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Kuba Embroidered Cloth Author(S): Monni Adams Source: African Arts, Vol Kuba Embroidered Cloth Author(s): Monni Adams Source: African Arts, Vol. 12, No. 1 (Nov., 1978), pp. 24-39+106-107 Published by: UCLA James S. Coleman African Studies Center Stable URL: http://www.jstor.org/stable/3335378 Accessed: 16/04/2010 13:11 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=jscasc. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. UCLA James S. Coleman African Studies Center is collaborating with JSTOR to digitize, preserve and extend access to African Arts. http://www.jstor.org KUBA EMBROIDEREDCLOTH MONNIADAMS The breezes I felt while traveling up textiles used as costume stand out from one garment. The change opens the way the Kasai River in central Africa gave all others in Zaire in their elaboration and to greater appreciation of African design me a historical shiver, as I thought of complexity of design. In terms of surface and of African craftspersons who have Bateman's adventurous first ascent of decoration, the most outstanding are rec- for so long practiced this approach to the Kasai in 1889 and Hilton-Simpson's tangular or square pieces of woven composition. Fortunately we have a very difficulties in 1905 with the wood- palm-leaf fiber enhanced by geometric large corpus of work from one of the burning steamer in which he accompa- designs executed in linear embroidery richest textile traditions in Africa, that nied Emil Torday on the now-famous and other stitches, which are cut to form from the Kasai-Sankuru region, which British Museum expedition to the Kuba pile surfaces resembling velvet. Only can be used to demonstrate the aesthetic kingdom. Although my voyage on the women can turn a simple raffia cloth into preferences of the Kuba in a solid fashion. Kasai lasted only an uneventful half- a valued plush, often referred to as From studying splendid exemplars in hour while our party and jeep were "Kasai velvets." These decorated museums, I began to understand what I hauled up the river in a motorized raft to panels, some dyed in soft, rich colors, now consider to be a fundamental fea- a landing site on the other side, I too was are not only beautiful but they also re- ture of African preferences in design: on my way to Kubaland to fulfill a long- flect something significant about African within any entity, the Africans show a held dream of walking in the streets of aesthetics. taste for interrupting the expected line; Mushenge, the fabled royal capital. I was One of the liberating and enriching they compose through juxtapositions of inspired by Torday's admiring descrip- lessons of modern art is that the artist sharply differing units, through abrupt tions, by Jan Vansina's careful study of does not have to be tied to measure, to shifts of form. Kuba institutions in the 1950s, and most regularities, to conformity either to the In earlier times, this difference from intensely by the beautiful textiles that rules of the past or to fixed units. Al- our taste led to a denigration of, a certain were produced in this area. though art historians often acknowl- condescension toward, African design. The multi-ethnic Kuba kingdom, edge the influence of African sculpture The craftspersons' skills-"the clever probably organized in the early sev- on modern artists, little attention is given hands"-were admired, but the odd enteenth century, is set in a fertile area of to the possible influence of African shapes and irregularities of pattern were central Zaire between the Kasai and two-dimensional design on Euro- greeted with bemused tolerance and Sankuru rivers. The various peoples American taste. For the most part, in our were attributed to the whimsicality of who live within and near this kingdom textile tradition we expect regular repeti- "folk" culture, the spontaneity of native display an unusual range of artistic ex- tion of design units. However, in the past inspiration, or the casual, episodic na- pression that includes varieties of generation, a slow change has been tak- ture of artisans' attention to their work. poetry, abundant and skillful carvings, ing place, evident in the introduction of Today we are better able to appreciate the and spectacular costumes worn by men varying designs in one piece of cloth, the African approach to numeration, and women on special occasions. Kuba juxtaposition of different design units in mathematical play, and geometric form and pattern. The work of Claudia Zas- lavsky (1973) has called our attention to the measuring and counting systems of Africa. Mathematician Donald Crowe (1971, 1973, 1975) has analyzed, in par- ticular, the two-dimensional designs of Benin,. Yoruba and Kuba arts and has shown the extent of the Africans' explo- rations into the formal possibilities of geometric variation. In their art, the Kuba have developed all the geometric possibilities of repetitive variations of border patterns, and of the seventeen ways that a design can be repetitively varied on a surface, the Kuba have 1. EMBROIDERED RAFFIA-CLOTH PANEL DECORATED WITHLINEAR STITCHING AND PLUSH (CUT-PILE)INBLACK AND NATURAL-COLOREDRAFFIA. ATTRIBUTEDTO THE SHOBWA. THE YELLOWTONE OVER MOST OF THE SUR- FACE DERIVESFROM RUBBING IN THE DYE AFTERDECO- RATION.COLLECTED BY LT G MACKENZIEIN THE EARLY 20th CENTURY 66 x 39cm PEABODY MUSEUM OF AR- CHAEOLOGY AND ETHNOGRAPHY (PMAE), HARVARD 17-41-50/B2048 24 lop, IW .01 I.A?~ ib~j jrJ~ lp .t J rr ; jr '' m w; low~` ~ r.-* ~p"Y' ' p O-Ar "iS ~c L~~.40* ~ 46-? .1w .-? ~i~i :-~~ 4?- ? . exploited twelve. This exploration does strands. The underlying modular marked differences from one side to the not mean that they confine themselves to framework would lead one "naturally" other, the combination of designs coun- repetitive patterning in confronting a to pursue the rhythmic pleasures of exact teracting the integrating dominance of surface to be decorated.1 repetition of a single motif. The Kuba the interlaces. A detail from a Kuba mask The character of Kuba design accords artist, however, draws on a range of costume (Fig. 3) shows the common use with Robert Thompson's observation other effects. of rectangular outlines, but each of the that some African music and art forms Liberties with the image unit can be interior spaces, marked by purple stitch- are enlivened by off-beat phrasing of ac- accepted because there are other links ing, is of different dimensions. cents, by breaking the expected con- that hold the surface together. African In cloths that repeat images, one is tinuum of surface, by staggering and artists do use repetition and contrast, likely to find contrasts of color or suspending the pattern (1974:10-11). In theme and variation in composition, but technique and marked variations in de- textile design, the Africans of the Kasai- they disperse these principles through a tail: changes in thickness, in width and Sankuru region do not project a compos- wide range of sensory elements. The sur- length of line, in degree of angle, in ition as an integrated repetition of ele- face of Figure 1 exhibits constant ele- shape-and-color relationships. If a single ments. Until recently, Euro-American at- ments: the diagonal ordering of the de- plush image is repeated, it is likely to be titudes on this point were so fixed that signs; the rectangular shapes of the indi- an off-balance form or to be altered by we called a textile design a "repeat," and vidual units, uniformly outlined in light color accents. Embroidered lines usually expected to find a unit of identical imag- and dark lines; the color variation and intrude on the continuity and break up ery repeated over the surface. This kind the velvety pile texture within and be- the surface into sections. The mixture of of integration is not typical for African tween rectangles. These similarities of plush and stitches on a panel, the irregu- two-dimensional arts. direction, shape and texture override the lar interpenetration of design lines, and The example in Figure 1 illustrates this sharp differences in image units and the shifting placement of color accents point for Kuba "velvets." Within the permit innumerable variations in detail. upset another deeply held expectation of hemmed border, we find a tessellated The artist has held other variations to a Euro-American aesthetics that designs composition in which the design unit narrow range: the motifs are made up of will have a figure-against-ground rela- varies and different images are jux- only two shapes, triangles and rectan- tionship. taposed. This freedom is all the more gles, and only two colors, black and Because of these formulas of variance, remarkable because the freehand em- beige. However, both of these pairs are it is difficult to neatly label individual broidery is applied to a foundation cloth played off as intensive contrasts.
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