A young Maori woman with a facial tattoo, Rotorua, New Zealand, late 19th century.
British Museum

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A young Maori woman with a facial tattoo, Rotorua, New Zealand, late 19th century.
British Museum
Yémen. Ciel Et Terre. Pascal Maréchaux (Auteur) Editeur : Hazan
“Algérie”, préface et textes de Jean Amrouche, photographies de Henriette Grindat. La Guilde du livre, Lausanne, 1956.
Oman, 1979-81. David Jones
Both the Silversmith and the weaver were upset that their children did not want to take on the craft, this being the case, each of these traditions would die-out. Both could understand why, the lure of education and changing times, modernity unfortunately is a double-edged sword, and although they understood this, they shared with me their sadness that many traditions would cease to exist. We often discussed the cultural significance for each of the crafts, and they saw the importance of trying to maintain traditions and were afraid that items of cultural significance would eventually be made overseas, if not lost forever.
She is wearing a silver hair ornament (halqa). Oman, 1979-81. David Jones
68-year-old Touda Oulmimed of the Ait Haddidou tribe. Imilchil, Morocco, 1991. Scanned from the book Imazighen: The Vanishing Traditions of Berber Women; 1996; Margaret Courtney-Clarke
Tuareg; Algeria, 1975. Scanned from the book Le Désert des Kel Ahaggar; 1982; Henri Bancaud
Tuareg; Algeria, 1975. Scanned from the book Le Désert des Kel Ahaggar; 1982; Henri Bancaud
Greek shepherds, Greece, 1960. Harrison Forman
A veiled Albanian Muslim woman from Thessaloniki, Greece, 1913. Auguste Leon, Albert Kahn Museum
Dyeing cloth in the last indigo dye workshop in Bahla, Oman, 1958. Jenny Balfour-Paul
kurdistan, 1975 by werner finke
kurdistan, 1975 by werner finke
Brow of a boat. Musandam, Oman, 1993. Gigi Crocker Jones
kurdistan, 1975 by werner finke
Al Hudaydah; Zabid, Yemen, 1995. Sheila Rosemary Paine
Women—mostly widows—train for police force jobs at a firing range near Kabul, Afghanistan
Photographer: Lynsey Addario