Moorish Influence
Exploring the Moorish Influence in the Southwest: Traces of a Rich Cultural Legacy
When traversing the diverse landscapes of New Mexico, the echoes of Spanish influence resonate through the architecture, language, and cuisine. However, what often goes unnoticed is the profound impact of an entirely different culture that shaped Spain itself for eight hundred years—the Moors. The legacy of their rule left an indelible mark on Spanish society, and many of their contributions were carried across the Atlantic to the Southwest, forever shaping its cultural fabric.
In 711 AD, the Moors, Muslim conquerors hailing from North Africa, established their reign over the region known as Iberia, encompassing modern-day Spain and Portugal. With them, they brought a wealth of knowledge in fields such as chemistry, physics, astronomy, and mathematics, which propelled their new homeland into an era of progress and prosperity. At the height of their rule, Cordova, one of their most significant cities, stood as a beacon of advancement in Europe. Its paved streets illuminated by streetlamps at night and numerous public baths exemplified the Moors' commitment to civic development.
Although Moorish rule eventually ended in 1492, coinciding with the dawn of European exploration in the New World, the Spanish retained many aspects of their Moorish heritage. Moorish architectural styles, systems of governance, scientific knowledge, and agricultural practices continued to influence Spanish culture. As the Spaniards embarked on their journeys to the new territories, they carried these influences with them, forever imprinting the Southwest with traces of Moorish culture.
The enduring legacy of the Moors in the Southwest is most evident in the region's distinctive architecture. The Moors introduced the art of building with adobe bricks to the Spanish settlers. The use of central enclosed courtyards, with doors and windows opening onto them rather than directly facing the external world, reflects the defensive architectural practices adapted from their African roots. Tiled fountains and hanging tin lamps, reminiscent of Moorish design, further showcase their influence in the Southwest's architectural tapestry.
The culinary traditions of the Southwest also bear the indelible mark of the Moors. The introduction of cotton, along with a rich array of ingredients such as garlic, lemons, oranges, garbanzo beans, and watermelons, enriched Spanish cuisine. The popularity of the flour tortilla, resembling the Arabic flatbread made of wheat flour prevalent in Africa, can be attributed to the Moors' culinary legacy. Moreover, the Moors imparted their knowledge of sophisticated ditch irrigation systems to the Spaniards, facilitating the cultivation of these new foods. These irrigation techniques, in turn, were transplanted to the Southwest as the Spanish established new towns and villages.
As we contemplate the vast landscapes of the Southwest, it is essential to acknowledge the multifaceted cultural influences that have shaped its identity. The history of this region resembles a vibrant painting crafted by the brushstrokes of many artists, each leaving their unique imprint. The canvas of the Southwest bears witness to the fusion of diverse cultures, where thoughts, knowledge, and innovations intermingle to create a tapestry of rich heritage. Let us appreciate the intricate layers of history that have shaped this remarkable landscape and recognize the profound contributions of the Moors, whose legacy lives on in the hearts and minds of those who call the Southwest home.
From the Library: Dubin, North American Indian Jewelry and Adornment (1999)
1999 primary source. Anything described as current here describes 1999, not today.
Speaking to Dubin for her 1999 book, the jeweler Eveli, who grew up in North Africa, recalled first seeing Navajo silver:
“These were the same designs I had seen in North Africa. The squash blossom and so forth—they are transformed here, but are exactly the same Moorish designs I had seen all my life.”
— Dubin (1999), p. 574 [1]
From the Library: Branson, Indian Jewelry Making, Vol. 1 (1977)
1977 primary source. Anything described as current here describes 1977, not today.
Branson (1977) traced one silver chain back through Spain:
“This design, known throughout the Middle East, was popular with the Moors and later with the early Spanish.”
— Branson (1977), p. 16 [2]
He explained its name (Branson, 1977):
“It was made in both silver and gold and was known as the money chain as it is fairly easy to remove a link or a number of links and use in place of money.”
— Branson (1977), p. 16 [2]
Branson (1977, p. 16) added that this was the type of chain used on Spanish and Mexican jackets and trousers to fasten the pomegranate button, which, in his view, later became the Navajo squash blossom. [2]
On the concha belt, Branson (1977) saw the same line of descent:
“The Navajo have taken the plain concha and added designs copied from the leather stamps of the Spanish and Moors and produced a beautiful article that is very Navajo.”
— Branson (1977), p. 29 [2]
From the Library: Branson, Indian Jewelry Making, Vol. 2 (1979)
1979 primary source. Anything described as current here describes 1979, not today.
Branson (1979) opened his chapter on the silver bridle:
“One of the proudest possessions of the nomadic Navajo was the silver headstall for his beloved horse.”
— Branson (1979), p. 8 [3]
On its origin, Branson (1979) was emphatic:
“The headstall is definitely Moorish in design, brought to America by the Spanish, who also brought the horse.”
— Branson (1979), p. 9 [3]
He added (Branson, 1979):
“Both the Plains Indians and the Navajo copied the Spanish headstall precisely.”
— Branson (1979), p. 9 [3]
Branson (1979) traced granular soldering back before Spain:
“Granular soldering is a technique which was used on both silver and gold as early as 700 B.C. and which enabled the Greeks to make some of the world's most beautiful jewelry. This soldering method was brought to Spain by the Moors, to Mexico and the Navajos by the Spanish.”
— Branson (1979), p. 18 [3]
Branson (1979, p. 18) wrote that filigree jewelry was made by only a few of the Indians of the northern New Mexico Pueblos, and then only under the direction of a Spanish or Mexican silversmith: the long work and small income did not appeal to the silversmith, and the fragility and light weight did not appeal to Indian wearers. [3]
His conclusion (Branson, 1979):
“Filigree was truly of Spanish origin.”
— Branson (1979), p. 18 [3]
Sources
- Dubin, Lois Sherr. North American Indian Jewelry and Adornment: From Prehistory to the Present. Original photography by Togashi, Paul Jones, and others. New York: Harry N. Abrams, 1999. Cited by printed page. Statements describe conditions as of 1999.
- Branson, Oscar T. Indian Jewelry Making, Volume I. Tucson: Treasure Chest Publications, 1977. Cited by printed page. Statements describe conditions as of 1977.
- Branson, Oscar T. Indian Jewelry Making, Volume II. Tucson: Treasure Chest Publications, 1979. Cited by printed page. Statements describe conditions as of 1979.
