Authentic Algerian jewellery, exceptional skill and richness
Algerian jewellery, like other elements of the intangible national heritage, denotes exceptional know-how and richness. A centuries-old heritage, it is the fruit of multiple crossings and influences, which learned hands and defenders of authenticity have been able to preserve from alteration and erasure.
Since February 27, an exhibition entitled "The Algerian jewel: identity and authenticity" has been on display at the Bardo museum in Algiers until the end of April. It shows the main types of traditional jewelry, typical of the different regions of the country, dating back to the 19th and 20th centuries. At the same time it allows visitors to appreciate the finesse and originality of a heritage that has withstood the vagaries of time and other threats of dispossession.
From the Kabyle jewelry enamelled and enhanced with coral from the Ath Yanni, to the sober articles chiseled in relief from the Aurès, passing by those from the Saharan Atlas with ornamentations inspired by the local fauna and flora, the panoply of Algerian craftsmanship is of unparalleled diversity. In gold, silver or copper, the rich existing collections provide information on the passage and mixing of ancient civilizations on Algerian soil.
"In the chapter of Kabyle jewelry, we find the technique of cloisonné enamel (cut) which dates back to ancient times and which existed among the Byzantines", explains to APS the curator of the exhibition, Sana Alleg, by elsewhere in charge of the jewelry, pottery and ceramics collection within the said museum.
And to quote, among others, the varieties of fibulae (Idwirren) adorning the ceremonial dresses of Kabyle women, including those enhanced with the decorative technique of pendants: "Geometric shapes like the Omega have existed since the Neolithic period, even since at least 8000 BC and are also found on pottery ware,” she adds.
In the area reserved for Chaoui silver jewelry, there are pectoral necklaces, temple pendants (Lamecharef, Tachouchent or Dlabeche) adorned with glass paste stones, necklaces with several thin chains, belts (Lahzam) various volumes and symbols, long necklaces (Charka), anklets (Rdif) or tiaras (Ledjbine).
"The decorative motifs are borrowed from nature. We thus find the bustard, the snake, the lizard, the rooster, etc", comments Ms. Alleg again, noting that "the bracelets are called according to the techniques of ornamentation, to the example of +Deg Hdjar+, in reference to the small reliefs characterizing this jewel".
Another particularity observed, the presence of amulet boxes (Harz), suspended from necklaces, of various sizes and used as a talisman against the evil eye, according to local belief. An element, moreover, widely worn for the same purpose by women as well as men targuis, in the Deep South.
The Curator of the exhibition indicates that among other accessories accompanying the festive dress of this Berber population, figure "Chemassa", a necklace descending to the chin and whose rounded shape recalls the sun. As well as Khelhal Eddah (ankle bracelet called in parallel in Kabyle), bracelets set with animal motifs, including fish eggs, necklaces with plant motifs, chinstraps with chains, the Khamssa (pendants in the shape of a hand or in matches), etc
"The rest stations of the Saharan Atlas have known several influences and mixes, such as those of sub-Saharan Africa, hence the use of precious and semi-precious stones, as well as materials such as leather for the manufacture of jewellery", further informs the heritage curator, noting that Targui women, of noble rank, adorn themselves with prestigious jewelery like the "Khoumeyssa", a necklace largely covering the bust.
The naili jewel in the spotlight....
Aware of the inestimable value of authentic jewellery, artisan jeweler Belakhadr Chouli has an infinite passion for the Naili heritage from which he comes. A native of Djelfa, he has been collecting the oldest and most precious pieces for 4 decades, until he can no longer count them. So much so that he holds a "treasure" that he proudly exhibits in various events, driven by the desire to make it known and appreciated by the public.
"I am attached to each of these pieces and I could not sell the oldest of them even at full price!", he explains, before showing his favorite piece, a necklace with several chains from more than a century, as well as other pieces such as the "Khounag", a choker necklace with Khamssa pendants, or even Taassiba adjusted on the forehead, twisted Khalkhals, Souar (bracelets), etc. .
"Even if some pieces are only 30 or 40 years old, their manufacture responds to the same techniques as the oldest", he explathed from generation to another. Or goldsmith pieces, specific to the East of the country, like "Meskia", a necklains, specifying that the latter are often the result of multiple mixing which is "a natural phenomenon". However, some models remain "typical of Algeria", he insists.
This is the case of the typical gold jewel of Tlemcen, Echedda, which accompanies the nuptial costume classified as universal heritage of humanity, underlines Sofiane Benmansour, a young jeweler who acquired from his father an art bequeace accompanying the Gandoura, Constantine's festive dress.
More than mere festive accessories, traditional ceremonial jewelery provides information, in its shapes and sizes, on the marital status of the women who wear them as well as their social rank.
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