KENTE
The origins of Kente cloth date back to
12th century Africa, in the country of
Ghana. The cloth was worn by Kings,
Queens, and important figures of state
in Ghana's society, during ceremonial
events and special occasions. Kente
cloth received its name from the term
"kenten", which means "basket",
because of the cloth's resemblance to
the woven design of a basket. Ghana's
weavers used looms to make four inch
wide strips of Kente cloth, and wove the
strips together to form larger garments.
Their garments came in various colors,
sizes, and designs, and behind each
design was deep symbolic meaning.
Each Kente pattern was unique and
had its own name. Weavers used
vibrant colors and complex designs to
portray the cloth's profound
philosophical meaning. Kente cloth
came to represent the history,
philosophy, ethics, and moral values in
African culture. Today as Africans
worldwide gain a renewed sense of
pride for their motherland, Africa, they
wear Kente cloth for more than just
fashion. They wear it for inspiration,
and as a reflection of the artistic nature
of their African ancestors from Ghana.
HISTORY AND SIGNIFICANCE OF
GHANA'S KENTE CLOTH
What is Kente?
Kente is an Asante ceremonial cloth
hand-woven on a horizontal treadle
loom. Strips measuring about 4 inches
wide are sewn together into larger
pieces of cloths. Cloths come in various
colors, sizes and designs and are worn
during very important social and
religious occasions. In a total cultural
context, kente is more important than
just a cloth. It is a visual representation
of history, philosophy, ethics, oral
literature, moral values, social code of
conduct, religious beliefs, political
thought and aesthetic principles. The
term kente has its roots in the word
kenten which means a basket. The first
kente weavers used raffia fibers to
weave cloths that looked like kenten (a
basket); and thus were referred to as
kenten ntoma; meaning basket cloth.
The original Asante name of the cloth
was nsaduaso or nwontoma, meaning
"a cloth hand-woven on a loom" and is
still used today by Asante weavers and
elders. However, the term kente is the
most popularly used today, in and
outside Ghana.
Many variations of narrow-strip cloths,
similar to Kente are woven by various
ethnic groups in Ghana and elsewhere
in Africa. Below, we focus on some the
Asante Kente cloth. The Asante are
one of the Akan peoples who live in
parts of Ghana and Cote d'lvoire.
NYANKONTON
Literally means "God's eye brow (the rainbow)." It
was created in exaltation of the beauty and
mystery of the rainbow phenonmenon. The
arrangement of warp threads mimics the visual
characteristics of the rainbow. This cloth
symbolizes DIVINE BEAUTY, GRACEFULNESS,
DIVINE CREATIVITY, UNIQUENESS, and
GOOD OMEN.
AKYEMPEM
Literally means "thousands shields." This is a
reference to shields used by highly well organized
militia consisting of thousands of men and women
who defended the Asante Kingdom against
external aggression. According to the military
strategy of the Asante Kingdom, the chief of the
shield bearers, the Akyempemhene, and the rear
guards of the King are his own sons. Shields once
used as military weapons are now used in royal
ceremonies to symbolize and commemorate the
military prowess of the Asante Kingdom. The cloth
symbolizes MILITARY PROWESS, UNITY
THROUGH MILITARY STRENGTH, BRAVERY,
POLITICAL VIGILANCE & SPIRITUAL
DEFENSIVENESS.
KYERETWIE
Literally means "the lion catcher." The cloth was
designed to commemorate an incident during the
reign of King Kwaku Dua (1838 -1867) who tested
the courage of his warriors by ordering them to
catch a leopard alive. The appellation,
"Kyerekwie" was since appended to the names of
some of the Asante Kings whose bravery and
leadership qualities were comparable to the
courage needed to catch a leopard alive. The
black vertical warp stripes represent the black
sports in a leopard's fur. In the past, the cloth was
worn only by the Asantehene or by other chiefs
with his permission. The cloth symbolizes
COURAGE, VALOR, EXCEPTIONAL
ACHIEVEMENT and INSPIRING LEADERSHIP.
WOFRO DUA PA A NA YEPIA WO
Literally means "one who climbs a tree worth
climbing gets the help deserved." The cloth was
designed to express the Akan social thought which
maintains that any good individual effort deserves
to be supported by the community. When one
climbs a good tree that has fruits on it, people
around will give him a push, since they know they
will enjoy the fruits of his labor. It is a notion that
reinforces the importance of aspiring towards a
worthy course. Symbolizes ASPIRATION, HOPE,
MUTUAL BENEFITS, SHARING and NOBLE
DEEDS.
TOKU KRA TOMA
Literally means Toku's soul cloth. The cloth is
designed and named to commemorate the soul of
a warrior Queenmother of that name, who, though
was defeated and executed in a battle with Nana
Opoku Ware I, the King of the Asante kingdom
(1731-1742), was viewed as a courageous woman.
It commemorates that historic event and honors
the soul of that Queenmother for her bravery. In
the past, such a cloth would only be worn by the
royalty and people of high rank during very sacred
ceremonies in which the spirits of the ancestors
are venerated. The cloth symbolizes
COURAGEOUS LEADERSHIP, HEROIC DEEDS,
SELF-SACRIFICE, and SPIRITUAL VITALITY and
REBIRTH.
EMAA DA
Literally means "it has not happened before" or "it
has no precedence." According to Nana Kwasi
Afranie of Bonwire, the Asantehene's chief weaver,
the cloth was designed and so named by one of
the Asante Kings who was so awed by the
uniqueness of the pattern that he remarked "Eyi de
emmaa da" meaning, "this one has no
precedence." The cloth was therefore reserved for
the exclusive use of the King, but its use was later
extended to people of high ranks. It is a symbol of
CREATIVE INGENUITY, INNOVATION,
UNIQUENESS, PERFECTION and
EXCEPTIONAL ACHIEVEMENT.
ABUSUA YE DOM
Literally means "the extended family is a force."
Among the Akan peoples, the extended family is
the foundation of society. Like a military force,
members of the family are collectively responsible
for the material and spiritual well-being, the
physical protection and the social security of all its
members. The cloth was designed to celebrate
and reinforce such positive attributes of the
extended family system. In its many variations
and background colors the cloth symbolizes
STRONG FAMILY BOND, THE VALUE OF
FAMILYUNITY, COLLECTIVE WORK and
RESPONSIBILITY and COOPERATION.
SIKA FUTORO
Literally means "gold dust." Before the use of
coins and paper as money, gold dust, was used as
a medium of exchange among the Akan peoples
and was therefore considered as a symbol of
wealth and prosperity. The predominant use of
intricately textured patterns in yellows, orange and
reds replicate the visual characteristics of gold
dust. The cloth symbolizes WEALTH, ROYALTY,
ELEGANCE, SPIRITUAL PURITY and
HONORABLE ACHIEVEMENT.
OBAAKOFO MMU MAN
Literally means "one person does not rule a
nation." It expresses the Akan system of
governance based on participatory democracy.
The nine squares represent MPUANKRON (nine
tufts of hair) a ceremonial hair cut of some royal
functionaries who help rulers make decisions.
Originally the cloth was named FATHIA FATA
NKRUMA. "Fathia is a suitable wife for Nkrumah."
After the military overthrow of Nkrumah, the
original significance of MPUANKRON
(participatory democracy) was applied to reflect
the prevailing politicalatmosphere. The cloth
symbolizes PARTICIPATORY DEMOCRACY and
WARNING AGAINST AUTOCRATIC RULE
ADWINASA
Literally means "all motifs are used up." According
to the elders, the designer of this cloth, attempted
to weave a unique cloth to please the Asantehene.
In his effort he used all the motifs then known to
weavers in weaving one cloth. In the end he
remarked that he had exhausted all the repertoire
of motifs known to Asante weavers. The cloth was,
therefore viewed as one of the top quality, and the
most prestigious of kente cloths, besides those
woven exclusively for Asante Kings. It was in the
past, worn by kings and people of high status and
wealth. It symbolizes ROYALTY, ELEGANCE,
CREATIVE INGENUITY, EXCELLENCE,
WEALTH, PERFECTION and SUPERIOR
CRAFTSMANSHIP