Moroccan Folk Jewelry

Author(s): Robert K. Liu and Liza Wataghani

Source: African Arts, Vol. 8, No. 2 (Winter, 1975), pp. 28-35+80
Published by: UCLA James S. Coleman African Studies Center
Stable URL: http://www.jstor.org/stable/3334828
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 Folk
Moroccan Jewelry
ROBERTK. LiU * LIZAWATAGHANI

he Western collector, whether mu-

T seum curator or private individual,
does not ordinarily view Moroccan folk
jewelry in an ethnographical context.
Rather than consider it as a component
of an ensemble and/or costume, he sep-
arates it from its function, in both the
utilitarian and symbolic sense, reducing
cultural artifacts solely to their aesthetic
content. When such jewelry was made,
by whom, how it was used, and what
1. BRONZE, SILVER AND ALUMINUM(THIRD FROM LEFT) COINS PIERCED OR WITHSOLDERED OR RIVETEDLOOPS.
other cultural influences it may have had,
HALF-DOME DECORATIONS ARE SOLDERED OR RIVETED ONTO THE COIN. ADDING 622 TO THE DATES SHOWN
GIVES THE CHRISTIAN YEAR. are all data left largely neglected.
A recent trip to Morocco uncovered
a wealth of techniques and styles repre-
sented in jewelry collected primarily in
Beni-Mellal, Marrakech, Agadir and
Tiznit. A brief survey of the literature
revealed that little had been written
about this jewelry, and what had been
published was, for the most part, pla-
giarized from Eudel's 1902 book on Al-
gerian and Tunisian goldsmiths, thus
2. FOUR TYPES OF PENDANT COIN MOUNTINGS, USING COINS OF MOHAMMEDTHE FIFTH. makingit difficultto separatecontempo-
rary information (if any) from that
which is seventy-some years old. This
paucity of data, coupled with the dis-
ruptingeffect of tourist and dealer buy-
ing on the conservation of indigenous
jewelry, prompted us to treat this area
of folk jewelry.
Moroccan jewelry can be separated
along ethnographical and geographical
lines: Arabs and Arabic-speaking bed-
ouins vs. the various Berber linguistic
groups; and the urban vs. the rural.
6. (TOP TO BOTTOM)BRANCHCORALBEAD AND,
AMBER DISC NECKLACE. "AMBER" (PROBABLY PLAS-
LEFT:3. FIBULAS: LEFT, FABRICATED FROM A COIN; RIGHT, FROM BRASS, WITH ENGRAVED SILVER COVERING. TIC)BEAD NECKLACEWITHMOROCCAN10-FRANC COIN
ENGRAVED DESIGNS ACCENTUATED BY PITCH AND/OR RUBBED-IN WAX. RIGHT:4. COINS USED AS BASES FOR PENDANTS. CONTEMPORARY NECKLACE WITH IMITA-
FIBULAS, WITH GLASS SET INTO THE BEZEL. TION COPAL BEADS, STRUNG WITH GLASS IMITATION
CORAL BEADS (REAL COPAL AND CORAL WOULD COST
FIVE TIMES AS MUCH). HEADBAND OF SILVER RINGS
WITH FACETED SILVER BEADS, PLASTIC AND GLASS
IMITATION CORAL AND AMAZONITE BEADS IN THE
CENTER; WORN BY BLUE WOMEN OF THE SOUTH.
NECKLACE OF PIERCED 20-FRANC COINS ON BRAIDED
LEATHER,FROM VICINITYOF TIZNIT.FIBULAOF WOVEN
CHAIN, WITH CENTRAL BEAD AND PLAQUES IN CLOI-
SONNE TECHNIQUE, SET WITH GLASS CABOCHONS;
FIBULAAND DANGLES OF MOROCCAN COINS (SIMILAR
5. SILVER AND BRASS GRI-GRIS, A MOSLEM EQUIVALENT OF MEXICAN MILAGROS. PERSONAL PRAYERS OR EXAMPLE BOUGHT AT AGADIR SUBSTITUTED HARD
KORANICSAYINGS ARE ENCLOSED. USUALLY WORN IN MULTIPLES LIKE A NECKLACE. WAX FOR THE ENAMEL OF THE CLOISONNE).

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-elk

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 Flint's (1973) map illustrating the Mo-
roccan linguistic groups and the centers
for various jewelry techniques does cor-

I) relate areas inhabited by Berber-speak-

ing peoples (especially Tachelhait and
Tamazirht) with centers for the seven
metal-working techniques. However,
Dehbi (1972: 25) asserts that the dis-
tinction is not between urban and rural
jewelry but whether the metal used is
gold or silver. Thus, it seems more a
question of economics, since only
wealthy townspeople can afford gold
jmt* jewelry. That wealthy chieftains living in
rural areas also possess gold jewelry
would lend support to this hypothesis.
In either case, silver jewelry is predom-
inent among the Berbers, and will be the
subject of this article.
7. The seven main metal-working tech-
O niques in Berber jewelry are filigree,
p1 pierced or openwork filigree, niello,
cloisonn6, molding or casting, chasing,
and engraving (Flint, 1973). Niello con-
sists of filling engraved designs in the
metal with a mixture of silver, copper,
lead, and sulfur (Untracht, 1968: 188).
This technique is now rarely utilized
(Fig. 20). The engraving technique may
LEFT: 7. NECKLACES. (TOP TO BOTTOM) AMBER AND BRANCH CORAL; CORAL, SILVER BEAD AND COIN; CORAL, be employed after a piece has been cast:
SILVER AND CARNELIAN.RIGHT:8. LARGE ENGRAVED SILVER PENDANT OF FINE WORKMANSHIP.THE FIVEPROJEC-
the surface is covered with a mixture of
TIONS MAY DENOTE THAT THIS IS A STYLIZED KHAMSA.
pitch, soot, and wax, onto which the
jeweler traces a design. The metal thus
exposed is then etched with acid (Fig.
16). The results of the different Moroc-
can metal-working techniques are often

4ii very similar to Western jewelry. For ex-

ample, the beads and pendants in Figure
10, illustrating filigree, repouss6 and cloi-
sonn6 techniques, bear a close resem-
blance to various European buttons
(Gerlach, 1909: pl. 15).
The Berber jewelry of importance
comprises necklaces, headbands, fibulas
and earrings. Of lesser importance are
other head and hair decorations, Koran
cases, amulets or pendants, bracelets,
9. FOREIGN JEWELRY USED IN MOROCCAN JEWELRY. CONTEMPORARYCHINESE SILVER BROOCH WITHDRAGONS,
FRENCH SILVER HOLLOW-WARE PENDANT, EARRING WITH U.S. LIBERTY DIMES OF 1940S VINTAGE. rings and buckles. The fibula is the most
common piece of utilitarian jewelry,
used to hold draped shoulder garments.
It consists of a chain, a pendant, and a
pin at the top, which is inserted through
the cloth to be fastened and held into
place by downward pressure exerted
against any part of the fibula and its
chain (Fig. 16). Unlike this Maghreb-
type pin, the fibula of antiquity was
shaped like and functioned like our mod-
ern safety pin.
The many types of Moroccan jewelry
have names determined by their shape.
The brief descriptions of their names
asr:~
10. SILVER BEADS AND PENDANTS SHOWING FILIGREE, REPOUSSE AND CLOISONNE TECHNIQUES.
supplied by Bernes (1974), Dehbi
(1972) and Eudel (1902), however, are

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insufficient to permit specific identity of
most types; more vital is how these types
are worn. Fortunately, there exists a
good source of such information in the
numerous postcards available from Mo-
rocco. These postcards portray a variety
of Berber and Blue women dressed for
IjfN
festive occasions. Such sights are infre-
quently seen by the ordinary tourist.
There is little reason to believe that these
women are dressing especially for the
photographer, since jewelry is taken out
of the cedar storage chests and worn
for visits to the neighbors, outings to the
souks (market days), pilgrimages and
holidays (Bernes, 1974: 44). Even a ?.
brief survey of some thirty postcards
enables us to differentiate several groups
and their attendant jewelry: light-
skinned, tattooed Berbers from the Atlas
mountains, wearing coral and amber
necklaces, plastic amber and coin neck-
laces, fibulas and chains, beaded chokers 11. SILVER EARRINGS, ONE OF THE MOST COMMONTYPES OF MOROCCAN JEWELRY, UTILIZINGFILIGREE,ENGRAV-
and headpieces of small metal discs or ING, REPOUSSE AND CASTING TECHNIQUES. CORAL BEADS IN FOUR EXAMPLES.
coins (Fig. 23); dark-skinned, non-
tattooed Berbers, in dark costumes, coin
dangle headpieces, earring hoops so large
as to require hanging from the ears
rather than through the lobes, many coin
necklaces, some with crosses of Agadez,
amber, coral and amazonite bead neck-
laces, real or imitation, and amulet rings
in the hair (Fig. 24); and non-tattooed
Blue women (Tuareg?) from southern
Morocco, with elaborate hairdos, Conus
shell hair ornaments, and dangles of
beads from the temples (Figs. 18, 25). 12. CIRCULAR HAIR OR HEADBAND ORNAMENTS, WITH HALF-DOME AND FILIGREE DECORATION. CAST PENDANT
AT RIGHT IS A TRIAD, SYMBOL OF THE CENTER OR HOLY PLACE. ROUNDED UPPER PART REPRESENTS THE
Geometric designs predominate: HEAVENS; THE SQUARE LOWER PART, THE EARTH. THE PROJECTIONS SYMBOLIZE BIRDS' FEET (FLINT, 1973).
straight or curved lines, squares, loz-
enges, circles and volutes (Bernes, 1974: AAM
40; Dehbi, 1972: 30). Floral decorations
are fairly common. Representations of
animals are rare, with the exception of
bird or dove configurations, and a bird's
foot design. The bird symbolizes the
feminine image, as does the inverted tri-
angle, the most common shape for fibu-
las. Human figures are never portrayed, 13. SILVER CROSSES OF AGADEZ (FOUR DIRECTIONS OF THE EARTH), A DESIGN ORIGINATING IN NIGER. WORN
their depiction being prohibited by the AS PENDANTS ON NECKLACES.
Islamic religion. One frequently encoun-
tered motif is the hand, or Khamsa (Fig.
14). This Arabic word means "five"; the
motif represents the five prayers or the
five fundamental principles of Islam
(Bernes, 1974: 40). It is also thought
to protect one from the evil eye. Motifs
of foreign origin, besides the Star of
David, can be seen on the crosses of
Agadez (Southern Cross, or four direc-
tions of the earth) (Fig. 13).
The gold employed in antique pieces
was obtained from the melting of out-
LEFT: 14. ENGRAVED SILVER KHAMSAWHICH MEANS "FIVE," ALSO REPRESENTS THE HAND. WORN AS PENDANTS.
moded jewelry and from Spanish, RIGHT: 15. SILVER HOLLOW-WARECOMPONENTS OF FIBULAS, A COMMON JEWELRY ITEM. CHAINS WITH CORAL
French, English and Moroccan gold BEADS AND COINS DANGLE FROM LOWER LOOPS WHILE THE UPPER LOOP CONNECTS TO THE FIBULA.

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 silver would assay .800-.900 at the high- thetic (Figs. 6, 7). The source of copal
est. In the West, items made with less in Morocco is not known, but it could
than 900 parts silver cannot be stamped have come from Mali, the current sup-
as silver (Untracht, 1968: 12). It does plier of most copal beads. The primary
not appear that silver content of Moroc- source of raw or fossil copal, however,
can jewelry is regulated. is Zanzibar, in East Africa (Liu, 1974a:
Silver coins have been utilized as both 3). Amazonite or green feldspar is also
a source of metal and as jewelry in them- worn and is highly valued by certain of
selves, serving as dangles, bases for fibu- the southern Berber groups, but little
las, and pendants. Coins have ideal quali- else is known about this stone (Figs. 17,
ties for jewelry: their uniformity of 24). It is strung with amber (real and
shape is especially useful for repetitive imitation), metal beads, and glass imita-
designs, their surface designs are deco- tions of coral and amazonite beads. Use
rative, and if made of precious metal the of amazonite as a gem dates back to the
coin itself has inherent value. Use of Egyptians of the Middle Kingdom (Al-
coins in jewelry is widespread, as is the dred, 1971: 41-42) so its use by non-
14 A w - use of coin silver metal (thalers for Ethi- Arab Moroccans may also have had a
opian crosses, Mexican pesos for Navajo long history.
jewelry). Currently, we even see a re- It should be noted that the conceptions
surgence of coin jewelry in the U. S., in in antiquity of what constituted semi-
the form of cutout and plated coins. precious'and precious gems are different
Some semi-precious materials, such as from current definitions. The above-
garnets, carnelian and coral, are often named and many other materials were
set into Berber silver jewelry. However, considered precious in ancient times.
these materials are more often used as Coral, turquoise and amber are still
beads, coral and amber being the most highly valued in many cultures. If one
20. SILVER ELEMENT FROM A HEADPIECE OR FIBULA, common. Coral is economically impor-
IN THE NIELLO TECHNIQUE.
tant; it is used in jewelry throughout the
Maghreb (Algeria, Morocco and Tu-
coins. By the early 20th century, the nisia). Eudel (1902: 156-166) has de-
scribed in detail the history of a coral
principal source of gold-and of silver
as well-was Paris. A few types of pre- fishery, which was operating in the 16th
cious gems, i.e. diamonds, rubies and century. The best coral banks were along
emeralds, were set with gold. Baroque the coast of Algeria, especially near
pearls, from the Persian Gulf, were worn B6ne, but Moroccan jewelers used Ital-
in multiple strands and were highly val- ian as well as Algerian coral. Japan also
ued. Round pearls were not preferred, exported coral to Europe, which may
since Moorish women felt that ones so- have reached North Africa in trade,
shaped were formed by mechanical thereby providing another minor source
means (Eudel, 1902: 151). of the material. A small amount of true
As for silver jewelry, examination re- fossil amber from the Baltic has been
veals that the alloy is usually of low sil- used, but the majority of Moroccan
ver content. In neighboring Algeria, gov- beads, especially the large ones seen in
ernment regulations in 1859 set content postcards of Moroccan women, are co-
at 800 to 950 parts silver per 1000 parts pal, reconstituted copal, or entirely syn-
metal (Eudel, 1902: 156). At most, this
is slightly above sterling silver (.925
~1"~*-$:1''4
parts). Prior to that time, silver content
varied from 200 to 650 parts per thou- ~j•..vj
sand. Since coins were often the raw ma-
terial for jewelry, items made from coin
416. CAST AND ETCHED FIBULA, CHAIN END FINDING
AND CHAIN. 17. (TOP TO BOTTOM): SHORT TUBULAR
OR DISC CORAL BEADS, MOTHER-OF-PEARL BEADS,
CORAL BARREL BEADS, AMAZONITEOR GREEN FELD-
SPAR BEADS, LARGE PIECES OF BRANCH CORAL, TU-
BULAR BEADS AND NUGGETS OF AMAZONITE.SOUTH- 21. EARRINGS JOINED BY A CHAIN, WHICH HANGS
ERN MOROCCO. 18. PROBABLY HAIRORNAMENT DAN- UNDER THE CHIN. STYLIZED BIRD SYMBOLS ARE CAST
GLES WITH BEADS OF AMBER, CORAL, BLACK GLASS ON THE HOOPS OF THE EARRINGS; THE BIRD REPRE-
(POSSIBLY DUTCH), GLASS AND PLASTIC IMITATION SENTS THE FEMININEIMAGE.
CORALAND AMAZONITEBEADS, SCALLOP AND CONUS
SHELLS, VARIOUS CAST AND REPOUSSE PENDANTS 22. PENDANT CONSISTING OF A ROUND SHEET OF
INCLUDINGSMALL FIBULAS AND A TRIAD. SOUTHERN SILVER WITHA RIVETEDLOOP. CONCENTRIC CIRCLES,
MOROCCO. 19. ENDS OF CONUS SHELLS, PIERCED AND PROBABLY DERIVED FROM THE SPIRAL, SYMBOLIZE
CARVED INTO HAIR ORNAMENTS, WORN BY BLUE THE IDEA OF RELATIVITY,OF ETERNAL RETURN. IT IS
WOMEN (TUAREG?) OF SOUTHERN MOROCCO. OB- RELATED TO THE COMPLEX COMPRISING MOON,
VERSE AND REVERSE SIDES BOTH SHOWN. WATER, RAIN, AND FERTILITY(FLINT, 1973).

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judges by the prevailing prices for high- process has been occurring for at least to practice metal jewelry-making, but
grade American, Persian and Tibetan a hundred years, and in older jewelry, "old chroniclers mention only them [the
turquoise, such minerals will soon again glass replacements were usually well- Jewish jewelers] . . ." During and after
reach the classification of precious gems. done and in no way detracted from the the Arab conquest of Spain (in the 9th
Carnelian, both as beads and cabochons, aesthetic quality of the piece. In fact, and 15th centuries) Spanish Jews im-
mother-of-pearl beads (raw shell im- such substitutions, as in old American migrated to Morocco. Therefore, both
ported from Ceylon), and various ma- Indian jewelry, are often actually valued Eastern (Middle East) and Western
rine shells are also used with some fre- as much as or more than the genuine (Spanish) influences have been at work
quency in Morocco. Cowrie and Conus material. In a way, these imitations in in the creation of Moroccan jewelry. Al-
shells have long been used by Arabs glass, celluloid and bakelite reflect an though the Spanish immigrants first set-
(Liu, 1974b: 7). In Morocco, according aspect of the craftsmen's ingenuity and tled in the northern cities, they soon
to Bernes (1974: 38), such shells or shell possibly a sense of humor, as in the sub- spread inland and southwards. Undoubt-
ornaments are primarily worn by people stitution of glass bicycle reflectors for edly, both the geographic isolation of the
living at the Sahara's edges and in the faceted stone cabochons (Bernes, 1974: rural and montane areas as well as the
Dra Valley (Figs. 19, 25). 38). On the other hand, however, in decentralization of Moroccan culture
Although there has long been a tradi- newer pieces these changes have often have helped to preserve the unique char-
tion of replacing old jewelry with new, lowered the quality of the jewelry. The acter of this jewelry. Today there are
current large-scale demand necessitates cloisonn6 technique is a case in point. both Arab and Jewish jewelers.
that old pieces be sold and removed from In the older examples of cloisonn6, the Due at least partly to the custom of
circulation, not melted to provide raw colors of the enamel were subtle and replacing old jewelry with new, all fig-
material for new jewelry. New replace- harmonious, whereas in newer pieces, ured pieces of extant Moroccan jewelry
ments are often made with inferior ma- the enamel is crudely applied and gaudy date back only to the 19th century. With-
terials. Increasingly there is a tendency in color (Fig. 29). This decline in work- out an intensive comparative study, the
to replace precious metal with base metal manship has now progressed to the point various artistic influences are difficult to
(such as aluminum instead of silver where the glass-paste from ground-up distinguish. The Star of David, a foreign
coins), which is paralleled by a substitu- beads, once used for filling the cloisonn6 decorative motif, can often be found on
tion of semi-precious stones by glass cells, have been replaced by hard, col- jewelry, as well as on Moroccan coins.
and/or plastic imitations-this, despite ored waxes. As for techniques, Eudel (1902: 497)
the loathing of Arabs for imitations Evidence of repair is noticeable in mentions that Moroccan niello mirrors
(Eudel, 1902: 151). This substitution many of the pieces recently collected, the style of the Russian Caucasus niello.
the repair work having been done in soft In contrast, Bernes (1974: 44) states
solder as opposed to the hard solder that both cloisonn6 filigree and niello
originally used by the jeweler. Pieces are were introduced by Spanish Jewish im-
also wired together, as with coral beads, migrants during the 14th and 15th cen-
or tied together with a leather thong turies. According to Bernes, the Spanish
(Fig. 28). Rather than discard a valued Jews acquired their methods from By-
piece, the rural owners do their own zantium via the Arab conquerors. Al-
repairs. though Flint (1973) does not feel that
The goldsmith's (jeweler's) craft in enamel/cloisonn6 techniques are prima-
Morocco appears to have originated with
the Jews. Dehbi (1972: 21) sensibly
questions whether the Jews arriving dur-
ing the first century A.D. were the first

23. LIGHT-SKINNEDBERBER WOMAN WITHYARN AND

METAL DISC HEADPIECES, BEADED CHOKER, CORAL
AND AMBER NECKLACES(ONE WITHTRIAD PENDANT),
AND FIBULA. CHIN TATTOO IS REAL; CHEEK TATTOOS
ARE PAINTED.

24. DARKER-SKINNED, NON-TATTOOED BERBER

WOMANWITHCOIN DANGLE HEADPIECE,METALBEAD 25 NON-TATTOOED BLUE WOMAN (TUAREG?) OF
AND CHAINHEADPIECE,AMULETRINGS INHAIR,SILVER SOUTHERN MOROCCO WITH ELABORATE HAIRDO,
EARRING HOOPS, MULTIPLECOIN NECKLACES WITH CONUS SHELL AND GLASS BEAD HAIR ORNAMENTS,
CROSS OF AGADEZ, AND AMBER, CORAL AND AMA- BEAD DANGLES FROMTHE TEMPLES, AND CORALAND
ZONITE NECKLACEWITH REAL OR IMITATIONBEADS. AMBER NECKLACES.

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 *?

27. ENGRAVED SILVER BUCKLE WITH FLORAL AND

STAR OF DAVID DESIGNS.

,pp

Pol-

26. SQUARE SILVER AND ROUND ELEMENTS WHICHCONNECT FIBULAS AND THEIRATTACHED CHAINS, ILLUSTRAT- 28. ERRONEOUSLY CALLED DEFENSIVE RINGS, THESE
ING THE WIDE VARIETY OF STYLES AND QUALITY OF WORKMANSHIP. WHEN BROKEN OFF THE FIBULA, THESE ARE SILVER HAIR ORNAMENTS, WITHENCLOSED AMU-
ARE SOMETIMES USED AS PENDANTS IN NECKLACES. LET INSIDE THE FILIGREE. THE RIGHT SPECIMEN HAS
BEEN REPAIRED WITH LEATHER THONG.

rily due to Spanish influences, Berne's smiths, who had themselves learned from
theory may have validity, since both the Spanish invaders of the New World.
cloisonne filigree and niello techniques Davis and Peck (1963: 90-91) attribute
were well-known in Byzantine times. In the ubiquitous crescent-shaped earrings
addition, niello was also practiced in the of Mexico to "a design inherited by the
Balkans, an area which had been sub- Spaniards from the Moors, or from the
jected to both the Byzantine and Otto- gypsies." The najahe (a crescent-shaped
man Empires. Bernes also noted the co- amulet) of the Navajo may also have
incidence of molding or casting with the been passed on to them via the Spanish
Arab conquest of North Africa. conquistadores-Moor linkage (Adair, "2~'
The tools of the Moroccan jeweler are 1944: 41-42).
simple, but do not seem to limit his tech- For Berbers, jewelry is of importance
niques. However, since much of the new to the whole family. According to Bernes
literature has plagiarized Eudel, it is un- (1974: 44), it is the husband who buys
certain if conditions are still as primitive. or converts jewelry for his wife, partly
Workshops are located in the medina, because women may not deal with men
or old part of town. The forge used is a outside the immediate family, and partly
small charcoal brazier fanned by a leath- because the husband finances these pur- 29. CONTEMPORARY CLOISONNE PENDANT OF POOR
er bellows. Besides an anvil mounted on chases. The jewelry is the husband's WORKMANSHIP. EITHER OF EXTREMELY LOW SILVER
CONTENT OR OF BASE METAL; BEZELS SET WITH
a large piece of wood, the jeweler has a property, and remains his inheritance. If GLASS IMITATIONSOF CORAL.
crucible, draw-plate, hammers, pliers, he divorces, the jewelry is repossessed,
files, shears, burins, lead models of jew- since it was actually merely loaned to his or disease. Form, techniques and mate-
elry and frames for casting. When cast- wife. It is also a means of saving, with rials help fulfill these functions, as well
ing, sifted, damp river sand is put into profits of a good year being spent on ad- as support the jewelry's social role. Form
these frames, and a lead model is pressed ditional jewelry; in a poor year, jewelry and function cannot be separated in
into the sand to form the mold. Except is sold to provide for the family's living rural art. A piece of jewelry is at the
that molds are carved from soft sand- expenses. same time a utilitarian object (fibula
stone, much of this description would Flint has succinctly summarized the functioning as a pin and as protection
sound familiar to anyone acquainted various aspects of jewelry of the rural and promotion), a social emblem (de-
with Navajo silversmithing circa 1930s. people: "It is important to note that such noting membership in a group, or con-
This similarity may have some causal jewelry has the primary function of pro- ferring prestige), a symbol (expressing a
relationship, since both Moroccan and moting life (especially the fecundity of psychological or religious meaning) and
Navajo silversmiths were influenced by the wife and of females in general, and an economic investment" (1973; trans-
the Spanish, the former by Spanish Jews, the fertility of the soil) and protecting lated from the French by R. Liu). [
the latter by Mexican plateros, or silver- against bad influences that cause sterility Bibliography, page 80

35
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 North American Press, 1962), p. 63. The authors
STATEMENTOF OWNERSHIP
quote from a 1926 account of customary burial in
Statement of ownership, management, and cir-
culation (Act of August 12, 1970: Section 3685. Bafut. "Should he (the deceased) be a householder SUPERB AFRICAN ART
Title 39. United States Code) his head is touched with a stone which will be care- FELIX
1. Title of publication: African Arts fully preserved as having received the spirit of the GLUCKSELIG
2. Date of filing: 9/15/74 deceased and will in future be recipient of all the
3. Frequency of issue: Quarterly (October, rites of ancestor-worship."
ANTIQUES
January, April and July) In Mankon, Bamenda province, each family head 916-3rd Ave. (55 St.)
4. Location of known office of publication: possesses a stone, passed from father to son, around New York, N.Y. 10022
African Studies Center, Univ. of Calif., 405
Hilgard Ave., Los Angeles, Calif. 90024
which the family gathers on prescribed occasions. CONNOISSEUR
5. Location of the headquarters or general Clement Njob (Ministry of Information and Cul- Pieces
business offices of the publishers: Same ture, Yaounde), personal communication. 212 PL 8-1805
6. Names and addresses of publisher, editor, 9. Mr. and Mrs. Craig Kinzelman of the Peace
and managing editor: African Studies Center, Corps, technical advisors to the Bamenda Museum, Monday-Saturday 9-6
Univ. of Calif., 405 Hilgard Ave., Los Angeles, have assembled a careful catalogue of information
Calif. 90024. John F. Povey, African Studies from various sources. The Bamenda Museum owns
Center, Univ. of Calif., Los Angeles, Calif. two carvings, more amorphous in design and less
90024. Same as above.
7. Owner: The Regents of the Univ. of Cali- articulately carved than the "Tikar stones." This
fornia, 405 Hilgard Ave., Los Angeles, Calif. style of sculpture, which has also turned up in
90024 Yaounde curio shops, seems, in the author's opin-
8. Known bondholders, mortgagees, and other ion, to be a new industry originating among carvers
security holders owning or holding 1 percent working near Njinikom. The stones are sold as ex-
or more of total amount of bonds, mortgages amples of Cross River carvings. Paul Gebauet, who
or other securities: None spent thirty years in the Grasslands as a missionary
9. In accordance with the provisions of this and observer of the arts, knows of no examples of
statute, I hereby request permission to mail . 0R0n w .g 2/11
the publication named in item 1 at the reduced "traditional"' stone carving in the western Grass-
postage rates presently authorized by 39 lands, apart from occurrences among the Tikar-
U.S.C.3626. related Banso of the Bamenda Highlands of stone
on PrimitiveArt:i2200 Tites
10. The purpose, function and nonprofit status plates/slabs used in connection with their python
of this organization and the exempt status for cult.
Federal income tax purposes have not 10. Raymond Lecoq, Les Bamilekd, Presence Afri-
RerodI0.0•cto !of6high-quait
o
changed during preceding 12 months. caine (Paris: Editions Africaines, 1970), pp. 66
11. Extent and nature of circulation: Average
number of copies each issue during preceding and 206.
12 months; actual number of copies of single 11. William Fagg, African Sculpture, International
issue published nearest to filing date: A. Total Exhibitions Foundation (Washington, D.C.: H. K.
number of copies printed: 6,186; 6,130. B. Paid Press, 1970), p. 65, illustrates two figures carved by
Circulation: (1) Sales through dealers and car- artists from Bangwa, a Cameroon Grasslands group, RARE BOOKS ON AFRICA
riers, street vendors and counter sales: 833; which according to the author "were exceptions to A search service for rare and out-of-print
641. (2) Mail subscriptions: 4,076; 4,377. C. the general rule (very rarely broken) that African
Total paid circulation: 4,909; 5,018. D. Free books on African arts, ethnology, history,
tribal artists were not interested in exploring spiral
distribution by mail, carrier or other means:
movement in sculpture..." discovery and travel. Book wants searched,
(1) Samples, complimentary, and other free reportedand quoted free of obligation.Write
copies: 186; 180. (2) Copies distributed to 12. Isaac Par6, "Les Fun6railles des Bamoun,"
news agents, but not sold: 0; 0. E. Total Etudes Camerounaises, No. 56, p. 122, suggests or call James Normile/Books: 6888 Alta
distribution: 5,095; 5,198. F. Office use, left- such a scene as part of traditional burial when the Loma Terrace, Los Angeles, California
over, unaccounted, spoiled after printing: body of the deceased is returned to his home from
1,091; 932. G. Total: 6,186; 6,130. 90068. (213) 874-8434.
afar.
I certify that the statements made by me above 13. For representations of the seated chief in wood
are correct and complete,. Davis, M. L. and G. Pack, 1963. Mexican Jewelry.
see Tamara Northern, Royal Art of Cameroon, the
(Signed) John F. Povey, Editor. Austin, University of Texas Press: 262 p.
Art of the Bamenda Tikar (Hopkins Center Art Dehbi, H. 1972. "Moroccan Jewels," Morocco Tour-
Galleries, Dartmouth College, Hanover, N.H., ism (61): 20-33.
jects, found the modest brass bracelets and pipe 1973), p. 63; and Roy Sieber and Arnold Rubin, Eudel, P. 1902. L'Orfjvrerie Algerienne et Tunisi-
bowls of the Tikar to be the finest examples of their Sculpture of Black Africa, the Paul Tishman Col- enne. Algeria, A. Jourdan: 544 p.
art forms. lection (Los Angeles County Museum of Art, 1969), Flint, B. 1973. Form et Symbol dans les Arts du
7. According to the present chief, Elhadj Mbomb- p. 93. Maroc. Bijoux-Amulettes. Publisher not listed, no
long Oumarou, the treasury of Bankim contained 14. Fagg, African Sculpture, p. 135, illustrates a pagination.
a richer store of relics in previous times, but his fine Bamum helmet mask with a headdress of open- Gerlach, M. (ed.). 1906. Primitive and Folk Jew-
"selfish" predecessor sold many objects for profit. work lizard design. The lizard appears on the war- elry. New York, Dover Publ.: 218 p. Eng. version
Carved stone figures were not a part of the inven- rior's cap in Fig. 6 and also on the headdress of published 1971.
tory. Chouaibou's raffia collared mask, Fig. 15.
Liu, R. K. 1974a. "Cover Story," Bead Journal.
8. Tribes related to the Tikar also have important Los Angeles, 1(1) :3-5.
stones. Histoire et Coutumes des Bamum, redigde MOROCCAN JEWELRY, Bibliography, from page Liu, R. K. 1974b. "Factory-made Copies of Native
sous la direction du Sultan Njoya, trans. (from 35. Beads," Bead Journal. Los Angeles, 1(1): 6-18.
Bamum) Pasteur H. Martin (M6moire de l'Institut Adair, J. 1944. The Navajo and Pueblo Silversmiths. Untracht, O. 1968. Metal Techniques for Craftsmen.
Frangais de l'Afrique Noire, Centre du Cameroun, Norman, University of Oklahoma Press: 220 p., Garden City, N.Y., Doubleday & Co., Inc.: 509 p.
1952), speaks of stones on which the chiefs of the 8th printing, 1970.
Bamum were enthroned. Aldred, C. 1971. Jewels of the Pharaohs. New York, MUSIC OF THE BIROM, Notes, from page 47.
Robert and Pat Ritzenthaler, CamneroonsVillage, Praeger Publ.: 256 p. 1. For a discussion on Nigerian flute orchestras, see
an Ethnography of the Bafut, Milwaukee Museum Bernes, J. P. 1974. "Bijoux" in Arts et objects du Samuel Akpabot, Instrumentation in African Music,
Publications in Anthropology 8 (Milwaukee: The Maroc. Paris, Grou-Radenz: 36-50. unpublished Fellowship Thesis, Trinity College of
Music, London, 1967, pp. 62-91.
Acknowledgments 2. J. H. Kwabena Nketia, "The Instrumental Re-
sources of African Music," Papers in African
Page
9. Photographs: Sondra Hale Studies, Institute of African Studies, Legon, Ghana,
10-11. Photographs: Galal Ali Kashif p. 21.
3. Not to be confused wth the general name given
13. Photograph: Larry DuPont to all hourglass talking drums of the Yorubas of
17-21. Photographs: Dennis M. Warren western Nigeria.
23-25, 26 (right), 27. Photographs: Marietta B. Joseph 4. John Cage, Silence, Middleton, Conn., Wesleyan
26 (left). Photograph: Centre Feddral Linguistique et Culturel, Yaoufnde University Press, 1939, p. 39.
28-35. Photographs and drawings: Robert K. Liut
36-37, 38 (right), 40-41: Photographs: Howard Wildman
38 (left). Photograph: Henry Drewal OPPOSITE PAGE: TWO GELEDE MASKS (ERE GELEDE),
MUSEUM OF CULTURALHISTORY, UCLA, (LEFT):WOOD,
39. Photograph: Laurier Nadeau
PAINT, 111/4"HIGH. KETU STYLE RANGE, 19TH C.? GIFT
57. Photographs: British Museum OF THE WELLCOMETRUST, COLLECTEDBEFORE 1932.
58. Photographs: David Noble (RIGHT): WOOD, 9V2" HIGH. REGIONAL STYLE: OTTA,
60-61. Photographs: Al Mozell AWORRI. GIFT OF THE RALPH B. LLOYD FOUNDATION.
COLLECTED BEFORE 1960. (SEE PAGE 36.)
80

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