Kabylia necklaces: a history

Kabylia necklaces: a history

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.

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.

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.

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 The three rows of solid silver beads have been replaced by 8-shaped links: through the central application on the links and their vertical position, they mirror the appearance of the older necklaces.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.

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.

What is ‘ethnic’ jewellery?

What is ‘ethnic’ jewellery?

Meanings of ethnic jewellery

What is ‘ethnic’ jewellery?

Published Jan 12, 2024

It’s a popular term: ethnic jewellery. You’ll find it widely on the Internet, in fashion magazines and in books on jewellery. But what is ethnic jewellery, exactly? And how may we understand it without lumping pretty much all of the world under one global umbrella term? In this article, I’ll give you my personal take on what ethnic jewellery is.

Ethnic jewellery: jewellery of people

‘Ethnic’ comes from the Greek word ‘ethnos’, meaning ‘people’ in the sense of an ethnic group. [1] Ethnography and ethnology stem from the same root. Ethnic jewellery is the jewellery of a particular people or community.

Ethnic jewellery encompasses a vast array of adornments. All of these tell a unique story of the cultural, religious, and social fabric of the communities that create and wear it. So the way I see it, if you want to know what ethnic jewellery is, its meaning for the specific people that made these pieces and to whose culture they belong is central to that understanding.

Just to manage expectations: I’m not going into the discussion around the use of the term ‘ethnic’ itself here – I’ll do that in another article, as there is quite some consideration to be given to this term. But that article is not this one.

In this article, I’d like to focus on how we should understand ethnic jewellery. What is that? Actually, it is a lot of things bundled up in one term, so let’s go over those!

Ethnic jewellery: communities of origin

For its communities of origin, ethnic jewellery serves as a powerful symbol of identity and continuity. Each piece carries with it the collective memory of a people – their traditions, rituals, and historical milestones.

Sounds like a large claim, but is very true: jewellery is a powerful historic source, you just have to know how to read it.

That is also why it is so important to its community of origin. Wearing one’s own ethnic jewellery is a clear affirmation of identity: this is who we are.

That meaning itself is also getting increasingly watered down. The variety of styles and types within one community has dwindled significantly over the past 60 years or so. Many original pieces of jewellery are no longer known to the communities that once wore them, and that holds true all over the world.

An example is Dutch traditional jewellery: I am Dutch myself, but not from either region the jewellery you see above is from. Clicking on the images will enlarge them, so you can take in the details.

I can’t place the tiny differences in decoration of veil pins, necklace clasps and head adornment to the level of detail and origin that my grandmother would easily have identified. I still recognize it as the ethnic jewellery of my community, but not as accurately as previous generations.

Ethnic jewellery: its meaning in its cultural context

Reading ethnic jewellery is closely connected to its cultural context. In fact, that is essential: jewellery is created by people, for people, and if we want to understand ethnic jewellery, its cultural context is where to start.

Because ethnic jewellery is deeply intertwined with cultural practices, representing rites of passage, forming a woman’s financial assets, embodying her religious beliefs, and signaling her social status. The patterns, colours and materials used in jewellery may signify a person’s age, marital status, or even their role within the community.

And those may be very local communities: the language of silver ethnic jewellery may be understood in just one region only. An example are the engraved discs worn in the Bahariya Oasis, Egypt. You’ll see one of those above: click to enlarge the photo to see this piece in full. Their meaning is specific to this oasis, the pieces were never produced outside this place, and their significance remains somewhat of a mystery that I tried to solve here.

Ethnic jewellery: its meaning in rites of passage

Ethnic jewellery also plays an active role in specific life events. There are jewellery pieces which are created for these moments, such as weddings, coming-of-age ceremonies, or even funerals. Just think of the elaborate mourning jewellery of the 18th and 19th century Western world.

More on wedding jewellery is explained in these posts:

The meskia – a wedding jewel from the Maghreb

These adornments accompany their wearers through significant transitions. In that sense, they serve as tangible markers of the individual’s journey within the community. An example are the three silver hair ornaments shown above (click to enlarge them): these were worn by children in Oman. Their wear is specified further for boys, who would wear the hand-shaped ornaments, and girls, who would wear the circular ornament.

Jewellery pieces like these often operate in sync with dress, hairstyle and body aesthetic like tattoos: here again, jewellery always needs to be seen in its context.

An example is how in many cultures there is a great difference between dress and adornment of an unmarried girl and that of a married woman. These differences are presented in more detail in these articles:

Omani hair ornaments – between girl and woman

The Palestinian wuqaya – between girl and woman

A married woman will sport a different hairstyle and wear much more jewellery. That is also because of her dowry gifts, and that brings me to another aspect of ethnic jewellery: its value.

Ethnic jewellery: its value and financial meaning

The use of jewellery as a way to store capital goes back to the ancient civilizations. It takes effort for us, living in this day and age, to imagine anything other than banks, credit cards, and paper currency as main carriers of financial value (ok, and there’s designer handbags, but the jury is still out on their long term value…!).

But for several millennia, gold and silver jewellery was the perfect way to safeguard one’s wealth: it’s portable and can be melted down when needed. Serving as capital and asset is another important capacity of ethnic jewellery.

The way this takes material form is different for each culture, tribe and region. It can be adding coins to dress and adornment, such as in the example of the face veil above, or in wearing heavy and large pieces of jewellery. Those are just two examples, but you get the idea!

This financial aspect of jewellery is presented in these articles:

The Spanish pillar dollar – a forgotten coin

Ethnic jewellery: what is it?

As you see, there is no single definition of what ethnic jewellery means: this entire blog and all courses are dedicated to jewellery as material culture of people, and it’s still only scratching the surface.

Ethnic jewellery is many things within its own cultural context. Most of all, it is jewellery that is specific to a culture, region, tribe or other form of society and which distinguishes them from others. It is a visual form of cultural identity, like dress and costume. As such, it is highly specific, instead of a general container term to lump exotic-looking accessories into.

This post will be continued with other thoughts on ethnic jewellery (such as Can I wear ethnic jewellery?) and alternative terms we may employ – stay tuned!

More posts on my jewellery musings? Browse them all here!

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More historical background on jewellery from the Middle East and North Africa? It’s all in the courses: a world of jewellery detail awaits!

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.