African textiles

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Kuba Raffia cloth, made by the Kuba of present-day Democratic Republic of Congo Panel, Shoowa people, 20th century, Honolulu Museum of Art I.JPG
Kuba Raffia cloth, made by the Kuba of present-day Democratic Republic of Congo
Contemporary West African textile designs West African textile designs.jpg
Contemporary West African textile designs

African textiles are textiles from various locations across the African continent. Across Africa, there are many distinctive styles, techniques, dyeing methods, and decorative and functional purposes. These textiles hold cultural significance and also have significance as historical documents of African design.

Contents

History

Some of the oldest surviving African textiles were discovered at the archaeological site of Kissi in northern Burkina Faso. They are made of wool or fine "short" animal hair including dried skin for integrity. [1] Some fragments have also survived from the thirteenth century Benin City in Nigeria. [2] Historically textiles were used as a form of currency since the fourteenth century in West Africa and Central Africa. [3] Below is an overview of some of the common techniques and textile materials used in various African regions and countries.

Textile weaving

Stripweaving, a centuries-old textile manufacturing technique of creating cloth by weaving strips together, is characteristic of weaving in West Africa, who credit Mande weavers and in particular the Tellem people as the first to master the art of weaving complex weft patterns into strips. [4] Findings from caves at Bandiagara Escarpment in Mali propose its use from as far back as the 11th century. Stripwoven cloths are made up of narrow strips that are cut into desired lengths and sewn together. From Mali, the technique spread across West Africa to Ivory Coast, Ghana, and Nigeria. Raphia fiber from dried stripped leaves of raphia palm was commonly used in West Africa and Central Africa since it is widely available in countries with grasslands like Cameroon, Ghana, and Nigeria. Cotton fibers from the kapok tree has been extensively used by the Dagomba to produce long strips of fibre to make the Ghanaian smock. Other fiber materials included undyed wild silk used in Nigeria for embroidery and weaving, as well as barkcloth from fig trees used to make clothes for ceremonial occasions in Uganda, Cameroon, and the Congo. Over time most of these fibers were replaced with cotton. Textiles were woven on horizontal or vertical looms with variations depending on the region. [5]

West Africa

Yoruba Woman in Aso oke IMG-20230221-WA0011.jpg
Yoruba Woman in Aso oke
Ewe Kente Ewe kente 2, Ghana.JPG
Ewe Kente
  • Asante Kente: [8] [9] [10] The Asante were the dominant people of West Africa's Gold Coast, present-day Ghana. Controlling the only source of gold available, the Asante traded with other African states and later with Europeans after contact with the Portuguese in the 15th century. With their wealth and a rich source of gold, they made all forms of jewelry, amulets, and talismans from the gold. In the 18th century, the Asante acquired knowledge of the strip weaving technique from Bondoukou through trade that is seen in the present-day Ivory Coast. The Asante became respected for strip-weaving kente cloths in cotton and silk in the weaving village of Bonwire. The term kente means basket and refers to the checkerboard pattern of the cloths. The cotton for early Kente was locally grown, but the silk was imported since silk moths a. eotton not indigenous to Ghana. In present day, kente is found worn across the population, however its use is still concentrated among high society members and the wealthy. This stems from its long history of association with Asante royalty, who had also used it to denote their spiritual power, documented through later findings in their shrines to deities.
  • Ewe Kente: Kente cloth is also worn by the Ewe,located in Ghana and Togo and Benin Republic. The Ewe, a Gbe speaking group who originated from Nigeria,had a tradition of horizontal loom weaving, adopted the double heddle frame loom style of kente cloth weaving from the Asante with some important differences. Ewes weave cotton cloth instead of silk or rayon and introduce floating figurative weft patterns representing proverbs. Also, since the Ewe were not centralized, kente was not limited to use by royalty, though the cloth was still associated with prestige and special occasions. A greater variety in the patterns and functions exist in Ewe kente, and the symbolism of the patterns often has more to do with daily life than with social standing or wealth.
  • Dagbon: The people are specialised in weaving the Chinchini. This African textile is used to weave the Ghanaian Smock. Queens, princesses and women of Dagbon wear the Chinchini. The weaving of the chinchini is done by the 'Kpaluu', one of the traditional professional in the Dagbon society that has existed until today. The smock made from the Chinchini of Dagbon is the most worn traditional cloth of Ghana.[ citation needed ] During, the declaration of independence from colonial rule, Ghana's first prime minister and president together with other members of The Big Six (Ghana) were dressed in smocks as they declared the attainment of independence by the Ghanaian people. In November 2022, Ghana's Men National Football Team were dressed on beautiful patterns of smocks made from the chinchini as they arrived in Qatar. The socks, although originated from Northern Ghana, is worn by all across West Africa.
  • Yoruba Aso Oke: Aso oke meaning top cloth, is the most prestigious hand-woven cloth of the Yoruba. It requires a level of expertise and time to weave the cloth. Traditional indigo-colored Aso oke often required the hand-spun thread to be dyed up to fourteen times to achieve the deep blues needed. Special techniques were used to make the threads colorfast so that they would not damage the lighter colored threads or embroidery when washed. The raw silk Aso oke called sanyan requires thousands of moth cocoons to be collected and their silk carefully unraveled and spun into thread. These types of labor-intensive activities were prerequisites to weaving and hand embroidering. Technically, Aso oke is what is known as a double-heddle narrow loom weave. The cloth is made by weaving one forty foot or more four-inch band of cloth. This long piece is then taken to a tailor who cuts it into pieces, sews it together, and sometimes hand-embroiders it. Traditionally, Aso oke was woven from cotton and imported or domestic silk. Aso oke outfits are worn during major ceremonies such as weddings, funerals, naming ceremonies, and important religious festivals.
  • Faso Dan Fani: produced in Burkina Faso by the Marka people, the name is Dyula for "woven cloth of the motherland." [11] [12] Woven from cotton, kapok and tuntun wild silk. The thread is handspun, dyed, and woven on double-heddle looms into striped cloth: women spin and dye, while men weave and sew. [13] [14] The stripes of each cloth are woven to correspond to a proverb. Thus, wearing the cloth conveys a message. [13] Thomas Sankara (president from 1983 until his assassination in 1987) promoted dan fani as a symbol of local arts and national pride, and encouraged its wearing as an alternative to the Western suit. [11] It also diverted cotton production from a raw material for export to being used for domestic consumption. [15] [16] Sankara said, "We should not be slave of what others produce […] wearing the Faso Dan Fani is an economic act, cultural, and political to challenge imperialism." [17] With Sankara returning to popularity in the 2010s, Faso Dan Fani has also become more popular in Burkina Faso and in West Africa in general. [18] [19]

East Africa

Ethiopian Cotton: With the exception of Ethiopia, textile weaving is less common in East Africa. In the 1st century, cotton was imported into Ethiopia by Arabs. Ethiopia has conditions that are good for growing cotton thus cotton was then locally grown and woven into cotton fabric on horizontal pit-looms [20] mainly used by those with high social status.

Central Africa

  • Kuba Raphia: The Kuba of Central Africa have one of the widest range of textile skills in Africa including weaving cloth from leaves of raphia palm as well as embroidery, applique, cut-pile and resist dyeing techniques. The Kuba kingdom's need for traditional textiles for ceremonies has sustained their traditional cloth and weaving techniques since the height of the kingdom between the 17th and 19th century until today. Unlike in other regions in Africa where over time locally grown and homespun materials were replaced by mill spun and synthetic fabrics, the Kuba raffia looms could not be adapted for weaving cotton or other fibers; thus helping to retain traditional skills. Raphia is one of the most important indigenous fibres used in Central Africa including Cameroon, Republic of Congo and the Democratic Republic of Congo. It grows in abundance and sustainably in the swampy lands. To make cloth raffia fabric, fibres from raphia palm trees are harvested, the upper skin is stripped and left to dry in the sun. The fibre is then woven into skirts and wraps. Raphia weaving is also concentrated in the eastern part of Madagascar where contemporary haklkat raphia wraps are tie-dyed with multiple colors.
  • Bark cloth: Bark cloth has ceremonial and ritual importance for the Baganda in Uganda as well as in Cameroon and the Congo. It is one of the first fabrics made in tropical areas of Sub-saharan Africa, specifically Central Africa. Bark from the tropical fig tree is stripped from the tree once a year and then sustainably regrows. The bark is moistened and then beaten rhythmically over a log until it expands by as much as four times [21] into cloth. The cloth is then decorated with embroidery or dyed to create embroidered gowns, crocheted feathered hats, or the popular Bamileke stitched resist bark cloth.

Southern Africa

  • Madagascan Silk: The island of Madagascar lies off the southeast coast of Africa, separated from the mainland by the Mozambique Channel. Malaysian Polynesians colonized the island in the first millennium and brought weaving techniques and burial customs to the island and the rest of Africa through trade. Cotton is grown all over the island but the most prestigious material is silk. There are 13 known varieties of locally grown silk. The silk is long and woven on a single heddle loom.

North Africa

  • In Egypt, woven tapestries called kilim have been used as rugs since at least the 5th century. The craft is still popular today throughout Africa and Asia and often used as prayer rugs.

Dyeing

Dyeing is the main method of colouring fabrics. From the Tuareg nomads of the Sahara to Cameroon, clothes dyed with indigo, the most common dye in West Africa, signified wealth and abundance. The Yoruba of Nigeria and the Mandinka of Mali are recognized as experts in indigo dyeing. Natural dyes such as vegetable and mineral dyes were widely used including blue from indigo which is obtained from a stream that runs from the Senegal River down to the Cameron border rich in Lonchocarpus cyanescens( a species of shrub from family Fabaceae. It is commonly known as elu in Yoruba, anunu by Igbo people as talaki in Hausa, sauru in Tiv and as ebelu by the Edo people) the main plant for indigo dyeing. Other natural dyes include Morinda brimstone tree for yellow, white from kaolin clay, black from charcoal or black clay, brown from mud, and red from Camwood. Some dyes like camwood need to be heated before use. The camwood is grated into a powder, then boiled before adding the fiber to be dyed. However, other dyes like the Kola nut do not need heat. Resist techniques such as tie-dye, stitched and folded resist, wax batik, and starch resist are typical dyeing methods used to introduce patterns and color on the cloth.

West Africa

  • Senegal: Stitch resist dyeing entails stitching the cloth to prevent the dye from reaching selected areas on the cloth. The stitching was historically done by hand but now also by sewing machines. The finest stitch resist indigo dyed materials are the Saint Louis textiles of Senegal. [22] Manjak weavers produce the most widely used woven fabric in Senegal.
  • Nigeria: Among the Hausa, indigo dyeing generated wealth in ancient Kano. Yoruba are masters of the indigo-dyeing process, using a stitch resist method to make Adire Alabere.
  • Mali: Traditional mudcloth followed a specific method using weave, dye, and local mud. Desired patterns were a result of repetition of processes over time.
  • Ghana: Adinkra symbols representing proverbs and aphorisms were stenciled on fabric using carved calabash stamps [23] and a vegetable-based dye to make Adinkra cloths traditionally worn by royalty and spiritual leaders. Adinkra cloths originated from the Bono Akan tribe of Ghana.

Central Africa

  • Cameroon: Indigo dyeing in Cameroon is also done in pits very similar to technique practiced in neighbouring Nigeria. To make resist-stitched, Bamileke indigo-dyed cloth, the geometric designs are stitched onto cotton cloth with a raffia thread. The stitched cloth is then dyed blue in dye-pits using indigo which traditionally was natural but has now been replaced with synthetic versions. The raphia stitches are then removed from the dyed cloth to reveal the pattern of white resist against a blue background. The patterns used range from geometric tribal motifs to figurative patterns of humans and animals. Clamp resist dyeing is used by the Kuba. Raphia panels are folded to form a cube and then clamped and dip dyed. The clamps are removed after dyeing to reveal the resist pattern in natural raphia against the usually black dyed background.

Southern Africa

  • Zimbabwe: Batiks are created using maize flour paste. In eastern Zimbabwe, a long tradition of making sturdy naturally-coloured mats from bark fiber exists.

Decoration: embroidery and beadwork

Embroidery [24] was used for both decorative and functional purposes. The embroidery techniques, such as buttonhole stitch and cut-pile embroidery, are often simple, but their intricate effects are a result of the skill-level and final pattern design used. For example, hemmed appliqué is a simple technique still used today where raphia cloth pieces are cut into designs and sewn onto the base fabric. The decorative pattern depends on the region and the imagination of the embroiderer. The Asante in Ghana use non-figurative patterns representing proverbs while the Ewes [25] use figurative weft patterns also representing proverbs. The Yoruba introduce rows of holes lengthwise in the woven cloth strip. Beadwork is common in East Africa and Southern Africa although it is still used in other parts of Africa including Nigeria and Ethiopia.

Cultural significance

Weaving is of great importance in many African cultures. The Dogon, for example, believe that spinning [30] and weaving thread can be likened to human reproduction and the notion of rebirth. The color of cloth is often of significance and is representative of specific qualities and attributes. For example, among the Ewe and Ashanti, black and white kente cloth is typically worn at funerals of elderly people to signify both a celebration of life and the mourning of death. In most cases end up with a widow wearing her late husband's apparel for several days.

African textiles can be used as historical documents. [31] cloth can be used to commemorate a certain person, event, and even a political cause. Much of the history conveyed had more to do with how others impacted the African people, rather than about the African people themselves. The tapestries tell stories of Roman and Arab invasions, and how the impact of Islam and Christianity affected African life. The same is true of major events such as colonialism, the African Slave Trade, even the Cold War. [32]

African textiles also have significance as historical documents, offering perspectives in cases where written historical accounts are unavailable: "History in Africa may be read, told and recorded in cloth." [33]

Western African demand for cotton textiles fueled early South-South exchange during colonial times. [34]

Examples

Some examples of African textiles are the following:

Related Research Articles

<span class="mw-page-title-main">Weaving</span> Technology for the production of textiles

Weaving is a method of textile production in which two distinct sets of yarns or threads are interlaced at right angles to form a fabric or cloth. Other methods are knitting, crocheting, felting, and braiding or plaiting. The longitudinal threads are called the warp and the lateral threads are the weft, woof, or filling. The method in which these threads are interwoven affects the characteristics of the cloth. Cloth is usually woven on a loom, a device that holds the warp threads in place while filling threads are woven through them. A fabric band that meets this definition of cloth can also be made using other methods, including tablet weaving, back strap loom, or other techniques that can be done without looms.

<span class="mw-page-title-main">Denim</span> Warp-faced textile

Denim is a sturdy cotton warp-faced textile in which the weft passes under two or more warp threads. This twill weave produces a diagonal ribbing that distinguishes it from cotton duck. Denim, as it is recognized today, was first produced in Nîmes, France.

<span class="mw-page-title-main">Textile arts</span> Form of arts and crafts using fibers

Textile arts are arts and crafts that use plant, animal, or synthetic fibers to construct practical or decorative objects.

<span class="mw-page-title-main">Kente cloth</span> Ghanaian textile

Kente refers to a Ghanaian textile made of hand-woven strips of silk and cotton. Historically the fabric was worn in a toga-like fashion by royalty among the Ashanti and Akan. According to Ashanti oral tradition, it originated from Bonwire in the Ashanti region of Ghana. In modern day Ghana, the wearing of kente cloth has become widespread to commemorate special occasions, and kente brands led by master weavers are in high demand. Kente is also worn in parts of Togo and Ivory Coast by the Ewe and Akan people there.

Ikat is a dyeing technique from Southeast Asia used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric. In Southeast Asia, where it is the most widespread, ikat weaving traditions can be divided into two general groups of related traditions. The first is found among Daic-speaking peoples. The second, larger group is found among the Austronesian peoples and spread via the Austronesian expansion to as far as Madagascar. It is most prominently associated with the textile traditions of Indonesia in modern times, from where the term ikat originates. Similar unrelated dyeing and weaving techniques that developed independently are also present in other regions of the world, including India, Central Asia, Japan, Africa, and the Americas.

<span class="mw-page-title-main">Damask</span> Reversible figured woven fabric

Damask is a woven, reversible patterned fabric. Damasks are woven by periodically reversing the action of the warp and weft threads. The pattern is most commonly created with a warp-faced satin weave and the ground with a weft-faced or sateen weave. Fabrics used to create damasks include silk, wool, linen, cotton, and synthetic fibers, but damask is best shown in cotton and linen. Over time, damask has become a broader term for woven fabrics with a reversible pattern, not just silks.

<span class="mw-page-title-main">Darning</span> Sewing technique for repairing holes or worn areas in fabric or knitting using needle and thread

Darning is a sewing technique for repairing holes or worn areas in fabric or knitting using needle and thread alone. It is often done by hand, but using a sewing machine is also possible. Hand darning employs the darning stitch, a simple running stitch in which the thread is "woven" in rows along the grain of the fabric, with the stitcher reversing direction at the end of each row, and then filling in the framework thus created, as if weaving. Darning is a traditional method for repairing fabric damage or holes that do not run along a seam, and where patching is impractical or would create discomfort for the wearer, such as on the heel of a sock.

<span class="mw-page-title-main">Wrapper (clothing)</span> West African dress

The wrapper, lappa, or pagne is a colorful garment widely worn in West Africa by both men and women. It has formal and informal versions and varies from simple draped clothing to fully tailored ensembles. The formality of the wrapper depends on the fabric used to create or design it.

<i>Kasuri</i> Japanese textile technique

Kasuri (絣) is the Japanese term for fabric that has been woven with fibers dyed specifically to create patterns and images in the fabric, typically referring to fabrics produced within Japan using this technique. It is a form of ikat dyeing, traditionally resulting in patterns characterized by their blurred or brushed appearance.

Maya textiles (k’apak) are the clothing and other textile arts of the Maya peoples, indigenous peoples of the Yucatán Peninsula in Mexico, Guatemala, Honduras, El Salvador and Belize. Women have traditionally created textiles in Maya society, and textiles were a significant form of ancient Maya art and religious beliefs. They were considered a prestige good that would distinguish the commoners from the elite. According to Brumfiel, some of the earliest weaving found in Mesoamerica can date back to around 1000-800 B.C.E.

The manufacture of textiles is one of the oldest of human technologies. To make textiles, the first requirement is a source of fiber from which a yarn can be made, primarily by spinning. The yarn is processed by knitting or weaving, which turns it into cloth. The machine used for weaving is the loom. For decoration, the process of colouring yarn or the finished material is dyeing. For more information of the various steps, see textile manufacturing.

<span class="mw-page-title-main">Resist dyeing</span> Traditional method of dyeing textiles with patterns

Resist dyeing (resist-dyeing) is a traditional method of dyeing textiles with patterns. Methods are used to "resist" or prevent the dye from reaching all the cloth, thereby creating a pattern and ground. The most common forms use wax, some type of paste made from starch or mud, or a mechanical resist that manipulates the cloth such as tying or stitching. Another form of resist involves using a dye containing a chemical agent that will repel another type of dye printed over the top. The best-known varieties today include tie-dye, batik, and ikat.

<span class="mw-page-title-main">Adire (textile art)</span> Indigo dyed-cloth made by the Yoruba people

Adire (Yoruba) textile is a type of dyed cloth from south west Nigeria traditionally made by Yoruba women, using a variety of resist-dyeing techniques. The word 'Adire' originally derives from the Yoruba words 'adi' which means to tie and 're' meaning to dye. It is a material designed with wax-resist methods that produce patterned designs in dazzling arrays of tints and hues. It is common among the Egba people of Ogun State.

<span class="mw-page-title-main">Aso oke</span> A Yoruba handwoven fabric

Aso oke fabric, is a hand-woven cloth of Yoruba people. Usually woven by men and women, the fabric is used to make men's gowns, called agbada and hats, called fila, as well as Yoruba women's wrappers called Iro and a Yoruba women's blouse called Buba and a gown called Komole, as well as an head tie, called gele and so on.

Textile manufacturing is one of the oldest human activities. The oldest known textiles date back to about 5000 B.C. In order to make textiles, the first requirement is a source of fibre from which a yarn can be made, primarily by spinning. The yarn is processed by knitting or weaving to create cloth. The machine used for weaving is the loom. Cloth is finished by what are described as wet process to become fabric. The fabric may be dyed, printed or decorated by embroidering with coloured yarns.

<span class="mw-page-title-main">Balinese textiles</span> Native Indonesian weaving style of Balinese

Balinese textiles are reflective of the historical traditions of Bali, Indonesia. Bali has been historically linked to the major courts of Java before the 10th century; and following the defeat of the Majapahit kingdom, many of the Javanese aristocracy fled to Bali and the traditions were continued. Bali therefore may be seen as a repository not only of its own arts but those of Java in the pre-Islamic 15th century. Any attempt to definitively describe Balinese textiles and their use is doomed to be incomplete. The use of textile is a living tradition and so is in constant change. It will also vary from one district to another. For the most part old cloth are not venerated for their age. New is much better. In the tropics cloth rapidly deteriorates and so virtue is generated by replacing them.

<span class="mw-page-title-main">Kuba textiles</span> Textiles indigenous to the Kuba people of the Democratic Republic of the Congo

Kuba textiles are a type of raffia cloth unique to the Democratic Republic of the Congo, formerly Zaire, and noted for their elaboration and complexity of design and surface decoration. Most textiles are a variation on rectangular or square pieces of woven palm leaf fiber enhanced by geometric designs executed in linear embroidery and other stitches, which are cut to form pile surfaces resembling velvet. Traditionally, men weave the raffia cloth, and women are responsible for transforming it into various forms of textiles, including ceremonial skirts, ‘velvet’ tribute cloths, headdresses and basketry.

<i>Boro</i> (textile) Traditional Japanese textiles that have been mended or patched

Boro (ぼろ) are a class of Japanese textiles that have been mended or patched together. The term is derived from the Japanese term "boroboro", meaning something tattered or repaired. The term 'boro' typically refers to cotton, linen and hemp materials, mostly hand-woven by peasant farmers, that have been stitched or re-woven together to create an often many-layered material used for warm, practical clothing.

<i>Tanmono</i> Traditional bolt of narrow-loom Japanese cloth

A tanmono is a bolt of traditional Japanese narrow-loomed cloth. It is used to make traditional Japanese clothes, textile room dividers, sails, and other traditional cloth items.

<span class="mw-page-title-main">Yoruba Clothing</span> Yoruba traditional clothing styles

Yoruba clothing is the traditional attire worn by women of the Yoruba ethnic group in parts of Nigeria, Benin and Togo in a region called Yorubaland. The clothing reflects the rich culture, history and aesthetic preferences of the Yoruba people.

References

Citations

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