African Appliqué

copyscape-banner-white-160x56

©Nation Online Project Design: Moh. Salah

©Nation Online Project
Design: Mohamed Salah

Two thousand five hundred miles span the distance between Egypt and Republic of Benin. Depending upon the route traveled, the countries are separated by the Sahara Desert or the Mediterranean Sea and Atlantic Ocean. Between the two countries of North and West Africa, respectively, there are few cultural similarities; however, there is one shared commonality: a handicraft—appliqué embroidery.

DSC_0095

Khayamiya is a decorative appliqué textile in Egypt

photo 2

Abomey appliqué – Benin

Questions of cultural diffusion arise. Cultural exchange over the centuries cannot be ignored. Let’s take a moment to imagine a caravan arriving at Timbuktu with embroidered tents from Egypt that move from person to person toward the Gulf of Guinea. Or a Portuguese or British ship docked at the old port of Whydah trading cloth and appliqué textiles for slaves.

Trade is a powerful stimuli for creativity and it might be possible that 200 years ago an Abomey king ordered a craftsman to embroider symbols onto fabric after acquiring an appliqué from Egypt.

photo 3

photo credit: René Gardi 1969″African Crafts and Craftsmen.

There are some striking similarities when studying the art of appliqué from each country. Craftsmen from both countries utilize  the technique of appliqué (stitching fabric to fabric) for practical use or for decoration. Both craftsmen use a blind stitch so the thread is not visible at the front of the design. Both craftsmen piece together shapes and designs that have an intentional pattern or a story. In both countries, appliqué is a handicraft made by men not women.

DSC_0090

sitting cross legged on a diwan

But there are differences. In Benin, wood specialist, gold and silver casters, weavers and embroiders were in the king’s service. All objects were connected with the dynasty or had religious motivation.

DSC_0092

design begins with drawing pattern on perforated stencil, dusting, redrawing the pattern on fabric

In Egypt, the ancient art of appliqué was practiced by artisans to create decorative tents used by the high-ranking military, members of the royal courts, and the wealthy to create colorful rooms in large open spaces.
In Benin, cloth and thread were an import and most likely only in the possession of the king as cotton is not native to the tropics. Whereas the history of cloth and weaving is traced back to ancient Egypt as early as 5500 BCE.

photo 1 (1)

photo credit René Gardi 1969″African Crafts and Craftsmen. Patterns are stitched into place before attaching with a blind stitch

Egypt

Decorative appliqué textile in Egypt is used as an art in tent making and is known as khayamiya (tent). This hand-stitched technique sewn to canvas  decorate tents, wall hangings, and pillow covers used at weddings, funerals, and street parties.  They are made in Cairo in a covered market known at Street of the Tentmakers or Sharia al Khayamiya. This craft has been in continuous use since the Mamluk era but intricate pieces of embroidered tents are recorded as far back as the Twenty-First Dynasty where evidence of a funeral tent for the Egyptian Queen Istemkheb was documented by Gaston Maspero in 1881 after excavation of the Queen’s tomb at Deir el Bahri.

Tent makers in Cairo hand stitch cotton appliqué over heavy cotton fabric. The thick materials used for tents protect from the heat, sun, and dust. Geometric designs derived from Islamic motifs and curvilinear arabesque are popular for tent interiors. Pharaonic art, calligraphic patterns, text from the Quran, and animal, bird and fish motifs are also utilized to create a beautiful products such as bedspreads, pillows, and wall-hangings.

DSC_0084

Hand stitching is performed by skilled artisans who sit cross-legged on pillows in their stalls on the Street of the Tentmakers. Their technique begins with a pattern drawn onto a stencil, then the stencil is perforated, holes are dusted that makes a pattern on the fabric. The stencil is removed and a line is drawn that follows the dotted-line. A pattern on the fabric is revealed. Small pieces of fabric are cut with scissors, and a blind stitch is used to attach the fabric along the lines of the pattern. (See photo above.)

Benin

Formerly, the Kingdom of Dahomey, Benin, West Africa, was once ruled by a powerful dynasty of eleven kings from 1600-1900. In the land, then, known as the Slave Coast, the name of the capital city was Abomey. The kingdom ended under French occupation around 1900. But during the reign of the Fon (king), their armies and amazons were powerful and fearful, often instigating slave raids and attacked territories larger than their own.

At the time various handicrafts flourished in Abomey to represent the individual Fon’s superiority. Kings and ministers of the court brought craftsmen to the palace to carve thrones with symbols for the king that represent power and historical events.

Appliquéd cloth was a technique in early embroideries to create figures, symbols, and representations. The symbols were used to decorate wall hangings, flags, umbrellas, buildings and other royal items during the reign of the king. One observes gruesome warlike scenes, the head of a decapitated enemy, a prisoner hanged or impaled. Such representations are always direct references to the specific heroic deeds of a specific Fon, and because these stories and deeds were told over and over again, everyone knew what was meant by them.

IMG_1832Throughout its history each Fon (king) had special symbols and proverbs associated with his rule. To read more about the symbols and proverbs click here. The Fons were as follows:

IMG_1834 (1)Gangnihessou: 1600-1620, the King of Allada and the big brother of the first Fon (king) of Dahomey. Royal Symbols: bird and drum

IMG_1834 - Version 2Dako-donou: 1620-1645. Royal Symbols: indigo jar & “briquettes”

IMG_1834 - Version 3Houegbadja: 1645-1685. Royal Symbols: fish and wicker trap (As a prince, he once avoided a trap which had been set for him.

IMG_1834 - Version 4Akaba: 1685-1708, crowned at 50 years old. Royal Symbols: wild boar, chameleon & sword

IMG_1834 - Version 5Agadja: 1708-1741  Initially resisted the slave trade, then became a major slaver.  Lost war with Oyo in 1720.  Paid tribute until 1818. Royal Symbols: boat

IMG_1834 - Version 5 (1)Tegbessou:1740 -1774

IMG_1834 - Version 5 (2)Kpengla: 1774-1789

IMG_1834 - Version 5 (3)Agonglo: 1789-1797. Royal Symbols: pineapple

IMG_1834 - Version 5 (4)Ghezo: 1818-1858, 40 years, 40 wars, “killer of elephants”. Royal Symbols: buffalo without dress

— (1798-1817): Despotic king written out of history for being internally violent and not interested in expansionism.

IMG_1834 - Version 5 (5)Glele: 1858-1889. Royal Symbols: lion (the teeth of the lion are pushed and feared also).

IMG_1834 - Version 5 (6)Gbehanzin: 1889-1906, opposed colonial invasion. Exiled by French and died in Algeria. Royal Symbols: shark and egg in hand

IMG_1834 - Version 5 (7)Ago-Li-Agbo: 1894-1900.  Enthroned by French and later exiled. Royal Symbols: leg kicking a rock, bow

IMG_1834

**All rights reserved by Lesley Lababidi. To copy or re-produce photography and/or writings, written permission from Lesley Lababidi is required.copyscape-banner-white-160x56

photo credit: African Design, Margaret Trowell

photo credit: African Design, Margaret Trowell, Dover Publications, Inc. 2003.  “The power and might of the chiefs are often expressed by symbolic forms or scenes; while the ceremonial staves and axes and paddles of many African tribes have a refinement and dignity of design which compare favorably with the regalia of more technically advanced peoples in spite of their limited choice of materials. ” p. 15

copyscape-banner-white-160x56