Untying the African head wrap - a short history!
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,
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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 |
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Why we wrap our hair
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. |
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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 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. |
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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: |
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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
A gele ends leaning to the left - I am single. |
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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. |
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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 afrodite and show us - How you rock yours? |
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
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
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