used to combat fever. The knots are tied by a ritual practitioner who subsequently blows on them, a practice also mentioned in sura 113 of the Qur’an.

The symbolism of knots in the Middle East is powerful. In Syria, both bride and groom take care not to have anything knotted in or on their wedding costume in order to ensure fertility and health. A Palestine lullaby sings ‘Oh our moon, oh sleepy one, loosen your girth and go to sleep’: the loosening of the girdle brings about a state of relaxedness and comfort. [3]

The importance of knots in transition stages is illustrated by a death ritual of the Mandeans in Iraq and Iran. When a sick person is dying, he is washed and clothed in new clothes, but the knot of his girdle is left unfinished. Upon the moment of actual passing, the knot is completed, and after death the last, final knot is tied and the girdle arranged properly. [4]

Knot magic as protection

Intricate knots are often present in amulets: their goal is to utterly confuse the evil eye in order to distract its attention from the wearer or inhabitant of the house. Knot patterns on engraved seals serve the same purpose, besides their wonderful ornamental value, and mark the end of Quranic verses on written amulets. [5]

Written spells are sometimes seen encircled by a border of knots or braids [6], another example of the way these intricate motifs helped to keep evil out and thus enhance the power of the spell.

Tying a knot in your hair was also considered an effective way against spirit possession in Sudan: if you had been previously possessed and were to attend a possession ritual for someone else, tying a knot into your hair would ensure you would not be bothered by a spirit. [7]

What do knots of fabric in trees mean?

Related to tying knots is the use of textile scraps in places that carry significance. Trees near shrines, graves, tombs and (surprisingly often) ancient ruins sometimes carry worn and bleached pieces of textile in their branches. These are tied there on behalf of sick people, hoping the saint, deceased or spirit of the place will heal the owner.

That this practice is still very much alive is for example seen in the visitor regulations of the Shah-i-Zinda mausoleum complex in Samarkand: the rules clearly state that tying a knot is forbidden.

Tying knots: a small ritual of the everyday

You see how a seemingly mundane object, the knot, may represent so much more than just a utilitarian aspect of life. Because beyond the directly utilitarian, the act of tying a knot is often highly meaningful, but after a while all we are left with is the material component of ritual: a simple knot.

Although these materials remnants of magic are inconspicuous and often do not survive in the archaeological record [8], they are among the most used forms of everyday magic and can be seen everywhere if you realize where to look!

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Where can I find more on everyday practices in magic and jewellery?

Find out more about the magic of acts and gestures in the e-course on Amulets and Magic in Jewellery,

…explore more articles on magic in jewellery from the Middle East here…

or download the free e-book on amulets and talismans!

This post is partly based on the chapter ‘The Evil Eye and Other Problems’ on magic and jewellery in my book Desert Silver.

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References

[1] Early, E. 1993. Baladi women of Cairo: playing with an egg and a stone. American University in Cairo Press, Cairo, p. 127

[2] Day, C. 1950. Knots and Knot Lore, in: Western Folklore, Vol 9, no. 3

[3] Masterman. E.W.G. 1901. Dress and Personal Adornment in Modern Palestine, in: The Biblical World, Vol. 18 No. 3

[4] Drower, E.S. 1937, The Mandaeans of Iraq and Iran, p. 260

[5] An example is seen in V. Porter, 2017. Arabic and Persian Seals and Amulets in the British Museum, p. 179

[6] Nünlist, T, 2019. Enzauberte Amulettrollen, in: Günther, S. and D. Pielow (eds), Die Geheimnisse der Oberen und Unteren Welt: Magie im Islam zwischen Glaube und Wissenschaft, Brill, Leiden, p. 252

[7] Zvenkovsky, S. 1950. Zar and Tambura as practiced by the women of Omdurman, in: Sudan Notes and Records Vol. 31, no. 1, p. 81

[8] Like noted for example by Cameron Moffett, 2019, in The Amulets of Roman Wroxeter: Evidence for Everyday magic, in: Transactions of the Shropshire Archaeological and Historical Society 94, p. 46

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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.

Costumes of Saudi Arabia

Costumes of Saudi Arabia

by | Reviews

dress collection

Traditional Costumes of Saudi Arabia

Finally, a book about traditional dress in Saudi Arabia! The Kingdom of Saudi Arabia is a relatively closed world. Its rich heritage in dress and adornment is not all that well known outside the region. The Mansoojat Foundation has assembled a large collection of traditional dress over the years, which is now published in the colourful volume Traditional Costumes of Saudi Arabia.

The book is based on the collection itself. Although it clearly states in the introduction that the book is not meant as an exhaustive and complete discussion of traditional dress in Saudi Arabia, it certainly is not limited but offers a very wide introduction into various tribes and regions. It does not contain a contemporary map though, so you’ll have to look elsewhere to find where the tribes and cities mentioned are located. The book also does not contain references or a bibliography. That having been said: there is much to see in this book!

The book is a cooperation of 9 authors and 3 editors, so as to make sure each region or tribe is discussed by a specialist best versed in that area. This results in a recognizable style for each author: some chapters are longer and more detailed than others, but each of the chapters provides background information on the tribe or region presented. And each chapter is such a visual feast: the dress items in the collection are shown from several angles and not limited to a front view, which I find very informative. Even more informative are the sections where the order in which items of clothing are put on, are illustrated. This provides the reader with a detailed understanding of how the various elements function, such as the six elements that form the headdress of women of the Bani Sa’ad tribe. I enjoyed the line drawings and diagrams of costume schemes, as these greatly add to understanding complex items of dress.

All of the chapters are lavishly illustrated, not just with the costumes in the collection but also with landscape photographs, views of architecture, scenes of daily life and historical photographs. As there is no page without a photograph, this full colour book is as much an introduction into Saudi Arabia itself as in its costumes. A valuable glossary in the back explains clothing terms and names as well as fabrics and decoration techniques. Where possible, the accompanying jewellery has been included as well. This is also most informative: for example, the well-known rings with granulation and coral or glass beads, as they are also worn in Yemen and Ethiopia, are shown as part of the headdress of a woman of the Yam tribe: a great illustration of how closely connected dress and jewellery are! The names of jewellery items themselves are only presented in very few instances, but seeing them worn provides them with much needed context.

Traditional Costumes of Saudi Arabia is the only one of its kind in its coverage, illustrations and background information that is readily and widely available: you will want to add this to your bookshelf! A beautiful publication that introduces the colourful world of dress in Saudi Arabia: the preface expresses the hope that this book will form an important introduction to the costumes and heritage of Saudi Arabia, and I’d say that that has definitely succeeded.

Traditional Costumes of Saudi Arabia. The Mansoojat Foundation Collection. Edited by Lamya F. Algharib, Hamida Alireza and Richard Wilding. ACC Art Books, 2021. 320 pages, full colour. In English

Available with the Mansoojat Foundation, the publisher, and online stores such as Amazon.

The book was purchased through bol.com.

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Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. She considers jewellery heritage and a historic source. She has authored several books on jewellery from North Africa and Southwest Asia, and on archaeological jewellery. Sigrid has lectured for the Society of Jewellery Historians, the National Museum of Antiquities in Leiden and the Sultan Qaboos Cultural Center, among many others. She curates exhibitions and teaches online courses on jewellery from North Africa & Southwest Asia.

Early Photography Portraits

Early Photography Portraits

by | Opinion

an unreliable source

Early photography portraits of the Middle East

Updated Jan 11, 2024

Don’t you just love those old photos of women wearing jewellery? Many collectors search for these and use them to get an idea of how jewellery was worn. But there are some serious considerations to take into account with these photos: you can’t take them at face value.

Staged studio photographs

The thing with old portraits is that in almost all cases they have been staged. Early photographic equipment was heavy and cumbersome: you couldn’t snap a candid picture like we are used to nowadays, the subject had to stay really still.

Buildings and landscapes are better at that than people, so these form a large part of early photos.⁠ For people, photographers would have their own studio and their own props, and they could create photographs of people dressed in just about anything that they believed would sell.

And that is an important aspect of early photography: the point of view from which these photos were taken.

Early photography: creating the ‘Orient’

Early photography very often served to create an image of ‘the Orient’ to send back home. Of course, this new art was also used in documentation like for example of archaeological sites and monuments, but documenting more often than not switched to creating when contemporary life was photographed.

What was photographed had to fit into a specific framework: idyllic scenes in the countryside ‘like it had been in Biblical times’, and studio photography of men and women at their most ‘Oriental’. This included strangely misplaced clothing and sometimes complete nudity, as well as unnatural poses.⁠ Life as it actually happened was rarely photographed.⁠

Old photographs therefore are not neutral sources of information: we always need to be aware of the intent with and purpose for which they were taken. The photograph shown above was taken by Jean Besancenot in Morocco, and is more reliable than for example images from photo studios operating in the main cities.

Constructing the Orient: modern media

But is that misrepresentation a thing of the past? Sadly, no. In this digital age, photographs circulate faster and wider than ever before.

Social media platforms like Instagram and Pinterest are picture-based entirely and a quick search will get you dozens of image results. The context that goes with these however often does not come along, and as a consequence misinformation and misrepresentations are repeated again and again. It’s why I started this blog, as I wrote about here.

With the availability of photography for virtually everyone, paired with the slow disappearance of traditional dress and adornment, we enter a new era of constructed images.

Again, mashups of dress and adornment are created, photographed and circulated widely with just one click of a mouse. The photo shown above is an example for such a mashup: the headdress and face veil are not worn together like this, as they belong to two different social groups.

How to observe early portrait photos from the Middle East

Here are three points to consider when looking at old photographs of women wearing jewellery.

First of all, don’t take them at face value immediately but have a close look at what you actually see. Is it a studio photograph? Is the photographed person (semi-) nude? Is the photo part of a series, recognizable by captions like ‘scènes & types’? These are all indicators for posed and constructed photography. Postcards in particular are notoriously posed and in some cases a far cry from reality.

A second point is to look for other work by the same photographer: there is a difference between the well-known photo studios in large towns, and photographers associated with for example archaeological or military expeditions.Who was the photographer? What else did he (it was almost always a he, see for a remarkable exception this blog) photograph?

Thirdly, see what information, if any, you can dig up about the photograph itself. Especially with photographs found online, see what information comes with it: not every ‘Bedouin bride’ or ‘Woman in traditional clothing’ is identified accurately. As mislabeled info is often copied many times over (see more about that here), this may take some searching, but using the search feature for comparable images it may in some cases be possible to find a source with more information.

Taking the time to form an opinion about the trustworthiness of a photograph as visual source will help you gain a better understanding of the jewellery and dress you’re researching.

Early portrait photos and jewellery: what we can learn

Is there anything we can learn with certainty from early portrait photographs, regarding jewellery? Well, yes: we can observe which jewellery items were in existence at the time of photographing.

Even if they are props and used randomly (you’d be surprised to see how many necklaces ended up as headdresses, just because it looks so exotic), logic dictates they were available when the picture was taken.

This provides us with a timeframe: ‘this type of jewel existed as early as…’, and to some extent an idea of clothing. These pieces of information can then be used again to contribute to the actual story of the photographed people as they really were, instead of how the photographer invented them to be.⁠

And that’s the story jewellery research aims to bring back to life!

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References

I have written this blog post from a perspective of photography as resource for jewellery studies and not as a discussion of early photography itself. This field is widely explored by scholars from a variety of angles. Here are a few starting points:

The essays in the Postcard Women’s Imaginarium are a very important contribution by contemporary artists and scholars to the interpretation of Orientalist postcards.

Tied in to the inventing and constructing of photographs is the power balance between the (foreign) photographer and the photographed. The Civil Contract of Photography by Ariella Azoulay explores these ethical aspects in depth. The video A Snapshot of Empire: the racist legacy of colonial postcards shows how these pre-staged photographs continue to influence our view today: watching these 8 minutes is highly recommended!

Local photography is discussed in Ritter and Scheiwiller (eds), The Indigenous Lens? Early Photography in the Near and Middle East (Berlin 2018), of which the introductory chapter can be read here.

A selection of sources for historical photographs of the Middle East can be found here and here.

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.