New Book: “Adire Cloth in Nigeria 1971–2016”

In part an updated version of Doig Simmonds and Nancy Stansfield’s classic 1971 book on adire, this new work is without doubt the  most useful and comprehensive book on the Yoruba tradition of indigo resist dyeing to date.  Although published as a print on demand book  and with budget limitations apparent in the reproduction of some images the authors add new material such and have drawn together the most important of previous sources, including Jane Barbour’s important articles, and an interesting article by John Picton that even I had missed. I have scanned the back cover, contents page and a typical page below. Click on the photos to enlarge. The book may be ordered direct from Doig at doigds@gmail.com priced at GBP18 plus postage.

A Unique Yoruba Silk and Indigo Agbada

The unique feature of this classic late C19th Yoruba robe is the cloth from which it was tailored. One of the most prestigious and expensive patterns of Yoruba aso oke strip weave was dark indigo hand spun cotton with a very fine check pattern of lighter blue or white cotton. This pattern was called etu, meaning "guineafowl" after the bird's speckled plumage. Etu, for those with a deep understanding of Yoruba cultural tradition, formed one of a triumuvirate of prestige textiles, along with local wild silk sanyan, and magenta silk, called alaari, that was imported across the Sahara to northern Nigeria from the C1th until the start of the C20th. Sometimes the fine check of etu was changed to a larger check, then called petuje, which can be roughly translated as "surpasses etu".

Over the years I have collected a very small number of cloths, certainly less than ten, where the lighter coloured cotton that forms the check pattern against the dark indigo ground of etu is replaced with magenta alaari silk, thereby referencing two of the three prestige textiles at once. However this robe is the only known example where expensive alaari silk has been used to form a large check petuje pattern that was used to tailor a man's robe. The robe is sewn by hand throughout and decorated with a well executed hand embroidery in a classically Yoruba style. Condition is excellent. Dates from circa 1900. Measurement: Length 49 inches, width 102 inches/ length 125 cm, width 260 cm

Some comments on the diisa

Happy to get some interesting comments on yesterday’s post on the diisa, a long fringed indigo men’s shawl, through my Facebook and Instagram pages.

Malian artist and master dyer Aboubakar Fofana commented:

“these two photos are amazing. The dissa shawl was such an important piece for a man from this region. It was given to a young man by his mother when he got married. She would have saved for this shawl since her son was very young- they were a lot of work and were worth the same as 10 head of cattle. They were indigo dyed, and when the man died, this shawl would be his shroud. The celestial blue of indigo would help him pass from this world to heaven. I'm very proud to be making a modern interpretation of the dissa, with its long fringes, and I hope I am carrying on the tradition of something important in my culture.”

And Belgian art historian Patricia Gerimont, who is working on a book on indigo dyeing in Mali, supplied this information on indigo in Burkina Faso (my translation.)

“the indigo shawls and wrappers in Burkina are dyed by a specific group called the Yarsé, and also by other groups of Marka dyers. The Yarsé speak Mossi but are of Marka origin, you also find them in Dogon country under the name Yélin.”

And here is another photo of Samory Touré wearing his diisa.

The Diisa, an indigo scarf of the Sahel.

The photo, by photographer Edmond Fortier, shows the Dioula warlord Samory Touré wearing on his head a plain fringed indigo headscarf called a diisa. In a brief discussion of these distinctive cloths in his book Textiles du Mali (Bamako 2003) Bernhard Gardi suggests these cloths were usually a mark of rank. Similar cloths, worn around the hips by young Dogon men, are seen in the photo below, also by Fortier.

And by a Wolof trader below:

Looking at the group of long fringed cloths from Burkina Faso that I posted on my site last week, one of which is shown below, and the remainder here, it seems likely that the tie-dye patterned examples form a previously unnoticed regional variation on this wider tradition of men’s prestige cloths.

Dogon uldebe cloths

Dogon elders wearing indigo and white cotton uldebe cloths. These cloths are still important among the Dogon as a mark of high status and will play an important role in funeral rites. Photo by Boukary Konate on Facebook.

Mossi Indigo Shawls

Rare variant style of vintage Mossi indigo shawls from Burkina Faso with 10 inch long braided fringes and tie dye patterning. There is a deluge of mostly very mediocre indigo dyed cloths coming out of Burkina at the moment but careful searching can uncover some gems amongst them. Message me for sizes and prices.

New book: “Indigo Quilts–30 Quilts from the Poos Collection” by Kay and Lori Lee Triplett

I usually steer clear of commenting on books about African-American quilting and apparent affinities with aspects of African textiles as it is a controversial topic that, to be honest, doesn’t directly impact on my own interest in understanding more about the history of West African textiles themselves.  However this welcome book by quilt and textile collectors Kay and Lori Lee Triplett breaks new ground by looking instead to the indigo fabric used in making the quilts and a detailed, archive research based, exploration of the role of African-American slaves and ex-slaves in the early production of indigo resist dyed cloth in the Americas. This is preceded by a stimulating overview of the history of indigo dyeing within West Africa, and illustrated with both West African textiles and a selection of remarkable antique indigo and white quilts from their collection.

Wodaabe Men’s Festival Attire, Niger.

Photo taken from the book “Nomads who cultivate beauty” by Mette Bovin (Nordiska Afrikainstitutet, 2001) in my view the most interesting of many books on the Wodaabe nomads of Niger. Bovon notes that this picture was taken in 1975 by a local photographer Yacoubou in Diffa. She noted – ‘Young men nowadays laugh when they see this photo, and comment “How old-fashioned they look, the mirrors are too big and hanging too low. Our fashion today is much smarter, more chic. But look, all three men’s faces are pretty.”’

AGB110 - Fine example of a open-sided hand embroidered tunic of a type worn by young men of the nomadic Wodaabe people of Niger for certain important ceremonial occasions. The embroidery patterns are named after aspects of nomadic lifestyle such as the layout of the camp site, and are executed on a backing cloth of very narrow (1cm) width strip woven cloth, the most expensive and prestigious fabric available. It was woven by Hausa weavers in the vicinity of Kano in northern Nigeria for sale to the nomadic peoples of the Sahel and Sahara to the north.

The tunics were worn over a skirt fashioned from a wrapped goat skin and were adorned with hanging jewellery and other finery in an effort to draw the eye as the man danced in a row among the other young men of his clan. See the photgraph at the foot of this page taken from the book “Nomads who cultivate beauty” by Mette Bovin (Nordiska Afrikainstitutet, 2001). A notable feature of this example is the asymmetric layout of the embroidery on the reverse of the robe. Wodaabe tunic of this quality are now becoming rather hard to source and increasingly rare. Condition: excellent. Age: circa mid C20th. Measures: 67 inches x 18 (+ arms), 170cm x 46. PRICE: US$2175.

Ewe Kente in Hali Magazine #186

Issue #186, out now and available from Hali, includes my article on Ewe kente and a review by John Picton of my book on the Karun Thakar collection of African Textiles. Cloth shown is a rare variant from the vicinity of the town of Kpalime in Togo. Also includes my review of the Kongo exhibition at the Met.

Today at the shop….

At the shop: fine mid century Ewe kente woman's cloth from Ghana. Visit us online at www.adireafricantextiles.com or at Alfies Antique Market in London.

An Indigo Strip Weave Robe from Togo

AGB114 - Much prized by lovers of indigo, these smock-like robes were worn by hunters and other senior men in the forested central and northern regions of the Benin Republic and Togo. A rare image of one being worn by the Paramount Chief of the Cabrais (today Kabiye or Kabye) prople, circa 1930, is shown below.

Hand-tailored from three different patterned indigo hand spun cotton thread strip weaves with a plain indigo in a lighter shade lining the shoulders and hem. Ten years or so ago there were quite a few of these around in Accra but more recently they have become rather scarce in acceptable condition and prices for rare unpatched and unstained examples as good as this have risen accordingly.

Condition: excellent. Age: first half of C20th. Measures: approx. 43 inches x 57, 110cm x 145.

Click on the photos to enlarge. To see this and other robes we have for sale click here.

Kongo: Power and Majesty–the blog

Some especially interesting comments on textile use by the eminent historian Phyllis M.Martin.

“Kristen Windmuller-Luna: In your essay in the exhibition catalogue, you write extensively about cloth's role in the Loango economy. How did that system function?

Phyllis M. Martin: We have to consider that cloth is a way of storing value. Cloth was also an essential ingredient in society and culture. It was not just a piece of fabric with wonderful weaving and designs; it was much more than that. When the Dutch arrived around 1600, they talk about how the king—the Maloango—had warehouses and storehouses bursting with cloths, copper, and ivory.

And so you ask, "Why cloth?" Cloth has many advantages, and we can think of it functioning like a currency; a currency needs to be portable, it needs to be durable, and preferably it needs to be locally produced. The region was described in one late sixteenth-century source as "the land of palms," which was important because raffia palm trees provided the raw materials which weavers then made into threads to create these textiles.

Kristen Windmuller-Luna: Where would the textiles included in the exhibition, which are all luxury items, have fit into the Loango economy?

Phyllis M. Martin: The Maloango and other wealthy and powerful persons controlled the production of cloth. There were certain gradations according to the labor and creativity involved in their production. The Maloango had control over master weavers, and only they were allowed to produce these incredibly high-value, beautiful pieces. There were four or five gradations of fabric, and commoners would wear very simple cloth. When you're exchanging goods, obviously, this kind of luxury cloth is very high value, so it could be used as a currency—it's like a one- or ten- or a hundred-dollar bill. Several could be used together to vary the value in an exchange. A common person might be wearing just a very basic weave—no colors, no design. In our society we also measure people by the clothes that they're wearing; it's of course much of the same thing. There are many commonalities with European society when you stop to think, especially at this time [the sixteenth and seventeenth centuries].”

excerpted from:

The Visual Archive: A Historian's Perspective on Kongo and Loango Art

Kristen Windmuller-Luna, 2015–16 Sylvan C. Coleman and Pamela Coleman Memorial Fund Fellow, Department of the Arts of Africa, Oceania, and the Americas; and Phyllis M. Martin, Professor Emeritus of History at Indiana University Bloomington

Cloth of the month: A rare variant form of Asante adinkra.

ADK071 -   This is the best example I have seen of a very rare variant of woven ground adinkra cloth, as distinct from typical adinkra that is hand stamped  onto machine woven imported fabric.  This type of cloth usually only has two stamped motifs in alternation, and is usually on an orange and red ground, so a white and black ground example such as this with four different motifs is exceptional. The background cloth is composed of an alternation of two different woven strips - the first is plain black and only 5 cm in width, while the second is much wider at 16cm and white with black weft stripes at regular intervals.

Combining the two creates the grid of black squares that frame the stamped motifs. See my recent book: African Textiles: The Karun Thakar Collection (Prestel 2015) for a similar ground cloth with only two motifs.           
In excellent condition. Dates from early to mid C20th. Measurement: 135 ins x 94, 344 cm x 239.  PRICE: Email for price

For more recent acquisitions visit our gallery here.

"Made of Straw of Rare Beauty": Kongo Textiles in Renaissance European Collections

Interesting blog post on the Kongo textiles at the Met exhibition by British Museum curator Dora Thornton here

A Jukun court official, Wukari, Nigeria

Rare view of  a Jukun court official in his elaborate strip woven cloth. Date and photographer unknown. Source: @artnewsafrica

African Textiles: the Karun Thakar Collection

My new book, out now. African Textiles: the Karun Thakar Collection, (Prestel), available now from good bookstores and the usual sources. Main texts and captions are by me, brief foreword by Bernhard Gardi, text in the North Africa section by Dr Miriam Ali-de-Unzaga, and an introduction to his collecting experiences by Karun Thakar. The book is a substantial (320 page) introduction to one of the largest and most important collections of African textiles, with particular strength in West Africa and a number of previously unpublished styles illustrated.

Indigo Details

Mossi strip weave, Burkina Faso.

Yoruba stitch-resist adire, Nigeria, 1960s.

Strip weave, Niger, mid C20th.

Hausa strip weaves, Nigeria, circa 1970.

Yoruba strip weave aso oke, Nigeria, early C20th.

Yoruba strip weave aso oke, Nigeria, early C20th.

Yoruba starch resist adire eleko, Nigeria, circa 1960s.

Hausa stitch resist, Nigeria, circa 1970.

Efik stitch resist, Nigeria, mid C20th.

Please visit our website to view our selection of indigo cloths.

Exhibition: “West Africa: Word, Symbol, Song” at the British Library.

An exhibition of literature and music – from the great African empires of the Middle Ages to the cultural dynamism of West Africa today

Fascinating stories from the region’s 17 nations show how West Africans have harnessed the power of words to build societies, drive political movements, sustain religious belief and fight injustice.

Beautiful manuscripts, historic film and sound recordings, books, photographs, and woven and printed textiles offer a unique insight into a profound and engaging literary culture with centuries-old written heritage existing alongside ancient oral traditions.

Hear the myth of the founding of ancient Mali in recorded performance. See the influence of religion through colourful fabric and the saddlebag Qur’an. Celebrate writers and artists including Africa’s first Nobel prize winner, Wole Soyinka, and internationally acclaimed musician and human rights activist Fela Kuti.

- See more at: http://www.bl.uk/events/west-africa-word-symbol-song#sthash.SVnDNyAJ.dpuf

Asante Silk Kente Cloths

While run of the mill Asante kente cloths woven from rayon thread and mostly dating from the 1970s and after are easy to find, top quality silk cloths woven in the early part of the twentieth century are extremely rare and becoming increasingly difficult to source. The images below show a glimpse of some or our current inventory. Full views and more details on our site at adireafricantextiles.com