Functions and Symbolism of Hand Woven Fabrics in Ghana

Isaac Johnson Appiah

Dr. Charles Frimpong

Dr. Benjamin Asenyo

Abstract

The study is qualitative and drew on the historical research method to examine the functions and

symbolism of indigenous hand woven fabrics in Ghana. Its aim is to discuss the functions and

symbolism of hand woven fabrics in Northern Ghana, Ashanti and the Volta Regions of Ghana.

The major centers for the discussions are Daboya, Yendi, Bonwire,Adanwomasi , Agbozume and

Kpetoe There appears to be a surge in Ghanaians wanting things of the old. For example, the re-

emergence of live band music, modification of old wax print deigns, among others. Same applies

to northern smock and kente. An understanding of the functions and symbolism of this folklore

will increase patronage of these unique weaves and help preserve this heritage. Also it discussed

the cultural and under tones of the hand woven fabrics in the weaving communities of Ghana.

Key Words; Function, Symbolism, Kente, and Smock.

Introduction

The brightly coloured, geometrically pattered cloth called kente, made by the people of Asante

and Ewe is the best known of all African textiles. In the African American communities across

the United States, kente is much more than mere cloth. It is a symbol of African pride and

powerful cultural icon, (Jerry Beds, 2012).

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The Ghanaian cloth has its underlying symbolism which actually takes its root in the peoples‟

values and belief system (Omatseye & Emeriewen, 2012). In the Ghanaian belief, cloth goes

beyond mere covering of the body, to prevent exposure. There is inherent aesthetics in its

symbolic usage, motifs and colours, and the messages the cloth “speaks”. It is in this context that

Sabotey (2009) affirms that Ghanaian cultural values are embedded in their weaves. Thus, their

philosophical values in the fabrics they produce are in the form of events, proverbs, stories,

historical records and other aesthetic values projected from the cultural context.

Kente cloth comes in various colours, sizes and designs, and is worn during very important

social and religious occasions. According to Sabotey (2009:61) Kente cloth is more than just

clothing to be worn, it really represents the history, philosophy, oral literature, religious beliefs,

political thought, ethics, moral values, social code of conduct and aesthetic principles of the

Ghanaian people. For this reason, Kente is worn during very important social and religious

occasions, Keteku (2012). Kente is a completely unique part of Ghanaian history and culture.

The Asante and Ewe tribes of Ghana originally used the clothes for religious and ceremonial

occasions. Contrary to western fashion there is often a deeper meaning hidden away in Ghanaian

designs, whether in terms of clothing or hairstyles. Colours, patterns and designs have ancient

roots and meanings, and Selorm Seshie says he is still using them deliberately, when making

new creations.

Similarly, Northern weaves in the form smock have been popularized by politicians. Its

popularity seems to have soared when photos of Ghana first president and his aides were seen

wearing smocks during the declaration of independence on 6th of March, 1957. This is

collaborated by Apkabli (2012). There is therefore the need to compile and analyze the original

functions and symbolism of both kente and Northern weaves. During a tour of the six major

weaving centers of Ghana; Daboya and Yendi (Northern Region), Bonwire and Adanwomasi

(Ashanti Region), Kpetoe and Agbozume (Volta Region), it was evident that every member of

these communities visited, men women and children either participated or knew the philosophy

and the importance the this unique art. They however seem to be helpless or ignorant about the

gradual but constant alienation of the original function and symbolism of the weaves that makes

them unique on the world stage.

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Historical Overview of Kente in Ashanti

Kente was developed in the 17th Century A.D. by the Ashante people, it has its root in a long

tradition of weaving in Africa 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 Karaban 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 skills. They reported

their discovery to their chief, Nana Bobie, who in turn reported it to the Ashante King at that

time. The Asantehene adopted it as a royal cloth and encouraged its development as a cloth of

prestige reserved for special occasions. This account is collaborated by Sackey (1995:61) and

also adds that some Ewes have similar account about the history of kente weaving in the Volta

region.

Historical accounts trace the origin of Kente weaving to early weaving traditions in ancient West

African 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 Africa prior to the

formation of the Ashanti Kingdom in the 17th Century. Archaeological research has dated

examples of narrow-strip cloths woven in West Africa 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 Africa. 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 Ashante craftsmen might have learned weaving

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skills from other peoples living North and West of them and later developed their unique style of

cloth.

While Kente Cloth may have its root in 11th Century West African weaving traditions, weaving

in Africa as a whole was developed earlier. Elsewhere in Africa, 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 African 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 which is constructed with

wood; a set of two, four or six heddles (asatia, asanan or asasia) 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, colours and qualities. In the past yarns were either

spun from locally grown cotton or unraveled from cotton and silk cloths imported from Europe

and Asia. Today, factory made cotton, silk or spun rayon yarns are obtained from factories in

Ghana and outside Ghana. Various colours of yarns may be combined in particular ways to

reflect the symbolic significance of a 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

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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. Today, factory spun yarns

have replaced hand-spun.

Aesthetics and Usage

In its cultural context of use, Kente is more than just a cloth. Like most of Africa'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. Today, in spite of the

proliferation of both the hand-woven and machine printed Kente, the cloth are still regarded as a

symbol of social prestige and nobility.

According to the 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

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matching blouse. In some cases, elderly women of high social status may wear a large piece in

toga-like fashion just as men do. Within the 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.

Symbolism of Kente

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 meanings. 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.

Through the kente weaving traditions among the Asantes, their cloth designs are often inspired

by everyday life in the society and the ability of the weaver to explore his creative skills and

knowledge in weaving. The names of these designs are mostly proverbial which needs

interpretation.

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According to the weavers, the arrangement of the design patterns depends solely on the creativity

of the weaver. This is mostly done by manipulating the old designs to suit contemporary design

inspirations. Although the old designs are modified, they are still employed with the newly

developed designs. The motifs in the cloth known as “kwatia” is measured with the broom stick

to identify the length of the motif.

It was told that, new designs are produced periodically by weavers but in Adanwomase kente

cloths, names of designs such as “Tweretwie”, “Fahia ko twere Agyemang”, “Odofo awaa

mu”,and “Achimota ntokoa” are highly produced. It is believed that, these designs were

associated with the royals and the prestige in the society.

The town of Adanwomase where the chief of kente appointed by the Asantehene hails from is

renowned for weaving kente for Ashanti chiefs such as Asantehene, Juabenhene and Okyihene

and other respected people in the society are the people that Adanwomase kente cloths are

mostly designed for. Adanwomase can boast of the only registered kente design which was

woven in honour of President Kuffour for his leadership style. The name of the cloth was

referred to as “Kuffour apagya Ghana” (Kufour has lifted Ghana) which means President

Kuffour, the then Head of State of the nation, has developed Ghana to great extent. Kente cloths

are also sometimes woven for some tertiary institutions for their matriculations and graduation

ceremonies, church ushers, clubs or associations and anyone interested in using kente cloth for

one reason or another.

The quality of Ashanti Kente cloth is guaranteed. The only worry about the cloth nowadays is

their quality because of the pursuit of money among modern weavers in the community. As

lamented Osei (2012), since the advent of the new picking technique, the youth are gradually

doing away with the old method of design picking. They believe that the new idea of design

picking is faster and quicker to weave. Again, in order to finish earlier, the yarns are doubled or

sometimes tripled and this makes the cloth heavier like blanket. Although the quality of the cloth

is identified in the yarn counts utilised in the design picking.

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

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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 colours 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.

Samples of Kente and their Symbolism

Emaa da - Novelty

Symbol of Exceptional knowledge, Creativity, Novelty, and Innovation. From the proverb: Dea

emmaa da eno ne dea yennhunu na yennte bi da.

Literally meaning: What is novel is what we have not seen and heard before.

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Obi nkye obi kwan mu si - to err is human

Symbol of Forgiveness, Reconciliation, Tolerance, Patience, and Fairness. From the maxim: Obi

nkye obi kwan mu si and literally meaning; Sooner or later one would stray into the path of the

other.

To err is human, and therefore, one should forgive when one is offended. For sooner or later one

may be the offender to the other.

Obaakofoo mmu man – one person does not rule a nation

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Symbol of participatory democracy, warning against dictatorial rule, and plurality of ideas.

Derived from the maxim: Obakofo mmu oman. Literally meaning: One person does not rule a

nation.

The Akan belief is that democratic rule requires consultation, open discussion, consensus

building, and coalition formation. The use of the Queen mother as a co-ruler and the Council of

state or council of elders are examples of Akan forms of participatory democracy

Adwin asa - All motifs have been used up

Symbol of creativity, ingenuity, mastery, innovation, elegance, royalty, and perfection. Derived

from the expression: Adwin asa. Literally meaning: All motifs have been used up.

The cloth length is completely filled with weft floats that hide all the warp threads. The elegance

of the cloth lies in the skillful use of several motifs to fill up the cloth length. This level of

perfection is associated with the master weaver and the cloth, in the past, was worn by the

royalty.

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Kyemfere – Potsherd

Symbol of Experience, Knowledge, Service, Antiquity, Time, Heirloom, and Rarity. From the

proverb: Kyemfere se odaa ho akye, na onipa a onwene no nso nye den?

Literal translation: The potsherd claims it has been around from time immemorial; what about

the potter who molded it?

Ewe Kente Cloths

Ewe people live around the Volta delta area of south eastern Ghana and across the international

border in Togo. According to their local histories some groups reached their homeland in the

seventeenth century after a series of migrations from the east, passing through the town of Notse

in Togo. Others, around the more northern weaving town of Kpetoe claim an Akan origin from

an area towards the coast near Accra. Unlike the Asante they were never a unified political entity

with a powerful court, being ruled instead by numerous village chiefs and shrine priests. Perhaps

as a consequence of this lack of a centralised royal authority imposing common standards Ewe

weaving is far more diverse than that of the Asante. Although they do supply important regalia to

local chiefs, Ewe weavers work primarily for sale through markets and to fill orders from

important local men and women. Today Ewe weavers are concentrated around two towns,

Kpetoe and Agbozume, with the latter the site of a large cloth market which draws buyers from

throughout Ghana as well as neighbouring countries.

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Ewe weavers utilise an almost identical form of the narrow-strip loom to that of the Asante, and

there is considerable evidence to suggest mutual influence between the weavers of the two

traditions, as might be expected from the long history of contacts, both through trade and

conquest between their peoples. However Ewe weaving has also been influenced by and

exercised an influence on other neighbouring peoples, including the Fon of the Benin Republic

and most recently the Yoruba of Nigeria.

One particularly interesting and distinctive type of Ewe cloth, sometimes called adanudo,

features a rich variety of weft float inlaid pictures, often on a plain silk, rayon, or cotton

background. Among the subjects depicted on these cloths are animals such as cows, sheep and

horses, human figures, ceremonial stools, hats, trees and flowers, and household objects such as

dining forks. More recent examples are often quite realistic, and at least since the 1940s some of

the cloths have included written texts. The Ewe weavers also produced many cloths where, as

with Asante kente, the main design feature is symmetrically arranged blocks of weft float

designs and weft faced stripes across the strips. However despite their superficial similarity,

these cloths can generally be distinguished from Asante weaving by the inclusion of figurative

designs of the type described above, and by the use of a technique which involves plying

together two colours of weft thread before weaving a band, creating a kind of speckled effect.

Ewe weavers also produced more simple but still striking cloths using just indigo blue and white

stripes and checks, perhaps the legacy of older weaving styles practised before they came into

contact with the Asante.

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Circa 1960

This magnificent antique Kente textile features an enrapturing selection of traditional striped

patterns that are created on narrow looms and stitched together. The lively patterns that decorate

this exceptional piece incorporate an inventive combination of horizontal and vertical stripes.

Alternating patterns that feature varying proportions and variable colors are placed at staggered

intervals where they create a magnificent checkerboard pattern. The result is a gorgeous

patchwork visage. However, the symbolism is much deeper. This unique piece is a beautiful

example of a culture that uses colors to create a language of symbols. This exceptional kente

textile showcases a formal symmetric composition that incorporates consistent hues of rich navy

blue and bold saffron yellow, which represent harmony and abundance

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Ewe Kente Cloths

Ewe people live around the Volta delta area of south eastern Ghana and across the international

border in Togo. According to their local histories some groups reached their homeland in the

seventeenth century after a series of migrations from the east, passing through the town of Notse

in Togo. Others, around the more northern weaving town of Kpetoe claim an Akan origin from

an area towards the coast near Accra. Unlike the Asante they were never a unified political entity

with a powerful court, being ruled instead by numerous village chiefs and shrine priests. Perhaps

as a consequence of this lack of a centralised royal authority imposing common standards Ewe

weaving is far more diverse than that of the Asante. Although they do supply important regalia to

local chiefs, Ewe weavers work primarily for sale through markets and to fill orders from

important local men and women. Today Ewe weavers are concentrated around two towns,

Kpetoe and Agbozume, with the latter the site of a large cloth market which draws buyers from

throughout Ghana as well as neighbouring countries.

Ewe weavers utilise an almost identical form of the narrow-strip loom to that of the Asante, and

there is considerable evidence to suggest mutual influence between the weavers of the two

traditions, as might be expected from the long history of contacts, both through trade and

conquest between their peoples. However Ewe weaving has also been influenced by and

exercised an influence on other neighbouring peoples, including the Fon of the Benin Republic

and most recently the Yoruba of Nigeria.

One particularly interesting and distinctive type of Ewe cloth, sometimes called adanudo,

features a rich variety of weft float inlaid pictures, often on a plain silk, rayon, or cotton

background. Among the subjects depicted on these cloths are animals such as cows, sheep and

horses, human figures, ceremonial stools, hats, trees and flowers, and household objects such as

dining forks. More recent examples are often quite realistic, and at least since the 1940s some of

the cloths have included written texts. The Ewe weavers also produced many cloths where, as

with Asante kente, the main design feature is symmetrically arranged blocks of weft float

designs and weft faced stripes across the strips. However despite their superficial similarity,

these cloths can generally be distinguished from Asante weaving by the inclusion of figurative

14

designs of the type described above, and by the use of a technique which involves plying

together two colours of weft thread before weaving a band, creating a kind of speckled effect.

Ewe weavers also produced more simple but still striking cloths using just indigo blue and white

stripes and checks, perhaps the legacy of older weaving styles practised before they came into

contact with the Asante.

Circa 1960

This magnificent antique Kente textile features an enrapturing selection of traditional striped

patterns that are created on narrow looms and stitched together. The lively patterns that decorate

this exceptional piece incorporate an inventive combination of horizontal and vertical stripes.

15

Alternating patterns that feature varying proportions and variable colors are placed at staggered

intervals where they create a magnificent checkerboard pattern. The result is a gorgeous

patchwork visage. However, the symbolism is much deeper. This unique piece is a beautiful

example of a culture that uses colors to create a language of symbols. This exceptional kente

textile showcases a formal symmetric composition that incorporates consistent hues of rich navy

blue and bold saffron yellow, which represent harmony and abundance

Samples of Ewe kete at Agotime-Kpetoe

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History of traditional weaving in Northern Ghana

The origin of traditional weaving in Northern Ghana could be traced to two communities;

Daboya and Yendi. However, each of these two communities has its own historical records of

the development of the ar,t though that of Daboya has gained tremendous development and

popularity, and the weaving of smock in these two communities are the same as the case pertain

in the other regions.

Daboya

Daboya is a community with a population of about ten thousand people in the Northern region of

Ghana. The people in this community are Gonjas and their oral history reveals that they came

from a town call Mande in present day Republic of Mali. The name Daboya is from the Gonja

expression Nda bo anyi which means “my brother is better than me”; says the Queen Mother

after she handed over leadership to her brother Wasipe Wura Asafo I when he resettled in

Daboya from Bole. It has proud history which dates back to the sixteenth (16th) century and was

known for remarkable salt production until the seventeenth (17th) century when textile weaving

took over as the primary industry.

The people of this community believed their forefather named Braimah Bakarambasi brought the

art of weaving from Hausa land in Nigeria. He however went on an exile and on his return to

Daboya, the section he hails from, where weaving is predominantly done was named after him as

Bakarambasipe (meaning Bakarambasi section) Zakaria (2011).

This community became the cradle of smock production in Ghana and remains reputed to-date

for its authentic local fabrics. During the reign of Wasipe Wura Asafo I, Mahama Kananche, a

Muslim scholar from Nigeria and some of his kinsmen settled in Daboya. The people of Daboya

used to weave and dye the smocks in clay receptacles. The Nigerians taught them the art of pit

dyeing which they had perfected over the years. Thus, the indigo-dyed smock craft flourished in

Daboya.

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Yendi

Weaving was brought to Dagbon (Dagomba traditional area) by their great-grandfather called

Ayuba from Saudi Arabia. This great-grandfather first settled for sometime at Sabale, a nearby

community on his way from Saudi Arabia before he moved to Yendi. It started with locally spun

yarns from women. Natural dyes were often extracted from a nearby village called Kpatigna.

Black dye were often gotten from the leaves of a tree called “shim”, red dye from the stem of a

plant called “moshi” and yellow dye from another called “bebletuture”. In all cases the materials

are often pounded, rolled in ball form and sent to the river side and soaked in muddy water for

sometime after which they are then brought home and soaked in pots again. When they begin to

form foamy substances, it is an indication of being ready for use.

However, with Yendi smocks, the names of designs are not related to any proverb or historic

events but are named purposely to market the smocks. Only few people now use locally spun

yarns to weave in Yendi. This is because most weavers now prefer the industrial spun yarns

which are softer and lighter in weight and therefore makes the weaving easier. The most popular

designs in Yendi now are “tampieli” (pure white) and “kpancogu” (guinea fowl) which often

come in blue, white and black colours.

The fugu smock is the most distinctive dress from Northern Ghana. The striking garment dates

way back but the way men and women drape it in recent times reflect style and modernism.  

Also known in southern Ghana as batakari, according to Akpabli (2011) fugu has evolved from

a native wear to a recognisable fashion statement awaiting its turn at the international catwalk.

Fugu is a practical dress which provides protection for the body against both heat and cold.

Compared to the kente fabric native to the Ashanti and Volta Regions, fugu is much rougher and

a little less colourful. But its attractiveness and ready to-use mode makes it a must-have in

everybody’s wadrobe.

Typically, the fugu gown is round necked, with short sleeves that have a rather wide opening. 

The smock is a plaid garment that is similar to joromi or the danshiki which originates from

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Nigeria. From the waist on, the dress spreads in a funnel shape sometimes reaching ankle length.

The beauty of this shape is seen when men do the damba dance with the edge of the smock going

round in circles.

The fugu smock usually has embroidery on the neckline with a small V-cut above the chest. It

has two hidden pockets which, but for the embroidery will be hidden.

Unlike the kente cloth, the boubou or the Japanese kimono which are all traditional wears for

special occasions, fugu is an everyday garb. Because it hangs loosely it is easy to wear and work

with, while offering grace to the wearer.

The fugu fabric is made from cotton which is processed into threads by women, dyed and then

woven into strips or stoles. The strips are about four inches wide and their thickness   depends on

the number of threads used. The weaving takes place in simple hand looms. To make clothes, a

collection of strips are sewn together. This may be machine sewn or handmade.

Not all fugu fabrics are the same. For instance, there is the plain calico type which originates

from the Upper West Region. In a way, this contrasts with the thicker, multi-colour patterned

ones from Daboya in the Gonja area of the Northern Region.

The fugu smock is easily adaptable. Apart from the typical design described above, there are

other variations which are more or less elaborate. A simplified version is the tight-fitting, almost-

sleeveless one that reaches the waist. A related variation also flows up to the waist but without

ending in the skirt-shape.

In contrast, there are the more elaborate styles such as those which come complete with the fugu

smock itself, a covering gown and a pair of drawstring trousers all in the fabric. The trousers or

pantalon have an exaggerated pouch between the legs. To top it up, there is a cap also in  fugu.

You may call this the fugu three-piece.  It is usually worn by chiefs on ceremonial occasions.

It could be said that it is in the women’s domain that much of the innovations of fugu is realised. 

Women look trendy in the traditional smock design. They wear this with a pair of shorts or

knickers sewn with the fabric. Then there is the fugu blouse which is worn over a cloth tied

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round the lower half of the female shape. On another level, it is fashionable for females to use

the fugu material for kaba and slit. Finally, fugu can be made into one flowing dress from the

shoulders to the heels. Of course, trust our ladies to crown each of these styles with a piece of

fugu as head gear.

In Ghana, the fugu smock assumed great significance when President Nkrumah chose to wear it

in declaring Ghana’s independence. Indeed, a look at the dais on the historic moment of 6th

March 1957 would show that all his aides were in fugu. It would be naive for anyone to think

that the dress code for that grand occasion was for nothing.

When the fugu dress is worn the wearer conveys a sense of conservatism and equality. Fugu

looks good on both men and women just as it does for the young the old. The smock is also the

mode of dress for both rich and poor.

Adopting the fugu conveys an ability to co-exist. It is a dress for all. Christians wear it. Muslims

wear it. Traditionalists, too, wear it. In terms of occasions, it can be worn practically for any

social event. In fact, in Ghanaian society it is about the only attire that can pass for formal as

well as casual. For some men, there is nothing more attractive than wearing the smock over a

neatly worn shirt and tie.

That the fugu fabric lasts long is without a shred of doubt. In fact, a piece of fugu cloth can be

worn for life. Curiosly, as the fabric ages, it assumes one attractive phase to another. For some,

the older and jaded the smock gets the more they value it. This is especially true for the elderly.

When old folks say ‘my fugu has seen more tatters than yours’ it means that they are older and

thus have had more of life’s experiences. In truth, one mustn’t be surprised by this attitude of

cherishing a worn out piece of clothing. The practice is only similar to how the youth adore and

flaunt worn-out jeans. It is the same old vibe.

On a more serious note, fugu is not just a piece of garment. The cloth serves as the backdrop for

expressing communal codes. It is also one of the items that embodies traditional values. Often,

symbolic patterns are embossed on the front and back. Common examples of these motifs are the

heart or stars. Lately, ‘foreign’ concepts such as adinkra symbols are fitted in. It must also be

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noted that there is currently an introduction of brighter colours other than the traditional shades

of blue, black and white.

Among the Dagaabas of the Upper West Region, the dress is known as ‘Dagarkparlo’ meaning ‘a

Dagarti man’s wear.’  For Northern Chiefs, fugu is a mandatory costume. To some extent, the

smock or batakari  is also seen as a war dress. In this regard, it is adorned with protective

amulets. For a man’s last respect, he is laid in state dressed in fugu. He is also buried in it.

Fugu, today, has become the basis for a vibrant traditional textile industry across Northern

Ghana. From Bolgatanga through Tamale to Daboya young people especially are actively

producing to meet growing demand. The industry revolves around dyeing, weaving, sewing and

designing.

Beyond Ghana, people of African descent are also taking a liking to fugu. Perhaps, in portrayal

of Nkrumah’s ‘African Personality,’ many wear the Northern Ghana smock in America, Europe

and the Caribbean, Akpabli (2011). Fugu is beautiful, modest and flamboyant. The good news is

that it does not appear that it will be disappearing into history any moment soon.

Samples of Woven Cloth in Northern Ghana

There are a few different color patterns of Daboya and each one has a name. The design of Daboya a relatively simple pattern of stripes and sometimes includes intermittent accents of ‘warp float’ weaving. The weft effects in the cloth are achieved by tying the weft yarn at intervals during dyeing with a resist material and wound onto the bobbin. (http://bawabawa.com/Daboya/Daboya.htm)

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Northern Fugu

Conclusions

This paper tried to appraise the visual effect, as well as the underlying aesthetic symbolism and

function inherent in the Kente and Smock philosophy. Ghanaians in their culture communicate

their beliefs, philosophies and understanding of human existence. The cloth as metaphor reflects

all aspects of the Ghanaian life and living, and the relationship between the inside and the

outside. Specifically, the African Cloth conception in the peculiarities of its designs, motifs,

colours and usage oftentimes convey message. Only the owners of the cloth can unravel the

untold stories and messages in their cloth. No doubt the Ghanaian has an insightful, reflexive and

reciprocal relationship with their cloth.

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References

1. Ross, & Doran H. (1998). Wrapped in Pride: Ghanaian Kente and African American Identity. Los Angeles, USA: CA., UCLA Fowler Museum of Cultural History. Pp. 46-48, 92-101.

2. Sackey, J. (1995). Lesson Notes on Textiles for Ghanaian Schools and Colleges. Accra, Ghana: P61

3. http://bawabawa.com/Daboya/Daboya.htm

4. Zakaria A. (2010). Second Chief Weaver in Daboya. Interviewed on 28th October, 2011

5. Osei I. (2012). Master weaver at Bonwire weaving centre. Retrieved on August 31th, 2012

6. Nene Nuer Keteku III (2012). Interview with Paramount chief of Agotime Traditional

Area. Retrieved on October 17, 2012

7. Omatseye & Emeriewen, 2012, An Appraisal of the Aesthetic Dimension to the African Philosophy of Cloth. Journal of Language, Technology & Entrepreneurship in Africa Vol. 3. No.

8. Sabotey (2009:61), Aesthetics, Appreciation and Criticism among Indigenous Asante

Kente Weavers: Implications for Art Education and National Development. Thesis.

9. Ansah K.O., http://kente.midwesttradegroup.com/history.html

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