Online Article Excerpts About African Wax Print (Ankara, Kitenge etc)

Edited by Azizi Powell

This is Part I of a two part pancocojams series about African prints (also known as African wax print, Holland wax, Dutch wax, ankara (Nigeria and other West African nations; kitenge or chitenge in Tanzania and other East African nations, and other names.)

Part I presents various online article excerpts about African wax prints.

Click https://pancocojams.blogspot.com/2019/02/videos-of-african-wax-prints-ankara.html for Part II of this series. Part II showcases various YouTube videos about African print fabrics/clothing. Part II also features a video that includes Black female vocalists wearing African print fabrics.

The content of this post is presented for cultural, educational, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post.

****
EXCERPTS FROM ARTICLES ABOUT AFRICAN PRINT FABRICS
These excerpts are given in no particular order and are numbered for referencing purposes only.

Excerpt #1:
From https://en.wikipedia.org/wiki/African_wax_prints
"African wax prints, also known as Ankara and Dutch wax prints, are omnipresent and common materials for clothing in Africa, especially West Africa. They are industrially produced, colorful cotton cloths with batik-inspired printing.[1] One feature of these materials is the lack of difference in the color intensity of the front and back sides. The wax fabric can be sorted into categories of quality due to the processes of manufacturing.

[...]

History
The process to make wax print is originally influenced by batik, an Indonesian (Javanese) method of dyeing cloth by using wax-resist techniques. For batik, wax is melted and then patterned across the blank cloth. From there, the cloth is soaked in dye, which is prevented from covering the entire cloth by the wax. If additional colors are required, the wax-and-soak process is repeated with new patterns.

During the Dutch colonization of Indonesia, Dutch merchants and administrators became familiar with the batik technique. Thanks to this contact, the owners of textile factories in the Netherlands, such as Jean Baptiste Theodore Prévinaire[6]:16 and Pieter Fentener van Vlissingen[7], received examples of batik textiles by the 1850s if not before, and started developing machine printing processes which could imitate batik. They hoped that these much cheaper machine-made imitations could outcompete the original batiks in the Indonesian market, effecting the look of batik without all the labor-intensive work required to make the real thing.

Prévinaire's attempt, part of a broader movement of industrial textile innovation in Haarlem, was the most successful. By 1854[6]:16-17 he had modified a Perrotine, the mechanical block-printing machine invented in 1834 by Louis-Jérôme Perrot, to instead apply a resin to both sides of the cloth.[8]:20 This mechanically applied resin took the place of the wax in the batik process.

Another method, used by several factories including Prévinaire's[6]:18,20 and van Vlissingen's,[7] used the roller printing technology invented in Scotland in the 1780s.

Unfortunately for the Dutch, these imitation wax-resist fabrics did not successfully penetrate the batik market. Among other obstacles, the imitations lacked the distinctive wax smell of the batik fabric.[6]:17-18

Starting in the 1880s,[7][6]:47,50 they did, however, experience a strong reception in West Africa when Dutch and Scottish trading vessels began introducing the fabrics in those ports. Initial demand may have been driven by the taste for batik developed by the Belanda Hitam, West Africans recruited between 1831 and 1872 from the Dutch Gold Coast to serve in the Dutch colonializing army in Indonesia. Many members of the Belanda Hitam retired to Elmina, in modern Ghana, where they may have provided an early market for Dutch imitation batik.[6]:41-46

The success of the trade in West Africa prompted other manufacturers, including Scottish, English, and Swiss manufacturers, to enter the market.

The Dutch wax prints quickly integrated themselves into African apparel, sometimes under names such as “Veritable Dutch Hollandais,” and “Wax Hollandais”. Women used the fabrics as a method of communication and expression, with certain patterns being used as a shared language, with widely understood meanings. Many patterns began receiving catchy names. Over time, the prints became more African-inspired, and African-owned by the mid-twentieth century. They also began to be used as formal wear by leaders, diplomats, and the wealthy population.

[...]

Before the 1960s most of the African wax fabric sold in West and Central Africa was manufactured in Europe. Today, Africa is home to the production of high quality wax prints.[10] Manufacturers across Africa include ABC Wax, Woodin, Uniwax, Akosombo Textiles Limited (ATL), and GTP (Ghana Textiles Printing Company); the latter three being part a part of the Vlisco Group.[11] These companies have helped reduce the prices of African wax prints in the continent when compared to European imports.”...

****
Excerpt #2:
From https://www.huffingtonpost.com/nadege-seppou/the-unafricanness-of-afri_b_9801874.html Nadege Seppou, Contributor; Writer, blogger (diasporicliving.com)
The UnAfrican-ness of Africa’s Fabric
04/29/2016 04:24 pm ET Updated Apr 29, 2017
..."During the 1800s Indonesians used a wax resisting dyeing technique for pattern making known as Batik. As a result of colonization Batik was introduced and quickly gained popularity throughout Europe. Roller print machines allowed for mass production, however, these imitation fabrics never found foot in the Indonesian market. As a result, French, British, and Dutch companies sought new markets, which they found in Africa.

European wax prints were not originally intended for African markets, yet Africa became the largest consumer of their imitation Batik styles. By the end of the 19th century European fabric companies sold wax fabrics along the Gold Coast on the trading path to Indonesia. These fabrics quickly became synonymous of high quality and fashion throughout West and Central Africa. The presence of an enthusiastic market along the Gold Coast led Dutch companies to adapt the printed pattern styles to West and Central African tastes.

Although “African” wax fabrics carry designs and prints found in African textile, it isn’t authentically African. From weddings to funeral ceremonies, every major event in West and Central African culture almost always requires for its attendees to be adorned with various “African” print fabrics. In very traditional ceremonies these wax fabrics have major roles to play.

[...]

The widespread popularity and use of wax fabric is an economic gain for its manufacturers. Major producers of “African” wax are European owned. Before the 1960s every fabric sold in West and Central Africa was manufactured in Europe. Today, Ghana is home to the production of high quality wax prints. Manufacturers in Ghana include Woodin and Akosombo Textiles Limited (ATL).

Sadly, Woodin and ATL are subsidiaries of Holland’s Vlisco and Britain’s ABC Textiles, respectively. The list of top beneficiaries in the African print market is void of African ownership. Multiple Africans have been placed to occupy executive positions (displaying a mirage of African ownership) but the real financial benefits are continuously rendered to outsiders.

Street shops in la Briqueterie, a Hausa neighborhood in Yaoundé Cameroon, strategically display an array of wax fabrics. Pieces of folded cloth hang in front of doors, transforming dusty street roads into beautiful sceneries of splendid patterns and breathtaking colors, a sight worthy of admiration. The atmosphere and scenery of la Briqueterie is a familiar one across West and Central Africa.

[...]

Wearing my Ankara dress around town in the hot New England heat over floods my soul with an overwhelming amount of African pride. A reaffirmation of my African-ness takes place during such moments.

How I wish we possessed the ability to manufacture that which represents us, to have proprietorship over our own culture. Nevertheless, “African” wax will continue to authenticate and reinstate our African-ness in the diaspora despite it not being authentically African."

****
Excerpt #3:
From https://en.wikipedia.org/wiki/Kitenge
"Kitenge or chitenge is an East African, West African and Central African fabric similar to sarong, often worn by women and wrapped around the chest or waist, over the head as a headscarf, or as a baby sling. Kitenges are colourful pieces of fabric. In the Coastal area of Kenya, and in Tanzania, Kitenges often have Swahili sayings written on them.

Kitenges are similar to kangas and kikoy, but are of a thicker cloth and have an edging on only a long side. Kenya, Uganda, Tanzania, Sudan, Nigeria, Ghana, Senegal, Liberia, Rwanda, and Democratic Republic of the Congo are some of the African countries where kitenge is worn.[citation needed] In Malawi, Namibia and Zambia, kitenge is known as Chitenge. They are sometimes worn by men around the waist in hot weather. In some countries like Malawi, Chitenges never used to be worn by men until recently when the president encouraged civil servants to buy Malawian products by wearing Chitenje on Fridays.

Kitenges (plural vitenge in Swahili; zitenge in Tonga) serve as an inexpensive, informal piece of clothing that is often decorated with a huge variety of colors, patterns and even political slogans.

The printing on the cloth is done by a traditional batik technique. These are known as wax prints and the design is equally as bright and detailed on the obverse side of the fabric. These days Wax prints are commercially made and are almost completely roller printed. Fancy prints are roller printed with the designs being less colorful or detailed on the obverse side. Many of the designs have a meaning. A large variety of religious and political designs are found as well as traditional tribal patterns. The cloth is used as material for dresses, blouses and pants as well."...

****
Excerpt #4
From https://www.amooti.org/blog/Ankara-fabric/
"Ankara fabric is a popular type of fabric that is used to make African prints. Also referred to as African prints, African wax prints, Holland wax, or even Dutch wax, those who love this kind of fabric know it when they see it. Characterized by its colorful prints, this is what people often associate with African clothing. Here’s a look at what Ankara fabric is and how it’s used for clothing in Africa, especially in West Africa:

Information About Ankara Fabric
Ankara refers to a method that is used to create prints on fabric. It is usually printed on 100% cotton and features the bright colors and interesting patterns that often characterize African clothing. Unlike other patterned fabrics, the intensity of Ankara fabrics doesn’t change that much depending on whether or not you look at the front or the back. It’s also referred to as “wax print” because it uses a “wax resistant” technique that is also common in making the Batik prints that are popular in Indonesia. In fact, the method of creating Ankara prints is influenced by Batik.

History of Ankara Fabric
As mentioned above, the method for creating Ankara fabric has been influenced by the Batik prints that are common in Indonesia. However, there are differences between them that usually related to the way the wax is melted and the types of patterns that are formed. There was a time when Batik was a popular choice for fabric in Africa but it was expensive. During the 1800’s, Dutch companies in Africa developed a new technique called Ankara that produced a similar result. Although this fabric, at the time, failed to compete with Batik, it eventually gained popularity and is still used today. Essentially, the method for creating Ankara that was used back then is still in use today.”....

****
Excerpt #5:
From http://chictrends.co.uk/chictrends-facts-about-african-wax-prints-ankara/ Facts About African Wax Prints Called Ankara
November 5, 2018 By Amy Richardson
"African wax print clothing fabrics (commonly known as “Ankara” in West Africa and “Kitenge” in East Africa). It is also known as “African prints”, “African wax prints”, ”Holland wax”, and “Dutch wax”. It is 100% cotton fabrics with vibrant patterns. It was first produced in Indonesia. It is usually colorful with different prints designs and patterns. However, there is a massive supply of Ankara fabrics out there and it is pertinent if you are able to spot the fake from the original.

[...]

TEXTURE
The fake Ankara fabrics are rough or coarse while the original fabric is always smoother when touched.

Color And Print Design
African fabrics or Ankara prints tend to have a deeper colour and the fake ones always have a copy printed on one side of the fabric. On the other hand, the real Ankara fabric has the designs printed on both sides and always difficult to differentiate the back from the front.

Water Resistance
If you put a little water and rub it on the body of the material if it wears off then it is fake super fake because fake Ankara materials always wash off its colour when dipped in water.

Size And Length
Any Ankara fabric that is printed in any yard shorter than 12 or 6 yards is fake because original Ankara material is always printed in 12 or 6 yards I.e either printed in full (12 yards) or half yards (6 yards…
Original Ankara fabrics always have the manufacturer’s name, product name, and design number printed at the selvedge of the fabric.

N/B. The coarseness is the major thing to look out for when buying Ankara fabric.”
-snip-
Here's the definition of "selvedge" from https://www.dictionary.com/browse/selvedge
"selvage
noun
the edge of woven fabric finished so as to prevent raveling, often in a narrow tape effect, different from the body of the fabric"

****
This concludes Part I of this two part pancocojams series.

Thanks for visiting pancocojams.

Visitor comments are welcome.