A Rich Heritage of Amazigh Jewelry
For millennia, the Amazigh tribes of Morocco have masterfully crafted jewelry that complements their traditional attire. These exquisite adornments—ranging from fibulas and diadems to bracelets and earrings—are lovingly shaped by artisans in the villages and medinas. Drawing inspiration from spiritual and aesthetic motifs, these pieces reflect the beauty of nature, cultural beliefs, and the sacredness of the land. Ifri, a writer immersed in this culture and currently residing in the United States, recounts the significance of this legacy. Through her social media platforms, she provides an anti-colonial perspective on North Africa's past, particularly shedding light on these heirloom jewels passed down from generation to generation. According to her, these pieces have historically served as a form of wealth, with items worn as 'tawenza'—a headpiece symbolizing the household's fortune—being used in times of crisis.
As a long-time enthusiast of Amazigh jewelry, Ifri's fascination was cultivated through oral traditions shared by her aunts. She further expanded her knowledge through interactions with the local population during her vacations in Agadir and the Souss region, as well as by engaging with collectors. In her interview with Yabiladi, she expressed how her appreciation for this jewelry deepened after relocating to the United States, where she dedicated herself to collecting these pieces with the aspiration of returning them to their homeland one day. "My interest took on a new dimension when I frequently discovered these items in vintage shops and antique markets. Many have been lost here, available in private sales and exhibitions, prompting me to start collecting them for their return to Morocco," she stated.
Preserving Symbolic Heritage
In her videos dedicated to the subject, Ifri showcases several pieces acquired from American stores, aiming to raise awareness about the intricacies of ancestral craftsmanship while highlighting the symbolic and historical dimensions of these artifacts. Among the frequently encountered motifs is the Amazigh and Tuareg cross, which she elaborates upon. "The Amazigh cross has been a subject of archaeological research, as it has been found in ancient Amazigh caves in southern Morocco and Algeria. It represents an astral projection, embodying crucial symbols in ancestral culture, starting with the number four, which corresponds to the seasons, agriculture, and the cardinal points," Ifri explained. Historically serving as a compass, this cross predates Christianity in the region and has been represented in Amazigh pottery dating back to trade exchanges with the Phoenicians (1200 BC - 332 BC) and even in ancestral tattoos, textiles, and tapestries. It has also been discovered on tombs in Tingitane Mauritania, indicating its ancient usage, countering colonial narratives that attempt to link it to Christianity. Ifri emphasizes that the Tuaregs, who also use this cross, were pagans before converting to Islam and revolted against the Romans, thereby dismantling any potential connection with the Christian cross. The Amazigh cross is also represented in various forms, such as "Boughdad," and boasts over 21 regional variants that symbolize the earth, protection, nature, fertility, and spirituality, among other meanings, depending on the tribes.
Other emblematic motifs found within ancestral jewelry include the pigeon foot, the eye, the hand, coins, and geometric shapes like diamonds that signify the earth. Triangles represent fertility, femininity, and the cycles of life and death, with inspirations drawn from historical representations of Tannit. In terms of materials, gold has historically been used in jewelry making, but silver has remained a steadfast choice. Ifri notes that "gold was predominantly utilized in Fez and surrounding cities, while silver has consistently been the metal of choice due to its spiritual significance." Ancient tribes favored silver, which served not only aesthetic purposes but also practical functions, as jewelry often acted as a form of defense for women, necessitating the use of a more durable metal than gold.
Over the centuries, religious interpretations reinforced these practices, leading the Tuaregs to transition from gold to silver, influenced by certain views on metal usage as ornaments by men. Broadly, Amazigh regions have developed their own traditions of craftsmanship, with some jewelry even named after their regions. Notable among these are Tiznit, Taroudant, Guelmim, Taliouine, Agdz, Agheddou, and several villages within the Agadir and Marrakech areas, as well as the medinas. Local traditions also exist in the High Atlas and Middle Atlas regions, with symbols and usage varying according to tribal customs and the materials available in their natural environments. These traditions have subsequently been adopted in various regions due to trade exchanges that disseminated distinctive pieces from the south across the country.
The colors of the jewelry serve as indicators of their provenance. In the Rif region, red, blue, and green are prevalent, while the Souss region is characterized by jewelry adorned with orange or yellow. Ifri notes that "there are over 100 silver crafting techniques throughout North Africa, making it the most diverse region globally in terms of metal craftsmanship." Silver, being the foundation of most ancestral jewelry, has often been combined with coral. It remains dominant in pieces crafted in the south, historically recognized for its silver mines. As one moves north in Morocco, this foundation is enriched with traditional beads and gemstones, reflecting the available materials influenced by proximity to the coast or fertile lands.
As reported by yabiladi.com.
