A 25 generation tradition of world class quality
Koumama Inadan Newsletter
Volume 2, Issue 2
February 2008

Jaba, a Master Artisan

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Jaba

Almost all Tuareg artisans are very skilled at crafting traditional pieces. A gifted few have the talent to design exquisite new pieces. Jaba is just such an artist. And he is one of the most talented silversmiths of his generation. A collection of his new work will be posted on the website soon.

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Jaba’s workshop

Jaba is also the mentor to 13 artisans who work in his workshop in Niamey. The “factory” consists of a two-sided tent built against the outer wall of his house. Everyone sits on the ground with a small anvil at each station. Each man has at least a few of his own tools kept in a metal box. Jaba has several boxes for his tools, including a prized Sears Craftsman box. Often a new design requires a special tool, either to shape the piece or to stamp a pattern. Jaba is the toolmaker as well.

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Jaba’s wife Fatima and baby

Jaba is in his mid-40s. Age is not important to Tuaregs. Like some Tuareg men he has two wives. He has eight children with his first wife, Zenabou. His second wife is Fatima, Elhadji’s younger half-sister and the daughter of Hadija Allasan, the head of the women’s leather cooperative. They have two children, Idrissa, a son born in July 2007, and Abdrahman, age 4.

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Tuareg Women Create A Leather Cooperative

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Purchasing leather

Tuareg women are famous for their beautiful and intricate leatherwork. They typically make the large long cushions that are used for pillows, bags of all sizes from small pouches for coins and tobacco to very large and ornate camel saddlebags.

Last year Hadija Allasan, Elhadji’s step-mother, visited the United States to demonstrate leatherwork at the Tuareg exhibition at the Cantor Arts Center on the Stanford University campus. She had a vision to create a women’s leatherworking business on the model Elhadji uses for the jewelry. We got started on the project right after I arrived in Niamey on January 5, 2008. The first hurdle was to find good leather skins that were not tanned with urine, and therefore did not have the characteristic smell that western women find offensive. We found a shop near the Artisan’s Village where we bought ten good skins and then went to another shop to select colors to have them dyed. The skins were ready the following day. One of the women went shopping for some turquoise leather which is often used in the traditional designs.

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Cutting leather for a pillow

Five to seven women worked together for about eight hours each day, including the weekends, to make samples for me to take back. It is literally backbreaking work as they sat on a mat in the sand all day with nothing to support their backs. What a difference beach chairs would make to their comfort! They made three small pillows, tassels to be used as key rings and modified a purse that Hadija had made to add gussets to the sides so that it would hold more things than the flat style she had originally made.

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Garfa & Kola sewing pillows

Hadija is to be in charge of the project. Since she does not read or write Elhadji will help her to determine a fair sum to pay the women for their work, the cost of leather and other items so that we can set prices accordingly. Elhadji loaned her the money to buy the leather and to pay the women. That money will be repaid from the sale of the pieces.

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Stitching leather

A separate bank account will be set up for them to keep track of the profits. If the things sell well there is a possibility that the business can be as profitable per piece as the silver jewelry because the cost of the materials is less. However, it takes considerably longer to make a leather piece than the typical jewelry item so they will have to be paid more for each item. The women are hopeful that they can contribute financially to the support of their families.

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Inquiring Minds Want to Know:
How is a veil weight made?

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Carving beeswax for veil weights.

Tuareg women often tie a weight to the bottom edge of their veils, both for decoration and to keep the scarf from blowing away in the powerful Sahara winds. Infa Ouma recently created a collection of them. This article details how he made them by the lost wax method of casting.

Beeswax is softened and cut into the rough shape of the weight. He then cuts the design of the weight into the wax with a small sharp tool that he repeatedly heats in the charcoal fire to make clean cuts.

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Veil weights encased in clay.

Each wax piece is then covered in clay and fired in the charcoal fire. When it is dry and hard the wax residue is poured into a bowl of water so that it can be recovered and used again. Then molten nickel is poured into the mold. The mold is broken by dropping it into water. When the clay is cleaned off the rough nickel veil weight is revealed.

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Veil weights emerge from mold.

The weight is filed by hand to make it smooth and to make the edges straight. Finally it is engraved by hand. Since nickel is harder than silver it takes skill and hard work to do the engraving.

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Umfa engraving a veil weight.

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