The Taureg Inadan, especially the inadan wan-tizol or makers of weapons and jewelry, are among the most skilled metalsmiths of Africa. Having probably acquired the metal techniques of Mahgreb jewelers, as well as learning or adapting other methods used on this continent, the inadan work in a wide range: casting, forging, soldering, surface decorating, and cold connecting. Although seen less with contemporary jewelry aimed at the tourist or Western market, older pieces employed copper and/or brass with silver, as well as steel. The use of silver sweated onto steel, often overlaid with leather, is widespread in their tcherot cases, many of which are shaped like their gerba or traditional goatskin water containers, as pointed out by the late Peter Schienerl (1986 The twofold roots of Tuareg charm-cases. Ornament 9 (4): 54-57). Utilizing base and precious metals has afforded color to their metalwork, similar to the way Western jewelers use colored golds. In addition, Trarza crosses often utilize ebony wood riveted to sheet silver, decorated with inlaid or formed red or green plastic components. Perhaps unique among African jewelers, the Tuareg use imported agate and glass ornaments in an innovative and pragmatic manner (R. K. Liu 2002 Rings from the Sahara and Sahel. Ornament 25 (4): 86-87). Some are utilized as made, either as pendants, rings or hair ornaments, while others are embellished or protected against breakage by wrapping with sheet silver. When German-made agate talhâkimt are broken, upper and lower portions of this ornament are made into striking rings and/or pendants. —Robert K. Liu Picture on Right. Tuareg man seated on a prestigious white camel. He and his companions wear the characteristic tagulmust made of shimmering blue aleshu cloth, whose indigo dye imparts the blue to the skin of their wearers. Photograph by Thomas Seligman, Talak region of Niger, 2001.

Recently showing at the UCLA Fowler Museum of Cultural History (October 29, 2006-February 25, 2007), the Art of Being Taureg: Sahara Nomads in a Modern World, investigates in-depth a highly romanticized people, the so-called blue nomads of the Sahara. A population of roughly one and a half to two million, the Tuareg cover a vast area concentrated in Algeria, Niger and Mali. Despite this, it is amply shown in the exhibition that the Tuareg maintain a strong identity.

Curated by Thomas Seligman, John and Jill Freidenrich and Kristyne Loughran, the exhibition focuses on illustrating the past, present and future of the Tuareg. With the continual concern that globalization is causing the extinction of cultural identity, it is interesting to see how the exhibit explores this issue. The beginning of the exhibition contains several quotes from various Tuareg women and men regarding their own identity, as well as maps presenting the general areas of habitation by the Tuareg. Following this is a section presenting Tuareg influences and imported material to Western societies, primarily European. Some of these objects are simplified versions of traditional amulets or pendants, while others are shoes and even purses whose designers were affected by Tuareg culture.

The exhibit’s content concerns itself with the history and culture of the Blue People. A dynamic diorama imitating a Tuareg marketplace, which includes a small television demonstrating the techniques used in making metalwork and textiles, encompasses part of the exhibition’s explanation of the unique role craftspeople, or inadan/tinadan, play in Tuareg society. Simultaneously subservient and powerful in their own way, the inadan are a fundamentally important part of the Taureg’s identity, both in making and maintaining it.

The collection of objects in the Art of Being Taureg is extensive and exemplify what is important to a nomadic culture. Tuareg bags are voluminous affairs, vibrantly colored and decorated. Each bag is a symbol of the wealth and status of the owner. Intricate talismans and amulets as necklaces or otherwise do the same, while also protecting the wearer from a variety of spiritual or physical threats. These wards are worn by both females and males. Various tools and even weapons are also displayed, with similar degrees of ornamentation. A running theme can be seen with all objects produced by the Tuareg. Similarity in shape of bags to certain amulets, the prevalence of crosslike designs, the use of fringes and trailers on some clothing and accessories, all tie together these objects as belonging to one group, one people.

In retrospect, the layout of the Fowler Museum exhibition, located on the campus of the University of California, Los Angeles, was slightly confusing. The show essentially begins with the impact of the Taureg on other cultures, then moves to the past, and ends with speculation on the future and a presentation of contemporary Tuareg. Perhaps this tries to communicate that while the Tuareg have influenced and commercially exchanged with Western societies, their own culture still exists much as it always has. Whether this will be true or not is yet to be seen, not only in the culture of the Blue People, but of ethnic groups all over the world.

The Art of Being Tuareg is a traveling exhibition produced in conjunction with the Iris & B. Cantor Center for Visual Arts at Stanford University, Palo Alto, California. It opens at the Cantor Center on May 30, showing through September 2, 2007 (Lomita Drive and Museum Way; www.museum.stanford.edu), It moves to the Smithsonian’s National Museum of African Art, October 10, 2007 to January 27, 2008. A catalog, published by the two universities and edited by the exhibit’s curators, contains ten essays by various contributors, including topics on Dress, Identity, and Gender in Tuareg Culture and Society, and on Tuareg Women < and Their Jewelry. The Fowler Museum at UCLA is near Sunset Boulevard and Westwood Plaza; telephone 310.825.4361; www.fowler.ucla.edu. All images courtesy of the Fowler Museum at UCLA.

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