Exhibition review: Object Journeys: Fashioning Africa, Dr Chris Spring, Curator and Artist

African textiles of all sorts – and from all parts of the continent – have been an ongoing interest of mine for many years, so I was keen to be involved again with Brighton Museum’s Fashioning Africa project, in this case working with Tshepo Skwambane and Edith Ojo on an Object Journeys collaboration.

I love the whole concept of exchanging ideas, stories and works from the collections between museums, community groups and other individuals and organisations. Memories, experiences and expertise are shared in a convivial yet dynamic relationship which helps to create spectacularly interesting displays.

Tshepo and Edith are both from the local community in Brighton and are also on the advisory group for Fashioning Africa at Brighton Museum. Rachel Hemingway-Hurst (curator of World Art at Brighton) introduced them to me and to Helen Wolfe on their first visit to the BM textile stores (see photo). It was obvious then that they shared my passion for textiles, but it was a passion closely linked to an intimate knowledge of the significance of particular textiles in Africa, more specifically in the townships of South Africa and among the Yoruba people of Nigeria.

Tshepo wanted to tell the story of South Africa’s townships through the textiles and beadwork worn by the diverse peoples living there:

Tshepo Skwambane, Curator, ' Township Journeys' display

Townships are places where a real sense of community exists, and a multitude of cultural styles and identities are evident. This display reflects this diversity through presenting objects associated with Khoe-San, Ndebele, Tsonga, Tswana, Xhosa and Zulu groups. Many members of these communities live in townships today.

I want to challenge and dismantle stereotypes about Africa and Africans. Apartheid enforced separate and defined communities, but you can’t stop interaction between people and ideas.

I had recently co-curated, with John Giblin, the South Africa show at the BM, and amongst the pieces selected from the Royal Pavilion and BM collections, Tshepo chose two which had particular memories for me. The printed textile which you can see in the case behind him, which combines the South African flag with images of the World Cup, I came across in the ‘Elephant’ textile market in Maputo, Mozambique probably in 2008 or 2009 with the tournament just around the corner. Another piece, this time from the Royal Pavilion collections, was very similar to one which I collected for the BM in Jo’burg (see my African Art Close Up, page 59) and sparked my interest in this classically South African textile with its fascinating history and global connections. Tshepo takes up the story:

This printed cotton textile featuring bold geometric designs is called shweshwe. This type of indigo and brown patterned textile originated in Europe and was brought to South Africa and worn by German settlers in the 19th century. A similar textile was presented to King Moshweshwe I, founder of the Basotho nation, by French and German missionaries. Named after the King, Shweshwe was quickly adopted by Sotho and Xhosa people. It became so popular that a factory opened in the Eastern Cape area in 1982, introducing a range of new colours. It is still a popular fabric in South Africa today.”

Edith chose a particular style of Yoruba narrow-strip weaving known as aso-oke to tell her story: 

Edith Ojo, Curator, 'Aso-Oke a celebration on style,' display.

‘Aso-oke is a hand-woven textile originally made and worn by Yoruba people from south-western Nigeria, but now widely worn across the whole country. From maker to market, the fashion practices and culture that surround aso-oke are dynamic, vibrant and enduring.

It says ‘party’, that’s what aso-oke says to me! I love the spectacle and performance that surrounds aso-oke. It’s so culturally vibrant and constantly evolving

In the late 1980s (!!) when I first started writing about African textiles, I remember being intrigued by the Yoruba garments which included locally produced sanyan silk. Edith chose a classic sanyan-style aso-oke outfit from the Royal Pavilion collections which would have been worn by the father of the bride – you can see it in the case directly behind her. It was donated by Mr Martin Sholagbe and was worn at his daughter’s wedding in 2009. Edith described it in detail:

It consisted of an agbada (gown) and fila (hat) woven with white and beige cotton threads and lurex in the embroidery. These are paired with a buba blouse worn underneath and sokoto trousers made from a complimentary lace fabric. Sanyan is an enduring style, commonly woven with beige and cream threads. In the past natural beige silk threads were used, making the textile affordable only to the wealthy. Despite the variations of aso-oke today, the sanyan textile remains a favourite.

This was a wonderful project – a real team effort - and a great way to sign off from my long career at the BM before moving on to my permanent studio at The West London Art Factory in Park Royal: www.chrisspring.co.uk

'Fashioning Africa, Object Journeys' project team.

 All images used in this post are ©Royal Pavilion & Museums, Brighton & Hove.

Fashioning Africa was on display at BrightonMuseum and Art Gallery 31st March 2018-2019