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---
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title: "Nubian Women's Bridal Rooms"
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authors: ["goo-grauer.md"]
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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.”.
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keywords: ["Nubia", "women", "gender", "ethnography", "brides"]
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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.”.
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keywords: ["Nubia", "women", "gender", "ethnography", "art", "history"]
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---
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**Nubian Women's Bridal Rooms**
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@ -41,7 +41,7 @@ Nubians had already experienced resettlement as a consequence of earlier
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dam constructions in 1902, 1912, and 1933. Although these earlier
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constructions were not nearly as ambitious in their extent as the Aswan
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High Dam of the 1960s, they had required villages to be rebuilt further
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above the river or more away from it, and had caused the loss of vast
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away from it, and had caused the loss of vast
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stretches of agricultural land. The result was the forfeiture of
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livelihood. Consequently, since the beginning of the 20th century,
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Nubian men had been obliged to migrate to the Egyptian cities where they
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@ -83,7 +83,7 @@ Upper Egypt.
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While men constructed the Nubian houses there was one chamber in all
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houses, which -- though not built by women -- carried female
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handwriting. This chamber was the so-called bridal room, *aruusana
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kaa.* 1. In the Fadija area, the bridal room was called *diwan*; Mahgoub
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kaa*. In the Fadija area, the bridal room was called *diwan*; Mahgoub
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refers to it as "*diwani*" the bridal hall.[^2]
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@ -122,7 +122,7 @@ works famously created by Picasso, Duchamp, and Dubuffet. A Nubian bride
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worked on these assemblages for weeks, if not months, before the wedding
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feast. They included a wide range of objects which she prized as
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valuable and of individual significance, ranging from items of artful
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handicraft to *objets trouvées,* found objects that are aesthetically
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handicraft to *objets trouvés,* found objects that are aesthetically
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pleasing. As one's eye adjusted to the dim lighting, one could see that
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these objects were deliberately and ingeniously arranged, some given
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weight over others in the foreground or background.
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@ -158,7 +158,7 @@ region already at the beginning of the nineteenth century. He wrote,
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"The ladies of Damer adorn their sitting rooms with many large wooden
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bowls or dishes hung against the wall like so many pictures.[^4]" Since
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Damer is located a bit south of Nubia, we can assume that the habit of
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bridal room decoration was adhered to in Nubia.
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bridal room decoration was adhered in Nubia.
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In the 1960s, when Nubian men were predominantly absent as labor
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migrants, this room was, in effect, the wife's private domain, her
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@ -187,7 +187,7 @@ bride's room.
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The second furniture item in the bridal room, a wooden chest, housed the
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bride's trousseau. Called *sanduug is-kandarani* or "Alexandrian chest,"
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bride's trousseau. Called *sanduug iskandarani* or "Alexandrian chest,"
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since it formerly came from there, it served as a lockable storage space
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for personal belongings such as jewelry, clothes, blankets, and
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treasured possessions. Things needed for the wife's daily grooming, such
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@ -312,9 +312,9 @@ powers.
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**~~Figure 15. Protective sign, busug, cotton material, ornamented with cowry shells. Toshke, W. Neja Dukki Daur, 1964 (Photographed by the author).~~**
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**~~Figure 16. Various small protective objects. Toshke, W. Neja Dukki Daur, 1964 (Photographed by the author).~~**
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**~~Figure 16. Various small protective objects. Toshke, W. Neja Dukki Daur, 1964 (Drawn by the author).~~**
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Legend:
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@ -330,7 +330,7 @@ sambuska muslaaya busug*
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Whereas the walls of most bride's rooms were decorated with objects and
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not painted, there existed some exceptions, two of which are shown. The
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house in Fig 17 / 0067, from Dehemiit, E. Neja Kogge, looks ruined as it
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house in Fig. 17, from Dehemiit, E. Neja Kogge, looks ruined as it
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had already been vacated for the exodus. The roof with the valuable
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wooden beams has been removed, and as well the decorative interior
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fitments. The motifs rendered in this room were narrowed down to those
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@ -344,7 +344,7 @@ placeholder.
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It is interesting to note, however, that the discussed small objects
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which the women fabricated for the equipment of their bridal rooms could
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reappear as motifs women painted on the walls of the men's guest room
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(see Fig. 18 / 0689).
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(see Fig. 18).
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@ -751,17 +751,13 @@ three main villages, each of which had two sub-villages:
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settlement was called Al Ra\'iisiya (Arabic for \'main\'). Its
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sub-village was called Khaliiliye-Ashmaawi.
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```{=html}
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<!-- -->
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```
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- "Tūmās wa \'Afya Itneen" (Arabic for \'2\') was located at
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25°19\'52.41\" N, 32°29\'25.23\" E. Al Ra\'iisiye was called
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Moradaab-Maarya. Its sub-village was called Izbet el Zeet-Izbet el
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Saab.
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```{=html}
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<!-- -->
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```
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- "Tūmās wa \'Afya Talaata" (Arabic for \'3\') was located at
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25°22\'46.24\" N, 32°28\'43.34\" E. Al Ra\'iisiya was called
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Mansur-Saab. Its sub-village was given three different designations:
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