Paper 3: Transformation of Juncaceae Into Varied Artifacts: Exploring The

International Journal of Herbs and Pharmacological Research IJHPR, 2020, 9(1): 14-26 ISSN: 2315-537X www.arpjournals.com; www.antrescentpub.com E- ISSN: 2384-6836

RESEARCH PAPER

TRANSFORMATION OF JUNCACEAE INTO VARIED ARTIFACTS: EXPLORING THE FRONTIERS OF TEXTILE ART PRODUCTION IN SOUTHERN VOLTA REGION OF GHANA

Badoe W.1, Donudenu A. S.1,Quaye H. A.2, KushiatorG.3 Department of Industrial Art, Kwame Nkrumah University of Science and Technology, Kumasi, Ghana1,2 Department of Communication Design, Kwame Nkrumah University of Science and Technology, Kumasi, Ghana3 P. O. Box UP 1247, KNUST, Kumasi E-mail: [email protected]

Endorsed By: Innovative Science Research Foundation (ISREF) and International Society of Science Researchers (ISSCIR). Indexed By: African Journal Online (AJOL); Texila American University; Genamics; Scholarsteer; EIJASR; CAS-American Chemical Society; and IRMS Informatics India (J-Gate)

ABSTRACT

Juncaceae is swamp tall grass used to weave mat in Southern Volta Region of Ghana. In other countries, they are used in diverse ways including usage in traditional medicine and rush light and basket weaving, as well as components in pasture. This study sought to examine the production process of various Juncus mats, improve their strength and colour, produce innovative interior decoration products and incorporate the Southern Volta identity. Exploratory and experimental methods under Studio-Based Research in Art were used to address the set objectives. The conceptual framework adopted Engineering Method Steps and the Aesthetico-Action models. Findings revealed that very few people are aware of the three different types of Juncus namely Juncus Acutiflorus, Juncus Inflexus and Juncus Effusus, found in the Southern Volta region of Ghana. There were indications that harvesting at the right time and cleaning Juncus before weaving with plied yarns, improved its strength and colour. The use of Vat dye, reactive dye, water-based print paste, acrilex and acrylic, resulted in poor fastness property. However, red and green Suede dyes produced excellent fastness. Thus, interested researchers can explore and create more innovative products that would improve the economic livelihood of the people.

Keywords: Juncaceae, Production process, Weaving Industry, Transformation, Exploration

INTRODUCTION

The most important quality of traditional textile goods is sustainability where products are made from safe, organic, nontoxic, recyclable, or compostable materials (Rusu 2011).Similarly, the mission of Ghana Environmental Protection Agency (EPA) Act 490 is to guide development to prevent, reduce and eliminate pollution and actions that lower the quality of life (EPA 2017).

Juncaceae literally known as Swamp Tall Grass (STG) are natural and sustainable plants that grow in swampy areas. It has cylindrical, elliptical or leaf round shape with umbrella-like cluster flowers. Their height ranges from 3-8 feet and flowers between June and September (Herbarium, 2015). Florida is an example ofone of the States ornamented with many species of Swamp Tall Grass that were introduced in landscaping few years ago (Florida’s native freshwater aquatic plants, 2016).

Plate 1. Tall grass by the lake stock

Pfaf (2012) outlines that Juncaceae can be found in Britain, Sweden, Himalayas, Mongolia, Northern Ireland, Israel, Africa including Ghana and various regions. In Southern Volta of Ghana, STG covers a vast wetlands from Atito, Lakple, Deta, Fiaxo, Kodzi, Atiavi, Dabala, Agorkoe, Avalavi and Agbozume to Aflao and there are three (3) major species namely Juncus Acutiflorus also called Ketsi-literally meaning sharp flowers,Juncus Inflexusalso called Ava-literally meaning Blue arrow and Juncus Effusus also called Yeke-literally meaning Soft rush.

Plate 1. Light mat Plate 2. Thick mat Source: Field report (2017)

Personal communication with the leader of the Juncus mat weavers association, revealed that matured STG are harvested, dried and sold in bails or woven into baskets, fence and two kinds of mats; a light one literally referred to as Abaand and athick one known as Tsatsa as shown in Plates 1 and 2 above respectively.

Plate 3. Frame for weaving Plate 4. Method of weaving

Source: Field report (2017)

Kete weaving is the second income generating activity among men and women engaged in weaving STG mats. The mats are woven on a four (4) by six (6) feet wooden frame with Plates3 depicting the weaving process of the light mat and Plate 4 showing that of the thick mat tied on the ground with legs and hands of the weaver. These mats were formerly used for drying Cocoa and other cereals in Kumasi, Mankesim, Koforidua, Travanu, Dzodze, but currently, they are sold in local markets at Akatsi, Agbozume, Denu and Togo, solely as mats for sleeping. Due to insignificant economic importance of Juncus, the grass are always neglected and it is suggested thatfurther researchshould be embarked upon to diversifying its use and application in order to save the species (Chhetri et al., 2011).

Juncaceae (Juncus) is also known as Rush or Jungo in Latin and belong to the Plantae kingdom. They are perennial rushes found in wetlands habitat that spread by rhizomes (Pfaf, 2012; Allason and Braid, 1999; Chhetri et al., 2011).Sanchez et al., (2011) have similar view but added that, they grow up to a height of about three (3) metres in large colonies where they abound. Its leaves are tough, round and spine tipped. The sheath is shiny black and it flourishes between February and October. Juncus is a family of eight genera and about 310 species widely distributed in Africa, South America and New Zealand. The most famous species of the genus are eleven namely: Juncus acutus L, Juncus Effusus L, Juncus Inflexus among others Haines and Lye (1983); Barn, (2017); Abdelsamed et al., (2012).

Juncus Acutiflorus belongs to kingdom Plantae, Phylum - Tracheophyta, Class - Liliopsida, Order - Juncales, Family - Juncaceae, scientific name is Juncus Acutiflorus, Common name in English is sharp flowered rush, Jointed rush, Jointed leaf grass, JuncusKraussi and French is JoncafleursAigues. It is locally called Ketsi in Southern Volta. It has other synonys as J. Aquaticus, Diaphragmarius, Nigricans, Spadiceus and Sylvaticus; it can be found in Europe, North Africa, West and North America (Ferchichi, et al., 2014; and Green (2017).It commonly grows in swampy wetlands and woodlands but sensitive to

nitrate environment. This jointed rush plant has a round shaped, pointed capsule like seeds, straight leaves, smooth and circular in cross section, and three feet tall (Lindsey, 2019).

Juncus Inflexus belongs to the Juncaceae family with common names as Blue Arrows rush, Hard rush, European meadow rush, Ava and described as greenish gray-blue foliage grass looking perennial plant. It spreads slowly by underground root to form a tall graceful clump. The stem is long and tubular with tiny yellow-green to tan flowers and 40 cm tall (Terrain, 2012). It is reported to be toxic to mammals and found in Europe, Britain, Sweden, Asia South, East and North Africa. Its favorable habitats are flood plains, marshes, wet meadows, river / lake margins, wet hillsides.

Juncus Effususis a perennial type growing to 1.5 m (5ft) tall and flowering from June to August. It has other synonyms like Soft Rush, Common rush, Lamp rush and Pacific rush. The species is hermaphrodite that is it has both male and female organs and is pollinated by Wind. The plant is suitable for light (sandy), medium (loamy) and heavy (clay) soils and can grow in heavy clay soil. It thrives well in suitable pH: acid and neutral soils. It can grow in semi-shade (light woodland) or no shade. It prefers moist or wet soil and can grow in water (Pfaf, 2012).

Although the literature reviewed has outlined a few other end-uses for STGs globally, however, within the geographical scope of thestudy, they are conventionally used in the production of indigenous mats irrespective of the underling fact that these raw materialsare aboundant, cheap and available all-year-round yet, not much has been done by way of intensive research activities to unearth the fortunes that could be explored to improve upon the economic livilihood of the people and help to reduce unemployment among the youth in these communities. This study therefore, sought to transform Juncaceae into varied artifacts by exploring the frontiers of textile art production and according to Stuart and Nicola (1986), effective research method is the tool by which information is gathered.

MATERIALS AND METHODS

Study Area: The geographical scope of the study focused on the availability of Juncus in Keta, Akatsi, Ketu North and Ketu South Districts of the Volta Region of Ghana. During the observation and interview sections, the researchers tried to establish rapport with interviewee and participants through passive participation in the under listed communities with the respective data collected:

1. Akame - fourteen (14) - weave thick mat from improper harvested soft rush. 2. Agbozume - ten (10) - weave thick mat from harvested and bought Juncus. 3. Agbogbome - fifteen (15)- weave light mat from bought Juncus and sell mats in Togo. 4. Atito - five (5)- weave light mat, sell soft rush and mat inn & outside region. 5. Avalavi - ten (10) - major weavers and traders of light and thick Juncus mats. 6. Dabala - five (5) - weave light mat and sell Juncus. 7. Yame - six (6) - weave thick mat from harvested and bought Juncus.

Research Approach: To establish strong theoretical foundation for the study, exploration and experimental methods under Art-Based Research Approach was adopted. This can be defined as the systematic use of the artistic process; the actual making of artistic expressions in all of the different forms of the arts; as a primary way of understanding and examining experience by both researchers and the people that they involve in their studies (McNiff, 1998).The researchers’ model in figure7 below was adapted from Aesthetico-Action Research Cycle and Engineering Design Process Models as in figure 5 and 6 below. In all, the study comprised four (4) Project works that were successfully executed by exploration and series of experimentation with varied techniques and materials. Participant observation and focused interview formed part of the data collection instruments. In aid to solicit primary data for analysis of the projects, the following research questions were propounded:

1. Why do the local weavers always weave plain structure? 2. What other materials and dyes can be used to strengthen and colour the Juncus? 3. What other innovative products can be produced with Juncus? 4. Is it important to incorporate culture into art works?

Fig. 5: Aesthetico-Action research cyclic Fig. 6: Engineering Design Process model

(Source: Marshal, 2010)(Source: The Next Generation Science Standards (NGSS)

Neglect, poor quality and lack of innovation

Participant observation and interview

Material treatment

Exploration

Prototype and Produce

Based on result & data make changes, prototypes, test again & review new data. Test

Successful Partially / Not all

Communicate results society and others

Fig. 7: Adopted Model (Source: Researcher’s Concept)

Study Materials: The material population comprised three (3) types - namely Juncus Acutiflorus, Juncus Inflexus and Juncus Effusus. For the human population sixty-five (65) weavers were observed and interview from seven (7) communities based on their skills in the production processes as well as marketing strategies that they used for the sale of their products.

Data Collection: Data gathered from the study through experiment, observation and interview may be meaningless in their raw state if not interpreted. This section therefore discussed findings that addressed the objectives of the study that were as follows:

1. To study the production process of the various Juncus mats 2. To examine the materials used and improve upon their strength and colour 3. To produce durable and innovative interior decoration products with Juncus 4. To incorporate the Southern Volta identity through material culture into the artefacts

There are two (2) types of mats that were woven; namely Aba and Tsatsa. The weave structures were only plain weave and running stitches. It was also observed that, very few people were aware of the three (3) different types of Juncus found in the Southern Volta Basin. In order to expand the frontiers and transform the Juncus industry, the researchers explored areas under the mode of harvesting, drying, storage, colouring, preparation for weaving, weaving processes and marketing of the products.

Table 1: Characteristics of the various mats, weaving technology and uses Type of Type of Juncus Technology Characteristics and Weave Used mat used feel Structure Light Blue arrow Woven on four by Light weight, hard Plain Sleeping and curtains mat six feet wooden and noisy weave frame Jointed rush Woven on four by Light weight, hard Plain Sleeping and curtains six feet wooden and noisy weave frame Soft rush Woven on four by Soft and cool, well Plain Sleeping and curtains six feet wooden define bricks weave frame structure and silent. Heavy Jointed rush Woven on the Heavy weight, Running Sleeping and floor mat floor with use of hard and noisy. stitch insulation for cement hands and feet packing Blue arrow Woven on the Medium weight , Running Sleeping floor with use of rough and noisy stitch hands and feet Soft rush Woven on the Light weight, soft Running Most comfortable sleeping floor with use of and cool stitch mat. hands and feet Sometimes the Juncus are mixed together in a single mat to blend the characteristics and to enhance their aesthetic appearance.

The production process, characteristics and weave structures as summarized in Table 1 involved series of activities such as: 1. Two types of mats; light and heavy weight mats were woven. 2. Harvesting the stem of the plant takes place all year round. 3. Drying was done by spreading the Juncus on the floor at home, roadside and harvesting site. 4. Preparation of materials for weaving - Juncus are left under dew over night, beaten to remove air, as well as help to flatten and soften them. The Juncus were not washed before weaving. 5. Colouring - mats are generally woven in natural colour and decorated with red, green and violet stripes. 6. Fabrication techniques - weaving in plain and running stitch as shown in Plates 2 and 4 respectively. 19

7. Mode of fabrication - on a frame and on the ground. 8. Storage - dried Juncus and woven mats are stored under shed or in rooms or covered by polythene sheets in an open space.

RESULTS

Colour and Strength Improvement Dyeing Series of experiments were conducted by dyeing the three (3) types of Juncus materials with Suede, vat and reactive dye. As part of the experiments and exploration, 15 strands of each Juncus were immersed into a Vat dye bath that is composed of two (2) table spoons of dye, caustic soda (NaOH), sodium hydrophulphite (Na2S2O4), 1.5 litres of water (H2O) , witha table spoon of salt that is sodium chloride (Na+Cl-). The temperature of the dye liquor was raised to500 C for 30 minutes. In the case of application of the reactive dye, sodium carbonate (Na2CO3) was used in place of caustic soda to maintain the alkalinity of the dye bath without sodium hydrosulphite. The absorption and fastness from red and green Suede were very good while blue and pink Suede exhibited poor absorption rate. Red, blue and yellow vat dyes also resulted in poor absorption and fastness. Pink reactive dyes also gave bad results.

Printing Paste Acrylic print paste, Acrilex, fabric paste, water base print paste, oil paint and spray paint were also explored to enhance the colour of the Juncus and the results are discussed in Table 2 and Plates 5a-i below:

Table 2: Experiments with types of print paste

Type of print paste Type of Surface Fastness Result Juncus condition Plate

Yellow water base Ava Natural Bad A

Yellow water base Ava Sand papered Good B

Violet Acrilex Yeke Natural Bad C

Violet Acrilex Yeke Sand papered Moderate D

Silver stone fabric paste All types Natural Moderate E

Gold spray paint All types Natural Good G

Pink fabric paste Yeke Sand papered Moderate F

Oil paint Yeke Sand papered Moderate H

Green Acrylic All types Natural Very good I

Plate 5a Plate 5b Plate 5c Plate 5d

Plate 5e Plate 5f Plate 5g Plate 5h

Plates 5(a-h): Outcomes with print pastes

Table 3: The quality of Juncus from the various communities

Community Type of Juncus Quality of Harvesting

Akame Jointed rush Very bad Agbozume Blue arrow, jointed rush Partially harvested and it is good Agbogbome Not found Not found but is the second biggest mat weaving community Atito Soft rush Very good Avalavi Jointed rush Very good Dabala Jointed rush, blue arrow Buy or harvest from Akame, which is Yame Not found done badly.

Strength There were indications that harvesting at the right time (immature and over matured) affect the strength and colour, drying under shade for shades of green colour, drying in sun but collect them at sunset to maintain shades of cream to brown and cleaning Juncus before weaving removes the dirt and reveal the glossy improve the strength and colour of the Juncus. However, if not dried properly fungus infection will be high, similarly, cotton fabric cut off wrapped over Juncus improves colour and strength, while more ply of yarns, weave structure, and uses of end product also improve the strength. On the other hand, dyes and print paste fastness was poor with reactive dye, vat dye, water base print paste, fabric paste, Acrilex and

acrylic but red and green Suede has excellent fastness. However, cotton cut offs adhere to Juncus than polyester, satin and nylon.

Plate 6a. Wall covering Plate 6b. Water tank covering Plate 6c. Divider

Plate 7. Gongon Plate 8. Wall hanging made of cut-offs Plate 9.Voodu

DISCUSSION

The research outcomes exhibited a lot of innovative/possible applications which included variation in weave size resulted in other end-use as in a case where a number of strips could be joined together as a wall divider, table cover, center table top etc and the incorporation of characteristics of Kente cloth in the products by joining strips together with multiple design patterns in one larger size mat. Also, the end-use of product increases the durability that is a wall cover or sliding window will last longer than a sleeping mat and woven mats can have multi-purpose applications that make it economical and innovative. In that regard also, a special technique was devised by rolling the woven mat around a frame resulting in any weave length desired as inPlates6a-c. Packaging is very portable and the materials used portray Volta identity Ayigbe Kete Ewe mat, however Volta symbols were incorporated such as in Plate 7. Cut offs from the edges were used as stuffing material leading to no waste as in Plates 8 and 9.Less Juncus was used to produce an object and it was possible to combine different types of weave structure and techniques in a single design. +

On fabric exploration, fabric cut-offs were used to cover the Juncus as a form of colour enhancement. It came out that Polyester (pink) and satin (green) cut offs do not hold firm around the Juncus as seen in Plate 10below. However, cotton cut offs have excellent adhesion as in Plate 11.

Plate 10: Polyester and satin wrapped around Plate 11:x Cotton fabric wrapped around (Source: Field report 2017)

Adhesive exploration came up during the fabric exploration and white glue, glue stick, bonding glue and paper glue were used; their effectiveness varied. White glue was found to be the best followed by glue stick. It is instructive to add that some decisions that can improve upon the strength and colour of the Juncus includes harvesting at the right time (immature and over matured), drying under shade for shades of green colour, drying in sun but collect them at sunset to maintain shades of cream to brown and clean Juncus before weaving removes the dirt and reveal the glossy look as fungus infection will be high if not dried properly. Additionally, cotton fabric cut off wrapped over Juncus improves colour and strength as the application of more ply of yarns, weave structure and uses of end product also improve the strength. Dyes and print paste fastness was poor with reactive dye, vat dye, water base print paste, fabric paste, Acrilex and acrylic but red and green suede has excellent fastness. However, cotton cut offs adhere to Juncus than polyester, satin and nylon

Concerning the Southern Volta Identity through material Culture, it is clear that the materials used, portrayed Volta identity Ayigbe Kete Ewe mat. Volta symbols were incorporated in some of the works such as the Gongon, earthenware-cooking stove and pot. Fabric cut-offs from the edges were used as stuffing material leading to no waste, less Juncus was used to produce an artefact, combined different types of weave structures and techniques in a single design. The neglect of the Juncus was due to lack of innovation in the industry and awareness was created by interacting with sections of the population for the study that comprised weavers and students. They were ready to adapt innovation ways in their works and the reaction or readiness of the educated youth was impressive than those that were uneducated. This implies that adoption of this research works could help to reduce unemployment among the youth. Again, they came up with suggestions about how to stitch the strips together.

As opined by (Rusu, 2011) the key quality of traditional textile goods is sustainability where products aremade from safe, organic, nontoxic, recyclable, or compostable materials of which Juncus is a very good example. The quality of Juncus art are affected by all stages of production processes and critical attention should be giving to them. It is gratifying to note that

natural colour of Juncusas very attractive when drying, cleaning and storage are done properly. However, cotton wrapped around or acrylic paint can also be used.

In addition, the lack of innovation in the industry has resulted in the neglect of Juncus. However innovative products have the potential to revamp the industry and promote the use of biodegradable materials within interior decoration space. Communication through sensitization workshops, seminar, exhibitions, with the support of the District Assemblies could have a very great impact on society that help Southern Volta tore gain its cultural identity back. Pfaf (2012) asserted that Swamp Tall Grass is a global shrub that means that the positive results of this case study conducted at Southern Volta Region of Ghana could have a global impact in other communities elsewhere.

Conclusion

The findings of this study serve as an eye-opener for interested academics to explore further into this aspect within the visual and applied art domain. Obviously, the abundance of Juncus along communities at Southern Volta of Ghana provides a very cheap source of raw material for the production of varied creative artifacts beyond the conventional indigenous mats. The end-products can as a result be price reasonably and make them affordable in order to increase their patronage. This has a great potential to create jobs for the youth and help to reduce the high level of unemployment within the communities.

ACKNOWLEDGEMENT

We wish to express the support and encouragement from Dr. Howard E. K., KNUST library staff and the Juncus mat weavers in Southern Volta.

REFERENCES

Abdelsamed, I. E., Ayman, F.A.R. and Mohmoud, I. N. (2012). Phytochemical Review of Juncus L. genus (Family Juncaceae). Arabian Journal of Chemistry; 8(5): 614 – 623.

Barn, D. (2017). The Barn on white Run / Harvesting Juncus. Retrieved December 18, 2017, from donsbarn.com>harvesting>juncus.

Chhetri, G., Hynniewtan, T. M. and Borthakur, S. K. (2011). The Family Juncaceae in India. Meghalaya, India: Department of Botany, Gauhati University.

EPA. (2017, Jaynuar 19). Wikipedia. Retrieved December 9, 2017, from Ghana Environmental Protection Agency: [email protected]

Ferchichi, H., Gammar - Ghrabi, Z., Grillas, P., Alegro, A., Petrovic, D.and Garcia, N. (2014). The IUCN Red List of Threatened Species REDLIST Guiding Conservation for 50 years. Juncus Acutiflorus ( Sharp Flowered Rush). Retrieved November 13, 2017, from IUNC Centre for Mediterranean Cooperetion.

Lakefront (2016). Florida’s native freshwater aquatic plants. Retrieved from https://www.floridalakefront.com/lakefront- faqs/aquatic-plants-of-florida/

Green, P. (2017, March 23). Irish Wildflowers Site Map. Retrieved September 17, 2017, from Rushes and Wood Rushes: http://www.wexford.co.

Herbarium, R. P. (2015). Juncus acutiflorus. Pocock Posts. Retrieved from https://www.Herbarium R. P. (2015 July 23). Juncus acutiflorus. Heywood, V.H., Brummitt, R.K., Culham, A., and Seberg, O (2007) In: Flowering Plant Families of the World. New York, Firefly Books, Pp. 405-406.

Lindsey, J. K. (2019). Juncus Acutiflorus. Terrain. (2012). Terrain Tutorials: Swamp Grass. Retrieved November 25, 2016, from bobhawkinshobby.blogspot.com.

McNiff, S. (1998). Art-based research. London: Jessica Kingsley Publisher.

Olson Mischa (2013), The Rush Family, Retrieved from https://www.eeob.iastate.edu/classes/bio366/families/Juncaceae.pdf

Plants for a future Pfaf. (2012). Plants For A Future. Retrieved November 25, 2016, from Earth. Plant .People: http://www.pfaf. org/User/Default.aspx

Rusu, A. A. (2011). Traditional Textile Art between Sustainability and Economic Growth. In A. A. Rusu, Review of Applied Socio-Economic Research; 1: 160-166.

Sanchez, A., Caudel, D. and Walkingstick, M. (2011). Gathering Juncus. California: Califonia India Basket weavers Association (CIBA).

Stuart, M. and Nicola, H., (1986). Research Methods Handbook. In: Introduction Guide to Research for Social Research. Manchester: CLES, pp. 34 - 57.

AUTHORS CONTRIBUTIONS

Badoe W. is a textile artist, researcher and academician with rich experience that spans across weave structures, dyes and dyeing processes, digital textile art, printed textile design, nano fibres and fashion design and merchandizing. He is the lead or corresponding author that was involved in the data collection, production processes, analysis and preparation of this manuscript.

Donudenu A. S. is a textile designer, entrepreneur and researcher with specialization in contextual art design and installations, printed textile design. She played key role in data gathering, participant observation, group interviews, design and production of artefacts and testing of results.

Quaye H. A. is academics with vast experience in integrated art and craft with the use of mix media techniques and a researcher. He was a major team player in design and production of the artefacts as well as peer reviewed the article prior to the submission.

Kushiator G. is a communication design artist with specialization in photography, digital painting, fashion illustration and its related fields. He was involved in the design and production activities, testing of results and proof read the article and made meaningful contribution to the final draft.