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Exhibitions 2009-2010

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Exhibitions 2009-2010 Textile Research Centre Exhibitions 2009-2010 1 Table of Contents 1. Kangas 3 2. Oya 7 3. Embroidery in the Arab World 13 4. Badla 21 5. Prince for a Day 30 6. Longest dress 36 7. Well-Dressed Afghanistan 42 2 Kangas An East African garment for women (TRC Gallery October 2009 - February 2010) Maasai women wearing kangas (Kenya 2008; photograph by permission of Yulia Holko) A kanga is a large cotton cloth worn by women along the whole of the East African coast, especially in Kenya, Tanzania and the island of Zanzibar. Its characteristic feature is the short text printed on the cloth. Kangas are also worn by some women in Oman, due to long standing, historical connections between the various countries. Kangas and similar garments have been part of the East African, Swahili dress code since the late 19th century. There they are still regarded as an essential item of a woman’s wardrobe. They are worn on a daily basis in and around the home, as well as for important occasions such as weddings and funerals. But their designs, colours and texts are not static. They are constantly being modified and adapted to the current political and economic situation and customer demands. Throughout the decades kangas have adopted textual and decorative elements from African, Arab, Indian and European sources. As a result, modern kangas reflect the international nature of Swahili culture. 3 Kanga designs A kanga is a rectangular cloth of c. 110 x 150 cm. Kangas are normally purchased in pairs. A basic kanga design has three basic elements, (1) a broad boarder (pindo), (2) a central pattern (miji) and (3) a message printed just above the lower edge of the pindo. The origin of this design layout is unknown, but it is possible that it derived from the long lengths of printed kerchiefs (leso) from Portugal that were imported in the 16th century. These kerchiefs were sewn together to create larger cloths. There is still a type of cloth called a leso available in all of the kanga ‘countries.’ This type is used in the same manner as kangas. The main difference between the modern kanga and a leso is that the leso does not have a message and the central panel designs tend to be made up of rows of simple, geometric motifs. Since the early 20th century the decorative border of the kanga always has a pattern that is different from that of the central panel. The central panel pattern ranges from simple geometric shapes to depictions of locally important events and buildings. The older kangas were decorated with designs made using large, wooden blocks. Since the 1960s more and more kangas were produced using either silk screen printing or roller printing techniques. The modern versions are usually made in Tanzania and Kenya for the East African market. Examples from India are often sold in Oman, but they are not as highly valued, as both the cloth and designs tend to be of a poorer quality. Kanga messages The characteristic feature of the kanga is the saying in Swahili along the lower edge of the central panel. Swahili is used because this the common language of East Africa. The first messages seem to have appeared in the 1930s. They were originally written in Arabic script, but in the 1960s it became normal to use Latin script. All of these sayings contain messages about friendship, love, politics, in fact virtually anything. When Barack Obama was elected President of the United States in 2008, a special Kenyan Obama kanga was produced to emphasis and celebrate the link between Obama and Kenya, via Obama’s father who came from here. Man selling Tanzanian kangas in Stone Town, Zanzibar (2004; photograph by Marloes van der Bijl) 4 Wearing a kanga During the late 19th and early 20th centuries many East African women wore their cotton wraps in different ways to indicate their social status. A slave, for example, would wear it under the armpits leaving the shoulders bare. In contrast, a free woman would cover her shoulders and sometimes her head as well. These garments are the origins of the kangas. Following the abolition of slavery in the early 20th century women started wearing their cotton wraps in many different ways. This tradition remains with the kangas. They are generally regarded as a very versatile and practical item. Women use the kangas in various ways: for carrying their baby on their backs, as bed sheets or towels and as sheets at night. In Kenya Maasai women often wear one kanga over the shoulders. In Zanzibar, one kanga is wrapped around the body in order to cover the chest and lower parts of the body. The other kanga is draped around the head and shoulders, acting as a veil to cover the head and hair for modesty. Nowadays in Zanzibar, kangas are also sometimes made into a blouse and trouser outfit. Women in the Ibra region of Oman normally wear a kanga as a head covering. The Swahili sayings of the kanga are no longer important here, as many women can no longer understand Swahili. Nevertheless, the bright African colours and patterns remain an important element of the Omani kanga. The women’s market near Sur. Several of the women are wearing kangas (2005; photograph by Gillian Vogelsang-Eastwood) 5 Further reading Beck, R.M. 2000. “Aesthetics of communication: texts on textiles (‘leso’) from the East- African coats (Swahili),” Research in African Literature, 31(4), pp. 104-124. Beck, R.M., 2001. “Ambiguous signs: the role of the kanga as a medium of communications, ” Afrikanistische Arbeitspaiere, 68, pp. 157-169. Bogaert, P., 2002. The Krazy Book of Kangas, Zanzibar. Hanby, J and D. Bygoott, 1985. Kangas: 101 Uses, Nairobi. Bijl, M. van der, 2006. “Kangas: The voice of Zanzibari women? Its present importance among young women in Zanzibar Stone Town, Tanzania,” Khil`a: Journal for Dress and Textiles of the Islamic World, 2, pp. 1-22. The lady seated to the left is wearing cotton wrap around garments that cover much of her body, including her shoulders and head. The (ex-)slave women around her are wearing cotton wrap around dresses under their armpits (c. 1900; by courtesy of the Zanzibar National Archive). 6 Oya: Turkish lace (TRC Gallery December 2009 – February 2010) Daisies made from needle lace oya (TRC collection) For hundreds of years Turkey has been famous for the production of decorative textiles, including a wide range of gold and silk embroideries of the highest quality. But there is also a ‘minor’ textile art that over the last few hundred years Turkish women have brought to a high level of design and technical skill, which is not so well-known. This textile art is generally called oya or Turkish lace. The term oya includes a range of lace techniques that are used to decorate garments, especially women’s headscarves, and a wide variety of household textiles such as sheets, tablecloths and towels. Most oya is made by women at home or in groups and although there are many contemporary magazines and books illustrating oya patterns and designs, the making of oya is very much a question of personal taste and contacts. Young girls usually learn the technique from their mothers, grandmothers and aunts, while the modern designs and patterns often come from younger female relatives, friends and by looking at what other women are making and wearing. The production of oya is a tradition that is very much alive and well in Turkey and there are thousands of enthusiastic oya makers. Oya is not only used in traditional ways, there are also many young fashion designers who are fascinated by it and use it in ‘new’ ways. Oya is also an important social and cultural link with Turkish women living in other countries. The swapping of designs and patterns, the wearing of oya, in all its different forms, help bring together women of the Turkish origins. Many women, both in rural and urban settings, regard the making of oya as a means of making a little extra money. Some women make the oya on a commission basis, others sell their work at local markets or in the covered bazaars. Throughout the process personal contacts remain important as it is about finding a balance between the skill and creativity of the maker and the tastes of the client. 7 Techniques and designs There are four basic methods of making oya, namely (a) needle made oya (iğne oyası), (b) crochet oya (tığ oyası), (c) tatting oya (mekik oyası) and hairpin oya (fırkete oyası). The various techniques are often combined and additional items, such as beads, sequins and spangles, are used to create a range of different effects, which shimmer in the light. Normally, the hues and patterns of the printed cloth used for the headscarf is used as the basis for the colours used in the oya. Traditionally silk yarn was used to make the more expensive examples of oya, with cotton being used for ‘daily’ examples. Nowadays, many women use synthetic yarns. These modern threads come in a wide range of colours, which influence the style and appearance of contemporary oya. Some oya motifs are inspired by nature, others are more abstract. The natural designs include flowers such as chrysanthemums, daisies, roses, and, of course, that very Turkish flower, the tulip. Other forms include leaves of various shape, pineapples, butterflies and even miniature chilli peppers. A characteristic feature of oya is the use of two and three dimensional designs. Crochet, tatting and hairpin lace designs are normally regarded as ‘flat’ lace, while the spectacular three dimensional oya is usually made with a needle.
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