The undying art of weaving
JOAN Erikson said: “A good life is like a weaving. Energy is created in the tension. The struggle, the pull and tug are everything.”
While this article might not be about life lessons, the balance between tension, pulling and tugging is what makes the art of weaving not only a fascinating flow of movement which will have you mesmerised for hours but a craft that produces the most exquisite textiles with patterns ranging from simple to intricate.
While watching Vikings, a Netflix series set in the 8th century following the life and conquests of legendary Viking chief Ragnar Lothbrok, I was transported to a time when everyday items that we take for granted were carefully crafted by hand.
From the goblets from which they sipped their wine to the wooden shields they used in battle, each artisan had a role to play.
Amid the violent fight scenes throughout the series, there are these wonderfully insightful moments when women, regardless of social standing, would spend hours methodically weaving fabric on large looms.
Another glimpse into the life of the Vikings in history and their skilful artistry.
But what do Vikings have to do with African weaving?
Watching those scenes reminded me of the handwoven textures and fabrics we still see today.
Especially the use of the loom. Centuries before the power loom used today to weave cloth, people made use of the stand or handloom.
Michèle Hayeur Smith authored a book called The Valkyries’ Loom – The Archaeology of Cloth Production and Female Power in the North Atlantic in which she writes: “Throughout the first 800 years of Iceland’s existence, women were wholly responsible for making cloth and although men’s roles and women’s roles in the total system of wool production were complementary, it would not be incorrect to say that women were at the root of the Icelandic economic system, ensuring at a very basic level the survival of their people in this harsh land.”
When speaking about the history of weaving and the use of a loom, one cannot fail to mention Peruvian fabrics. In Indigenous design, Peru has the longest continuous history of textile production in the world, going back almost 10 centuries.
“Invented long before pottery and just as humans started agriculture, Peruvian fibre manipulation began with simple spun fibres, moving on through cords and nets. By 500C this rudimentary craft had developed into complex weaving, employing practically every technique known today.”
In Africa, this form of artistry has a rich history. A Right for Education article mentions that ancient Egyptians were weaving 6 000 years ago.
While this intricate method of weaving is 6 000 years old, it continues to be an important part of African culture and a symbol of our identity.
And some of the most vibrant patterns come from Africa. “Bright colours and asymmetric patterns give African weaving its distinctive look,” writes AM Boyle in an article for Wise Geek.
“The vibrancy of the colours likely arose from the need for the various tribes to identify each other from a distance. Asymmetric patterns are quite common and generally stem from a time-honoured belief that clear deviations in patterns signified the weaver’s ancestral power and served to ward off evil spirits.”this is seen in the Kente cloth from the Akan people of south Ghana. The Kente cloth is a symbol of their cultural background. As mentioned above, all the patterns and colours bear significant meaning.
Green symbolises plants and farming, growth and fertility, while grey is supposed to make you think of ashes, which were used in cleansing rituals.
Nigeria is world famous for the Akwa Mmiri cloth, which is referred to as the “cloth of the water”.
Akwete cloth is a specially woven fabric – by Igbo women in the Akwete area near Aba in Abia State – and it’s said to be as old as the Igbo nation.
According to Wikipedia the weavers in Akwete claim to know over a hundred motifs, but not more than three or four are usually used simultaneously on one piece of cloth.
“This is explained by the inspirational aspect of the development of motifs in the society, certain motifs being regarded as gifts of creative inspiration from a divinity. Social status plays a role in the wearing of Akwete cloth, certain motifs being reserved for royalty, or used as a talisman to protect warriors going into battle or women in pregnancy. Some patterns are reserved for special families or occasions because of circumstances pertaining to motif origin.”
In Mali, we have the Khasa blankets made by the Fulani people. The Khasa blanket is yet another form of weaving that is rich in symbolism, depicting Fulani myths and life through lines, spots, triangles, lozenges and chevrons. “Since ancient history, African weaving has been playing a big role in African storytelling. It is part of our cultural heritage preservation to continue expressing stories through the art of weaving for those before us, the current generation and those to come,” says Nguni Fashion’s Wendy Magafela.
“African weaving is a very important skill that is part of a lot of cultural identification as the many symbols represent something unique and amazing about one’s culture in everyday life. In modern fashion we have been able to adapt inspiration from African weaving symbols through printing symbols on the fabric and presenting it on various wearable collections.
“Like our recent range, Ibhayi, which was showcased in Cappadocia Fashion Week 2022 with IFW Business, is inspired by different Nguni tribes and cultural representations.”
Locally you’ll find weavers at work at studios such as The Alpaca Loom in Paarl. Using pure alpaca wool, the studio produces luxurious items ranging from handwoven scarves, shawls, ponchos and blankets to knitted beanies and mittens. There you will have the opportunity to watch weavers in action.
Coral & Hive, which produces custom handwoven rugs, is another studio where weaving is at the heart of the business.
“Our weavers are the heart and soul of Coral & Hive. They are talented artisans using traditional weaving techniques, preserving an heirloom craft while bringing contemporary creations to life. They work together, spinning, weaving and singing the rugs to life on large wooden looms.”
At this year’s Decorex we got to see Thembisa Sam from Harare in Khayelitsha creating Coral & Hive floor mats.