Thursday, 18 December 2014

“a native Christmas tree”


Since at least the end of the nineteenth century the Christmas and New Year holidays in Conakry, St Louis and other cities of Francophone West Africa have been marked by a festival and parade during which families and “quarters” would vie with each other to display the most elaborate and innovative “fanal.” A fanal was a wooden frame covered with paper, often in the shape of a boat, or, as in the image above, a fantasy building.  It is this fanal that the caption of the card identifies as “a native Christmas tree.” Candles or other lights were placed within the fanal for night time parades, giving them the name “lanterns” when the custom spread to English speaking Freetown by the 1930s.



Vintage postcards, circa 1900-20, author’s collection. Photographers unknown. Click on the photos to enlarge.

Friday, 12 December 2014

African Textiles in Close Up #4: An Asante “asasia” kente cloth at the British Museum.

“Asasia” is the Asante term for the rarest and most obscure type of silk kente cloth. A small number of examples were collected by Venice Lamb and Brigitte Menzel in the 1970s and are now in the Smithsonian and in Berlin Museum respectively, but I have never been able to find one in almost twenty years of searching in Ghana (a report of one available from a dealer on my most recent trip turned out to be good silk piece but not Asasia at all.) So I was pleased when I visited the British Museum textile storage at Blyth House earlier this year to be able to look at and photograph a fine Asasia kente that was previously unremarked among a group of cloths the museum acquired in the 1970s.


So what makes this cloth an Asasia rather than just an especially elaborate silk kente ? In order to answer that we need to look closely at the detailed structure of the patterns.

Weave Structure

Let’s look first at a pattern detail from a regular kente, below.


Ignore the striped background and focus instead on the zigzag diagonal pattern, specifically on the single green diagonal line. Like all these motifs it is created using a technique weavers call “supplementary weft float”, in which an extra thread, green silk in this case, “floats” over and under the striped “ground” weave. We can see (especially if we click for a moment on the picture and look at a bigger version) that what at a distance appeared to be a solid green diagonal is in fact made up of a series of rows (or “picks”) of the weft, in each of which the green goes over a number (actually eight) of the vertical warp threads, then under the next group (8 again) over the next etcetera. Then if we look at the next row of green up, we see the order is reversed so that the “under” sections in the first row and adjacent to the “over” sections in the next row and so on.

If we now look instead at a detail of the “asasia” cloth below we can see that something slightly different is happening.


Let’s look at the green silk diagonals again. Here the first row is the same, floating over 8 threads of the wrap, then under the next 8, over the next etcetera. However when we look at the second row we see that each float overlaps with the ones on the previous row, so that it floats over four of the same warp threads and four more from the next set, , then under and over in overlapping groups of eight. The effect of this is to create the “twill” weave structure we can see in the detail above and below.


The fact that the floats overlap from one row to the adjacent row means that the angle (45 degrees) formed by the designs is steeper than on a normal kente because only four warp threads separate the end of each row rather than eight. Together with the “twill” effect this creates the characteristic and distinctive appearance of the elusive asasia kente.  Below are some more details from the British Museum asasia (Museum reference number Af1979,01.5130.)





So how did Asante master weavers create an asasia kente cloth ? Let’s look first at a drawing from Brigitte Menzel’s book Textilien Aus Westafrika (Berlin:1972) figure#207.


In this sketch the weaver is seated at the right, the narrow set of the unwoven warp threads stretching out through the loom frame (not shown) in front of him, and the small section of completed cloth strip attached to a cloth beam in front of his lap. Nearest to the weaver is the reed or beater that he uses to press each pick of the weft threads closely against it’s predecessors. Beyond that is a pair of heddles – these are attached to a pulley at the top of the loom frame and will be pulled up and down by the weaver using his feet by means of the disks below. In the front one of these heddles loops of string encircle every second thread (the 1st, 3rd, 5th and so on) in the warp, while in the back one another set of string loops hold the other threads in turn (the 2nd, 4th, 6th etcetera.) So when one heddle is pulled down the other is drawn up and the gap or shed between the two sets of warps created. The weaver passes the shuttle holding the weft thread through this gap, beats in the pick of weft with the reed, reverses the position of the two sets using the foot peddles and repeats his actions. This is the basic weaving process used on the narrow strip look throughout West Africa.

In the sketch above though we can see that there is a second set of heddles beyond the first. This use of two pairs of heddles is a technical innovation restricted to the Asante and Ewe (and perhaps a few neighbouring groups) that allows the distinctive features of kente cloth to be efficiently woven. The aspect of this technique that concerns us here is its use to create extra or supplementary weft float patterns.


You will recall above we saw that an Asante extra weft motif is created by floating the additional weft over eight warp threads then under the next eight and so on, reversing the order in the next row. The second pair of heddles groups the warp threads into alternating sets of eight allowing these motifs to be woven: i.e. the front heddle holds threads 1 through 8 in a single loop of string, then 17 through 24 in a second loop and so on, while the back heddle hold threads 9 through 16 in its first loop etcetera.  When the weaver wants to weave a extra weft motif he moves his feet to the second pair of heddles and creates a shed in the warp using them instead of the front pair. He then holds the gap open using a flat piece of wood (the weaver’s sword) and adds the extra weft as needed, as shown in the postcard image above.

To weave an asasia kente however, the weaver required three sets of heddles as shown in Menzel’s rare photo and second sketch below.



With this exceptional setup the first two pairs of heddles are used as above, but the third pair groups sets of eight warps that overlap in fours with those group by the second heddle pair: i.e. front heddle threads 1 through  4 in first string loop, 13 through 20 in the second and so one, back heddle 5 through 12 in first loop, 21 through 28 in second loop etcetera. using these heddles and his weaving sword the weaver holds open a second group of 8 warps that overlaps with the first, thus allowing the distinctive twill effect of an asasia kente to be achieved.


Finally what can we say about the cultural context of asasia cloth use and why were they so rare ? Here we can turn to Venice Lamb and her book West African Weaving (1975).


This 1976 photograph is of the Asante Paramount Chief of Ejisu, Nana Diko Pim III wearing a rare Asasia Oyokoman Adweneasa cloth from Ejisu, Ghana; courtesy Doran H. Ross.

The first point we can note is that the cover photograph, taken in 1972 and showing a chief wearing his asasia cloth, depicts the same chief and the same cloth as Doran Ross was able to photograph four years later.  As far as I can establish these are the most recent published photographs of an asasia cloth is use, a fact that clearly speaks to their extreme rarity.


Venice Lamb (1975:126) noted that this cloth was presented to the Ejisu Stool by the King of the Asante (the Asantehene) in 1896 at the time of the revolt against the British. Lamb argues (I think correctly) that it was only asasia cloths that were the exclusive preserve of the Asantehene  and that they could only be woven or worn with his explicit consent. 


Asantehene Osei Agyeman Prempeh II (ruled 1931-1970) wearing an asasia cloth (1960s ?). Photo Ghana Information Service, scanned from Ross 1998.

At the time of her research in the early 1970s she thought only one weaver remained who could remember the technique, although Ross noted that it was lack of an appropriate order from the Asantehene rather than the technique itself that was the key.  A loom set up to weave asasia, presumably at her request, was collected by Brigitte Menzel , also in the 1970s, and is the collection of the Deutsches Textilmuseum,Krefeld.

Friday, 14 November 2014

Exhibition: “Add to, Take Away: Artistry and Innovation in African Textiles” at Dallas Museum of Art

Tunic with appliquéd designs

November 8, 2014 to December 6, 2015

““Add to” and “take away” refer to basic techniques African textile artists use to decorate cloth. “Add to” techniques include embroidery and appliqué. “Take away” refers to the removal of threads from cloth to create intricate patterns. Decorated cloth is often a powerful expressive medium in African life, a kind of visual language that can be read by those familiar with it. This installation of cloths drawn primarily from the DMA’s collection explores these techniques as they have been—and still are—practiced in Mali, Republic of Benin, Nigeria, Cameroon, and Ethiopia. “Add to” and “take away” refer to basic techniques African textile artists use to decorate cloth. “Add to” techniques include embroidery and appliqué. “Take away” refers to the removal of threads from cloth to create intricate patterns. Decorated cloth is often a powerful expressive medium in African life, a kind of visual language that can be read by those familiar with it. This installation of cloths, drawn primarily from the DMA’s acclaimed collection of African art, explores these techniques as they have been—and still are—practiced in Mali, Republic of Benin, Nigeria, Cameroon, and Ethiopia. “

Robe for a dignitary (boubou lomasa)

Woman's embroidered shawl

Captions for the photos are:

Tunic with appliquéd designs, Probably 1920s, Cameroon: Kom people, cotton and wool; commercially woven fabrics, machine and hand stitching, Dallas Museum of Art, Textile Purchase Fund;

Robe for a dignitary (boubou lomasa), Late 19th-early 20th century, Mali: Soninke people, cotton and silk; plain weave and embroidery, Dallas Museum of Art, Textile Purchase Fund;

Woman's embroidered shawl, Probably 1930s, Nigeria or Cameroon, Africa, cotton, Dallas Museum of Art, Textile Purchase Fund;

In my view the shawl is more likely to be from Ivory Coast.

Tuesday, 11 November 2014

Cloth of the month–a lower Niger prestige sash.


Man's prestige sash, worn over the shoulder, with the warp woven from luxury magenta silk imported to Nigeria by the Saharan caravan trade. Woven by a woman on an upright single heddle loom, the precise origin of this unusual cloth is hard to pinpoint but we can narrow it down to the lower reaches of the Niger and suggest the weaver was most likely Igbo. The neatly woven decoration is in blue, cream, green, and orange, with the same order of colours maintained across the three pattern sections. This is a very rare piece, with only one fairly similar example known (in the British Museum, # Af1956,07.35, collected by Charles Partridge before 1915.) Condition: Excellent. Measurements: 53 inches x 15, 135 cm x 38cm


The image below shows how the cloth would have been worn over the shoulder.


Below is the similar cloth collected by Charles Partridge before 1915 and now in the British Museum.


Click on the photos to enlarge. Click here to view this piece and other rare Nigerian textiles in our gallery.

“At Home in Africa” at Cleveland State University–some images.

Thanks are due to curator Kathy Curnow for generously sharing these images of the recent exhibition At Home in Africa at Cleveland State University.

itsekiri plus


Saturday, 1 November 2014

“West African Prestige Robes” on Pinterest


I have added a new board “West African Prestige Robes” to my Pinterest site. More images will be upload in the coming weeks. Please do check it out by clicking here.

Wednesday, 29 October 2014

An early Cameroun chief’s robe.


Chief’s prestige robe, Grassfields region, Cameroun, early C20th. Private collection, London. Front view.

This exceptional robe is tailored from hand woven hand spun indigo dyed cotton cloth that was woven in quite wide panels. The most probable source for this cloth would be the upright single heddle looms used by women weavers in many parts of Nigeria and the western part of Cameroun, although the cloth is of a looser weave and lighter weight than  is typical of Nigerian textiles of this type. The neck area is lined with a thin check patterned linen fabric that looks to be of French origin, while the hem and sleeve areas are dyed with a type of Central European patterned indigo cotton fabric called blaudrucke  - shown below.


Both the front and the back are decorated with hand embroidered designs in white, red, and yellow cotton. The large lozenge shape that encompasses the neck may perhaps be regarded as representing a necklace from which a giant bead or pendant is suspended. Small “double gong” motifs hanging from the “belt” area  are an early representation of what would become the dominant decorative motif on later Cameroun robes,  while the small lizards and other animals are quite a distinctive and unusual feature not typically found on robes even though they are part of the design repertoire of prestige sculptures and other royal artefacts.


Chief’s prestige robe, Grassfields region, Cameroun, early C20th. Private collection, London. Front view, detail.


Chief’s prestige robe, Grassfields region, Cameroun, early C20th. Private collection, London. Back view, detail.


Chief’s prestige robe, Grassfields region, Cameroun, early C20th. Private collection, London. Back view.

The construction of this robe from broad panels of hand woven indigo dyed cloth of uncertain origin compares closely to the robe shown below, which was collected before 1908 and is in the collection of the Museum der Kulturen, Basel.


“Cameroun: boubou bali, 198 x 130 cm. Collection du missionnaire G. Spellenberg (?), datent sans doute d’avant 1908. Collection de la Mission de Bale, Museum der Kulturen, Basel.” Scanned from Bernhard Gardi ed. Le Boubou –c’est chic (Editions Christoph Merian, 2000).

Click on the photos to enlarge.

Friday, 17 October 2014

Cultural Event in Taraba State, Nigeria

Some interesting images taken recently at a cultural event involving masquerade performances, taken recently in Bete or Betso Takum LGA Taraba state. This is a comparatively remote area close to the border with Cameroon. I am particularly interested to see indigo adire type resist dyed cloths still in use, a feature which is rarely seen in Nigeria today. Source: King Agbo Ebonyi on Facebook.


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