The Journey of the Balangandan Necklace

During the Covid-19 Lockdown, I was talking with a fellow jewelry designer, and she began telling me about an amazing piece of history, the Balangandan Necklace. (Read more). The Balangandan originated in 17th century, and was worn generally in 18th and 19th century by Brazilian women of African descent.  It can be worn at the waist, as a necklace, a bracelet, an amulet, or used as a door hanging.  The Balangandan are primarily made of copper, gold or silver, with hanging charms that are meaningful in the wearer's life.  Some charms are spiritual, representing African Orishas or Christian dieties.  Others are meant to impart good fortune, or to commemorate important life events.  As I bean researching the Balangandan, I found the images below, and was struck by the pride and power of these women.  I'm not sure if they were enslaved.  Had they been born in Africa?  Did they have children, husbands?  What were their lives like, what were their hopes and dreams?  Had they been transported 3000 miles against their will, never to see home and family again?  That very prospect sent chills up my spine and I spent the evening looking out the back window of my house at the trees and starlight and COVID darkness.  I held the Mother of Pearl Charm that I'd purchased 25 years ago at a flea market in my hand.  I'm not sure of its age or origin, but it's always felt like a tranformational piece for me.  And at that moment I was inspired to begin work on a Balangandan of my own.  I've always been intrigued by charms, their beauty and meaning.  I wondered at passages and changes in my own life and the significant things, both physical and emotional that I've accumulated over the years. 

I created my 2020 version of a Blangandan to exemplify an eternal reverence to the hopes and dreams of women everywhere. I built the piece around the central Mother of Pearl charm and made the chain links to represent barbed wire, the horrors of chattel slavery, and the extraordinary perseverance and strength of the women who survived.  I chose opals and moonstones to honor our hopes and dreams:  the things we wish for and the reality of our everyday lives.  I adorned the corners of the silver plate with Aladdin's lamps to inspire magic.

All the charms represent a woman's journey:  children, growth and daily tasks, emotional and physical strength, love, and loss on a life's path well-traveled.   Some of the charms are vintage and some of them I made.  Each individual charm has a meaning to the concept of the piece.

The Balangandan can be worn on the neck or at the waist.  It can also hang on a wall by the front door, as it often did in 19th century Brazil.  It is my intent that the owner adds their own charms to commemorate their individual soul's journey.  

Above:  Vintage Photos of women wearing their Balangandans

Above:  Photo by Man Ray, with his wife Julia wearing a vintage Balangandan Necklace

    

     

The Charms on my Balangandan Necklace:

I mimicked the original shape of the silver plate from which the charms hang to give reference to the ships in which the enslaved Africans traveled to the New World.  This shape, to me, also represents the sea of life and the Orisha Yemaya.  The opals and moonstones represent the dreams we hold as individuals on our journey.  The Aladdin's Lamps on either side of the holder represent spirits that watch over us. 

Top Row: (left to right)

1.) The articulated mermaid.Vintage Silver Charm.Because I

always wanted to see, if not be, a mermaid. 

2.) Vintage Silver Chalet charm. We all deserve the home of our

dreams.

3.) Motorcycle Boot. To kick some ass when we need to.

4.) Baby Shoe. The hope of a new life.

5.) Vintage dice charm. Silver and Acrylic. Because sometimes a

little luck is involved.

6.) Vintage silver pickaxe.  Because sometimes you have to keep

chipping away on something until it gives way.

7.) Vintage Silver Hope Chest. Because we collect things and store

them in our hearts.

8.) My wisdom tooth from bone loss. Silver.  One of the things I’ve

lost along my journey.

Bottom Row (left to right)

1.) Vintage Sewing scissors in a leather worn sheath. Because there

are things we need to mend or cut out of our lives.

2.) Silver Chicken Foot Charm. A nod to Santeria, religious beliefs

and magic.

3.) Vintage lenses holding a silver screen with which I’ve embroidered a cracked heart.

Because sometimes our hearts break.

4.) Vintage Mother Of Pearl Charm. (see above)

5.) Vintage Silver and Mother or Pearl Baby Rattle. Because

sometimes we need to entertain and distract our children, or

even ourselves.

6.) Vintage Silver Knight in Shining Amor. Because we all want to

be saved or find “the one”

7.) Vintage Painting on glass set in Silver. Because I have dreams

of a city under the sea where I can live peacefully.

8.) Vintage carved wooden Shoe Charm. Because everyone needs to walk a mile in another persons shoes.

Above:  My Balangandan Necklace as worn by my talented friend, musician, and writer, @felice_rosser

Balangandan as worn by Maria.

******

Afro-brazilian Amulet

March, 2016

From the Museum of Ethnology,

https://www.neprajz.hu/en/gyujtemenyek/artefact-of-the-month/balangadan--afro-brazilian-amulet.html

As the indigenous peoples who worked on the Portuguese colonial plantations in

Brazil died out or fled, they were replaced by African slaves, who brought with

them elements of their home cultures. The African territories they came from, a

number boasted fairly advanced metallurgical industries.

The balangandan is a religious object typical of Brazil, and particularly of the state

of Bahia, that represents the encounter between African and European cultures. In Portuguese, it is called a penca, or bouquet, while the name balangandan is an onomatopoetic word meant to recall the sound made by the object's dangling metal baubles

Consisting of a number of charms strung on a common fastener hung from a

chain, the balangandan traces its roots back to the 17th century, though its more

general use dates to the 18th-19th centuries. Worn by women of African descent,

the balangandan most frequently adorned the thick chain belts that hung about

slaves' waists, though on special occasions, it might be attached to the

wrist. When not in use, it hung in the house near the door. Originally made of

silver, the balangandan represented significant monetary value and was not

infrequently presented by plantation owners to favored slaves. Each

balangandan was unique, having been composed to reflect the specific life path of

its wearer. Its charms included religious symbols that could be interpreted

simultaneously as Christian in origin, or as representing certain African

gods. Other charms were intended to impart good fortune, happiness, prosperity,

or good health, while a third type was selected out of gratitude for - and in

commemoration of - having survived some misfortune, such as an accident or

illness. The function of the balangandan was in some respects similar to that of a

modern charm bracelet.

The charms of the balangandan frequently depicted plants or fruits such as the

pomegranate, symbolizing wealth or fertility. One common motif was that of the

gourd vessel or dipper, which a number of African cultures used as a symbol for

the female womb. Another was that of a hand posed in what is known as the 'fig'

gesture, or figas, with the thumb protruding from between the curled index and

middle fingers. Originally a Mediterranean symbol used to impart fertility and

ward off evil spirits, the figas is still a very popular symbol in Brazil today. The

fastener on which the charms were strung was representative of the ships that

brought the slaves to the New World, the birds that sat on either side symbolizing

the continents of Africa and the Americas.

Inspiration and Synchonicity

…when jewelry has a life of its own….

Does the idea come first like a light bulb illuminating in my brain or is there something I see which triggers a familiarity upon which I can expand? I am tempted to say that things just happen: Do they roll and stand up to get attention or spring like a sprout from the fertile ground

I tread?

I was given this Labradorite Cabochon stone from a friend. As I touched it's smooth surface, I rolled it over in my hand and put it back into my stone box, I was struck by the color and luminosity it possessed in different lighting. There was an iridescent blue that reminded me of

the pink and turquoise blue of a sunset by the ocean. I had just moved and ended a disappointing relationship that was tumultuous and mean. I was alone somewhat happily yet I could only feel the fear. I was thankful that the new place came with a bed that was not only

comfortable but enabled me to lay my head upon the pillow and gaze into the treetops and see the sky. I forced myself to breathe long deep breaths even though my heart was beating in my chest and my phone was blowing up with abominable texts from my ex.

While I laid on the bed, out of the corner of my eye I saw the brown paper wrapping with string around a small painting, waiting to be unpacked and hung. I had collected so much art over the years but now most of it sat in storage. Through the years I'd become increasingly uncommitted regarding this collection. While I loved every piece of art I owned, I didn't want anything hanging on my walls anymore. I wanted my mind to be free so I could dance with my own ideas, unhindered by someone else's.

"I should hang that painting", I whispered to myself. Three months later, the package still sat by my nightstand. It had been moved endlessly around my tiny bedroom because it seemed to be constantly in the way. I loved that painting; it had been given to me by a friend on my birthday 6 years ago. I like to look at its colors because it made me feel like I could fly into its night sky and lose myself into the cobalt blue and sherbet-colored sunset. I could lay atop that small hill and watch the sun disappear over the horizon.

I hadn't been able to work since I moved because the displacement had been so abrupt and brutal. I could only cry because I felt broken and lost. I've never been unable to work in the sanctuary of my studio, not ever. The dry period was long, until September when production for

the holidays was upon me. I felt empty and dry. Coming down the stairs from my bedroom one morning I tripped on the edge of the brown paper and the painting fell down the 5 stairs with me after it. We both arrived on the landing somewhat shaken and disheveled, but all in tact. I sat

there stunned and slowly unwrapped the painting. I ran my fingers over the gilded gold frame and let the colors wash over me. I immediately hung it at the foot of my bed where I could gaze upon the tree tops through my window and then lose myself into the colors of the sunset

painting. Or was it sunrise?

I sat in front of my stone boxes and opened them one by one, wishing that inspiration would find me like water in stream rippling over the rocks with diamond reflections. The Labradorite found its way into my hand again and I wanted to catch the clouds that reflected in the streams of my memory. That beautiful stone was the painting at the foot of my bed as much as it was a cool glass of water from the well to quench my thirst. It came from the earth and it whispered to the blue in my soul while I set it into a ring.

But the journey of this ring had just begun....

from Michele Zalopany:  (click on her name to access her website)

Barb and I have been dear friends since we attended the Cleveland Institute of Art. We each followed our own trajectories that began at CIA. Through the following decades we both worked hard at our lifes’ work; for Barb it was jewelry, and for me, it was painting and drawing.

A few months ago, I saw the ring in a post that Barb had put on Instagram (@barbaraklar). The elaborate silver setting held a large

oval Labradorite stone. The setting was like an exaggerated contemporary version of a Victorian gothic cocktail ring. The 19c, with its confluence of colonialism, photography and Darwin has been a source of study and fascination for me. There was just something about that ring that struck me in a profound way like no piece of jewelry ever had.For years, I have been studying and researching colonialism worldwide, but Hawai’i, in particular. The earliest ethnographic photographs of Hawai’i are the foundation of my paintings. Being part native Hawaiian, I am fascinated by some of the faces of the women before miscegenation; they were a far cry from the brown-tinted, Caucasian-featured hula hula girls, used to promote the tourist industry, especially beginning in the 1920’s.

That ring reminded me, very profoundly, of Hawai’i…the sea and the

mountains.

Shortly after I purchased the ring, I attended a transcendental event with acsmall group of people. Under the guidance of a trained facilitator, various psychedelic plants are administered to each person based on their experience and intent. My intent was to be able to work through a difficult period with my partner, and to have some breakthrough in my work. After a gut-wrenching, powerful-on-many-levels night, we all got together in the morning, to talk about our experiences. The next step was to integrate our experiences with the plants, in our daily lives. This made perfect sense to me on a very rational level. Little did I know or expect some of the irrational and poignant synchronicities that would occur.

Just before the journey, I had been commissioned to make a large vertical painting for a private residence. The subject matter had been decided: two pearl divers. I had nearly finished the divers, but was having a very difficult time determining the configuration and colors of the water into which they were diving, which comprised nearly 2/3 of the entire painting.

I’ve had insomnia for a while now and wake up several times a night

completely pie-eyed. A few days after the journey, I woke up at 2:14am,

and went into the living area to have a cigarette. I had a conspicuous thought that seemingly came out of the blue…the ring, it's light and it's color would be the ground of the painting! The next day, I painted the remaining white canvas with the image of the sea, rock and sky depicted in the ring with a big brush and watercolor. It freed me up from my usual tightly controlled rendering. It offered an infinity of possibilities, and most of all, I was energized and stimulated!

I completed the commission. The client was pleased, and so was I.

*healing properties of Labradorite
A stone of transformation, Labradorite is a useful
companion through change, imparting strength and
perseverance. It balances and protects the aura, raises
consciousness and grounds spiritual energies. Excellent
for strengthening intuition - promoting psychic abilities.

New Information about "The Seeker"

After Publishing this post about “The Seeker”, a dear client took it upon herself to research the image in the vintage porcelain. Thankyou, Jane Wood, for your keen detective work!
*Aloysius Gonzag: Born in the castle of Castigione, 1568; died, June 1591.

The eldest of 7 children in a wealthy family in Northern Italy, he was chosen to be trained in the military but received “the calling” to be a priest at a very young age. His family was vehemently opposed to this but when he developed persistent health issues, he was sent to a monastery and furthered his education there. In 1591, a plague broke out in Rome and the Jesuits opened a hospital for the stricken. Aloysius volunteered to work there. Six days before his 23rd Birthday, Aloysius showed the first symptoms of being infected. He recovered, but his health was left worse than ever. He had a vision that he would be dead within the year and told several people that he would die on the Octave of the feast of Corpus Christie. On that very day, he seemed well in the morning but insisted he would die before the day was over. He died just before midnight.
Owing to the manner of his death, he has always been considered a patron saint of plague victims. For his compassion and courage in the face of an incurable disease, Alysius Gonzaga has become the patron both of AIDS sufferers and their caretakers. Aloysius is the patron of Valmontone, a town not far from Rome.

In Art, St. Aloysius is shown as a young man wearing a black cassock and surplice, or as a page. His attributes are a lily, referring to innocence; a cross, referring to piety and sacrifice; a skull, referring to his early death; and a rosary, referring to his devotion.

It is curious to me that this little porcelain was crafted by me, unknowingly into something of a shrine to the testament of knowledge and healing. I, too, feel like I live in an age of many plagues. We seek to heal.