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.

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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.

Foulet Khamsa

Foulet Khamsa

by | Magic & Amulets

amulets and magic

Foulet khamsa: an amulet from Morocco

Published Dec 25, 2023

This piece is called a foulet khamsa. It’s an ornament from Morocco, and it carries a surprising connection in its name – one that is rarely explicitly addressed. So I’m spilling the beans: what is this jewel, where and how was it worn, and what does it mean?

A foulet khamsa from Morocco, with a bright green glass cabochon.

Foulet khamsa: what is it?

Foulet khamsa, also spelled fult khamsa, is a large pendant with four distinct lobes. You’ll see an example in the image above: click to enlarge it. The ornament is made of two pieces of sheet silver that have been embossed. In the centre is a green glass inset.

Normally, they would be in good silver, but the one I’m showing you here is in low-grade silver. It has been pretty banged up during it’s life: you see the dents, and it has a new loop soldered onto it.⁠ This piece has lived for sure!

Foulet khamsa: what does it really mean?

The spelling foulet is in French transliteration, because Morocco has long been colonized by the French. Click here to see how colonization still affects our understanding through things like spelling.

So what is that ‘foulet‘? It’s the Arabic fūl – yes, like the delicious dish fūl. It means ‘fava bean’, and its plural is fūlāt [1]. This piece of jewellery, too, is named after food! Click here to find out more on why that is not crazy – food is often used as metaphor in jewellery. So, foulet khamsa roughly translates to ‘Khamsa of Beans’ or ‘Bean Khamsa‘.

What is the relation between this ornament and a fava bean…? First, the four lobes of the ornament resemble fava beans in their shape. But throughout North Africa, fava beans carry additional significance. They are among the staple foods, but they also are considered to bring good luck. Because of their bright green appearance when they’re fresh, they are associated with growth, fertility, and in particular with produce of the earth. [2] The other image above is indeed of fresh, green fava beans: click to enlarge it and see how juicy these look!

‘Foulet Khamsa means ‘khamsa of beans’ or ‘bean khamsa’ – it’s an extra special khamsa‘

Foulet khamsa: how are they worn?

Pendants like these were worn on a necklace, or suspended from a belt. Eudel attributes this difference in wearing to regional preferences. He notes that women in Marrakech wear the foulet khamsa on their chest, as a necklace. Women in Tanger and more towards the coast, on the other hand, wore it attached to their belt. [3] Von Kemnitz writes that smaller ones were used as pendant, and larger examples as belt ornaments. [4] I think the reality is flexible as always, as there are examples of photographs showing women wearing quite sizeable pieces on a necklace.

Foulet khamsa: who would wear them?

Tanger, where Eudel saw them suspended as a belt ornament, is in the north of Morocco. Apparently the foulet khamsa was worn there in the early 20th century. Later books only refer to the southern part of the Atlantic coast, between roughly Essaouira and Tiznit. [5]

So, this ornament was popular along the coast. It disappeared in the north at some point, but continued to be popular along the southern Atlantic coast. The pieces made in Essaouira are among the finest decorated foulet khamsa in their intricate designs. The foulet khamsa was worn by both Muslim and Jewish women: its use is more regionally defined than by faith. [6]

How is this ornament a khamsa?

And now for the obvious question! Khamsa means ‘five’. This ornament has four lobes. So how is this a khamsa…?⁠ The trick is that these are called khamsa because of their entire design.

See that green glass inset in the centre? Together with the four circular details around it, that makes five. [7] Alternatively, if we interpret the lobes as bright green fava beans, the green glass in the center would make that five, too. However, not all foulet khamsa carry green glass: they are known with various other colours of glass, too, as well as semi-precious stones. [7]

It’s not always immediately obvious how the number 5 is worked into jewellery, but once you recognize the pattern, it’s easy to see!⁠ Click here to learn how to spot numerology in jewellery.

Foulet khamsa: a layered amulet

Some examples of the foulet khamsa stress this importance through additional hands integrated in their decoration. [9] The ornament pictured above may even have had additional hands, but they are too damaged to be sure. On the individual lobes, you may also find other forms enhancing their power, such as fish or birds. [10] The vegetal motifs on the ornament also reinforce the combination of the power of fava beans and the magic of the number five: a layered, beautiful amulet!

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References

[1] Already noted by Eudel 1906, Dictionnaire des Bijoux, p. 75. He adds that it also is used to indicate the nut in a firearm.

[2] Westermarck 1905, in his article Midsummer Customs in Morocco, mentions the use of fava beans to ensure a good crop in the coming harvest season (p. 36). Edmond Doutté 1909, Magie et Religion de l’Afrique du Nord, shares examples of fava beans used in festivities notably in Algeria.

[3] Eudel 1906, Dictionnaire des Bijoux, p. 75.

[4] Eva-Maria von Kemnitz 2023, Hand of Fatima, Brill Publishers, p. 51.

[5] As defined by Grammet 1998, De Juwelen, in: Magisch Marokko, p. 300. Von Kemnitz 2023, p. 50 also places these in southern coastal towns with Essaouira and Marrakech as its most important production centers. Rabaté & Goldenberg 1999, Bijoux du Maroc, p. 195 also mention the southern towns.

[6] They are for example also featured in A. Muller-Lancet, D. Champault & Y. Fischer (eds), La Vie Juive au Maroc, p. 131.

[7] Rabaté & Goldenberg 1999, Bijoux du Maroc, p. 195 mentions this explanation as well.

[8] Von Kemnitz 2023, Hand of Fatima, p. 49-51 for a description and materials used in the foulet khamsa. Here, only the khamsa in the name is addressed, and the significance of the fava beans left out.

[9] See Grammet 1998, De Juwelen, in: Magisch Marokko, p. 300 & 302 for an example, as well as Von Kemnitz 2023, p. 51.

[10] See Rabaté & Goldenberg 1999, Bijoux du Maroc, p. 197 for examples.

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.

Rings as amulets

Rings as amulets

by | Magic & Amulets

rings of power

The Magic of Rings

Updated Jan 1, 2024

If there is any piece of jewellery that has been associated with magical powers, it has to be the ring. Rings carry a lot of meaning, and a lot has been written about Classical and European rings: how about rings in North Africa and Southwest Asia? Can a ring be an amulet? In this article, I’ll show you 5 ways rings can work as amulets.

Rings on our fingers

Rings are very prominent items of jewellery. They sit on our finger, where they are visible to both ourselves and the people around us. They can be used to attract attention or to show off riches, but at the same time their presence is very personal, felt on our fingers by our every move.

And that is an even more important symbiosis: rings move along with every gesture of our hands. As such, they are almost active jewels. This symbiosis is of influence on the placement of rings on the finger.

In Oman, a pointed ring is worn on the index finger: it reminds the wearer of her daily prayer. But in Morocco on the other hand, the index finger is left unadorned for precisely the same reason. [1]

That is always something to bear in mind: just like any other form of informal ritual, the magic of rings differs from region to region and also over time.

Ring power: sealing

The significance of rings is reflected in the Arabic word for ring, khatim. Originally, this referred to a seal. That brings along that symbiosis again: when the wearer seals something, they will need to move both their hands and fingers, as well as the ring itself. The ring becomes an inextricable part of that act.

In everyday life, this seal would be an engraved seal with the owner’s name, or a pious text. In magic, it could be a particular design that was assumed to hold power, such as the seal of Solomon or magic squares.

This practice of wearing rings with images or texts that were considered powerful, was already widespread in ancient Egypt and Mesopotamia. In that respect, rings with inscriptions are a continuation of a practice that is millennia old.

Ring power: inscriptions

Over time, the use of rings for sealing was joined by inscriptions that were not meant to seal: they are legible when worn, instead of engraved in a mirror image.

Engraving a text in a ring would enhance its efficacy: Edmond Doutté, when writing about North Africa in the early 20th century, mentions a spell to attract prosperity in business, which needed to be engraved in a ring. When worn, this would lead to an increase in profit. [2]

So, a ring was something to seal with, but also something that held power of its own.

Ring powers: shape

That is also due to its shape. A ring has no beginning and no end, it is the perfect symbol for eternity and cyclical events. That makes it the perfect symbol for, for example, love and friendship, or to designate a space.

But because of their power to encircle, in some cases rings were believed to do more harm than good. That works along the same lines as knot magic. Just like anything knotted (see more about that here), pilgrims to Mecca were advised not to wear rings on their person. [3]

Ring power: material

The material of which a ring was made, contributes to its power, too. Iron is believed to keep evil at a distance as jinn are afraid of it (see more here on conflicting views on iron and adornment), and silver was the material of the Prophet’s own signet ring. [4] Besides the ring itself, materials used in its setting were also chosen for their properties.

A ring set with a carnelian stone was believed to bring continuous blessings to the wearer [5], and the three varieties of a stone named yaqut were believed to protect against the plague when set in a ring or a necklace. [6]

Here, the power of the material chosen to be set in a ring is combined with the power of the ring itself, and of course of the image or text engraved in that material. Rings are not simply carriers of powerful images or texts, but the entire ensemble including the ring itself is a threefold agent of protection and power.

That is also why many sorcerers and magicians are said to carry signet rings, and rings feature in magical tales [7]: in the 1001 Nights, it is a ring that binds a jinn to do as the owner of the ring commands. [8]

Ring power: magical creating

Making rings could also be part of the process that imbued them with special powers. Not only should they be created on a particular moment in time (often calculated based on astrology, see more on that here), but instructions to make rings could also include specific acts to be carried out, such as slaughtering an animal or incensing the finished product. [9]

Ring power: hard to get

And finally, notably the powerful rings are associated with vivid tales on how hard it is to actually get your hands on them. There are many tales in which rings travel long distances or find themselves in seemingly impossible situations.

The trilogy around Lord of the Rings is even based on all these difficulties, and notably on the hardships in destroying that one ring. Tales like these are also found in the Islamic world. King Solomon’s ring was stolen from him, and after many adventures was found inside a fish. [10]

Rings as amulets: a tradition of millennia

There is power in rings: in their shape, their material, their colour, the process of making them and the journey of obtaining them. Rings have fascinated us for thousands of years, and now you have a little more background on why!

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Find out more about the histories behind amulets in the e-course on Amulets and Magic in Jewellery!

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References

[1] See my book Desert Silver; in prayer, the index finger is pointed upward.

[2] Doutté, E. 1909. Magie et Religion dans l’Afrique du Nord, p. 264.

[3] Doutté, E. 1909. Magie et Religion dans l’Afrique du Nord, p. 88.

[4] See Iafrate, A. 2016. Solomon, Lord of the Rings: fashioning the signet of power from Electrum to Nuhas, in: Al-Masaq 28:3, pp. 221-241 for a discussion of the material of the Ring of Solomon.

[5] Doutté, E. 1909. Magie et Religion dans l’Afrique du Nord, p. 84, see also Porter,V., Saif , L.and E. Savage-Smith, 2017. Medieval Islamic Amulets, Talismans, and Magic, in: Flood, B. and Necipoglu 2017. A Companion to Islamic Art and Architecture, p. 543.

[6] Content, D. 2016. Ruby, Sapphire & Spinel: An Archaeological, Textual and Cultural Study, p. 18-19, discussing the Stone Book of Aristotle which dates back to the 9th century. This lapidary is not by Aristotle, but has been composed in the Middle East. The varieties of Yaqut are ruby and two varieties of sapphire.

[7] Gunther, S. and D. Pielow, eds, 2018. Die Geheimnisse der Oberen und Unteren Welt, p. XXII

[8] Idem, p. 405 and 407, referring to the story of Aladdin.

[9] Porter,V., Saif , L.and E. Savage-Smith, 2017. Medieval Islamic Amulets, Talismans, and Magic, in: Flood, B. and Necipoglu 2017. A Companion to Islamic Art and Architecture, p. 522-523, discussing an example from the Arab Middle Ages.

[10] Doutté, E. 1909. Magie et Religion dans l’Afrique du Nord, p. 157.

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.

Binding magic in jewellery

Binding magic in jewellery

by | Magic & Amulets

keeping it together

Binding magic in jewellery: pins

Updated Jan 28, 2024

The most mundane, everyday things can be transformed into magical objects simply by analogy, and that is what makes this form of magical activities so relatable. Fastening something is one of those acts that can carry a deeper meaning, and the object that goes with it becomes important, too. And clothing pins, also known as fibulas, are perfect for that goal!

Pinning a fibula: the magic behind it

This is basically a specific form of binding magic, where pins to keep clothing together gain a different meaning.

I talked about the magic of tying and girding in another blog post, and pinning your clothing together works along the same lines. The clothing pins that are used to keep fabric together, can be transformed into very powerful magical objects when they are used in ritual.

The analogy is of course very clear: a clothing pin holds two separate pieces of dress together, and so it would also be very useful in rituals to keep persons together.

When you fasten a fibula (see how to do that here), you actually have to carry out a number of steps: it does not close automatically by itself. And that is where the magic is, in those acts of deliberately fastening…clothing pins are the perfect object for love-magic!

Fibula magic in ancient times

The Romans already used their pins or fibulas (the Latin word is still in use to indicate these pins) as such. Some 2,000 years ago, you could buy an inscribed fibula to present to a lady: it would say something like ‘Hello, gorgeous!’, or, if you were bolder, ‘mix yourself with me’ – I’ll leave it up to you to figure out what they meant by that!

The point is that the fibula would work as a magical tool. [1] Once the lady in question would pin her clothes with it, it was hoped your relationship with her would immediately grow stronger.

Some 1,000 years earlier, three imported bronze fibulas were left behind in a shallow pit on the edge of a moor in The Netherlands. They were a gift to the gods, or whatever beings were believed to inhabit that place, and they were a precious gift, too.

Those fibulas were imported from Scandinavia and did not form part of traditional dress in what later would become The Netherlands: a treasure worthy of the gods. [2] You’ll see it in the collage below.

Gloomy photo of a swamp with a Bronze Age jewellery hoard

Fibula magic in North Africa

In a different world and a different time, fibulas have a very similar protective power. In Morocco, clothing pins are considered powerful because their sturdy pin has the power to harm the evil eye, a meaning also found widely in the rest of the Maghreb. [3]

Many shapes on fibulas are designed to attract good fortune and to keep evil at a distance, while their triangular form alludes to the powers of the number 3 (see more about the magic of numbers in this blog post). Fibulas are also the perfect piece of jewellery to attach amulet boxes to, which would be suspended from either the fibula itself or from the chain between them.

But here as well, their importance as something that holds to halves together, shines through.

The fibulas are part of the dowry, given to the bride by her husband and his family, and here the magic of pinning reinforces the bond between both the husband and wife and their respective families.

Adorning the bride with her jewellery, including fastening her fibula set, was part of the transformative magic in Libya, which would accompany the bride during her transition from unmarried girl to married woman. [4]

Belt buckle magic in Europe

And that power of fastening is found as a theme in other parts of the world, too.

Belt buckles function in much the same way: they, too, hold something together. As such, it became very popular as a form in European rings from the 17th century onwards. The belt buckle symbolized eternal love and loyalty – even beyond death, which is why you will also find it in mourning rings. Together with the shape of the ring itself as an endless cycle, the belt buckle firmly connects two halves for all eternity.

Pinning, fastening, closing: magic in adornment

So whether it is clothing pins or belt buckles: by fastening something, humans have tried to influence the natural course of events for millennia!

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Find out more about the histories behind amulets in the e-course on Amulets and Magic in Jewellery!

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References

[1] Peter Wells notes that fibulas in Europe’s prehistory, when they are depicted, are always shown ‘open’, and wonders if that has something to do with magic: nothing is definitive yet, nothing is sealed, the future is open. Wells 2012, How Ancient Europeans Saw the World, p.111.

[2] I wrote about these in Bos, J. & S. van Roode 2019. Landschap vol Leven. BLKVLD Uitgevers Publishers.

[3] Cynthia Becker, Amazigh Textiles and Dress in Morocco. Metaphors of Motherhood, in: African Arts vol 39 no. 6 (2006), p. 44

[4] Elena Schenone Alberini, Las mujeres Libias en la litteratura oral. Ritos de paso y roles de genero, in: Orafrica no 6, 2010.

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 Amber

Magic of Amber

by | Magic & Amulets

Magic of amber

amber throughout history

Amber Amulets

Updated Jan 17, 2024

One of the most used components in jewellery from North Africa and Southwest Asia is amber. This fossilized resin has been popular as adornment since prehistoric times, and has been attributed with a variety of magical capacities throughout millennia. What is the significance of amber? Let’s explore how amber has been the go-to substance in a surprisingly large field of problems!

The power of amber: the Roman period

Amber was already highly valued by the Romans, who attributed a great deal of capacities to this material. It was thought to help against throat diseases, to alleviate fever, solve ear aches and problems with sight, and cure stomach pains and problems in the urinary trajectory. [1]

Notably, amber was believed to be specifically effective for women and children; when a woman dreamt of amber ringer rings, this was considered a beneficial omen. [2]

Its scent may also have played a role in its magical powers: rubbing an amber object firmly produces a resinous fragrance. Evidence of amber dice that have been rubbed vigorously in the past may show that gamers sought to influence their throw by activating the magical powers of amber [3], although, as we shall see, I think its static capacity may also have helped to attract winners’ luck.

The fragrance of amber may also be the reason why it was sometimes burned in ritual settings: archaeology only recovers the remains, but it may have been its smell that was the key behind this practice.

Amber in medieval amulets

Amber continued to be much appreciated in the Middle Ages. What people in Europe thought of its powers only becomes clear in the 13th century, when it is listed in a book on the healing capacities of stones as excellent remedy against stomach ache. [4]

A piece of amber was to be put in wine, beer or water and left to sit there for some time, after which you would take it out and drink the fluid – this method of transferring the magical capacity of a substance to a fluid that can be consumed has existed for millennia.

The use of amber against urinary problems was also still very much alive in the Middle Ages: imbuing milk with amber as described above would lighten your load. Here again, the magic works following the lines of analogy, this time because of its yellow hues.

Coral and amber Draa Valley necklace
A glorious Draa Valley amber and coral necklace with colourful woollen tassels

Amber in amulets from the Middle East

In Arabic, amber is called kahramān. Here another magical use reveals itself: the name is related to kahrabah, meaning electricity. When real amber is rubbed, it becomes slightly static. This makes it an excellent substance to attract the love of a husband, as the Bedouin in Palestine believed. [5]

And who knows, maybe the amber carving of Amor, the god of love, from the Roman period served the same purpose…?

Amber also is very powerful against the evil eye in general. The combination of its fragrance (as was already the case with the Romans) and its quality to keep evil at a distance makes it a highly valued prayer bead: these are also held, rubbed and passed through the fingers many times. [6]

Amber in amulets from North Africa

Like in many other parts of the world, amber is used to dispel teething pains. [7] In a way of analogous magic similar to that of earlier periods and cultures, it is considered a warming and invigorating substance. This is why the Amazigh also consider it very useful against rheuma and respiratory inflictions, as well as against skin diseases.

Additionally, to the Amazigh amber represents the warmth of the sun, and as such forms a natural pair with silver elements that invoke the power of the moon. As amber was so highly valued for its beneficial properties as well as visual expression of wealth, amber beads were often strung with small felt pieces in between to keep the beads from damaging. [8]

The long history of amber as an amulet

So what you see, is that the qualities of amber occur in more or less similar forms time and again. It was believed to be useful against ear aches in both ancient Rome and modern Egypt, it works its magic against stomach aches and respiratory problems from the Maghreb to the Levant, and has helped babies through their teething pains since the Middle Ages. Amber has captivated the human imagination since forever!

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What other materials were used in amulets?

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References

[1] Koster, A. 2013. The Cemetery of Noviomagus, p. 174

[2] Davis, G. 2018. Rubbing and Rolling, Burning and Burying: The Magical Use of Amber in Roman London, in: Parker, A. & S. McKie 2018. Material Approaches to Roman Magic. Occult Objects and Supernatural Substances. Oxbow Books, Oxford, p. 71

[3] Idem, p. 75

[4] Hildegard von Bingen, Heilsame Schöpfung, übersetzt und eingeleitet von Ortrun Riha, Beuroner Kunstverlag 2016, p. 278

[5] Biasio, E. 1998. Beduinen im Negev, Zürich, p. 221

[6] Idem, p. 221-222

[7] Draguet, M. 2021. Berber Memories, p. 350

[8] Berber Women of Morocco, Fondation Pierre Bergé/Yves Saint Laurent 2014, p. 73

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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.