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content/article/goo-grauer.md
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--- ---
title: "Nubian Women's Bridal Rooms" title: "Nubian Women's Bridal Rooms"
authors: ["goo-grauer.md"] authors: ["goo-grauer.md"]
abstract: The article discusses the decoration of wedding rooms in Egyptian Nubia before the resettlement of the population due to the construction of the Aswan High Dam in 1964. In the former Nubian villages, it was the task of a bride to decorate a special Place, the so-called bride’s room, before the marriage. This activity was part of the extensive house-decoration, consisting foremost of wall paintings, which the women painted with earth colors on their home’s outer and inner walls. Their rich and often opulent adornment with three-dimensional objects made the Nubian bridal rooms particular. Homemade handiwork hung up on the walls or suspended from the ceilings formed the main feature of the room’s design. On top of this, a mixture of peculiar items was displayed. These could be anything the brides considered valuable and composed inventively into an artistic design, whether as an assemblage or as “objects trouvée”. The custom to furnish a bridal room in this manner was discontinued after the Nubians were moved to the new villages north of Aswan. The article is aprt of my forthcoming publication “Colors of Nubia, the lost art of women’s House decoration.”. abstract: The article discusses the decoration of wedding rooms in Egyptian Nubia before the resettlement of the population due to the construction of the Aswan High Dam in 1964. In the former Nubian villages, it was the task of a bride to decorate a special place, the so-called bride’s room, before the marriage. This activity was part of the extensive house-decoration, consisting foremost of wall paintings, which the women painted with earth colors on their home’s outer and inner walls. Their rich and often opulent adornment with three-dimensional objects made the Nubian bridal rooms particular. Homemade handiwork hung up on the walls or suspended from the ceilings formed the main feature of the room’s design. On top of this, a mixture of peculiar items was displayed. These could be anything the brides considered valuable and composed inventively into an artistic design, whether as an assemblage or as “objets trouvés”. The custom to furnish a bridal room in this manner was discontinued after the Nubians were moved to the new villages north of Aswan. The article is a part of my forthcoming publication “Colors of Nubia, the lost art of women’s house decoration.”.
keywords: ["Nubia", "women", "gender", "ethnography", "brides"] keywords: ["Nubia", "women", "gender", "ethnography", "art", "history"]
--- ---
**Nubian Women's Bridal Rooms** **Nubian Women's Bridal Rooms**
@ -41,7 +41,7 @@ Nubians had already experienced resettlement as a consequence of earlier
dam constructions in 1902, 1912, and 1933. Although these earlier dam constructions in 1902, 1912, and 1933. Although these earlier
constructions were not nearly as ambitious in their extent as the Aswan constructions were not nearly as ambitious in their extent as the Aswan
High Dam of the 1960s, they had required villages to be rebuilt further High Dam of the 1960s, they had required villages to be rebuilt further
above the river or more away from it, and had caused the loss of vast away from it, and had caused the loss of vast
stretches of agricultural land. The result was the forfeiture of stretches of agricultural land. The result was the forfeiture of
livelihood. Consequently, since the beginning of the 20th century, livelihood. Consequently, since the beginning of the 20th century,
Nubian men had been obliged to migrate to the Egyptian cities where they Nubian men had been obliged to migrate to the Egyptian cities where they
@ -83,7 +83,7 @@ Upper Egypt.
While men constructed the Nubian houses there was one chamber in all While men constructed the Nubian houses there was one chamber in all
houses, which -- though not built by women -- carried female houses, which -- though not built by women -- carried female
handwriting. This chamber was the so-called bridal room, *aruusana handwriting. This chamber was the so-called bridal room, *aruusana
kaa.* 1. In the Fadija area, the bridal room was called *diwan*; Mahgoub kaa*. In the Fadija area, the bridal room was called *diwan*; Mahgoub
refers to it as "*diwani*" the bridal hall.[^2] refers to it as "*diwani*" the bridal hall.[^2]
![Young girl, Wadi el Arab, E. Neja Salahaab, 1963 (Photographed by the author).](../static/images/goo-grauer/fig4.jpg "Young girl, Wadi el Arab, E. Neja Salahaab, 1963 (Photographed by the author).") ![Young girl, Wadi el Arab, E. Neja Salahaab, 1963 (Photographed by the author).](../static/images/goo-grauer/fig4.jpg "Young girl, Wadi el Arab, E. Neja Salahaab, 1963 (Photographed by the author).")
@ -122,7 +122,7 @@ works famously created by Picasso, Duchamp, and Dubuffet. A Nubian bride
worked on these assemblages for weeks, if not months, before the wedding worked on these assemblages for weeks, if not months, before the wedding
feast. They included a wide range of objects which she prized as feast. They included a wide range of objects which she prized as
valuable and of individual significance, ranging from items of artful valuable and of individual significance, ranging from items of artful
handicraft to *objets trouvées,* found objects that are aesthetically handicraft to *objets trouvés,* found objects that are aesthetically
pleasing. As one's eye adjusted to the dim lighting, one could see that pleasing. As one's eye adjusted to the dim lighting, one could see that
these objects were deliberately and ingeniously arranged, some given these objects were deliberately and ingeniously arranged, some given
weight over others in the foreground or background. weight over others in the foreground or background.
@ -158,7 +158,7 @@ region already at the beginning of the nineteenth century. He wrote,
"The ladies of Damer adorn their sitting rooms with many large wooden "The ladies of Damer adorn their sitting rooms with many large wooden
bowls or dishes hung against the wall like so many pictures.[^4]" Since bowls or dishes hung against the wall like so many pictures.[^4]" Since
Damer is located a bit south of Nubia, we can assume that the habit of Damer is located a bit south of Nubia, we can assume that the habit of
bridal room decoration was adhered to in Nubia. bridal room decoration was adhered in Nubia.
In the 1960s, when Nubian men were predominantly absent as labor In the 1960s, when Nubian men were predominantly absent as labor
migrants, this room was, in effect, the wife's private domain, her migrants, this room was, in effect, the wife's private domain, her
@ -187,7 +187,7 @@ bride's room.
The second furniture item in the bridal room, a wooden chest, housed the The second furniture item in the bridal room, a wooden chest, housed the
bride's trousseau. Called *sanduug is-kandarani* or "Alexandrian chest," bride's trousseau. Called *sanduug iskandarani* or "Alexandrian chest,"
since it formerly came from there, it served as a lockable storage space since it formerly came from there, it served as a lockable storage space
for personal belongings such as jewelry, clothes, blankets, and for personal belongings such as jewelry, clothes, blankets, and
treasured possessions. Things needed for the wife's daily grooming, such treasured possessions. Things needed for the wife's daily grooming, such
@ -312,9 +312,9 @@ powers.
**~~Figure 15. Protective sign, busug, cotton material, ornamented with cowry shells. Toshke, W. Neja Dukki Daur, 1964 (Photographed by the author).~~** **~~Figure 15. Protective sign, busug, cotton material, ornamented with cowry shells. Toshke, W. Neja Dukki Daur, 1964 (Photographed by the author).~~**
![Various small protective objects. Toshke, W. Neja Dukki Daur, 1964 (Photographed by the author).](../static/images/goo-grauer/fig16.jpg "Various small protective objects. Toshke, W. Neja Dukki Daur, 1964 (Photographed by the author).") ![Various small protective objects. Toshke, W. Neja Dukki Daur, 1964 (Drawn by the author).](../static/images/goo-grauer/fig16.jpg "Various small protective objects. Toshke, W. Neja Dukki Daur, 1964 (Drawn by the author).")
**~~Figure 16. Various small protective objects. Toshke, W. Neja Dukki Daur, 1964 (Photographed by the author).~~** **~~Figure 16. Various small protective objects. Toshke, W. Neja Dukki Daur, 1964 (Drawn by the author).~~**
Legend: Legend:
@ -330,7 +330,7 @@ sambuska muslaaya busug*
Whereas the walls of most bride's rooms were decorated with objects and Whereas the walls of most bride's rooms were decorated with objects and
not painted, there existed some exceptions, two of which are shown. The not painted, there existed some exceptions, two of which are shown. The
house in Fig 17 / 0067, from Dehemiit, E. Neja Kogge, looks ruined as it house in Fig. 17, from Dehemiit, E. Neja Kogge, looks ruined as it
had already been vacated for the exodus. The roof with the valuable had already been vacated for the exodus. The roof with the valuable
wooden beams has been removed, and as well the decorative interior wooden beams has been removed, and as well the decorative interior
fitments. The motifs rendered in this room were narrowed down to those fitments. The motifs rendered in this room were narrowed down to those
@ -344,7 +344,7 @@ placeholder.
It is interesting to note, however, that the discussed small objects It is interesting to note, however, that the discussed small objects
which the women fabricated for the equipment of their bridal rooms could which the women fabricated for the equipment of their bridal rooms could
reappear as motifs women painted on the walls of the men's guest room reappear as motifs women painted on the walls of the men's guest room
(see Fig. 18 / 0689). (see Fig. 18).
![The same protective objects, which adorned in real the bride's room, appear here as painted motifs in a guest room. Gurte, W. Neja Affedunya, 1963 (Photographed by the author).](../static/images/goo-grauer/fig18.jpg "The same protective objects, which adorned in real the bride's room, appear here as painted motifs in a guest room. Gurte, W. Neja Affedunya, 1963 (Photographed by the author).") ![The same protective objects, which adorned in real the bride's room, appear here as painted motifs in a guest room. Gurte, W. Neja Affedunya, 1963 (Photographed by the author).](../static/images/goo-grauer/fig18.jpg "The same protective objects, which adorned in real the bride's room, appear here as painted motifs in a guest room. Gurte, W. Neja Affedunya, 1963 (Photographed by the author).")

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content/article/habbob.md
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@ -751,17 +751,13 @@ three main villages, each of which had two sub-villages: 
settlement was called Al Ra\'iisiya (Arabic for \'main\'). Its settlement was called Al Ra\'iisiya (Arabic for \'main\'). Its
sub-village was called Khaliiliye-Ashmaawi. sub-village was called Khaliiliye-Ashmaawi.
```{=html}
<!-- -->
```
-  "Tūmās wa \'Afya Itneen" (Arabic for \'2\') was located at -  "Tūmās wa \'Afya Itneen" (Arabic for \'2\') was located at
25°19\'52.41\" N, 32°29\'25.23\" E. Al Ra\'iisiye was called 25°19\'52.41\" N, 32°29\'25.23\" E. Al Ra\'iisiye was called
Moradaab-Maarya. Its sub-village was called Izbet el Zeet-Izbet el Moradaab-Maarya. Its sub-village was called Izbet el Zeet-Izbet el
Saab. Saab.
```{=html}
<!-- -->
```
- "Tūmās wa \'Afya Talaata" (Arabic for \'3\') was located at - "Tūmās wa \'Afya Talaata" (Arabic for \'3\') was located at
25°22\'46.24\" N, 32°28\'43.34\" E. Al Ra\'iisiya was called 25°22\'46.24\" N, 32°28\'43.34\" E. Al Ra\'iisiya was called
Mansur-Saab. Its sub-village was given three different designations: Mansur-Saab. Its sub-village was given three different designations: