The Shoowa are a sub-group of the Kuba, living in what was once the northern territory of the vast Kuba kingdom (now the D.R. Congo). Raffia cloth played an important role in Kuba society in the past, and today, still serves to reinforce loyalties, histories, and relationships. The Shoowa’s square panels, often called "Kuba cloth," were once widely used as currency, shrouds, chair and floor coverings, and as symbols of wealth and status. While these textiles were symbols of prestige, they were created and used by all levels of society.

The designs on architectural structures and utilitarian objects are closely related to those that appear on Shoowa textiles. Nothing is drawn on the raffia panel (known as mbol) before stitching begins—all of the patterns begin, grow, and change based on the imagination of the embroideress. The textiles are named after what is considered the dominant motif, for example, Malambo (finger), Bisha Koto (Crocodile’s Back), Nyinga (Smoke), and Tire. The latter—a popular pattern—came about from the Shoowa’s fascination with the patterns left in the dirt by colonial motorcycles.

The production and design of these incredible textiles is difficult, labor-intensive, and a collaborative effort. Men cultivate the palm trees, which produce especially long fronds. The outer layers of the individual leaflets provide the raffia fiber, collected by the men and woven by them on a diagonal loom into rectangular panels of cloth slightly more than two feet square. Women then decorate the panels with openwork, flat-weave, and cut-pile embroidery.

The cut pile technique—for which these textiles are renowned—is similar to candlewicking. The embroideress softens the tips of raffia threads by gently chewing them and rolling them on her thigh. Then, using an iron needle, she pulls them through the surface of the fabric underneath a weft element. The tightness of the weave holds the thread in place without knotting.

These textiles are durable, and can be used in countless ways. Common uses include wall hangings, tablemats, chair covers, and pillows, yet we have also seen lampshades, hats, and even purses. These textiles are truly as versatile as your imagination!

Why buy Kuba textiles from Textiles of Africa? For several reasons. As the owner of TextilesOfAfrica.com, I am not aware of any other online vendor selling Kuba Tribe textiles that travels to the D.R. Congo directly to make their purchases. In both 2008 and most recently in April 2010, I took challenging trips to the D.R. Congo and obtained the extraordinary pieces you are able to buy in our online gallery. Through this travel, we are able to pass on special insight into how the pieces are made, which pieces and styles are no longer being produced, and as a result, we are able to keep the costs of even the finest pieces as reasonable as possible, while simultaneously passing on higher profits to the Congolese people.

Secondly, and as many of my clients know and share, there are certain aesthetics that engage me about African art, and Kuba cloth meets all of them. It is remarkable how beautiful art can be created by hand from raffia fiber and natural dyes employing the most rudimentary materials—rusted oversized needles and creaky wooden looms. The sheer resourcefulness of the textile artists is something that any of us can strive to replicate. The sophistication of the design, and the vision which created it, adds to my wonder. The merit of the work realized and copied by Picasso, Matisse, and other modern artists is unmistakable. Finally, the timelessness of the artistry and accompanying aesthetic enables these pieces to fit seamlessly into the world of fine and contemporary art. This leads me to believe that generations to come will find them as beautiful and as precious as I do today, and I expect you will when they enter your world.

Sincerely,

Andrew Berz,
Owner

Ref: Gillow, "African Textiles"; Visona, "A History of Art in Africa."

Photographs:
1). Casimir Zagourski, "Palace Building, Nsheng, Congo," c. 1935-8, © Royal Museum for Central Africa, #Eph 820.
2). Eliot Elisofon, "Kuba Man At His Loom, Nemwele Village, Congo (Democratic Republic)," 1970, © Smithsonian Institution, National Museum of African Art, EEPA EECL 7188.
3). Eliot Elisofon, "Kuba Women Decorating Woven Cloth, Mushenge, Congo (Democratic Republic)," 1970, © Smithsonian Institution, National Museum of African Art, EEPA EECL 7218.