The Kuba tribal confederacy of the Kasai River area of the D.R. Congo are highly regarded for their raffia dance skirts, having long placed a high value on producing these textiles. The production of skirts and the patterns associated with them reflect Kuba concepts of social status, ethnic unity, and religion. This is especially true of raffia textiles, where production and design are collaborative undertakings. Both men and women decorate the textiles and sew them into garments—men fashion men’s skirts and women create women’s skirts. A number of decorative techniques are used by both genders, including embroidery, appliqué, patchwork, and dyeing. In addition, women employ other decorative processes such as openwork and cut-pile embroidery.

Raffia panels are commonly sewn together to form skirts using from four to thirty smaller panels (less for an apron). Women’s skirts are worn wrapped around the body, whereas Men’s skirts are worn gathered around the hips with the top portion folded over a belt. Kuba patchwork involves squares of raffia cloth being sewn together with the hems facing the surface of the fabric, which gives the textile more depth. It is not uncommon for many women to have worked individually to produce sections that are later combined to make a single skirt. The result is an organic arrangement of quasi-geometric forms that represents the repertoire of designs and varying abilities of the many women who contributed to the project.

Nearly all of the longer, more detailed panels presented on this site were acquired from a private collection of a Kuba family who, through an intermediary, sold us these pieces in 2008 when the owner of the pieces passed away. They were brought up river by canoe and ultimately made their way into our hands. They are quite uncommon and of a quality which we don’t typically encounter. We recommend you actively look around and price textiles to see how favorably our prices and quality compare with those of other vendors.

These pieces are beautiful when framed and displayed as one would show a painting. They are strong enough to be simply tacked to the wall or used as a table runner. Please call us with any specific questions about any pieces. 

Sincerely,

Andrew Berz,
Owner

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

Photographs:
1). Eliot Elisofon, "Kuba Children Performing During the State Visit of the Nyim (ruler) Kot a Mbweeky III, Bungamba village, Congo (Democratic Republic)," 1970, © Smithsonian Institution, National Museum of African Art, EEPA EENG 08600.
2). Eliot Elisofon, "Kuba Man Weaving a Mat, Mushenge, Congo (Democratic Republic)," 1971, © Smithsonian Institution, National Museum of African Art, EEPA EECL 7255.
3). Eliot Elisofon, "Wives of Kuba Nyim (ruler) Kot a-Mbweeky III, Mushenge, Congo (Democratic Republic)," 1970, © Smithsonian Institution, National Museum of African Art, EEPA EENG 02360.