“Traditional headdresses, banned by Islamist group, return to Mali”–a great photostory from the Baltimore Sun

“Issues surrounding women’s rights and the treatment of women received special attention around the globe during International Women’s Day on March 8. To commemorate the occasion, Reuters photographer Joe Penney documented traditional headdresses worn by the women of Gao in Mali.

Radical Islamist group MUJAO (Movement for Oneness and Jihad in West Africa) placed limitations on these headdresses during their nine-month reign, which ended in January with the arrival of French and Malian troops. The headdresses, made of beads, gemstones, fabric and fake hair and traditionally worn by elites for special occasions, were criticized by MUJAO, who said they were not Islamic enough.” Source. Photos by Joe Penney.

Balkissa Maiga, 17, wears a traditional Songhai headdress made by artisan Hally Bara in Gao, Mali, March 6, 2013. (Joe Penney/Reuters Photo)

Hally Bara, an artisan, poses for a picture in front of traditional Songhai and Tuareg headdresses and jewelry she made at the store in her house in Gao, Mali, March 6, 2013. (Joe Penney/Reuters Photo)

Aminata Toure, 10, wears a traditional Songhai headdress made by artisan Hally Bara in Gao, Mali, March 6, 2013. (Joe Penney/Reuters)

Fady DIcko, 14, wears a traditional Tuareg headdress made by artisan Hally Bara in Gao, Mali, March 6, 2013. (Joe Penney/Reuters)

Fatoumata Toure, 15, wears a traditional Songhai headdress made by artisan Hally Bara in Gao, Mali, March 6, 2013. (Joe Penney/Reuters)

More photos here.

Cloth of the month: A unique wool cloth from Mali.

On my recent visit to Ghana I was pleased to find this remarkable wool and cotton cloth from Mali, collected by one of my contacts from the chief of a small village in the north west of the country.  Itinerant traders from Mali have been selling cloths in Ghana and neighbouring countries for at least 500 years so the presence of this cloth was not too surprising in itself. Wool blankets from Mali have become an accepted part of the court regalia of many Ghanaian chiefs, used for a variety of purposes including lining ceremonial hammocks and palanquins, covering royal drums, and just as a backdrop for displays of the royal treasures.

The surprising, and to my knowledge, unique aspect of this particular cloth is the design and layout. Made up of 14 strips of approximately 3 1/2 inch width (9cm), squares of indigo blue dyed wool alternate with squares of white handspun cotton, serving as a backdrop for quite complex patterning in natural brown dyed wool executed using a tapestry weaving technique, these strips would normally have been laid out in a much more regular fashion to form a far larger cloth, called an arkilla jenngo.

Arkilla jenngo were, according to Bernhard Gardi, woven in the area west of Tomboutou near Lake Faguibine by Songhay-speaking weavers, primarily working for Tuareg patrons. Interestingly he notes that according to his informants this type of wool blanket was not traded to Ghana. They were used as highly prestigious tent hangings for high status weddings.

Photo above by Harald Widmer, January 1952. The names given to the motifs “reflect the significance that weddings and bride wealth have in social life: we have for example,  ‘cushion’,  ‘bedposts’, ‘money’, ‘board game’, ‘leather fringe’, or ‘calabash’. (Gardi 2009.)

Turning back to our cloth we can now see that the standard strips woven for an arkilla jenngo have been put together in a different and unexpected way, with the regular layout of the traditional form replaced by an apparently random placement creating an “offbeat” staggered overlap and contrast between each strip and an overall dynamic oscillation across the cloth.  How can we tell that this was a deliberate effect and not just the random result of a partial or damaged arkilla being re-purposed by someone unfamiliar with the tradition ?

If we look at the ends of the cloth we see that it was carefully finished with a braided wool cord making up a series of tassels. This was the normal technique in Mali for finishing a smaller type of wool blanket known as a kaasa, and clearly shows that this cloth was assembled by someone working within that tradition. So we can only speculate on why this novel layout was adopted and it remains a mystery.

West African Robes: some early photos of Nigerian robes

To mark the recent update of the robe section of our gallery, today I am posting a selection of early images of this style of robe in use. Although this style of robe was made in and closely associated with the nineteenth century Sokoto Caliphate in north Nigeria, taking in Hausa, Nupe and northern Yoruba peoples, such was it’s prestige that it was traded and worn across a much wider expanse of West Africa.

Photographer unknown. Lagos, Nigeria, Circa 1890.

Photographer N. Walwin Holm or J.A. C. Holm, circa 1900-10. The Alake of Abeokuta.

Photographer unknown, Cameroun, early C20th.

Photographer unknown, Burkina Faso, early C20th. the Moro Naba, king of the Mossi, Ouagadougou.

Photographer unknown, early C20th, Tuareg Chief, Zinder, Niger.

Photographer unknown, early C20th. Hausa dance troupe, northern Nigeria.

Photographer unknown, early C2oth, Shendam, east central Nigeria.

Click on the photos to enlarge. Please visit our robe gallery to see our current stock and for more information.

African Textiles in Hali magazine Spring 2012

The latest issue of Hali magazine (#171, Spring 2012 – available from www.hali.com ) has two worthwhile articles on aspects of African textiles.

This beautiful and rare cloth, formerly owned by the celebrated Parisian couturier Paul Poiret and recently acquired by the MFA Boston, is the subject of an interesting and thought provoking “Masterpiece” appraisal by dealer Andres Moraga.  As he points out there is still considerable uncertainty in the identification of some of these more obscure styles of blue and white cloth, woven with often quite subtle variations over a wide area under the influence of the dispersal of Mande weavers of Malian origin over many centuries. This piece is tentatively attributed to Sierra Leone on the basis of comparison with two published cloths in the Lamb collection (Gilfoy 1987 numbers 8 & 12), but to my mind is far more likely to be from northwestern Ivory Coast along with the two related cloths in the Quai Branly. In fact I would suggest that the two cloths Gilfoy published are likely not to have been woven in Sierra Leone either (for what its worth my guess would be  Mali and northwestern Ivory Coast respectively.) In any event two things are clear. Firstly this is a fine and rare cloth with an exceptional provenance that deserves the consideration it is given in the article. Secondly we can note  how little is known about the cloths of this whole sub-region and how much further research is urgently required.

Ros Weaver’s article Saharan Chic is a well researched introduction to the plant fibre and leather mats of the Tuareg and Maures of the Sahara, illustrated with some superb examples in the collection of Rafaelle Carrieri of the Altai Gallery, Milan.