Exhibition

"Um Subiyan"

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"No harm will befall you, no plague will approach your tent."

(Psalms 91:10)

The “Um Subiyan” exhibition (Yemeni for "Mother of Spirits") by artists Raz Akta (jewelry), Orit Akta (painting), Ofir Akta (jewelry), and curated by Ofra Seri explores the magical-traditional world of Yemeni Jews and how it has shaped their cultural, traditional, and ceremonial practices over time.

Magic is a universal phenomenon, transcending class, age, and education. Throughout history, people have turned to spirits, amulets, and incantations to make sense of the unknown and to seek protection. These beliefs are not confined to Jewish culture; they have appeared across societies worldwide. However, their deep historical roots give them a significant place in the study of human culture and consciousness. Even today, these beliefs continue to influence how people navigate challenges, with the power of self-persuasion (autosuggestion) often helping individuals feel more secure and in control, regardless of whether the practices themselves have any tangible effect.

Jewish texts reference spirits and demons frequently. In Deuteronomy, they are connected to idolatry: "They sacrificed to demons, not to God" (Deuteronomy 32:17). In the Babylonian Talmud, spirits are discussed as real and potent forces, described as 'destroying angels,' 'harmful spirits,' and 'evil spirits.' One famous example from the Cairo Geniza is the legend of King Solomon and Ashmedai, the King of Spirits. According to the medieval scholar Ramban (Nachmanides), spirits were so named because they dwelled in desolate, uninhabited places.

Within the ancient Yemeni Jewish community, magical beliefs were an essential part of daily life. These traditions, passed down from generation to generation, blended biblical teachings with centuries-old wisdom and even environmental influences. For protection against spirits, curses, and the evil eye, Yemeni Jews employed a range of methods. Special prayers, amulets, herbs like Yemeni basil and rue, symbolic jewelry, and body adornments were all used to shield the family and home from negative forces.

In the “Um Subiyan” exhibition, the second- and third-generation artists of Yemeni descent honor the wisdom of their ancestors. Their work is a testament to a deep cultural heritage, one rooted in both the mystical and the practical. Although modern life may seem distant from these traditions, the legacy of Yemeni Jewish beliefs continues to resonate, preserving a connection to the past while still shaping the present.

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Handmade silver filigree necklace, Fabric doll with embroidery, 2024

The 'Labbeh' Necklace

Crafted by Raz Akta, 2024

Labbeh (from Arabic: the hollow area of the throat under the Adam's apple) is an important point in the body and difficult to protect. Some say that the name Labbeh derives from other names that mean a protective garment of armor.

The Labbeh necklace is a women’s piece of jewelry given to the bride by her father or groom in preparation for the henna ceremony, and it is worn around her neck on the wedding day and during festive events in her life. In Yemen, the Labbeh jewelry is among the most impressive in its complexity, harmoniously and aesthetically blending its many parts. The Labbeh is considered the pinnacle of creation by the Jewish silversmiths of Sana'a.

The Labbeh is designed with numerous chains and circles that create a stable and strong base, from which extends a part resembling long columns called “'iyal” (meaning "children" in Yemeni Arabic). At the tips of the columns are decorative leaves (burg) that elegantly adorn the jewelry and protect it with their sound from harmful entities.

'Hawan and Madag'

Painted by Orit Akta, 2024

Face and Body Decorations

The 'Henna Sumna' paste consists of the 'Kofar' plant, black pigment (Shader), beeswax, and rosewater, and was used to decorate Yemeni women. The language of decoration aimed to signify the changing status of a woman throughout her life cycle.

The 'sh'ar'ah' (decorator) adorned the body with patterns of dots and lines, mimicking a stencil of recurring elements on exposed body parts such as the face, hands, and feet. Common facial decorations included three dots on the forehead, which highlighted the facial features while also concealing them, thus serving as a protective measure against the evil eye.

During wedding ceremonies, the exposed hands and feet were dyed with henna in a deep red shade, considered a magical-medical remedy, and adorned with motifs of Yemeni embroidery. Additionally, a depiction of a wheat ear was painted on the hands, symbolizing wishes for fertility.

Rue

In Arabic, it is called "Fi Jan" ("there is a spirit in it"), and Yemeni Jews refer to it as "Shadab" ("spirit-containing"). It was used for body care and protection against the evil eye and harmful spirits. Stalks of rue were hung on the bride's clothing on her wedding day and in the baby’s crib. During the 'Havdalah' ceremony at the end of Shabbat, it was customary to smell the rue leaves to ensure spiritual protection for the week ahead.

oil on linen, 150 x 150 cm, 2024

'Ma'anqa Lulu'

The ma'anqa lulu pendant is commonly worn by Jewish women and girls from the city of Sana'a and its surroundings. The girls traditionally wore this pendant regularly in their daily lives and as part of their bridal jewelry collection.

For new mothers, it was customary to wear the ma'anqa lulu for forty days from the time of childbirth, based on the belief that the jewelry serves as a charm to strengthen the spiritual and physical protective systems of both the mother and the child.

The triangular shape holds significant power for protection and repulsion against harmful forces that are not always identifiable.

The wedding was considered a precarious transitional phase in the social perception, during which the bride and groom were regarded as marginal figures without status. Consequently, the men also wore an amulet in the shape of a triangle (Korata), which they would fill with leaves and amulets for protection.

The twists (ties) of the lulu beads that dangle from the jewelry are intended to attract attention away from the wearer, distracting onlookers, and thus keeping her safe from harm and the evil eye.

Crafted by Ofir Akta, 2024

Amulet Case

Crafted by Raz Akta, 2024

In Yemen, amulets served as a means of protection and defense against the evil eye. Wearing an amulet case was common across all ages, genders, and religions.

Significant verses and sacred words were written on paper or leather and placed inside the amulet case, which was intended to protect the contents from impurity or dirt. The forms of amulet cases were diverse, and the prevailing belief was that their external shape also possessed significant magical power. The cylindrical amulet cases (Cherz) are the most common and most identified with Yemeni jewelry.

Handmade silver filigree amulet case with rope, 2024

'Rehan Asud'

Painted by Orit Akta, 2024

Basil (Rehan Asud)

Yemeni basil is very common among Yemeni Jews, who use it for perfumes and adornments at weddings, during 'Brit Milah' (circumcision) ceremonies, in synagogue prayers, during fasts, and in mourning houses. Its unique scent helps uplift the spirit and evokes a sense of holiness. It is often used for protection against harm and the evil eye.

Key Pendant

Among Yemeni Jews, it was customary for a woman to wear a cord with a key attached. By wearing the cord close to her heart, she declares the special place that belongs to her and surrounds her life.

There were various reasons for this practice. Wearing the key symbolized the great trust her husband had in her, as he was responsible for providing for her and giving her shelter. Another belief links the wearing of the key to the expulsion of spirits and a prayer for them not to come to their doorstep. Additionally, another belief suggests that by wearing the key, the woman signifies her privacy and dignity, indicating that only she has the right to open her room in the house.

oil on linen, 80 x 100 cm, 2024

'Rimonim'

Crafted by Raz Akta, 2024

The pair of rings displayed symbolizes the Rimonim that hang on the cover of the Torah scrolls. The silversmiths in Yemen maintained a high level of precision in designing the Rimonim, as they are completely associated with Judaism. In these rings, I chose to incorporate different styles of Yemeni silversmithing: filigree, granulation, and work with sheets, contrasting with the practice in Yemen where each silversmith specialized in a single style.

Mizmir Ring

The Mizmir ring (cone) is shaped like a part of a jewelry piece called 'Mizmir' or 'Tatarif'. It is primarily woven into the ends of chains, and its spiky texture is intended to protect the neck and the heart of the jewelry. It is adorned with a twisted zigzag wire (Maswag) to create an endless continuity.