EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND

EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

By

Isaac Kofi AwuyahB.A (Textiles), MFA (Textile Design)

STATEMENT OF THE PROBLEM

Indigenous hand embroidery (Nwomu) has not been given enough recognition.

Less attention is given to the stitching techniques available.

The designs concepts have also not been fully exploited.

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

OBJECTIVES

To identify, describe and discuss existing indigenous stitching techniques used in Adinkra cloth production.

To develop new design concepts incorporating alphabets, images and geometric shapes.

To produce a number of samples and an Adinkra cloth using the design concepts developed.

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

DELIMITATION

The study is limited to the use of cotton, rayon and polyester yarns. The main fabric type used is cotton in hand woven strips, drill fabric and lace.

The research is conducted on selected users, producers and sellers of Adinkra cloth in Kwabre East District and Kumasi Metropolis.

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

IMPORTANCE OF THE STUDY

The study is intended to promote and project indigenous hand embroidery among Asante people and in Ghana as a whole.

The introduction of new design concepts in the form of symbols, alphabets and images into the original nwomu designs will help promote and appreciate the art more.

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

REVIEW OF RELATED LITERATURE

Concepts on Textiles, Yarn and Design.

History and development of Embroidery.

Brief history of Asante people.

History and production of Adinkra cloth.

Indigenous hand embroidery (nwomu) among Asante

people.

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

The following topics were reviewed:

METHODOLOGY

Research Design

The study employed:

Descriptive research method and

Experimental research method

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

POPULATION FOR THE STUDY

Producers, sellers and users of Adinkra cloth in

Ashanti Region is the Target population.

Accessible population is selected producers, sellers

and users of Adinkra cloth in the Kwabre East District

and the Kumasi Metropolis.

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

DATA COLLECTION INSTRUMENTS

The study employed:

Interview – Informal interview

To ascertain the level of awareness and general

knowledge on the production of Nwomu and Adinkra

cloths.

Observation – Participant observation

The following were observed: The type of fabric(s) used The type of yarn (including colour arrangements) The stitching style or technique employed Tools and other materials used The name and meanings of designs used The type of finishing process applied etc.

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

SAMPLINGPurposive sampling was used to collect primary data for the study.

Num. Category Total Number

1. Sectional Heads – C.N.C, Kumasi. 3

2. Organisational Heads – Adinkra cloth producers Association: Ntonsu and Wonoo.

2

3. Supervisors – C.N.C, Asokwa, Ntonsu, Aboasu, Adanwomase.

5

4. Producers (5), Sellers (10), and Users (10) of Adinkra cloth in Kwabre East District and Kumasi Metropolis.

25

Total = 35

Table 3.1: Categories of interviewees

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

PRESENTATION AND DISCUSSION OF FINDINGS

Objective one: To identify, describe and discuss existing indigenous stitching techniques used in Adinkra cloth production.

Identification and description of existing nwomu designs: Kukruboכ and Kawo

1. KukruboכThe most commonly used Kukruboכ designs known today are:1) Sikafutro2) Asanteman3) Kramo nwoma or Hausa ntwrכyε4) Aburo ne nkateε5) Tuntum ne fufuo

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)

1) Sikafutro

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

Plate 1: “Sikafutro” – Gold dust

Meaning and symbolism: Gold dust - Depicts affluence and royalty

Yarn colour arrangement: → Yellow/red/yellow/blue/yellow/green = 3x + yellow (of about 3ins wide)

Uses: During durbar of chiefs, akwasidae festival and other special occasions

PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)

2) Asanteman

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

Meaning and symbolism: Asante Kingdom - It portrays the dignity and values of the Asante people.

Colour arrangement: Yellow (or gold)/ black / and green

Uses: During durbar of chiefs and Asante festive occasions

Plate 2: “Asanteman”– Asante Kingdom

PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)

3) Kramo nwoma or Hausa ntwrכyε

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

Meaning and symbolism: Arabic writings (script) - The design portrays

and signifies mixed cultures in Asante communities.

Colour arrangement: → Yellow / red / repeated 6X, → Yellow / blue repeated 6X, → Yellow / green repeated 6X.

Uses: During thanksgiving services, funerals, and other festive occasions.

Plate 3: “Hausa ntwrכy ” – ε Arabic script

PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)4) Aburo ne nkateε

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

Meaning and symbolism: Maize and groundnut - Demonstrates the interposition of Asante traditional colours, and it values in every Asante community.

Colour arrangement: → yellow / black / yellow / red / yellow / blue / yellow / green, the black is sometimes ignored depending on the designer.

Uses: It can be used at every occasion.

Plate 4: “Aburo ne nkate ” - ε Maize and groundnut

PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)5) Tuntum ne fufuo

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

Meaning and symbolism: Black and white - It signifies the neutral position the Asantehene plays when judging a case.

Colour arrangement: → (Black/ White) 6x or 8x followed by 2” or 3” of (Black/ White)

Plate 5: “Tuntum ne Fufuo” - Black and White

Uses: For funerals, thanksgiving ceremonies as well as naming ceremonies.

PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)

2. Kawo

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

Plate 6: “Kawu” - legs of millipedes and centipedes

Symbolizes movement of legs of a centipede or millipede. The design is characterized by vertical cross stitch with extended irregular or serrated edges.

Colour arrangement: → Colour arrangement may vary depending on the designer.

Uses: It can be used at every occasion depending on colours used.

PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)3. Ntatamu

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

Plate 7: Ntatamu - To ‘fix in between or place in sections’

Ntatamu is a modern way of incorporating the nwomu technique in the

form of woven Kente strip into a cloth.

Uses: It can be used at every occasion depending on colours used.

PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)

Plate 8: Designing

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

Plate 9: Preparing the yarns Plate 10: Preparing the etiri

Plate 11: Cutting and folding the edges of the strips Plate 12: Fixing the etiri

Plate 13: Tying the etiri to the tensioning pole

Objective two: To develop new design concepts

Processes involved in Nwomu (Adinkra) cloth design:

PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)

Plate14: Securing folds with needles

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

Plate 17: Stitching the design Plate 18: Sewing the strips together

Plate 15: Threading the needle Plate 16 : Image of ‘Gyawu atikor’ drawn onto the strip

Plate 19: Printing

PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

Sketch

Plate 20: Sample one: ‘Crisscross’ or ‘ladder of death’

Application of colour

Objective three: To produce a number of samples and an Adinkra cloth using the design concepts developed.

Sample one

PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

Plate 21: Sample Two ‘denkyembuכ’

Application of colour

Sketch

Sample Two

PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

Plate 22: Sample Three ‘C. N. C.’

Sketch

Application of colour

Sample Three

PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

Application of colour

Sketch

Plate 23: Sample Four ‘edwene asa’

Sample Four

PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

Application of colour

Plate 24: Sample Five ‘adinkra symbols’

Sketch

Sample Five

PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

Sketch

Plate 25: Sample Six ‘nton’

Sample Six

PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

Application of colour

Preliminary sketch for the main cloth

Sketch for main cloth

PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

Plate 26: Main cloth – ‘Sikafutro Kwasiada Adinkra’Fabric size: 95” x 132”

The main cloth

MAIN FINDINGS The symbols and colours used in the production of Adinkra

cloths are representation of the cultural values of the Asante people and not fully abstracted objects.

The fabrics used in the production of nwomu designs may be locally produced or manufactured in the industry. Cotton, polyester, and rayon yarns can also be used in nwomu designs.

The use of interfacing in light weight fabrics provides additional strength and dimensional stability during stitching.

The nwomu or Adinkra cloth may also be used for other purposes such as wall hangings, decorating the dead and as a souvenir for tourists and visitors.

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

CONCLUSION

The art of nwomu (indigenous hand embroidery) among the Asante people was practiced long before the emergence of the ‘Adinkra cloth’.

Indigenous cloths such as Birisi, Kobene, Kuntukuni, and Nwomu are all part of “Adinkra cloth collections”.

The Adinkra cloth ( with the nwomu) is sometimes called ‘the mobile gallery’.

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

RECOMMENDATIONS

A study into indigenous cloths should be introduced as part of the course outline (curriculum) for vocational schools, colleges and tertiary institutions.

Workshops should be organised to educate the youth and the general public on the significance of indigenous cloths.

Printed nwomu designs by textile factories should be discouraged.

This thesis and other related materials should be compiled into a user - friendly - manual.

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION

THANK YOU

EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION