CLOTH//FABRIC
KENTE CLOTH
LEFT Silk textile (nsaduaso) with warp-striped pattern Oyokoman (the lineage of the Asantehene) and float-weave in the Adwinasa (‘Fullness of Ornament’) manner
Asante, Bonwire, Ghana, late 19th century
Collection Peter Adler
Kente cloth is woven of silk on a long, narrow loom. Cloth is constructed of these long strips, cut down to the preferred size, and sewn selvedge to selvedge. A double-heddle loom is needed to weave kente cloth. This cloth is then wrapped around the body of the wearer in toga-like fashion. Typical kente cloth colors consist of yellows, reds, greens, blues, and magentas. However, for a simple mourning cloth, indigo-blue and white are standardly used. What is unique to Asante weaving is their use only of geometric motifs, devoid of both figures and text. The cloth must then speak for itself, through color, pattern (using warp and weft variations among others), complexity of said pattern, and through the occasion in which it is worn. Each pattern, or motif, is given a name; eg ‘Liar’s Cloth’ or ‘Waterboatman’. These names are associated with proverbs which give validity and support to the wearer. The motif in the image to the left signifies the owner as that of Asantehene lineage. When personal appearances are the first impression one makes upon another, dress is extremely important.[1] Kente cloth allows one to extend the conversation visually through its proverbial messages, providing a foundation for wearers to present themselves.
[1] John Gillow, African Textiles (London: Thames & Hudson Ltd., 2003), 29, 32-34.
Asante, Bonwire, Ghana, late 19th century
Collection Peter Adler
Kente cloth is woven of silk on a long, narrow loom. Cloth is constructed of these long strips, cut down to the preferred size, and sewn selvedge to selvedge. A double-heddle loom is needed to weave kente cloth. This cloth is then wrapped around the body of the wearer in toga-like fashion. Typical kente cloth colors consist of yellows, reds, greens, blues, and magentas. However, for a simple mourning cloth, indigo-blue and white are standardly used. What is unique to Asante weaving is their use only of geometric motifs, devoid of both figures and text. The cloth must then speak for itself, through color, pattern (using warp and weft variations among others), complexity of said pattern, and through the occasion in which it is worn. Each pattern, or motif, is given a name; eg ‘Liar’s Cloth’ or ‘Waterboatman’. These names are associated with proverbs which give validity and support to the wearer. The motif in the image to the left signifies the owner as that of Asantehene lineage. When personal appearances are the first impression one makes upon another, dress is extremely important.[1] Kente cloth allows one to extend the conversation visually through its proverbial messages, providing a foundation for wearers to present themselves.
[1] John Gillow, African Textiles (London: Thames & Hudson Ltd., 2003), 29, 32-34.
ADIRE ELEKO CLOTH
LEFT A Yoruba adire eleko cloth from the 1960s
Nigeria, with a pattern of birds; cotton, Indigo-dyed starch resist, (Photograph © James Austin)
In Yoruba, adire is used to define textile that has been resist-dyed in indigo. [2] The first step in creating this motif was the coating of a cassava starch-resist paste over the fabric. Next, a mixture of cassava flour with copper sulphate and water (known as lafun) is drawn on using a bird quill. Nearly every motif consists of many squares, with separate hand-drawn images within the outlines. The cloth is then dip-dyed repeatedly in a vat of indigo to achieve the deep richness of the blue-black color. The paste is then removed, revealing the contrasting colors of light blue and indigo drawn designs. [3] Each design carries a proverbial interpretation; the use of birds in this present example might allude to iyami, a derogatory term for powerful Yoruba women also known as Our Mothers. What must also be noted is the number of birds specifically. Moyo Okediji explains that, “While these birds allude to the mysterious power of women…the total number of eight [birds] symbolically refers to the Yoruba corpus of Ifa divinity, the all-knowing deity of fate and fortune.” [4] And if one looks to the bottom section of the cloth we see a singular depiction of a bird, this is the adire maker’s mark. [5] This image was specifically chosen to depict the practice of honoring and representing a particular belief construct, while also allowing ample personal artistic freedom.
[2] John Picton, “Resist-dyed textile (adire),” Africa: Arts & Culture, ed. by John Mack (New York: Oxford University Press, 2000), 106.
[3] Gillow, African Textiles, 78.
[4] Moyo Okediji, introduction to Africa: Arts & Culture, ed. by John Mack (New York: Oxford University Press, 2000), 19-20.
[5] Gillow, African Textiles, 79.
Nigeria, with a pattern of birds; cotton, Indigo-dyed starch resist, (Photograph © James Austin)
In Yoruba, adire is used to define textile that has been resist-dyed in indigo. [2] The first step in creating this motif was the coating of a cassava starch-resist paste over the fabric. Next, a mixture of cassava flour with copper sulphate and water (known as lafun) is drawn on using a bird quill. Nearly every motif consists of many squares, with separate hand-drawn images within the outlines. The cloth is then dip-dyed repeatedly in a vat of indigo to achieve the deep richness of the blue-black color. The paste is then removed, revealing the contrasting colors of light blue and indigo drawn designs. [3] Each design carries a proverbial interpretation; the use of birds in this present example might allude to iyami, a derogatory term for powerful Yoruba women also known as Our Mothers. What must also be noted is the number of birds specifically. Moyo Okediji explains that, “While these birds allude to the mysterious power of women…the total number of eight [birds] symbolically refers to the Yoruba corpus of Ifa divinity, the all-knowing deity of fate and fortune.” [4] And if one looks to the bottom section of the cloth we see a singular depiction of a bird, this is the adire maker’s mark. [5] This image was specifically chosen to depict the practice of honoring and representing a particular belief construct, while also allowing ample personal artistic freedom.
[2] John Picton, “Resist-dyed textile (adire),” Africa: Arts & Culture, ed. by John Mack (New York: Oxford University Press, 2000), 106.
[3] Gillow, African Textiles, 78.
[4] Moyo Okediji, introduction to Africa: Arts & Culture, ed. by John Mack (New York: Oxford University Press, 2000), 19-20.
[5] Gillow, African Textiles, 79.
FANCY PRINT
LEFT Fancy print cotton textile ‘Owu Se Fie’ (‘Death spoils the family’)
Ghana, 1994 Collection John and Susan Picton (Photo © Steve Rees)
A fancy print differs from a wax (or resin-resist) print in that it is only printed on one side. Fancy prints of today are fashioned using rotary screens and may utilize many varied effects. Author and scholar John Picton writes that, “Several techniques were involved, including particular effects obtained by the discharge of color, and an extensive terminology that includes green grounds, bleeders, Java prints [this term originates in printed copies of Indonesian batiks], super prints, imitation wax, guaranteed imitation wax, roller prints; but none of them makes use of resin.” [6] The imagery we see in this particular print is of an Akan proverb, which describes the effect that death may have on a home, that ‘death spoils the family.’ [7] It should be noted as well that red and black are traditional colors for an Akan funeral. Though many of these fancy prints may have been and continue to be produced in Europe for sale in Central and West Africa, their importance to African culture and heritage is of great consequence. These prints allow another platform for people to explore notions pertaining to but not limited to expression, self-empowerment, and social interactions.
[6] John Picton, The Art of African Textiles: Technology, Tradition and Lurex(London: Lund Humphries Publishers, 1999), 24-25, 126
[7] Osibisaba, November 14, 2011 (10:09 p.m.), “Kyeremateng Stars – Owuo See Fie, “Osibisaba Blog, May 31, 2011, http://osibisaba.blogspot.com/2011_05_01_archive.html
Ghana, 1994 Collection John and Susan Picton (Photo © Steve Rees)
A fancy print differs from a wax (or resin-resist) print in that it is only printed on one side. Fancy prints of today are fashioned using rotary screens and may utilize many varied effects. Author and scholar John Picton writes that, “Several techniques were involved, including particular effects obtained by the discharge of color, and an extensive terminology that includes green grounds, bleeders, Java prints [this term originates in printed copies of Indonesian batiks], super prints, imitation wax, guaranteed imitation wax, roller prints; but none of them makes use of resin.” [6] The imagery we see in this particular print is of an Akan proverb, which describes the effect that death may have on a home, that ‘death spoils the family.’ [7] It should be noted as well that red and black are traditional colors for an Akan funeral. Though many of these fancy prints may have been and continue to be produced in Europe for sale in Central and West Africa, their importance to African culture and heritage is of great consequence. These prints allow another platform for people to explore notions pertaining to but not limited to expression, self-empowerment, and social interactions.
[6] John Picton, The Art of African Textiles: Technology, Tradition and Lurex(London: Lund Humphries Publishers, 1999), 24-25, 126
[7] Osibisaba, November 14, 2011 (10:09 p.m.), “Kyeremateng Stars – Owuo See Fie, “Osibisaba Blog, May 31, 2011, http://osibisaba.blogspot.com/2011_05_01_archive.html
MAN'S GOWN
LEFT Man's gown (riga)
Yar Ilori ('Daughter of Ilorin') design, detail
c. 1973; Indigo-dyed hand-spun cotton with wild silk embroidery by Malam Suleiman; Hem lined with blue factory-woven cotton; 154 cm x 265 cm
Hausa, Zaria, Nigeria,
Private collection (Photo © Steve Rees)
Embroidery plays a significant role in Nigerian textiles, and the example to the left is a close up detail-image to a much larger tunic-like gown. The embroidered work is created through the seemingly simple stitching or sewing of thread into the fabric to build up or draw out the imagery and design. Much of these designs take example from both Islamic influences and modifications made by other surrounding cultures, such as the Hausa, Nupe, Yoruba, and others. For example, Yar Ilori, is the Hausa term and variation on the 'Eight Knives' design, Ilorin having been a large town in Yorubaland. 'Eight Knives' refer to the pointed wedges in the image shown here. In writing for the book, The Art of African Textiles: Technology, Tradition and Lurex; David Heathcote makes the argument that, "...embroidered clothing was an important status symbol." [8] The use of embroidery both symbolizes and represents the status of wealth or power, most commonly both; and also depicts for the viewer the example of cross-cultural influencing among West African peoples. This whole idea, of cross-cultural influencing, gives testament to the ever adapting, ever changing societies and peoples of Africa.
[8] David Heathcote, "Aspects of Embroidery in Nigeria," In The Art of African Textiles: Technology, Tradition and Lurex, edited by John Picton (London: Lund Humphries Publishers, 1999), 39-40.
Yar Ilori ('Daughter of Ilorin') design, detail
c. 1973; Indigo-dyed hand-spun cotton with wild silk embroidery by Malam Suleiman; Hem lined with blue factory-woven cotton; 154 cm x 265 cm
Hausa, Zaria, Nigeria,
Private collection (Photo © Steve Rees)
Embroidery plays a significant role in Nigerian textiles, and the example to the left is a close up detail-image to a much larger tunic-like gown. The embroidered work is created through the seemingly simple stitching or sewing of thread into the fabric to build up or draw out the imagery and design. Much of these designs take example from both Islamic influences and modifications made by other surrounding cultures, such as the Hausa, Nupe, Yoruba, and others. For example, Yar Ilori, is the Hausa term and variation on the 'Eight Knives' design, Ilorin having been a large town in Yorubaland. 'Eight Knives' refer to the pointed wedges in the image shown here. In writing for the book, The Art of African Textiles: Technology, Tradition and Lurex; David Heathcote makes the argument that, "...embroidered clothing was an important status symbol." [8] The use of embroidery both symbolizes and represents the status of wealth or power, most commonly both; and also depicts for the viewer the example of cross-cultural influencing among West African peoples. This whole idea, of cross-cultural influencing, gives testament to the ever adapting, ever changing societies and peoples of Africa.
[8] David Heathcote, "Aspects of Embroidery in Nigeria," In The Art of African Textiles: Technology, Tradition and Lurex, edited by John Picton (London: Lund Humphries Publishers, 1999), 39-40.
ASAFO FLAG
LEFT Flag, imported cotton applique for an asafo military company
Fante, Ghana, c. 1950, Proverb: ‘Fish grow fat for the benefit of the crocodile (who rules the river),’ 96 x 162 cm, Collection Peter Adler (Photo © Steve Rees)
John Picton and John Mack define applique as, “…the process of adding further materials to an already-woven textile base.” Flags were used to aide in distinguishing one Asafo (literally, ‘our people’) military company from another among the Fante of Ghana, and the addition of the Union Jack in the upper left corner signifies that this flag was created in the time of British rule over Ghana. These flags are unique to other African textiles in the sense that they (the asafo flags) have a particular distinction and altogether different aesthetic from that of loom-woven textiles or resist-dyed fabrics for example. [9] These flags were used to represent each company’s specific strengths or mottos, each with its own allegorical message. The flag shown above’s proverb is, “Fish grow fat for the benefit of the crocodile (who rules the river).” [10] This proverb might be loosely translated to mean: the fish (the company men) fatten themselves as an ultimate sacrifice to the powerful crocodile (leader) who rules the river (country). Most often these flags adorn the outside of a specific asafo company shrine, proudly displaying messages to other companies and the community as a whole.
[9] John Picton and John Mack, “Applique and Related Techniques,” African Textiles: Looms, Weaving, and Design (London: British Museum Publications Ltd., 1979), 169.
[10] Gillow, African Textiles, 95.
Fante, Ghana, c. 1950, Proverb: ‘Fish grow fat for the benefit of the crocodile (who rules the river),’ 96 x 162 cm, Collection Peter Adler (Photo © Steve Rees)
John Picton and John Mack define applique as, “…the process of adding further materials to an already-woven textile base.” Flags were used to aide in distinguishing one Asafo (literally, ‘our people’) military company from another among the Fante of Ghana, and the addition of the Union Jack in the upper left corner signifies that this flag was created in the time of British rule over Ghana. These flags are unique to other African textiles in the sense that they (the asafo flags) have a particular distinction and altogether different aesthetic from that of loom-woven textiles or resist-dyed fabrics for example. [9] These flags were used to represent each company’s specific strengths or mottos, each with its own allegorical message. The flag shown above’s proverb is, “Fish grow fat for the benefit of the crocodile (who rules the river).” [10] This proverb might be loosely translated to mean: the fish (the company men) fatten themselves as an ultimate sacrifice to the powerful crocodile (leader) who rules the river (country). Most often these flags adorn the outside of a specific asafo company shrine, proudly displaying messages to other companies and the community as a whole.
[9] John Picton and John Mack, “Applique and Related Techniques,” African Textiles: Looms, Weaving, and Design (London: British Museum Publications Ltd., 1979), 169.
[10] Gillow, African Textiles, 95.