Beads, and Their Role in the Benin Festival of Nigeria

Western tribal fashion is a melting pot of style elements inspired by African tribes, however, it is the Fulani who appear to have more influence than most. From their huge brass hoop earrings to their layered beaded chokers, the Fulani are one of the most decorated of all African tribes, and competition is rife among women who want to look their best. But, there are reasons for this competitiveness.

The Benin Festival, commonly held at the end of the rainy season, is one of the most important dates in the Fulani calendar. Traditionally, it was a time for giving thanks to the deities for a bountiful harvest, however, it has also evolved to become an important occasion for the ritual acquaintance of young, eligible men and women. The Benin Festival is a matchmaking endeavor of sorts, however, only the wealthiest families are permitted to take part.

Preparation for the Benin Festival begins up to six months in advance. Due to the weight of the heavy bead and brass adornments customarily worn, young women must learn to adopt certain postures, and dance whilst wearing their full ceremonial regalia. Often, the jewelry is so heavy, that the women must hold their arms above their heads for the duration of the celebration to carry the weight. Their hair is expertly braided incorporating hundreds of coral beads into the style. To the Fula, the bigger the hairstyle and more beads used, the wealthier the family tends to be.

Lastly, the necklace adornments must be chosen. A Fulani women will typically wear multiple strands of heavy glass beads – including Mali Wedding Beads gifted to them by their mothers when they come of age. Strands of mock coral beads known as “Ateyun Beads” are also worn, usually by women whose families cannot afford the real thing. The size and weight of beads worn is perhaps the most telling indication of a family’s wealth and status. Those whom lavish their daughters with the most glass beads are generally considered to be higher up the social ladder.

Large Mali Wedding Beads

Large Mali Wedding Beads

Silver Pendants – The Treasures of the Tuareg

The Tuareg have long been regarded some of the most skilled metal-smiths on the continent, yet it’s only fairly recently that the true extent of their skill has been realized internationally. They are primarily known for their bold, geometric pendants fashioned from silver, which have not only spiritual value, but are also considered symbols of identity, conveying an individual’s origins and heritage. Tuareg pendants are distinguishable from those of Morocco and Ethioia in that they are almost always made of silver. It is said that Berber women have a deep-rooted superstitious fear of gold metal, which is why only white based alloys and metals are used.

Tuareg Southern Cross with the four directional points.

Tuareg Southern Cross with the four directional points.

The Southern Cross, one of the most commonly traded pendant styles in Niger, has a fascinating history as an heirloom passed down from father to son in Berber families. The pendant is usually presented when a child ‘comes of age’ or reaches puberty, and is considered to be symbolic of his virility and cultural heritage. There are twenty-one different cross styles in Berber culture, each corresponding to one of the 21 towns or villages which make up the Berber ‘kingdom’ in Niger. All crosses feature four distinguishable points said to represent the four directions, or “cardinal leaders” of the world. It is customary for a father to recite the following phrase when passing down a cross to his son: “ I give you the four directions of the world, because you never know where you will be when you die”.

The Tuareg pendants worn by Berber women are far more elaborate than Southern Crosses, often inset with semi-precious stones such as carnelian, onyx, or amber. They are often square or ‘v’ shaped, and marked with geometric etchings and patterns which symbolize the sultan and/ or his palace, the four cardinals of the world, and the ancient towns of the Berber kingdom. The reverse is often inscribed with a quote, phrase or prayer which has a specific spiritual meaning to the the wearer – the most common being “God is the core of my being, I am one with God”. Contemporary Tuareg pendants are often decorated with niello enamel, as opposed to semi-precious stones, and often feature symbols pertaining to fertility, motherhood, the path of life, and death.

A typical silver Tuareg pendant featuring the central 'sultan stone', and geometric patterns representative of the Berber kingdom.

A typical silver Tuareg pendant featuring the central ‘sultan stone’, and geometric patterns representative of the Berber kingdom.

How Mali Spindle Whorl Beads Are Made

Spindle whorls have been used for centuries in the cotton-making industry. Quite how they ended up finding use as a bead for self-adornment is still somewhat of a mystery – although it could have something to do with the fact they were traded extensively with North African merchants between the 17th and 19th Century. Another relatively unknown fact about clay spindle whorls is their durability. In fact, such is their resistance to damage and wear, they are known as “kolo” (meaning “strong like cow bone”) in the Bambara language.

The key to the durability of Mali Spindle Whorl Beads is in their production. They are made from the charcoal black clay found in abundance in the hills around Mopti and Kati. Once collected, the clay is broken down into smaller pieces for ease of grinding. The clay is ground into a fine powder using a mortar and pestle, then sieved several times to rid the mixture of larger pieces that cannot be broken down. It’s not uncommon for pieces of old and broken clay pots to be ground in with the mixture to improve its overall strength.

Once the powder has been prepared, it is mixed with equal parts water, oil and Gum Arabic to create a thick, malleable mixture that can be further shaped and refined by hand. The bicone beads are individually shaped by hand, then pierced with a sharp stick or nail to create the perforation hole. While still moist, designs are cut into the surface of the clay using a razor or hacksaw blade. This is arguably the most laborious part of the bead-making process, and only the most experienced artisans are allowed to create beads intended for general sale at the markets.

The beads are left out in the sun to dry for up to a week before they are fired in charcoal braziers, each of which can be filled with up to a hundred beads per time. After an hour or so, the contents of the braziers are tipped onto a mat of moistened sawdust. Artisans sift through the charcoal rubble and dust by hand to retrieve the beads, after which they are washed several times to rid the bead surface of dust and impurities. Once cool, the beads are immersed into a whitewash liquid made from ground shells to color the carved sections. This process may be repeated several times to enhance the whiteness of the lines. Each time the beads must be washed to remove any excess dye from the surface. Finally, the beads are left to dry for several hours in the sun, before they are strung onto sisal ready for sale. 

Mali Clay Spindle Whorls

Mali Clay Spindle Whorls