“You may say that art is in our blood”.. George Bope, commenting about the Kuba people, 2002.
After 1994, when South Africa opened up to the rest of the continent, rich cargoes of raffia cloth were conveyed in battered portmanteaux from war torn Congo to Johannesburg flea markets for sale. Here, these beautiful black, cream and ochre coloured fabrics were unpacked and displayed for the appreciation of local clientele.
Most of these traditionally made raffia cloths are characterized by striking designs and fine craftsmanship. Some cloths were woven at the turn of the 1900’s, some were new. Raffia is processed and woven by the Kuba people, Kasai province, Democratic Republic of Congo. The Kuba are part of a large group comprising the following subtribes. The: Bushoong, Shoowa, Kele, Pianga, Ngende, Ngongo. All of whom make raffia cloths.
Most of these woven fabrics are worn as garments, plain ones by laymen for everyday wear and the more lavish by dignitaries of the royal court. The most aesthetically beautiful cloths were donned by men and women at the occasion of masquerades, age grade ceremonies and the investiture of officials.
Fabric is displayed by being repeatedly wound around the body or layered over other cloths, sometimes obscuring the human form, at others, visually enhancing vigorous movement and dance through the endless shape shifting of the voluminous skirt. The potential of these cloths, gathered at the waist, is also enlivened by the explosion of rapidly changing geometric patterning at every move.
Besides being worn as court dress, raffia cloth also has another significance:
The wearers’ gender, status, clan and identity can be discerned at a glance by the initiated from the colour of the fabric, its shape on the body and above all its decoration. The embellishment of these cloths is characteristic of the aesthetic style of the people and the decorative motifs used on the cloths, are mirrored in the designs of their scarification, utilitarian ware, basketry and low relief sculpture.
When worn, these earth coloured cloths form the perfect foil for the addition of sumptuous cowrie shell hats, belts and beadwork made by the Kuba royals and dignitaries. These beaded objects are exemplified by excessive detail. The technique of: visual juxtaposition and a combination of blocks of large and small scale beads with cowries, is unique in Africa to the Kuba people of the D.R.C
Raffia textile is woven by men, using a technical process thought to have originated centuries ago by the pygmy people living in the rainforests. The leaves of palm trees are gatherted and steeped in water for a length of time, thereby causing the vegetable matter to disintegrate, leaving behind a residue of blond fibrous hair-like strands. These are dried and strung onto the frame of a small upright loom, forming the warp threads. As the extent of the leaves and therefore the strands dictates the size of the weaving, cloths are woven in sections or segments which are then sewn end to end to form the requisite length of the fabric.
There is a division of labour, so although men weave the cloth, women are responsible for the embellishment of all fabrics. Fabric is then pounded to maintain pliability and softness sometimes resulting in perforations.
A variety of decorative techniques employed by women include: applique, embroidery, openwork stitching, cut-pile, dyeing and batiking.
Plant dyes or oxides of various tones, colour applique patches, or embroidery thread and are worked into extensive geometric patterns to contrasts a background of another hue reflecting fabulous statements of Kuba artistic expression.
Borders or progressive designs innovate and change across the surface of fabric. The names of motifs are iconic, handed down over the generations and they derive from fauna and flora, revered ancestors and particular incidents in village life.
Additions to the edges of the cloth may include bands of animal skin, cowries, beads, pompoms, and small metallic cast insects. These sway and jostle with each movement, or catch the light adding visual interest.
Raffia cloth ranges in scale and complexity.
Cloth production from start to finish can span several months, sometimes years. Cloths undergo facelifts according to the ravages of time, dictates of fashion or lately the necessities of trade. The borders can change, shapes can be appliqued onto an existing cloth or sections assembled and added for what is perceived as a more saleable appearance. While marketing practice helps keep the art form alive, it has a seed that spells its demise. Cloths are sometimes irrevocably changed into a modern aberration to meet the growing demands of the interior decor market place.
One may suggest that the fickleness of fashion, and the decline in demand might result in this unique product being saved for future enthusiasts to appreciate.
But will the demand decline? These spectacular cloths have been traded since the 1500s. They were used as currency, bought to be worn by slaves in the Americas, thought to have been inspired by liturgical garments by the colonials and more recently, enjoyed by art lovers and textile enthusiasts internationally. The technical proficiency of Kuba weavers and embroiders continues today to astound and befuddle the senses with geometric patterning bordering on wizardary.