Le S S O N Fo U R

Kente Inspiration œ Page 30 of 38

LE S S O N FO U R

Brick Stitch Design area: Leaves & Stem block B, background Thread: Paternayan, Light green #613 Strands: 2 Paternayan, Medium green #612

The Brick stitch is a straight stitch over two threads, and is worked in horizontal rows. Each element is offset up or down one thread relative to its immediate neighbor. The stitch sequence is shown in 17 13 9 5 1 the diagram at right. It can be worked in either 19 15 11 7 3 direction.

This stitch is used for the background of the Leaves and Stem Blocks (#3, 13, and 17). The background of these blocks is two-toned: the center strip is worked in two strands of the medium green Paternayan bracketed by a strip on either side worked in two strands of a 3 lighter green Paternayan.

Block 13 is diagrammed below. The previously stitched 13 17 leaves and stems are shown in gray. The background color change occurs at the dotted line, which runs through the tips of the outer Diamond Ray Stitches. The strip on the left is 8 threads wide; the strip on the right is 9 threads wide.

In order to fit better around the central motif, the Brick stitch is rotated by 90 degrees, as shown in the diagram. You may need to rotate your frame 90 degrees to stitch and lay the yarn comfortably.

Place a waste knot about an inch and a half below —1“ and come up at —1“ to start the sequence. Work the gray row all the way down the side of the block. This is the only complete, uncompensated row of brick stitch in this small area. The bottom arrow indicates how to change direction, starting

©2007 Denise Beusen. The contents of this booklet are for individual use only. No part of this document may be published, reproduced, stored in, or introduced into a retrieval system, or transmitted in any form or by any means (including electronic, mechanical, photocopy) whatsoever without written permission from Denise Beusen. Kente Inspiration œ Page 31 of 38 up the outside row. Notice that the stitches in this row alternate between 2 and 3 threads high. The —3-thread“ stitches are extensions of the usual brick stitch; they eliminate the need to do a separate row of compensating stitches in which every other stitch would be one thread high. Vertical and horizontal stitches over one thread tend to get lost on the canvas, and as a result using them for compensation is not as visually pleasing in this area.

Once you‘ve finished the outer row, start the inner row as shown by the upper arrow in the previous diagram. As you move through the inner edge of this area, compensate as shown by lengthening or shortening stitches to accommodate the already stitched leaves and stems. Notice the thinner stitches next to the stems. These are stitches that need to be done with one strand of Paternayan, not two, and should be worked after the rest of the area is completed.

The right side of the block is worked in the same fashion. A few of the top stitches are diagrammed so you can see how they are positioned.

When the side strips are done, you should have compensated so that the inner borders of the side strips are straight. This detailed treatment of the boundary between the two colors ensures that the background of this block looks the same as that in the other design blocks.

The next step, shown at right, is completing the center strip using the darker green wool. The first row is shown in black to help you get started.

Don‘t forget to rotate your canvas to work block #3.

Mosaic Stitch Design area: Fish block E, background Thread: Paternayan Medium yellow-orange #726 Strands: 2 Paternayan Dark yellow-orange #725

The Mosaic stitch is composed of three diagonal stitches that form a box: the first over one intersection, the second over two intersections, and the third over 59 19 17 1 one intersection. Its small size and ease of 57 55 21 23 15 13 3 5 compensation make this a useful stitch for filling both 53 25 11 backgrounds and design areas. Be sure to keep your 51 49 27 29 9 7 tension tight for the longer stitch, other wise your 47 31 work will look uneven. 45 43 33 35

The Mosaic stitch can be worked in horizontal, vertical, 41 or diagonal rows. The diagram at right shows how to 39 37 work the stitch in diagonal rows.

This stitch is used in the background of the Fish block, #8, 12, and 22. 8 12 The schematic below shows block #22, with the stitches of the fish in gray. Two strands of the darker orange Paternayan are used to stitch the outside strips of the 22 background. The thick black diagonal lines show how the Mosaic stitch is positioned in these areas. Work it diagonally as shown above, starting in the upper right corner of each strip. Note the compensation of the stitch on the left side of the left strip.

The thin black lines show where to place the center background stripe using two strands of the lighter yellow- orange Paternayan.

Don‘t forget to rotate your frame before stitching blocks 8 and 12!

Hungarian Stitch Design area: Geometric block, between zigzag and stripes Thread: Dark maroon #900 Strands: 2

The Hungarian stitch consists of three straight elements œ one over two threads, one over four threads, and the third over two threads. It yields a moderately textured surface that is suitable for both 1 5 7 11 13 17 backgrounds and design areas. It is worked in 3 9 15 horizontal rows, leaving a space between each unit. The following row is offset from the one above it, so the stitches nestle up against each other as shown in the diagrams at right.

This stitch is used in each of the Geometric blocks, in the spaces between the zigzag and the white stripes. This is an irregularly shaped space and the stitch will require some compensation. It is easiest to do the compensation if you first do a row of complete, 29 25 23 19 uncompensated stitches. The diagram below shows 27 21 where to start this first row.

As shown below, place a waste knot at the *, and come up at —1“. Work from right to left, laying in the first row, and once it is complete, reverse direction to complete the row above or below, compensating as needed.

2 4 6

7 9 11

14 16 18

2 19 21 23

1 Below the zigzag, all of the stitches have been drawn in to show how that area will look once it is filled. It also shows how to compensate the stitch.

Don‘t forget to rotate your frame so you can work the Geometric blocks on the other side of the canvas.

ABO U T KE N T E CLO T H

Kente cloth purchased by my sister-in-law, Nancy Gerber, in Africa. Photo by Denise Beusen.

Strip weaving Kente cloth is one of the many forms of strip weaving that is practiced in West Africa. Although the origin of this traditional art is unknown, it goes back to at least the 11th century and possibly earlier. The development of strip weaving is linked to the rise of Islam and the growth of trade routes that linked West Africa to North Africa and Europe.

The weaving is done in long narrow strips, mostly using small portable looms. These strips can be anywhere from 1“ to 18“ wide, and up to 10 feet long. The strips are sewn together along the selvage to form large cloths used as body wraps, wall hangings, and bed coverings.

The narrowness of the strips gives the weavers a great deal of flexibility in making patterns that would otherwise be difficult to create on large looms. The strips are designed to generate blocks of colorful patterns which when sewn into the final work create overall patters that are striped, checkerboard, or nonsymmetrical. When assembled, the positions of the blocks with respect to each other create movement in the designs and give them unique rhythms and tensions.

These neighboring countries are in West Africa and are shown in the map at right: Ghana is in white. —Kente“ is the Ashanti word for basket, no doubt due to the appearance of the fabric.

Although Ashanti society is matrilineal, the weaving is done by men, who train their sons at an early age. The strips used for Kente cloth are narrow, typically ~4“. Originally, the raw material for Kente came from European silk fabrics that were unraveled and rewoven. Over time, Map courtesy of http://www.yourchildlearns.com/ weavers transitioned to locally grown, spun, and died cotton, and in recent years the weaving is done with commercially available threads including rayon, lurex, and silk.

Kente always has a checkerboard appearance. The checkerboard is thought to symbolize the opposites in life such as male/female and day/night and also the Islamic concept of an orderly cosmos. Frequently the design effect is by alternating blocks of geometric pattern with plainer blocks. Motifs and figures, when they appear, are always positioned within the later.

The Ashanti are an older, more unified and stratified society than that of the Ewe. The wealthy and powerful Ashanti rulers control who can wear Kente and regulate the use of designs. The cloth is used as shrouds or as a status garment, worn or gifted on special events such as coronations, funerals, weddings, homecomings, etc.

The overall pattern of Kente cloth has meaning, as does the selection of colors. Well- known designs have names and are recognized. The Ashanti meanings associated with the colors in this project are: o Gold: royalty, wealth, elegance, high status, supreme quality, glory, and spiritual purity o Green: growth, vitality fertility, prosperity, fruitfulness, abundant health, and spiritual rejuvenation. o Maroon: Mother Earth, healing, and protection from evil spirits.

Because the Ewe weavers are less controlled, their weaving is more diverse. They do most of their work for sale in local and world markets. Their designs are more likely to

The symbolism of Kente In 1957, Ghana was the first African colony to achieve independence, and as a result, its first President, Kwame Nkrumah, had worldwide visibility. He wore Kente as a symbol of cultural nationalism and Pan-African unity. Although current African reality belies the loftiness of these early ideals, the significance he imparted to Kente lives on: a pride in African cultural heritage.

The largest known kente cloth measures ~12‘ x 20‘ and was presented by Ghana to the United Nations on the occasion of its joining the organization. The name of its design is tikoro nko agyina œ —one head does not constitute a council“ œ generally interpreted as —two heads are better than one“.

Behind Kente Inspiration In 2002, my husband and I traveled to South Africa to see a total solar eclipse. Africa is a visual feast in almost any way you‘d care to mention. The animals, the vegetation, the people…each day is a new discovery.

My husband and I travel extensively, and everywhere we go I purchase a textile as a way of remembering the country. On this particular trip, I purchased a potato-print wall hanging in Zimbabwe. It is rich with motifs, both spiritual and physical. Although Ghana and Zimbabwe are distant from each other, the new piece got me thinking about other textiles in Africa.

When I decided to design a piece with an African theme, I thought about weaving my memories of Africa with the Kente format. The zigag and the spiral are ubiquitous in the iconography of many cultures, but particularly in Africa. —Nkyimkyim“ (the zigzag) says that life is not a straight line, and that prudent living is a balance between opposites. The guinea fowl in this piece remind me of the birds in Kruger park with their spectacular sounds and plumage, often just an arm‘s length away. The leaves and stems make me think of the trees and their wonderful shape œ so different from North America œ reaching up to the sun like human arms held overhead. And the fish motif reminds me of Knysna, South Africa. It‘s along the southern coast, and I couldn‘t shake the feeling I was falling off the bottom of the globe!

BIBLIO G R AP H Y

Books Christensen, Jo Ippolito. The Needlepoint Book. Fireside, New York, 1999. Clarke, Duncan. The Art of African Textiles. Thunder Bay Press, San Diego, 2002. Ettl, Susan. My Canvas Embroidery Notebook. Self-published, Green Valley, AZ, 2003. Hyman, Davie. The Diagonal Basket W eave. Self-published, Chesterland, OH, 1994. Luke-Boone, Ronke. African Fabrics. Krause Publications, Iola, WI, 2001.

Web sites http://www.nmafa.si.edu/exhibits/kente/top.htm An online exhibit by the National Museum of African Art: —Wrapped in Pride: Ghanaian Kente and African American Identity“ http://www.hamillgallery.com/ASANTE/AsanteKente/Kente/KenteWomens.html The Hamill Gallery Of African Art http://www.africancraft.com A portal to African art and artisans.

IN D E X

Basketweave Stitch, 20 Bibliography, 37 Brick Stitch, 30 Canvas, 8 Compensation, 24 Continental Stitch, 19 Diamond Ray Stitch, 29 Encroaching Gobelin Stitch, 27 Ending a thread, 14 How to pack and carry your needlework, 18 Hungarian Stitch, 33 Kente Cloth, 34 Laying a yarn, 16 Mosaic Stitch, 32 Mounting the canvas, 9 Needle, 25 Needle threader, 12 Parisian Stitch, 23 Paternayan wool, 15 Pearl Cotton, 14 Reading the canvas, 20 Scissors, 25 Smyrna Cross Stitch, 26 Starting a thread, 12 stitching length, 11 Stitching tension, 17 Straight Gobelin Stitch, 11 Stretcher bars, 8 Stripping, 15 Threading a needle, 12 Yarn construction, 14