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Unwrapping the head-tie

Thursday, September 1, 2016 11:26:08 AM Europe/London

Unwrapping the head-tie

headwrapping main image

                   Photo: Anna Fayemi

 

 

 

ankara aso-oke, burqa gele, doek, douiette, duku, gwam, chemise-jupe, , hijab, headscarf, headband kinta, kerchiefs, Tête en l'Air, Tête Calendee, scarf, ties, tigon, turban tukwi, vail, wrap,

 

All over the world, every culture on every continent use some form of head covering. We will be exploring the fascinating tradition of wrapping our heads, its influences and symbolism across the African diaspora.

How we wrap our hair
It is sometimes possible to detect the geographic background of the wearer by the method and style in which they wrap their heads. Interestingly, there are two distinct styles: downwards for western cultures and upwards for African.

Its appeal
The beauty and appeal of the hair wrap in black culture is the overall appearance. The uniquely organic shape sits on the head like a crown to beautifully frame the face and elongate the neck to give a very elegant and regal appearance.

head_wrap eurolady

Why we wrap our hair
The practice of wrapping our head can be:

  1. religious – to show respect to the higher power.
  2. spiritual – to make a deeper connection and show solidarity.
  3. practical – to protect the wearer from external forces and pollutants.

In many African tribal societies it has long been the tradition for hair to always be neat, tidy and of course beautifully styled. If this could not be maintained because of time or practicalities then the head should be covered.

 menda

Why are particular type of fabrics used?
Repeatedly you may see particular fabrics and patterns being used. Some are very symbolic and deeply imbedded in each country’s historical past. We will explore two examples here: the Madras cloth worn in many of the Caribbean islands and the gele (gay-lay) worn throughout Africa but especially by the Yoruba people.

The Madras cloth – In the Caribbean & the Americas
The original Madras was of a plain cotton made in the Madras region of southern Indian (now Chennai). During the 1800s, the Scottish presence in India not only dominated the political landscape but influenced the design of the Madras cloth to include a tartan stripe design.

According to Zamor, the Scottish controlled all trade activities and used the East India Company to export the new design to African and Middle-eastern countries. The popularity of the Madras became particular strong in Britain and French speaking countries.

fashion tartan

The practice of wrapping heads during this time was largely compulsory for slaves to the extent that kerchiefs were issued as part of the uniform to differentiate roles on the plantation such as field slave and house slave.

In addition, communicating and courtships were restricted and controlled. The Madras head wrap became an ingenious instrument in which to communicate and the women created a head tie called the ‘Tête en l'Air ‘ or Tete Calendee  (‘head in the air’), wrapped like a beret with added flourishes of peaks which were not just decorative but communicated crucial information to a potential suitor such as:

One peak – I am single.
Two peaks – I am married.
Three peaks – I am a widow.
Four peaks  - I am available & can be approached for courting.

tete en lair 

The Americas - Louisiana
After the abolition of slavery the relatively small numbers of European females that remained complained about the competition that freed slaves posed to their men folk. As a result, Governor Miro passed a law for women of colour to cover their heads with a knotted kerchief and to refrain from “excessive attention to dress”. It was hoped the Tignon law would prevent freed women looking too attractive and would create an inferior social class that were easily recognisable by their dress.

Instead of restricting freed women, the Tigon Law created a sub-culture where kerchiefs and surplus clothes were adapted to create organically shaped headpieces, decorated with flowers, jewellery, beads, and feathers to compliment the dress of fashionable freed women.

Today, many variations of Madras are used throughout the Caribbean, America and Guyana. There are many variations of the Tigon and Tete en l’Air throughout the islands, especially French Caribbean countries.

The Gele
The gele (gay-lay) is the most popular form of head wrap and is worn by the Yoruba culture which extends from West Africa to Benin, Ghana and Togo, with its largest population in Nigeria.


Today, geles are probably the most extravagant form of head wraps but this was not always the case. In traditional Yoruba culture it was much simpler in style and like the Tete en l’Air of the Caribbean its purpose was to communicate the wearer’s status depending on its structural lean:

A gele ends leaning to the left - I am single.
A gele ends leaning to the right - I am married.

main gele

Modern geles are opulent and flamboyant in order to display the wearer’s fabulousity. They are made from intricately woven fabrics of rich vivid yarns that convey the wearer’s sophistication and strong sense of style.

Gravity defying shapes require a certain level of grace and deportment to carry it off. The overall effect will not only to make you stand out from the crowd, but give the wearer a majestic elegance and graceful presence.

Today the wearing of the gele is the must-have fashion accessory associated more with conspicuous consumption than tradition. No longer restricted to only the wealthy, anyone can take part in displaying their wealth, aspirations and position in society.

avant gele

Why should I wrap my hair now?

We are fortunate enough to be able to make our own choices on whether to cover our heads or not.  If you already wrap your hair you will already know the sense of pride you feel. If you have never wrapped your hair before, it may be something you may wish to try, for each time you do you will connect with thousands of years of heritage.

Why not join us, as we celebrate rich heritage and show us - send in your creative wraps to ebonyvintage and show us - How you rock yours?

tets

 

Dutch wax prints
Although not covered here, Dutch wax prints also deserve a mention – click here  to find out more.
Main photos: Anna Fayemi - styling: Stéphanie Moussé - hair and make up: Sandra Bermingham - model: Sherene McNichols
Africaninsider.co.za
Tigon law http://nutrias.org/~nopl/info/aarcinfo/aarc2005/aarctignon.htm
The Tignon and Women of Color in Old New Orleans, African American Resource Center, New Orleans Public Library
www.educationscotland.gov.uk/higherscottishhistory/migrationandempire
“code Noir” http://jshc.org/emergence-of-the-martiniquan-gwan-wob/

EK Howard - Symbolic significance of Arican Prints:A dying phenonmenon in contemporary print designs in Ghana
Hélène Zamor - Indian heritage in the french Creole-speaking Caribbean, A reference to Madras Material
Vlisco    

0 Comments | Posted By Michelle Philgence

A brief history of Dutch wax prints

Thursday, September 1, 2016 11:24:03 AM Europe/London

A brief history of Dutch wax prints

The fascinating history of Dutch wax prints came about more by accident than design. In 19th century, the Dutch were not only established players in the gold and silk trade routes in Africa but had extended the empire into the Far East.

They were particularly interested in Java’s (Indonesia) long history of batik printing with a view to exporting it to Europe and also back to the Javanese. However the Javanese technique was both labour intensive and expensive and a cheaper mass market solution was sought.

Eventually the Dutch created a mechanised printing process but were not able to eliminate the rather quirky crackle effect in the designs. As a result, the Javanese considered the prints inferior to their own and the fashionable Europeans found a little too exotic for their genteel tastes.

Meanwhile, on the African continent, despite its own rich history of textile design, missionaries and indentured soldiers known as “black Dutchmen” were slowing introducing Dutch prints as goods and souvenirs.

With no Javanese or European market, the Dutch landed in Ghana, where the interest in their prints made them an instant success.

main dutch image
photo: Anna Fayemi styling: Stephanie Mousse hair MUA:Sandra Bermingham model: Sherene McNichols

fanta

In the early days, according to Vlisco, a leading a wax print manufacturer, they accepted commissions from wealthy Africans who wanted prints that depicted local folklaw, symbols and colours. The popularity of these local designs helped to boost the wax print industry into a very lucrative trade.

Traditional designs of Dutch wax prints either have literal meanings or depict local customs, beliefs or proverbs in pictorial form. Some designs are commissioned to celebrate a special event or even show solidarity to a political moment.  The designs push the boundaries of colour and fizz with extremes: vivid dramatic colours against bold / abstract / geometric or figurative designs. Some designs were held in such regard they became part of a dowry package or became celebrated Dutch wax "classics".

tors ahonnee african disk

'Tu sors, je sors' ("You fly I fly")
depicts a bird escaping and is worn by newlyweds to indicate the escaping of the cage.

'Ahonnee pa nkasa'
means ‘precious beads make no noise'

'Gramophone Apawa'
an old 1960s record album design, reminiscent of the good old days when music on disk was reserved for the privileged rich people in society.

The Dutch eventually went on to create their own designs, but it is the early African influence that played an important role in the classic wax print designs we still enjoy.

Today, the best, most authentic African prints are still to be found in Ghana. They form part of the oral tradition and have a direct connection to locality.  It is a tradition that is distinctly unique to the African heritage and one that should always be celebrated.

naomi wax pose

 Main photos: Anna Fayemi - styling: Stéphanie Moussé - hair and make up: Sandra Bermingham - model: Sherene McNichols
Africaninsider.com
www.educationscotland.gov.uk/higherscottishhistory/migrationandempire
“code Noir” http://jshc.org/emergence-of-the-martiniquan-gwan-wob/

http://www.academia.edu/5850952/AN_ANALYSIS_OF_SELECTED_GHANAIAN_WAX_PRINTS
EK Howard - Symbolic significance of Arican Prints: A dying phenonmenon in contemporary print designs in Ghana
Vlisco  

0 Comments | Posted By Michelle Philgence

Happy Birthday Apple

Wednesday, January 29, 2014 11:13:46 AM Europe/London

Happy Birthday Apple! - On 24th January 1984 Apple launched The Macintosh 128K personal computer with a (GUI) graphic user interface. 

Read More
0 Comments | Posted By Michelle Philgence
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