IFHE Annual Leadership Meetingeducationforsustainabledevelopment.org/papers/209.doc · Web...

© 2010 Doreen Tetteh- Cofie [email protected]

REF P209

Title

The Communicative Culture of Ghanaian Fabrics.

Abstract Our world is full of different cultures and this makes each of us unique. For a sustainable development to be feasible we need to learn and respect each other’s culture. This paper is an educative information on the Ghanaian cultural values with our fabrics.Clothing practices in Ghana have undergone many phases of development from leaves and skins, to its present peak in the wearing of African prints, wax prints, java and sika prints. Throughout all these developments, Ghanaian fabrics always create a form of communication from the wearer to the observer, and these are done through the motifs as well as the colours used.

Country GHANA

Author Details AUTHOR Title of author MrsSurname Tetteh- CofieFirst Name DoreenName of Institution University of CapecoastAddress of Institution Dept. Of VOTEC, University of Capecoast, Capecoast,

GhanaE-mail address of author [email protected] biography The author is a lecturer in Clothing and Textiles in the University of Capecoast, Ghana. She has a first degree in Clothing and textiles, Housing and design. Second degree in Technology Policy and planning. Currently she in undertaking a PhD degree in Development studies, specifically in Technology Development. Her area of interest is development of the garment industry.

Category− Education− Home Economics

Theme UN Decade of Education for Sustainable Development 2005-2014 themes-

− Cultural diversity

Type of Contribution − Other : Informational write up

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THE COMMUNICATIVE CULTURE OF GHANAIAN FABRICS[By Doreen Tetteh- Cofie]

Introduction

Historical evidence suggests that the early man in Ghana wore leaves of certain plants

and strips of skins from hunted animals which were tied around the waist to cover

their front and back while most of the profile view was left exposed. It seemed from

the differences in environment, that the early man in Northern Ghana wore skins

while his southern counterpart wore leaves for clothing until the discovery of a

material called kyenkyen obtained from the bark of a tree called Antiaris Africana

(Abban & Adams, 2003).

Textiles in Africa have always, in different places at different times, served as far

more than simply a material for clothing. Textiles have been used as a medium of

exchange, as medicine and magic totems, as a link between generations and as a sign

of social rank (Hunt & Hurst, 2005), Ghanaian fabrics are no exception. There are

hidden meanings in many designs of Ghanaian fabrics. Because Ghanaian fabrics are

produced primarily for local markets, the designs may represent local proverbs or a

person’s stature in society. Therefore a wearer of a certain fabric or piece of clothing

conveys a specific message to the remainder of the group. Some patterns are reserved

for royalty, priests, elders, or other important personages of the clan.

Development of Textile Fabrics in Ghana

The first ever form of fabric to be used in Ghana was a material called ‘kyenkyen’. In

preparing ‘kyenkyen’ cloth, the bark of the Antiaris Africana tree is peeled from the

trunk, and then beaten with a stick on a rock or a fallen tree until it became soft. It is

then washed in the river to expose the naturally interworked fabric that was used as

loincloth, breast cover or war garment (Abban & Adams, 2003). Otaa Kraban from

Bonwire in Ashanti region of Ghana made the ‘Oyokoman’, the first woven cloth as a

development on kyenkyen cloth using raffia fibres. He came up with the idea by

studying the weaving process of the ‘kente’ cloth. This he presented to the Ashanti

king, Otumfuo. The king was always selected from an Ashanti clan called ‘Oyoko’,

hence the name of the cloth ‘Oyoko’ nation or people. This had no colouring or

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printing done on it. Improvement upon this brought about three traditional clothes that

were strictly used for mourning, i.e. “kuntunkuni” “kobene” and “Birisi”. These were

dyed plain fabrics without motifs. ‘Kuntunkuni’ was dyed dark brown and worn to

indicate a prolonged feeling of melancholy whiles ‘kobene’ was dyed dark red and

worn when a chief died or when a chief lost a close relative. ‘Birisi’ on the other hand

was dyed dark blue and used to indicate the passing of grief or extended memory of

the death of a dear one.

Advancement on these was probably the first attempt at the production of printed

cloth in Ghana – Adinkra cloth. It is a traditionally hand printed cloth. The major

different forms/ patterns of the Adinkra cloth production are kuntunkuni, ‘Nwomu’

(Embroidery) and ‘Ntiamu’ (Stamping). Dying is made from the bark of the tree

called “Badie”. History has it that the Adinkra patterns were copied by the Ashanti

from the carved column (Sekyedua) of the stool of Kofi Adinkra, the ruler of

Gyaman, an ethnic group in the Brong-Ahafo Region of Ghana and part of La Cote

d’Iviore at the beginning of the 19th century (Warren, 1973).

Adinkra means farewell. It was formerly won for funerals but now for different

occasions depending on the colour and the motifs. The symbols depict the Ghanaian

culture, patience and fortitude, their faith in the Supreme Being (Nyame), their loyalty

to their chiefs, family and people in authority. While both men and women wear the

cloth, some designs are only for men and chiefs. The Adinkra symbols/motifs are cut

at the bark of a piece of calabash with a stick attached to it. This is dipped in the

boiled portion of Badie and stamped onto the cloth. Adinkra cloth is preserved by dry

cleaning. Below are some of the symbols used in stamping and their meanings.

Adinkra Symbols and their Meanings

‘Gye Nyame’ (except or unless God)

Symbol of divine power, courage,

endurance and strength.

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‘Nyamedua (altar)

Symbol of purity and holiness.

‘Hwemdua’ (scale or measurement rod)

Symbol of perfection and standard.

‘Akoma’ (the heart)

Symbol of goodwill, faithful and fondness.

‘Dwenini aben’ (the ram’s horn)

Symbol of purity and strength.

‘Mmusuyidee’ (cleansing material)

Symbol of purity and good omen.

‘Aburuburu nkensua’ (the eggs of the pigeon)

That can withstand all weather conditions, signifies

destiny, stability and faithfulness.

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‘Okodee mmowere’ (the claws of the eagle)

Symbol of strength.

‘Aya’ (the fern)

Ability to endure hardship, defiance of difficulty

‘Obi nka obi’ (do not bite one another)

Symbol of unity and peace.

The adinkra and Kente were introduced almost at the same time, but the Adinkra was

mostly used because it was cheaper. Kente cloth is perhaps the most widely known

textile in Africa. It is now completely identified with the Ashanti of Ghana, although

the word comes from a neighbouring group, the Fante. The kente weaving process

was discovered by two brothers who were hunters and hail from Bonwire in the

Ejisu/Juaben District of Ashanti Region of Ghana. The two brothers were Kruagu and

Ameyaw. They got the idea of the weaving from watching a spider make his web

(Appiah, 2004).

Kente cloth is made of strips woven by men on special narrow looms. The strips are

interlaced to form a length of fabric that men wear as a sort of togas over the left

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shoulder and upper arm. Women generally wear two smaller lengths, one as a skirt

and the other as a bodice (Hunt-Hurst, 2005).

Kente is one of the traditional fabrics that have contributed immensely to the

promotion of Ghanaian culture. According to Kwaku Ofori Ansah (1997) the term

kente is a popular term derived from the word “kenten” which means basket. The

kente weaver in Ashanti (Bonwire) used raffia fibres to weave, giving an appearance

of a basket and thus referred to it as “Kenten ntoma” meaning basket cloth. The actual

name was “nwumtoma” meaning cloth hand-woven on a wooden loom.

Many variations of kente are woven by various ethnic groups in Ghana, notably

Ashanti Kente, Volta Kente and Northern Kente. With the original kente cloth,

weaving is done in strips and the strips are later sewn together to obtain the needed

size. The traditional kente strip is 12cm, 13cm or 14 cm by 182cm.

The colours of kente cloth have particular meanings: yellow stands for wealth or

royalty: white is for goodness or victory: black means death or old age: red

symbolises anger or violence: blue is for love: green represents energy or new growth

and grey is for shame or blame (Hunt-Hurst, 2005)

In its cultural context and use, kente is more than a clothing item. It is a visual

representation of history, philosophy, ethics, oral literature, religious belief and

political thought. It is used not only for its beauty but also for its symbolic

significance. Each of the over three hundred types of motifs has a name reflecting

Ghanaian moral values, social codes of conduct, human behaviour and certain

attributes of plant and animal life. Examples of these abound. They include:

“Abusua ye Dom”: literally means, “the extended family is a force to reckon

with.”

Symbol of strong family bond and unity.

Fathia fata Nkrumah: literally means, Fathia is a befitting wife of President

Nkrumah. . Symbol of an honourable marriage and mutual affection.

“Kyere Twie”: Literally means, the lion catcher. Symbol of exceptional

courage and bravery.

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“Akosombo Nkanea”: literally means electric lights of Akosombo – symbol of

social progress and enlightenment.

“Oyokoman”: “Oyoko” is one of the seven clans of Asante. And it is the royal

clan. That is, they are the legitimate occupants of the Golden Stool

(Asantehene). “Man” meaning “people” or “Nation”. This kente design is one

of the oldest and was made for Otumfuo (Asantehene).

“Sika Futro”: Meaning “Gold Dust”. This design is associated with “Wealth”.

So people who put on this kente design are the high class and known to be rich

and for that matter the affluent in the society.

“Tikoro Nkoagyina”: Meaning, “Two heads are better than one”. It is again

designed and put on to show the need for consensus decision.

“Epieakye”: (Behind a stronghold): It is a stronghold for the people of Asante.

Mostly, the Asante colours are used in its weaving. Asante colours include,

green, black and yellow.

“Papa Nko Akyire”: That is the good that one does is not recognised very well

but bad ones are well noted.

“Woforo Duapa Naye Piawo”: Those who do good things in society are given

a push or go ahead.

Kente has achieved tremendous international recognition. Modern technologies and

realities of global economics have shaped kente into an art form whose cultural

significance now transcends ethnic, social and national boundaries. In accordance

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with tradition, kente is reserved for special occasions. It can be used on occasions like

graduation, anniversary celebrations, state functions and festivals. It can also be used

during the performance of such rites as puberty and marriage (Appiah, 1973).

Ghanaian Cotton Prints

The introduction of foreign (Western) prints in Ghana through the trans-Saharan and

trans-Atlantic trades did not only supplement the production of local, indigenous

fabrics but also offered a wide range of fabrics with different designs and colours not

previously known by the local craftsmen. The establishment of industries to produce

textiles prints in Ghana started in 1966, almost a decade after independence. This was

due to the fact that soon after independence, interest in the wearing of traditional cloth

(“ntoma”) was awakened. The late Osagyefo, Dr. Kwame Nkrumah, the first

President of Ghana, and most of his public officials often appeared in the traditional

cloth during state functions. Many Ghanaians also felt proud and culturally dignified

to be seen dressed in the traditional cloth. This caused the demand for cotton prints to

double or triple.

Consequently, the 1970s saw the establishment of a number of textile industries in

Ghana producing such fabrics as wax prints, popularly known as “dumas”, fancy

prints now called African prints, and Java prints. In the late 1990s Sika print, the gold

printed fabric was also introduced. Today, many factories are engaged in producing a

wide range of printed fabrics for both local and foreign markets. Such companies

include Printex, Ghana textile Products, Akosombo Textiles Limited etc (Littrell,

1985).

Colour, Motif and Symbolism of Ghanaian Cotton Prints

In the traditional Ghanaian society, culture demands that every individual dresses

appropriately for the occasion or function he or she is attending: be it an outdooring,

puberty rites, festivals, funerals or church services. The appropriateness of the

clothing basically depends on the colour, motif, or name of the cloth one is wearing.

Any deviation from these values makes a person a cultural misfit.

In Ghana, different colours represent or symbolise different feelings. Black cotton

prints signify a deep feeling of melancholy or sadness and the power of death and evil

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over life. Bereaved families wear textile prints with black dominating during funerals

or even in the course of widowhood, which sometimes extends to one year after the

death of the spouse.

On the other hand, white symbolises victory, success, happiness, purity and virginity.

So, when a white textile print is worn, it shows the wearer’s victory over childbirth,

prolonged illness, court arbitration, war, examination, etc. it’s also used for

engagement and wedding ceremonies. These days however, white textile prints are

also worn to mourn the death of elderly people of about 70 years and above. Another

colour, yellow, symbolises wealth, power kinship or royalty. Yellow cotton prints are

worn during enstoolment and durbar of chiefs, festivals and other related occasions.

After three months a woman that has given birth also changes from white to yellow.

The colour, red, symbolise war, anger, aggression, violence, riot, danger, bravery and

sadness. Mourners tie red bands around their heads, wrists, and sometimes ankles

during the early part of funeral celebration, if they are closely related to the dead. The

traditional army, known as “Asafo” companies put on red costumes when going to

war, fighting fire, or searching for a missing person. Green symbolizes fertility,

vitality, freshness and growth. Thus, during performance of Akan and Ga puberty

rites, textile prints with green background are worn to wish the adolescent girl luck in

child bearing.

There are several factors that Ghanaian consumers consider when buying any kind of

printed fabric. Among them are the motifs and the name of the fabric. The motifs and

names are reflective of social, economic, political or domestic concerns of the society.

Among the elderly in Ghana, fabrics that bear designs and names with historical,

mythical, proverbial, or philosophical significance are most popular. Such fabrics

continue to be in great demand. Examples include:

“Owu Sei Fie” means death destroys home. It symbolizes the destructive

nature of death.

“Anoma enntu a, Obua da” means a bird starves if it does not fly. It

symbolises the need to fend for oneself.

“1,2,3, ABC” means numerals and alphabets. It symbolises knowledge, the

need to be formally educated.

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“Dua kor gye ehum a obu” means a single tree cannot withstand windstorm. It

symbolises unity, and the need to work together.

“Nyame Bekyere” means God will provide. It symbolises belief in God as the

provider of our needs.

The youth however, prefer textile prints with designs and names that reflect current

event and popular music. Unlike the above, demand for such fabrics ceases as the

events pass away, examples are:

“Me ho ye few sen me kora” means I am more beautiful than my rival. It is

worn to cast insinuation.

“Rawlings Chain”. It symbolises severe hunger and disease.

“Huhuhu nnye me hu” means I am not bothered by wild rumours about me.

Culture and moral values are two of the most important phenomenon cherished by

most Ghanaians in the way they dress. Culture determines the type of clothing to wear

by the different sexes, age groups, ethnic groups, status groups, etc.

Clothing values are a vital part of the impression an individual makes in his or her

daily contact with others. In this exciting, fast moving world, the range of places to

go, things to do and people to meet make a sensible attractive wardrobe a real asset.

The clothing that one puts on should be suitable and practicable to cultural values.

Well-chosen clothing reflects one’s personality and also gives confidence to the

wearer.

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BIBLIOGRAPHY

Aban, T. R. And Adams M. L. (2003) Instructional Technology Training for Basic

Education in Ghana, “The Significance of clothing in promoting Ghanaian Culture”,,

Catholic Mission Press, CapeCoast.

Ansah, K. O. (1997) History and Significance of Ghana’s Kente Cloth. Sankofa

Publications, Baltimore, MD.

Appiah, E. A. (1973) Contemporary Textile Designs of Ghana. University college of

Education Library, Winneba.

Appiah, E. R. K. (2004) The Visual Arts. General knowledge and Appreciation for

schools and Colleges. St. Francis press, Takoradi, Ghana.

Hunt-Hurst. (2005), West African Fabrics, Dress, and Adornment. ,Textile Arts in

Africa. Georgia state University,USA.

Littrel, M. (1985) “ Wax Printed Textiles of Ghana: Fabrics for Personal

Commentary and Group Cohesion” Canadian Home Economics Journal, Vol. 35,

No.3.

Warren, D. M. (1973) The Akan of Ghana: An Overview of Ethnographic Literature.

Pointer ltd, Accra.

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