{"id":63034,"date":"2026-07-19T00:25:49","date_gmt":"2026-07-18T22:25:49","guid":{"rendered":"https:\/\/diploma.ecolecamondo.fr\/sujet-commun\/roman-levy\/mada-jawhar\/"},"modified":"2026-07-19T00:25:49","modified_gmt":"2026-07-18T22:25:49","slug":"maidat-jawhar-2","status":"publish","type":"project_type_1","link":"https:\/\/diploma.ecolecamondo.fr\/en\/sujet-commun\/roman-levy\/maidat-jawhar-2\/","title":{"rendered":"Ma\u00efdat Jawhar"},"content":{"rendered":"\n

During a six-month stay in Morocco, we were struck by the constant presence of Amazigh jewelry, even though the history of this community remains largely overlooked. As we learned more, we discovered a population that has long been marginalized, whose language was not officially recognized until 2011. Amazigh jewelry sets are, however, major cultural heritage artifacts: they are part of weddings, births, and celebrations, pass down traditional skills, and forge bonds between artisans, wearers, and families. Yet the focus of collectors has contributed to the fragmentation of these sets, which have been torn from their cultural context.<\/p><\/div><\/div><\/article>\n\n

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Les assiettes de chacun s’empilent au fur et \u00e0 mesure du repas pour ne former qu’un, comme le totem principal.\n<\/figcaption>\n <\/article>\n\n\n
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Principes de proportion du totem inspir\u00e9s des symboles amazighs.\n<\/figcaption>\n <\/article>\n\n\n
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