The Aspects of African Textiles - Essay Example

Through the centuries, the attitude and behaviour of man has been influenced by the customs and traditions of the society within which he lives. These customs and traditions constitute the culture of that particular society or race and people through the ages have made efforts to document their unique identity and culture for the posterity through various mediums of documentation. Therefore, history has long since been regarded as a very important document of a country’s inheritance of its cultural values, people and its socio political and economical evolution. Historians have adopted various means of putting the facts and figures of their time. The most important facet of the history is the context of the information that is preserved for the posterity and which is used to disseminate information regarding the people and place, constituting the cause and consequences that helped shape their lives. African cloths are one such medium of disseminating information regarding the socio-cultural value system of African people. African tribes have a distinct identity with unique traditions and cultures that have been passed on to the successive generations through the centuries. Their cultural identities have survived the tests of the time and recently their evolution has seen their inclusion and popularity in the so called mainstream population of the whites of the developed nations like America and Europe. While written documents of history have been considered widely popular with the experts, other forms of maintaining the historical saga are equally important as they are capable of divulging all the relevant information of the time and place. The cloths of African people belonging to different tribes, residing at different places or independent states in African sub-continent are vital historical documents that are still very much in vogue and are renowned for their distinct features which have a unique way describing their culture and traditions. We would be studying the significance of the three types of popular cloths from different regions of Africa: Kuba cloths from Congo; Adinkra cloths from Ghana; and Kente cloths also from Ghana. Kuba Cloth Historical background Kuba tribe of Kasai river region of Democratic Republic of Congo, formerly known as Zaire, is renowned for its well defined political structure having strong legal system which is not commonly found in other African states. Its cultural heritage is distinct in its creative output expressed through various mediums like pottery, sculpture in metal and ceramic and indigenous cloths and represent their traditions and values system. They have high regard for beauty and value artistic creations and that is why artists and sculptors have prominent position in the Kuban society. The textile is the highlight of their rich culture and signifies both their traditions and socio-political status. The textile or Kuba cloth weaving also characterizes the gender based segregation of work that was prevalent at the time. The men had the responsibility of weaving the cloth with fibers that is made from Raffia palm tree, which is abundantly found in the Kasai river region. The intricate weaving is done by the men folk which is later embroidered and decorated through appliqué, patchwork, vegetable dyes and other accessories by the women. The creative designs on the Kuba cloth are especially significant because each epitomizes various traditions that are associated with the Kuba people. The regular and symmetrical designs on the typical square and rectangular Kuba fabric are at times replaced by highly asymmetrical and erratic pattern, when they need to represent certain tradition or ritual. The variations in the pattern are also popular way of showing creativity in the design (Svenson, 1986). Socio-spiritual and political significance There are more than 200 patterns in Kuba cloths and each has been named after people or things that have special significance. Creativity in pattern and design is encouraged and new patterns are often named after its creator. ‘Ntshak’ Kuba cloth is exclusively used by the three women of royal family; Queen mother, first wife of the king and first daughter of the king. Also known as ‘Royal textile’, it is characterized red background surrounded by geometric patterns with a red tufted border. According to Clark this textile exhibits the Richileu embroidery style for which the Bakuba people are well known (Clarke). The more Kuba cloths are owned by people, the more wealth and social status they represent. According to Mack, the cloths are ‘emblem of wealth, power, and social esteem’ (Mack, 165). Cloths are important part of Kuba tribe and they are preserved and passed on to the generations. They have specially designed cloths for different occasion and festivities, corresponding to the mood and ambience of the event in question. Red, blue, black and yellow are prominent colors that are used in Kuba cloths, each having a specific meaning in the socio-religious context. African tribes are God fearing and have various superstitious that govern their personal lives and work areas. They always weave cloths during daytime as they believe that spinning and weaving have special cosmological significance and symbolize reproduction and resurrection. They also believed that the ‘face of seventh Spirit ancestor’ transmits divine messages through the spinning and weaving of cloths and therefore they must always be woven at daytime. They also have special cloths for funerals because they believe that if they are not worn at funeral, their ancestors, in the land of the dead, will not recognize them! The patterns and color of the fabric is also used as a means to convey certain social and spiritual messages for the people to promote awareness about issues that are intrinsically linked with their lives. Evolved practice The traditional Kuba cloths have now lost the wider appeal to the youth because of the exposure to the western value system. The Kuba cloths are now worn in western style and the typical Kuba garment has just become a symbol of the ancient values and cultures that are to be exhibited during state occasions and festivals. There is urgent need to preserved it not only for the unique identity but also for the posterity to remember the great traditional and cultural values that held them together through the centuries. Adinkra Cloth Historical background Adinkra cloth is made by Ashanti people of Ghana which was previously known as Gold Coast of West Africa. Ashanti is a tribal society and are known as one of the most powerful warriors who resided in the vicinity of forest which was rich in gold and other minerals. Ashanti society is basically matrilineal in essence and its people are guided by strong beliefs. In the society, the women are very highly regarded and Ashanti women enjoy equal right with their counterparts. The community is highly sensitive to social obligations and occasion like funeral are expected to be attended by everybody. As per the major postulates defined by the society, Gods and the ancestral spirits control the universe and all major contraventions of the will of the ancestors or the gods are the sins (David Luca1). It is therefore not surprising that Ashanti society is very traditional and conforms rigidly to their socio- legal norms as set by their ancestors. The well organized social structure is further strengthened through the traditional and cultural scriptures that are intrinsically woven in the design and pattern of ‘Adinkra cloths’ that form integral part and parcel of Ashanti people. The cloth has special significance in the lives of the Ashanti tribe because their designs are used to express the fundamental beliefs and knowledge of the tribe which are carried on to the next generation and thus preserve their unique culture and traditions through the ages. The messages engraved in the Adinkra fabric are values and experiences of the Ashanti people that are intended to be shared with others. The Adinkra cloths are distinguished by their bold block prints. The blocks are carved from apakyiwa (gourd or calabash) and each block symbolizes folk tales and proverbs that define the socio-cultural value system of the people. Socio-spiritual significance Storytelling is an integral part of Ashanti people and the contemporary historians have recognized the ancient art of storytelling as historical documents of the evolution of Ashanti tribe through the ages. These folk tales and stories, which are strongly linked to the socio-cultural and religious values of the tribe, are also creatively woven in the patterns of the Adinkra cloth thus making these cloths as exemplary representation of traditions and culture of the society. The color and symbols on the Adinkra cloths suggest complex concepts of ideology and religious practices of the people. They have also been used to disseminate awareness about the moral and ethical values and issues that must govern the lives of the people of Ashanti tribes and the symbols on the cloths reinforce the importance of those values in the day to day lives. Adinkra cloths are also given as gifts on special occasions like birth, marriage etc. The following few of the symbols are taken from ‘Akan Cultural Symbols Project’ (Kojo Arthur Robert Rowe) which have special significance. ADWERA - Watery Shrub Symbol of purity, sanctity, consecration, cleanliness, chastity, and good fortune From the expression: Adwera nsuo, wo ne nkwansuo, nsu korogyenn a wohuru nso wonhye. Literal translation: Water of life, you are the pure crystal clean water that boils, but does not burn ADWO - Peace  Symbol of peace, calmness, spiritual coolness, and continuity From the proverb: Ohene nya ahotenafo pa a, ne bere so dwo. Literal translation: When the king has good counselors, then his reign will be peaceful. From the expression: Adwera nsuo, wo ne nkwansuo, nsu korogyenn a wohuru nso wonhye. Literal translation: Water of life, you are the pure crystal clean water that boils, but does not burn. AKOKO NAN – Hen’s feet Symbol of parental discipline, discipline, protection, parenthood, care, and tenderness From the proverb: Akoko nan tia ne ba so a, enku no. Literal translation: When the hen treads on its chicken, she does not mean to kill them NKYINKYIM - Zigzag Symbol of toughness, adaptability, devotion to service, and resoluteness. From the expression: Obra kwan ye nkyinkyimiie. Literal translation: The course of life is full of twistings, ups and downs, and zigzags. This symbol emphasizes the need for critical appraisal and reappraisal of ones situation in life Evolved practice The traditional symbols that highlight the fundamental value system of the Ashanti society have now included the changing paradigms of the transforming society. The Adinkra cloths have creatively included new symbols to represent the changes that have been brought about through internal and external factors like the influences of pre and post colonization of the Ghana. The exposure to the western culture can also be observed in the changing patterns and symbols that are woven into the fabric. Kenta Cloth Historical background This cloth is also from Ghana and was first made by Ashanti people. It is named ‘kente’ which is a Fante word, meaning basket. The Fante people of Ghana used to sell these cloths in a basket and hence the name of the cloth. The Kente cloth is integral part of the various religious ceremonies and its different designs represent diverse customs and beliefs. Kente fabric is produced by using spindle to weave and women are specially chosen to organize the raw material and spin locally grown cotton into thread that is used to produce Kente cloth. The cloth is woven into strips which are later joined together to make different types of garments for the people. Apart from cotton, other materials like silk, lurex and rayon are also used in the Kente cloth to produce patterns that have specific meaning at various festive and non festive occasions. The prominent geometrical patterns woven with colored threads highlight the occasion. Kente cloth is jointly produced by men and women signifying gender equality which was the essence of those people at that time. Socio-spiritual significance The pattern and the color in the Kente cloths have special religious, political and social significance. While some of the cloth with special pattern and color are worn by the royals and chiefs, the other people occupying special social status have cloths which give an idea about their social standing and political status. During the funeral events, the Kente cloths have special connotation and must be worn to appease the spirits of the dead. The Kente cloths are popular in Ghana because of the wide variety of the designs that are skillfully woven by threads of different colors. Kente cloths have become the pride of the nation especially after it gained independence from the colonial rule. Kente cloths display socially relevant and popular messages that reflect people’s sentiments. When Kente cloths had become affordable, they prominently displayed ‘you may be rich, but you are not of royal descent’ and when President Nkrumah was overthrown, the message on the kente cloths read as ‘you may be rich, but you are not of royal descent’! (Stokes, 2008). In the Kente cloths color has special meanings. Red represents death or bloodshed, and is often worn during political rallies; green stands for fertility and vitality, and is worn by girls during puberty rites; white means purity or victory; yellow represents glory and maturity and is worn by chiefs; gold is for continuous life, is also worn by chiefs; blue represents love and is often worn by the queen mother; and black meaning aging and maturity and used to signify spirituality. Because of its vibrant beauty and regal legacy as a cloth fit for kings and queens, authentic Kente remains one of the most popular fabrics on the market today (Victoria Saho, 2007). Evolved practice The Kente cloths are national pride and are equally popular among the young and the old. The youth enjoy displaying the messages that are both witty and meaningful. Kente cloths, while being used in all the special occasions, are also worn regularly, depending on the affordability of the class. African Textile and its relationship with America In the recent times, especially after post colonization, the exposure of African textile in the West has become an instant success in the fashion world. In the United States, the uniqueness of typical African textile like Kuba, Adinkra and Kente have enchanted the West not only because of the ancient traditions and cultural beliefs that they represent but also the creative designs of the fabric, have attracted the scions of the fashion world and they are eagerly using these African cloths in their own indigenous manner to produce trendy clothes for the fashion conscious people, around the world. ‘Many designers working in Africa are attempting to give their work a local appeal by utilizing traditions of weaving and textile design in contemporary dress styles’ (African fashion, internet). The demand for these cloths and fabric has increased tremendously, which has resulted in the booming export of the fabrics by the African states. Apart from the highly individualistic designs, the African cloths made by the various tribes of Africa, are also eco-friendly which has added to the value of the African textiles in the West, especially in America. The dramatic increase in the popularity of the African cloths, after they were worn by famous people, has given impetus to the local economy. The traditional fabric is now increasingly used in the garments that are mass produced for the common people. The African textile is also used by the American people to promote awareness about the backward and fast vanishing tribes of Africa so that the rich culture and traditional values of the tribes could be saved and preserved. Indeed, exposure of the African textile to American public has set in motion the social movement that has effectively addressed the needs of the vanishing tribes. Reference African Fashion. Available from: [Accessed on 16 July, 2008]. Arthur, Kojo & Rowe, Robert. Akan Cultural Symbols Project. Available from: [Accessed on 16 July, 2008]. Clarke, Duncan.(2003). Available from: [Accessed on 16 July, 2008]. Luca, David. ‘The Ashanti Legal System’. Available from [Accessed on 16 July, 2008]. Mack, John. ‘Kuba art and the birth of ethnography’. In The scramble for art in central Africa, ed. Enid Schildkrout and Curtis A. Keim, 63-78. Cambridge, UK: Cambridge University Press, 1998. Fine Arts -- N7397 C33 Sc14. Lehman -- N7399.C6 S39 1998. Stokes, Kimberley. (2008). ‘Museums and Communities’. Final assignment. African Textile Catalogue. Spring semester, 2008. Saho, Victoria. (2007). ‘History of African Textile and Fabric’. Available from: [Accessed on 16 July, 2008]. Svenson, Ann E. (1986). ‘Kuba Textile: An Introduction’. WAAC Newsletter, Vol. 8 no. 1, January 1986. Available from: [Accessed on 16 July, 2008]. Read More