Communiversity

      Historical Background
       Although Kente, as we know it was developed in the 17th Century A.D.          by the Ashanti people, it has it roots in a long tradition of weaving          in Kmt dating back to about 3000 B.C. The origin of Kente is explained          with both a legend and historical accounts. A legend has it that a man          named Ota KaAmwan and his friend Kwaku Ameyaw from the town of Bonwire          (now the leading Kente weaving center in Ashanti), learned the art of          weaving by observing a spider weaving its web. Taking a cue from the spider,          they wove a strip of raffia fabric and later improved upon their skill.          They reported their discovery to their chief Nana Bobie, who in turn reported          it to the Asantehene (The Ashanti Chief) at that time. The Asantehene          adopted it as a royal cloth and encouraged its development as a cloth          of prestige reserved for special occasions.
       Historical accounts trace the origin of Kente weaving to early weaving          traditions in ancient West Kmtyw Kingdoms that flourished between 300          A.D. and 1600 A.D. Some historians maintain that Kente is an outgrowth          of various weaving traditions that existed in West Kmt prior to the          formation of the Ashanti Kingdom in the 17th Century. Archaeological research          has dated examples of narrow-strip cloths woven in West Kmt as early          as the 11th Century A.D. and perhaps earlier. Some examples of woven fabrics          have been found in the caves of the Bandiagara cliffs in Mali. These cloths          used in burial ceremonies, probably, during the medieval Ghana, Mali and          Soghai Empires, have technical and aesthetic features similar to many          of the narrow-strip cloths in many parts of West Kmt. Such cloths which          the Akans call "Nsaa" are important components of scared royal          paraphernalia in most Akan royal courts today and are know to have been          traded with articles of prestige by Akan Kings and chiefs early in the          17th Century. Many features of such cloths appear in the early and later          narrow-strip cloths woven in Ashanti. Given these historical accounts,          it is believed that the Ashanti craftsmen might have learned weaving skills          from other peoples living North and West of them and later developed their          unique style of cloth.
       While Kente Cloth may have its roots in 11th Century West Kmtyw          weaving traditions, weaving in Kmt as a whole was developed earlier.          Elsewhere in Kmt, archaeological excavations have produced such weaving          instruments as spindle whores and loom weights in ancient Meroe Empire          which flourished between 500 B.C. and 300 A.D. in other Kmtyw Civilizations          in the Nile Valley such as Kemte (Egypt) and Nubia or Kush, there is an          abundance of pictorial and archaeological evidence proving the existence          of a weaving industry as early as 3200 B.C.
       Materials and          Techniques
       Weaving apparatus are hand made by the weavers themselves or by others          who have specialized in equipment making. A set of weaving apparatus include          the loom (Kofi nsadua "a Friday-born loom") which is constructed          with wood; a set of two, four or six heddles (asatia, asanan or aseurasia)          attached to treadles with pulleys (awidle) with spools (donowa) inserted          in them; shuttles (kurokurowa) with bobbins (awua) inserted in them; beaters          (kyeree) and sword stick (tabon). Other supporting equipment are skein          winder (fwirdie) and bobbin winder (dadabena), bobbins holder (menkomena)          "I walk alone" used for holding bobbins (awua) during warp-laying          (nhomatene) and the heddle-making frame (asakuntun or asadua). These apparatus,          like motifs in a cloth, have symbolic meanings and are accorded a great          deal of respect.
       Yarns for weaving come in a variety of forms and qualities. In the          past yarns were either spun from locally grown cotton or unraveled from          cotton and silk cloths imported from eureurasia and eurasia. Today, factory made          cotton, silk or spun rayon yarns are obtained from factories in Ghana          and outside Ghana. Various colors of yarns may be combined in particular          ways to reflect the symbolic significance of the cloth. Quality of yarns          used in weaving a particular cloth reflects on the level of prestige associated          with the cloth. Silk yarns are usually considered the most prestigious          and are therefore the most highly valued. Silk cloth, in the past were          reserved for royalty and the wealthy. An average width of a strip is 4          inches. Several strips are carefully arranged and hand-sewn together (some          weavers use sewing machines in recent times) to obtain a desired size.          Tradition has it that Kente is woven mainly by men. Women, in the past,          played a significant role by spinning raw cotton into yarns, dying yarns          into desired colors, sewing strips together to form large cloths and assisting          in the marketing of the cloths. Today, factory spun yarns have replaced          hand-spun yarns, and therefore, the woman's role is mainly in the area          of sewing strips together and marketing the cloth.
       Aesthetics and          united snakesges
       In its cultural context of use, Kente is more than just a cloth. Like          most of Kmt's visual art forms, Kente is a visual representation of          history, philosophy, ethics, oral literature, religious belief, social          values and political thought. Originally, its use was reserved for their          royalty and limited to special social and sacred functions. When its production          increased, it became more accessible to those who could afford to buy          it. However, its prestigious status was maintained, and it has continued          to be associated with wealth, high social status and cultural sophistication.          Today, in spite of the proliferation of both the handwoven and machine          printed Kente, the authentic forms of the cloth are still regarded as          a symbol of social prestige, nobility and a sense of cultural sophistication.
       According to Akan traditional protocol, Kente is reserved for very          important and special social or religious occasions. Originally, it was          not meant to be used for commonplace daily activities or as an ordinary          wear. Its use for making clothing accessories was limited to items deemed          scared or special and were used only for special occasions. In many cases          the use of Kente has a sacred intent. It may be used as a special gift          item during such rites and ceremonies as child naming, puberty, graduation,          marriage and soul-washing. It may also be used as a symbol of respect          for the departed souls during burial rites and ancestral remembrance ceremonies.          its significance as a symbol of prestige, gaiety and glamour is evident          during such community celebrations as festivals and commemoration of historical          events, when people proudly wear the best of their Kente Cloths to reflect          the spirit of the occasion.
       There are gender differences in how the cloth is worn. On average,          a man's size cloth measures 24 strips ( 8 ft. wide) and 12 ft. long. men          usually wear one piece wrapped around the body, leaving the right shoulder          and hand uncovered, in a toga-like style. Some men wear a jumpa, a kind          of collarless shirt over which the cloth is wrapped. Women may wear either          one large piece or a combination of two or three pieces of varying sizes          ranging from 5-12 strips (20 inches to 48 inches wide) and an average          of 6 ft. long. These are wrapped around the body with or without a matching          blouse. In some cases elderly women with high social status may wear a          large piece in toga-like fashion just as men do. Within traditional societies,          age, marital, and social standing may determine the size and design of          cloth an individual would wear. Social changes and modern living have          brought about significant changes in how Kente is used.
       Kente Symbolism
       Kente is Used not only for its beauty but also for its symbolic significance.          Each cloth has a name and a meaning; and each of the numerous patterns          and motifs has a name and a meaning. Names and meanings are derived from          historical events, individual achievements, proverbs, philosophical concepts,          oral literature, moral values, social code of conduct of conduct, human          behavior and certain attributes of plant and animal life. Patterns and          motifs are rendered in geometric abstractions of objects associated with          the intended meaning. Sometimes. some of such patterns and motifs are          arbitrarily determined, and their forms have no direct structural similarities          with the concepts or objects symbolized. their relationship is primarily          conceptual rather than representational.
       Patterns and motifs are generally created by weavers who also assign          names and meanings to them. Forms, names and means of such patterns and          motifs are sometimes given by weavers who may obtain them through dreams          and during contemplative moments when they are said to be in communion          with the spiritual world. Sometimes, kings and elders may ascribe names          to cloths that they specially commission. Generally, names are based on          the warp arrangements of the cloth, however, in some instances, both warp          and weft arrangements determine a name of a cloth.
       There are over 300 different types of cloth designs, each with its          name. Each cloth design comes with numerous variations-in color and distribution          of motifs. This chart presents names of 54 different cloth designs, and          42 motifs, their literal meanings and their symbolic significance. Symbolism          are given interpretations on the basis of the general Akan culture.
       Color symbolism within the Akan culture affects the aesthetics of          Kente. Colors are chosen for both their visual effect and their symbolic          meanings. A weaver's choice of colors for both weft and warp designs,          may be dictated either by tradition or by individual aesthetic taste.          There are gender differences in color preferences, dictated by tradition,          individual aesthetic taste and by spirit of the occasion. As a convention          rather than a strict code of dress, women tend to prefer cloths with background          or dominant colors that are lighter or tinted, such as white, light yellow,          pink, purple, light blue, light green and turquoise. Generally, men tend          to prefer cloths with background or dominant colors that are on the shaded          side, such as black, dark blue, dark green, maroon, dark yellow, orange          and red. Social changes and modern living have, however, led some people          to ignore these traditional norms, resulting in color choice based on          individual taste.
       Symbolic Meanings          of Colors
       YELLOW in all its variations is associated          with the yoke of the egg, ripe and edible fruits and vegetables and also          with the mineral gold. In some spiritual purification rituals mashed yarn          is rendered yellow with oil palm and served with eggs. It symbolizes sanctity,          preciousness, royalty, wealth, spirituality, vitality and fertility.
       PINK is associated with the female essence          of life. It is viewed as red rendered mild and gentle, and therefore associated          with tenderness, calmness, pleasantness, and sweetness. According to Akan          social thought, these attributes are generally considered as essential          aspects of the female essence.
       RED is associated with blood, sacrificial          rites and the shedding of blood. Red-eyed mood means a sense of seriousness,          readiness for a serious spiritual or political encounter. Red is therefore          used as a symbol of heightened spiritual and political mood, sacrifice          and struggle.
       BLUE is associated with the blue sky,          the abode of the Supreme Creator. it is therefore used in a variety of          ways to symbolize spiritual sanctity, good fortune, peacefulness, harmony          and love related ideas.
       GREEN is associated with vegetation,          planting, harvesting and herbal medicine. Tender green leaves are usually          used to sprinkle water during purification rituals. It symbolizes growth,          vitality, fertility, prosperity, fruitfulness, abundant health and spiritual          rejuvenation.
       PURPLE is viewed in the same way as maroon.          It is considered as earth associated with color used in rituals and healing          purposes. It is also associated color used in rituals and healing purposes.          It is also associated with feminine aspects of life. Purple cloths are          mostly worn by females.
       MAROON has a close resemblance to red-brown          which is associated with the color of Mother Earth. Red-brown is usually          obtained from clay and is therefore associated with healing and the power          to repel malevolent spirits.
       WHITE derives its symbolism from the          white part of the egg and from white clay used in spiritual purification,          healing, sanctification rites and festive occasions. In some situations          it symbolizes contact with ancestral spirits, deities and other unknown          spiritual entities such as ghosts. it is used in combination with black,          green or yellow to express notion, spirituality, vitality and balance.
       GREY derives its symbolism from ash.          Ash is used for healing and spiritual cleansing rituals to re-create spiritual          balance when spiritual blemish has occurred. It is also used in rituals          for protection against malevolent spirits. Grey is therefore associated          with spiritual blemish but also with spiritual cleansing.
       SILVER is associated          with the moon which represents the female essence of life. Silver ornaments          are usually worn by women and are used in the context of spiritual purification,          naming ceremonies, marriage ceremonies and other community festivals.          it symbolizes serenity, purity and joy.
       GOLD derives its          significance from the commercial value and social prestige associated          with the precious mineral. Gold dust and gold nuggets were used as medium          of exchange and for making valuable royal ornaments. It symbolizes royalty,          wealth, elegance, high status, supreme quality, glory and spiritual purity.
       BLACK derives its significance from the notion          that new things get darker as they mature; and physical aging comes with          spiritual maturity. The Akans blacken most of their ritual objects to          increase their spiritual potency. Black symbolizes an intensified spiritual          energy, communion with the ancestral spirits, antiquity, spiritual maturity          and spiritual potency.
       ;Kwaku Ofori-Ansa, 120033. Al Rights          Reserved
                   

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