West African Prestige Robes from the Musee du Quai Branly, Paris.

Below are a selection of unusual and early robes from the Musee du Quai Branly, Paris.  Their entire collection may be viewed online here.

Boubou tilbi, Musee du Quai Branly, Paris #73.1963.0.951. Jenne or Timbuctou, Mali, early C20th.

Boubou lomasa, Soninke peoples, Segou region, Mali, early C20th. Musee du Quai Branly, Paris#71.1934.0.34

Rare style of robe from the Bamana people, Segou region, Mali, before 1878. Musee du Quai Branly, Paris 71.1880.69.8

Nupe or Hausa robe from Nigeria collected in the Sahara region of Tamanrasset, Algeria., Nineteenth century. Musee du Quai Branly, Paris # 71.1938.5.1

Talismanic robe, Guinea, collected from Chief Kimné Condetto in 1889. Musee du Quai Branly, Paris#71.1905.44.1

Manding chief's robe, Liberia, C19th or early C20th. Musee du Quai Branly, Paris #70.2007.21.1

 

Two ladies in Indigo–Thies, Senegal, circa 1910

Hand-coloured vintage postcard, circa 1910, publisher E.H. , Thies, Senegal. Both ladies wear indigo dyed boubou, one has a strip woven indigo pagne, the other a stitch and tied resist example. The lady on the left has a fine embroidered resist shawl around her shoulders and across her lap.

“Costume for a King”–An important Sierra Leone or Liberian robe at the Pitt-Rivers Museum.

A couple of years back a research project at the Pitt-Rivers Museum, Oxford, revealed that a previously undocumented West African robe in their collection was in fact among the founding objects assembled by General Pitt-Rivers in the 1870s, and more remarkably, that the same robe appeared in an article in the Illustrated London News on 28 November 1846.

The robe was among a group of objects collected by a Captain Henry Denham during a naval survey of the West African coast in 1845-6. It belongs among the extremely small number of chiefs’ robes of the type that Bernhard Gardi in his book Le Boubou – C’est Chic (Basel, 2000) ‘boubou Manding’ from Sierra Leone and Liberia.

For full details of this robe in the Pitt-Rivers collection click here and for a notice about the research here.

Tioup, tak, etc. - Couleurs textiles du Sénégal : Some photos.

French African textile expert Anne Grosfilley who kindly sent these photographs wrote -  “Here are some photographs on the exhibition about dyeing in Sénégal. It is superb, full of Colours. It is set as a series of portraits, so you can read the story of the people behind the crafts, and learn about their training and everyday Life. All the aspects of dyeing are presented, from traditional plants to synthetic dyes, from dyeing to tailoring. The exhibition ends in a tailor workshop, where you can have a go trying on boubous of different styles. All the steps of the transformation of the cloth allow to understand the process to get the different patterns. Unfortunately, there is no catalogue, but a series of lectures and workshops.  This is an exhibition I recommend, and the Clermont Ferrand Bargoin Textile museum is a place to know, as they have a big interest in Africa. Their next project is to host the exhibition of the second edition of FITE (International Festival of Extraordinary Textiles), and after that they curate an exhibition on unusual Moroccan carpets.”

The exhibition “Tioup, tak, etc. - Couleurs textiles du Sénégal” continues at Musée Bargoin, Clermont-Ferrand, France until March 31. There is a programme of events, details here.

Click on the photos to enlarge. All photos copyright Anne Grosfilley. If you don’t already have it, do lookout for Anne’s book which is still available via Amazon.

Senegalese Men’s Robes – some early C20th images.

“Trader from Cayor”, circa 1910, photographer Edmond Fortier.  Indigo resist dyed robe.

“Allioune Sô, chief of the Fulani of Sine”, circa 1910, photographer Edmond Fortier.

“Wolof chief and his griot,” circa 1910, photographer Edmond Fortier.

“Fulani chief” circa 1900, photographer Edmond Fortier.

“Thiès. Three elegant men” circa 1900-10, photographer/publisher E.H, Thiès.

“Thiès. Young Wolofs”, circa 1900-10. Photographer/publisher Harimann.

 

“Dakar (Senegal). Senufo types” circa 1900-10. Photographer/publisher Albaret.

“West Africa. Arrival of a Grand Marabout” circa 1900-20, photographer unknown. A marabout is an Islamic scholar and teacher.

 

“Dakar. Senegalese man, festival dress” circa 1900. Photographer/publisher P.H. & Co.

“Dakar. Senegalese students.” circa 1900-10. Photographer unknown.

All photos author’s collection.

New Exhibition in Saint Louis, Senegal

If any of you are visiting the wonderful town of Saint-Louis this year please do take the time to see and support this important new institution. Details here.

Cloth of the month: Two Kanuri women’s robes.

The far north eastern corner of Nigeria and adjacent areas of Cameroun and Chad are today best known for Islamist insurgency but were once the centre of a powerful kingdom known to historians as Kanem-Bornu that grew rich through controlling the southern end of one of the most important trans-Saharan trade routes.  The Kanuri rulers maintained close links with both other trade centres in the Sahel such as Kano and Timbuktu and with north African trading centres and as a result developed a distinctive material culture  that today is little known. Among the most spectacular features were these embroidered tunic that formed a key part of ceremonial attire for high status Kanuri women. 

Made from imported trade cloth hand embroidered with brightly coloured silks these duriya tunics seem to have been quite varied in style during the nineteenth century, as indicated by examples in museum collections in Berlin and Paris, but to have become more standardised during the first half of the C20th. Our example, shown above, which was collected during the 1950s, is very similar to the single tunic in the British Museum that David Heathcote obtained in the early 1970s (British Museum #Af2008,2025.22) Tunics with embroidered decoration all over were known as sharwan kura (Lyndersay, Nigerian Dress, 2011), while those with more restricted decoration as below were   called kura.

As the sketch below indicates in use they formed part of an elaborate outfit combined with a headcloth, waist wrapper and a large wrapper called a leppaye that could be either locally woven or imported cloth.

From: Dani Lydersay, Nigerian Dress, the Body Honoured (2011, CBAAC, Lagos.)

This photo from the Bella Naija website shows a modern version at an elite Kanuri wedding.

To visit our gallery of West African robes clock here.