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(DOC) Kente in the 21 st century | Martina Odonkor - Academia.edu
<!DOCTYPE html> <html > <head> <meta charset="utf-8"> <meta rel="search" type="application/opensearchdescription+xml" href="/open_search.xml" title="Academia.edu"> <meta content="width=device-width, initial-scale=1" name="viewport"> <meta name="google-site-verification" content="bKJMBZA7E43xhDOopFZkssMMkBRjvYERV-NaN4R6mrs"> <meta name="csrf-param" content="authenticity_token" /> <meta name="csrf-token" content="a5HnINhrI4O6dOw/0cYNpjsePv3Wc4L+mVnRiSgDjh9p1J7awXxy38J3mgKNKGI3gAriLiFlByMstegQ/5uYrw==" /> <meta name="citation_title" content="Kente in the 21 st century" /> <meta name="citation_author" content="Martina Odonkor" /> <meta name="twitter:card" content="summary" /> <meta name="twitter:url" content="https://www.academia.edu/37695171/Kente_in_the_21_st_century" /> <meta name="twitter:title" content="Kente in the 21 st century" /> <meta name="twitter:description" content="Ask a non-Ghanaian if they know &#39;kente&#39; and they might say no but describe it – those geometrical patterns full of red and gold and green and blue and… oh yes! of course, that one – that &#39;African&#39; design you see all over the place." /> <meta name="twitter:image" content="https://0.academia-photos.com/96557121/21073364/21043134/s200_martina.odonkor.jpg" /> <meta property="fb:app_id" content="2369844204" /> <meta property="og:type" content="article" /> <meta property="og:url" content="https://www.academia.edu/37695171/Kente_in_the_21_st_century" /> <meta property="og:title" content="Kente in the 21 st century" /> <meta property="og:image" content="http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif" /> <meta property="og:description" content="Ask a non-Ghanaian if they know &#39;kente&#39; and they might say no but describe it – those geometrical patterns full of red and gold and green and blue and… oh yes! of course, that one – that &#39;African&#39; design you see all over the place." /> <meta property="article:author" content="https://lancaster.academia.edu/MartinaOdonkor" /> <meta name="description" content="Ask a non-Ghanaian if they know &#39;kente&#39; and they might say no but describe it – those geometrical patterns full of red and gold and green and blue and… oh yes! of course, that one – that &#39;African&#39; design you see all over the place." /> <title>(DOC) Kente in the 21 st century | Martina Odonkor - Academia.edu</title> <link rel="canonical" href="https://www.academia.edu/37695171/Kente_in_the_21_st_century" /> <script async src="https://www.googletagmanager.com/gtag/js?id=G-5VKX33P2DS"></script> <script> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-5VKX33P2DS', { cookie_domain: 'academia.edu', send_page_view: false, }); gtag('event', 'page_view', { 'controller': "single_work", 'action': "show", 'controller_action': 'single_work#show', 'logged_in': 'false', 'edge': 'unknown', // Send nil if there is no A/B test bucket, in case some records get logged // with missing data - that way we can distinguish between the two cases. // ab_test_bucket should be of the form <ab_test_name>:<bucket> 'ab_test_bucket': null, }) </script> <script> var $controller_name = 'single_work'; var $action_name = "show"; var $rails_env = 'production'; var $app_rev = '49879c2402910372f4abc62630a427bbe033d190'; var $domain = 'academia.edu'; var $app_host = "academia.edu"; var $asset_host = "academia-assets.com"; var $start_time = new Date().getTime(); var $recaptcha_key = "6LdxlRMTAAAAADnu_zyLhLg0YF9uACwz78shpjJB"; var $recaptcha_invisible_key = "6Lf3KHUUAAAAACggoMpmGJdQDtiyrjVlvGJ6BbAj"; var $disableClientRecordHit = false; </script> <script> window.require = { config: function() { return function() {} } } </script> <script> window.Aedu = window.Aedu || {}; window.Aedu.hit_data = null; window.Aedu.serverRenderTime = new Date(1732408606000); window.Aedu.timeDifference = new Date().getTime() - 1732408606000; </script> <script type="application/ld+json">{"@context":"https://schema.org","@type":"ScholarlyArticle","abstract":"Ask a non-Ghanaian if they know \u0026amp;#39;kente\u0026amp;#39; and they might say no but describe it – those geometrical patterns full of red and gold and green and blue and… oh yes! of course, that one – that \u0026amp;#39;African\u0026amp;#39; design you see all over the place. Sure. In the 21 st century, kente patterns are so globalized that they are just as likely to turn up on umbrellas or gift-wrap as on cloth. But it is in cloth that they have their origin and in a textile tradition that spans centuries and reaches well beyond Ghana\u0026amp;#39;s borders. Indeed, given its far-flung historical influences and its variety of incarnations, defining kente might seem a daunting task however, based on relevant literature and the general outlook of Ghanaians on this topic, it is safe to say that the term \u0026amp;#39;kente cloth\u0026amp;#39; applies quite specifically to strip-weaving of the past three centuries by the Ewe and Asante people of Ghana. Which of the two wove it first is a question guaranteed to spark off a mini-riot at any multi-ethnic gathering. Textile historians have not yet been able to disentangle the two weaving traditions well enough to answer one way or another but what is certain is that although cloths defined as kente existed prior to the transAtlantic trade, it was during this time that the industry enjoyed its most rapid phase of development and produced the luxurious and colourful designs that are its trademark today. In particular, the rise of the Asante kingdom in the late 17 th century and its need for symbols of prestige and nobility led to the founding of a royal enclave of weavers who departed from the plainer weaves and limited colours of earlier times. This was facilitated by the influx of coloured threads brought in by European traders. Previously, cloths had been woven in their natural cotton hues and the only dye available was indigo. Now, weavers in the Asante court (who, mark you, may not necessarily all have been Asantes) had a rainbow of colours at their disposal and such was their resourcefulness that they even unraveled traded silk and cotton cloths to incorporate their yarns into the elite new \u0026amp;#39;kente\u0026amp;#39; that was second only to gold in prestige. Although these multicoloured , geometrical designs are now the global image of kente, they are only one type and do not fully represent the rich variety of styles woven in Ghana. They are, however, a legacy of the heyday of the craft when royal patronage made it possible for weavers to attain a quality that can ill be matched today. In modern times, economic pressure and competition from the mechanized textile industry are only some of the challenges faced by kente weavers. The old patterns that were once fiercely guarded for the exclusive use of the Asante king and selected royals, have ironically fallen between the cracks of copyright legislation and are now at the disposal of all and sundry including multinational giants like Coca-Cola, for advertising purposes. Only new designs may be copyrighted and that at a price that is unaffordable for most weavers. While production of the original, strip-woven textile remains a labour-intensive cottage industry, cloth with machine-printed kente designs is being mass-produced,","author":[{"@context":"https://schema.org","@type":"Person","name":"Martina Odonkor"}],"contributor":[],"dateCreated":"2018-11-03","dateModified":"2018-11-03","datePublished":null,"headline":"Kente in the 21 st century","inLanguage":"en","keywords":[],"locationCreated":null,"publication":null,"publisher":{"@context":"https://schema.org","@type":"Organization","name":null},"image":null,"thumbnailUrl":null,"url":"https://www.academia.edu/37695171/Kente_in_the_21_st_century","sourceOrganization":[{"@context":"https://schema.org","@type":"EducationalOrganization","name":"lancaster"}]}</script><link rel="stylesheet" media="all" href="//a.academia-assets.com/assets/single_work_page/loswp-352e32ba4e89304dc0b4fa5b3952eef2198174c54cdb79066bc62e91c68a1a91.css" /><link rel="stylesheet" media="all" 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[{"id":57686504,"identifier":"Attachment_57686504","shouldShowBulkDownload":false}]; window.loswp.shouldDetectTimezone = true; window.loswp.shouldShowBulkDownload = true; window.loswp.showSignupCaptcha = false window.loswp.willEdgeCache = false; window.loswp.work = {"work":{"id":37695171,"created_at":"2018-11-03T06:21:26.598-07:00","from_world_paper_id":null,"updated_at":"2021-01-11T19:05:53.606-08:00","_data":{"abstract":"Ask a non-Ghanaian if they know 'kente' and they might say no but describe it – those geometrical patterns full of red and gold and green and blue and… oh yes! of course, that one – that 'African' design you see all over the place. Sure. In the 21 st century, kente patterns are so globalized that they are just as likely to turn up on umbrellas or gift-wrap as on cloth. But it is in cloth that they have their origin and in a textile tradition that spans centuries and reaches well beyond Ghana's borders. Indeed, given its far-flung historical influences and its variety of incarnations, defining kente might seem a daunting task however, based on relevant literature and the general outlook of Ghanaians on this topic, it is safe to say that the term 'kente cloth' applies quite specifically to strip-weaving of the past three centuries by the Ewe and Asante people of Ghana. Which of the two wove it first is a question guaranteed to spark off a mini-riot at any multi-ethnic gathering. Textile historians have not yet been able to disentangle the two weaving traditions well enough to answer one way or another but what is certain is that although cloths defined as kente existed prior to the transAtlantic trade, it was during this time that the industry enjoyed its most rapid phase of development and produced the luxurious and colourful designs that are its trademark today. In particular, the rise of the Asante kingdom in the late 17 th century and its need for symbols of prestige and nobility led to the founding of a royal enclave of weavers who departed from the plainer weaves and limited colours of earlier times. This was facilitated by the influx of coloured threads brought in by European traders. Previously, cloths had been woven in their natural cotton hues and the only dye available was indigo. Now, weavers in the Asante court (who, mark you, may not necessarily all have been Asantes) had a rainbow of colours at their disposal and such was their resourcefulness that they even unraveled traded silk and cotton cloths to incorporate their yarns into the elite new 'kente' that was second only to gold in prestige. Although these multicoloured , geometrical designs are now the global image of kente, they are only one type and do not fully represent the rich variety of styles woven in Ghana. They are, however, a legacy of the heyday of the craft when royal patronage made it possible for weavers to attain a quality that can ill be matched today. In modern times, economic pressure and competition from the mechanized textile industry are only some of the challenges faced by kente weavers. The old patterns that were once fiercely guarded for the exclusive use of the Asante king and selected royals, have ironically fallen between the cracks of copyright legislation and are now at the disposal of all and sundry including multinational giants like Coca-Cola, for advertising purposes. Only new designs may be copyrighted and that at a price that is unaffordable for most weavers. While production of the original, strip-woven textile remains a labour-intensive cottage industry, cloth with machine-printed kente designs is being mass-produced,"},"document_type":"paper","pre_hit_view_count_baseline":null,"quality":"low","language":"en","title":"Kente in the 21 st century","broadcastable":true,"draft":null,"has_indexable_attachment":true,"indexable":true}}["work"]; window.loswp.workCoauthors = [96557121]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "ds_vanilla"; window.loswp.fullPageMobileSutdModalVariant = "control"; window.loswp.useOptimizedScribd4genScript = false; window.loswp.appleClientId = 'edu.academia.applesignon';</script><script defer="" src="https://accounts.google.com/gsi/client"></script><div class="ds-loswp-container"><div class="ds-work-card--grid-container"><div class="ds-work-card--container js-loswp-work-card"><div class="ds-work-card--cover"><div class="ds-work-cover--wrapper"><div class="ds-work-cover--container"><button class="ds-work-cover--clickable js-swp-download-button" data-signup-modal="{"location":"swp-splash-paper-cover","attachmentId":57686504,"attachmentType":"docx"}"><img alt="First page of “Kente in the 21 st century”" class="ds-work-cover--cover-thumbnail" src="https://0.academia-photos.com/attachment_thumbnails/57686504/mini_magick20190110-31809-cz6xcb.png?1547156501" /><img alt="Academia Logo" class="ds-work-cover--file-icon" src="//a.academia-assets.com/assets/academia-logo-redesign-2015-A-971495bd31377b9367f5ce5ca92bbc27dd8a843db989cbce3408389c670b62c0.svg" /><div class="ds-work-cover--hover-container"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span><p>Download Free PDF</p></div><div class="ds-work-cover--ribbon-container">Download Free DOCX</div><div class="ds-work-cover--ribbon-triangle"></div></button></div></div></div><div class="ds-work-card--work-information"><h1 class="ds-work-card--work-title">Kente in the 21 st century</h1><div class="ds-work-card--work-authors ds-work-card--detail"><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="96557121" href="https://lancaster.academia.edu/MartinaOdonkor"><img alt="Profile image of Martina Odonkor" class="ds-work-card--author-avatar" src="https://0.academia-photos.com/96557121/21073364/21043134/s65_martina.odonkor.jpg" />Martina Odonkor</a></div><p class="ds-work-card--work-abstract ds-work-card--detail ds2-5-body-md">Ask a non-Ghanaian if they know 'kente' and they might say no but describe it – those geometrical patterns full of red and gold and green and blue and… oh yes! of course, that one – that 'African' design you see all over the place. Sure. In the 21 st century, kente patterns are so globalized that they are just as likely to turn up on umbrellas or gift-wrap as on cloth. But it is in cloth that they have their origin and in a textile tradition that spans centuries and reaches well beyond Ghana's borders. Indeed, given its far-flung historical influences and its variety of incarnations, defining kente might seem a daunting task however, based on relevant literature and the general outlook of Ghanaians on this topic, it is safe to say that the term 'kente cloth' applies quite specifically to strip-weaving of the past three centuries by the Ewe and Asante people of Ghana. Which of the two wove it first is a question guaranteed to spark off a mini-riot at any multi-ethnic gathering. Textile historians have not yet been able to disentangle the two weaving traditions well enough to answer one way or another but what is certain is that although cloths defined as kente existed prior to the transAtlantic trade, it was during this time that the industry enjoyed its most rapid phase of development and produced the luxurious and colourful designs that are its trademark today. In particular, the rise of the Asante kingdom in the late 17 th century and its need for symbols of prestige and nobility led to the founding of a royal enclave of weavers who departed from the plainer weaves and limited colours of earlier times. This was facilitated by the influx of coloured threads brought in by European traders. Previously, cloths had been woven in their natural cotton hues and the only dye available was indigo. Now, weavers in the Asante court (who, mark you, may not necessarily all have been Asantes) had a rainbow of colours at their disposal and such was their resourcefulness that they even unraveled traded silk and cotton cloths to incorporate their yarns into the elite new 'kente' that was second only to gold in prestige. Although these multicoloured , geometrical designs are now the global image of kente, they are only one type and do not fully represent the rich variety of styles woven in Ghana. They are, however, a legacy of the heyday of the craft when royal patronage made it possible for weavers to attain a quality that can ill be matched today. In modern times, economic pressure and competition from the mechanized textile industry are only some of the challenges faced by kente weavers. The old patterns that were once fiercely guarded for the exclusive use of the Asante king and selected royals, have ironically fallen between the cracks of copyright legislation and are now at the disposal of all and sundry including multinational giants like Coca-Cola, for advertising purposes. Only new designs may be copyrighted and that at a price that is unaffordable for most weavers. While production of the original, strip-woven textile remains a labour-intensive cottage industry, cloth with machine-printed kente designs is being mass-produced,</p><div class="ds-work-card--button-container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--work-card","attachmentId":57686504,"attachmentType":"docx","workUrl":"https://www.academia.edu/37695171/Kente_in_the_21_st_century"}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--work-card","attachmentId":57686504,"attachmentType":"docx","workUrl":"https://www.academia.edu/37695171/Kente_in_the_21_st_century"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div></div><div data-auto_select="false" data-client_id="331998490334-rsn3chp12mbkiqhl6e7lu2q0mlbu0f1b" data-doc_id="57686504" data-landing_url="https://www.academia.edu/37695171/Kente_in_the_21_st_century" data-login_uri="https://www.academia.edu/registrations/google_one_tap" data-moment_callback="onGoogleOneTapEvent" id="g_id_onload"></div><div class="ds-top-related-works--grid-container"><div class="ds-related-content--container ds-top-related-works--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="0" data-entity-id="52191279" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/52191279/History_of_kente_cloth_and_its_value_addition_through_design_integration_with_African_wild_silk_for_export_market_in_Ghana">History of kente cloth and its value addition through design integration with African wild silk for export market in Ghana</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="24940100" href="https://independent.academia.edu/KenFening">Ken Fening</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2006</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"History of kente cloth and its value addition through design integration with African wild silk for export market in Ghana","attachmentId":69570661,"attachmentType":"pdf","work_url":"https://www.academia.edu/52191279/History_of_kente_cloth_and_its_value_addition_through_design_integration_with_African_wild_silk_for_export_market_in_Ghana","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/52191279/History_of_kente_cloth_and_its_value_addition_through_design_integration_with_African_wild_silk_for_export_market_in_Ghana"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="1" data-entity-id="105978636" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/105978636/Emblematic_Interpretation_of_the_Designs_of_Selected_Kente_Fabrics_among_Ashanti_People_of_Ghana">Emblematic Interpretation of the Designs of Selected Kente Fabrics among Ashanti People of Ghana</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="51561683" href="https://bpoly.academia.edu/DanielAkuokoAdjei">Daniel A K U O K O Adjei</a><span>, </span><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="64570358" href="https://independent.academia.edu/lindaarmah">linda armah</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Art and Design Review, 2023</p><p class="ds-related-work--abstract ds2-5-body-sm">Ghana is a country which is located in the West of the African continent. The Ghanaians have a rich cultural heritage that they cherish most. This cultural heritage could be seen through the way they dress during occasions such as funerals, weddings, festivals, durbars and naming ceremonies. Some of the fabrics that people wear during these occasions are Kente cloths, "nteimu" and "kuntukuni" cloths (clothes stamped with locally prepared dyes). The Kente, "nteimu" and "kuntukuni" are locally produced by the people of Bonwire, Adawonmase and Ntonso. Although these clothes have some special designs and motifs that make them unique and aesthetically pleasing, they have not been effectively and comprehensively researched. This study intends to identify and describe the various designs and motifs in these fabrics, and then give the philosophical meanings associated with the designs and the motifs in them. The descriptive research design which is under the qualitative research approach was espoused to accomplish the goal and purpose of the study. In all, 20 woven Kente fabrics were sampled for the study using a purposive sampling technique. Of these, 5 were used for festival celebrations, 5 for marriage ceremonies, 5 for funeral celebrations and 5 for durbars and parties. The primary data was collected using interviews, observations and opinionnaire. The results showed that designs and motifs which are seen in the Kente cloths have philosophical meaning that can help one to understand his or her culture. In addition, some of the motifs and designs used to produce the various fabrics exhibit the creative abilities of our forefathers and their belief system. Also, the research revealed that some of the designs and motifs are used for prestigious and aesthetic purposes.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Emblematic Interpretation of the Designs of Selected Kente Fabrics among Ashanti People of Ghana","attachmentId":105297863,"attachmentType":"pdf","work_url":"https://www.academia.edu/105978636/Emblematic_Interpretation_of_the_Designs_of_Selected_Kente_Fabrics_among_Ashanti_People_of_Ghana","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/105978636/Emblematic_Interpretation_of_the_Designs_of_Selected_Kente_Fabrics_among_Ashanti_People_of_Ghana"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="2" data-entity-id="15633557" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/15633557/Ghanaian_Interweaving_in_the_Nineteenth_Century_A_New_Perspective_on_Ewe_and_Asante_Textile_History">Ghanaian Interweaving in the Nineteenth Century. A New Perspective on Ewe and Asante Textile History</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="11091796" href="https://leicester.academia.edu/MalikaKraamer">Malika Kraamer</a></div><p class="ds-related-work--metadata ds2-5-body-xs">African Arts, 2006</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Ghanaian Interweaving in the Nineteenth Century. A New Perspective on Ewe and Asante Textile History","attachmentId":38748199,"attachmentType":"pdf","work_url":"https://www.academia.edu/15633557/Ghanaian_Interweaving_in_the_Nineteenth_Century_A_New_Perspective_on_Ewe_and_Asante_Textile_History","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/15633557/Ghanaian_Interweaving_in_the_Nineteenth_Century_A_New_Perspective_on_Ewe_and_Asante_Textile_History"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="3" data-entity-id="56783508" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/56783508/The_Twenty_first_Century_Voices_of_the_Ashanti_Adinkra_and_Kente_Cloths_of_Ghana">The Twenty-first Century Voices of the Ashanti Adinkra and Kente Cloths of Ghana</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="4911532" href="https://tntech.academia.edu/CarolVentura">Carol Ventura</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2012</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"The Twenty-first Century Voices of the Ashanti Adinkra and Kente Cloths of Ghana","attachmentId":71999184,"attachmentType":"pdf","work_url":"https://www.academia.edu/56783508/The_Twenty_first_Century_Voices_of_the_Ashanti_Adinkra_and_Kente_Cloths_of_Ghana","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/56783508/The_Twenty_first_Century_Voices_of_the_Ashanti_Adinkra_and_Kente_Cloths_of_Ghana"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="4" data-entity-id="43977548" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/43977548/THE_KORAI_X_KENTE_PROJECT_TURNING_THE_HANDMADE_GHANAIAN_KENTE_CLOTH_FROM_A_LOCAL_EXPRESSION_OF_CULTURAL_IDENTITY_TO_A_CONTEMPORARY_CREATIVE_FASHION_TOOL_BY_INVOLVING_COMMUNITIES_BETWEEN_GHANA_AND_SICILY">THE “KORAI X KENTE” PROJECT: TURNING THE HANDMADE GHANAIAN KENTE CLOTH FROM A LOCAL EXPRESSION OF CULTURAL IDENTITY TO A CONTEMPORARY CREATIVE FASHION TOOL BY INVOLVING COMMUNITIES BETWEEN GHANA AND SICILY</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="2893276" href="https://unipa.academia.edu/SusannaGristina">Susanna Gristina</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Cerami F., Scaduto M.L:, De Tommasi A. (eds.), I Bacini Culturali e la progettazione sociale orientata all'Heritage-Making, tra Politiche giovanili, Innovazione sociale, Diversità culturale, 2020</p><p class="ds-related-work--abstract ds2-5-body-sm">Textile arts reflect culture, customs and traditions of the ethnic groups who create them. Their etymology, history, social meaning, methods of production and uses are representative of local communities and cultural traditions that need to survive and flourish in the age of globalisation. Traditional African textiles, coming from a long tradition of weaving and relating to philosophy, oral literature, history, ethics, religious belief, and political thoughts, are an example of tangible (fabric) and intangible (art of weaving) Cultural Heritage to be safeguarded by their knowledge and use. This is the case of Kente cloth, one of the most famous and precious hand-woven African fabrics: crafted since the 17th century by village communities of the Ashanti Region and worn by Ghanaian kings, this ceremonial fabric is still considered a luxury item and a cultural asset to be protected. In the last few centuries, the African emigrants’ displacement has favoured traditional fabrics knowledge worldwide, but their perception and meaning have changed within new global contexts and communities: promoting creativity applied to traditional fabrics for actualising their use while respecting values and tradition is now challenging. This paper illustrates “Korai x Kente”, a fashion eco-design and eco-craft project of inclusive and sustainable business, developed between Ghana and Sicily by the Italian Cultural and Creative Industry “Kòrai – Territorio, Sviluppo e Cultura”, and endorsed by the Honorary Consulate of Ghana in Sicily. The project, aimed at promoting the traditional Kente cloth and the integration among different cultures, focuses on social innovation and interculturalism, involves weavers of local communities in Ghana producing the Kente cloth and Sicilian designers and craftsmen creating traditional and contemporary eco-design and eco-craft objects in Kente, whose cultural values are also shared on a web platform. The project even supports women in Ghana to start a job by micro-credit.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"THE “KORAI X KENTE” PROJECT: TURNING THE HANDMADE GHANAIAN KENTE CLOTH FROM A LOCAL EXPRESSION OF CULTURAL IDENTITY TO A CONTEMPORARY CREATIVE FASHION TOOL BY INVOLVING COMMUNITIES BETWEEN GHANA AND SICILY","attachmentId":68308085,"attachmentType":"pdf","work_url":"https://www.academia.edu/43977548/THE_KORAI_X_KENTE_PROJECT_TURNING_THE_HANDMADE_GHANAIAN_KENTE_CLOTH_FROM_A_LOCAL_EXPRESSION_OF_CULTURAL_IDENTITY_TO_A_CONTEMPORARY_CREATIVE_FASHION_TOOL_BY_INVOLVING_COMMUNITIES_BETWEEN_GHANA_AND_SICILY","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/43977548/THE_KORAI_X_KENTE_PROJECT_TURNING_THE_HANDMADE_GHANAIAN_KENTE_CLOTH_FROM_A_LOCAL_EXPRESSION_OF_CULTURAL_IDENTITY_TO_A_CONTEMPORARY_CREATIVE_FASHION_TOOL_BY_INVOLVING_COMMUNITIES_BETWEEN_GHANA_AND_SICILY"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="18792629" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/18792629/Structural_Patterns_in_Asante_Kente_An_Indigenous_Instructional_Resource_for_Design_Education_in_Textiles">Structural Patterns in Asante Kente: An Indigenous Instructional Resource for Design Education in Textiles</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="38873491" href="https://knust.academia.edu/NanaAfiaOpokuAsare">Nana Afia Opoku-Asare</a></div><p class="ds-related-work--abstract ds2-5-body-sm">Asante Kente is a richly coloured, intricately patterned indigenous hand woven fabric that is typically produced at Bonwire and Adanwomase in Ashanti Region, Ghana. Kente is woven in long narrow strips with brightly coloured silk or cotton yarns on Nsadua Kofi, the traditional narrow loom, which is a box-like wooden structure in which the weaver sits to weave. The strips are sewn together lengthways to purposely create definite patterns in the constructed cloth. Asante Kente motifs and cloth designs have names with philosophical meanings and colour symbolism that serve as a medium of communication to the indigenes. The cloth designs consist of dots, lines, shapes, textures and colours that are carefully crafted to form geometric shapes and intricate patterns that exhibit balance, rhythm, variety, proportion and repetition. Unlike Asante Kente cloth designs that evolve on the loom, weaving in the higher education textiles curriculum requires expression of the structure of design conc...</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Structural Patterns in Asante Kente: An Indigenous Instructional Resource for Design Education in Textiles","attachmentId":42078423,"attachmentType":"pdf","work_url":"https://www.academia.edu/18792629/Structural_Patterns_in_Asante_Kente_An_Indigenous_Instructional_Resource_for_Design_Education_in_Textiles","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/18792629/Structural_Patterns_in_Asante_Kente_An_Indigenous_Instructional_Resource_for_Design_Education_in_Textiles"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="6166048" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/6166048/Examining_Ghanas_use_of_intellectual_property_law_to_protect_adinkra_and_kente_fabrics">Examining Ghanas use of intellectual property law to protect adinkra and kente fabrics</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="9381229" href="https://independent.academia.edu/KabakamaSolo">Ebrima Kamara</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Examining Ghanas use of intellectual property law to protect adinkra and kente fabrics","attachmentId":33053591,"attachmentType":"docx","work_url":"https://www.academia.edu/6166048/Examining_Ghanas_use_of_intellectual_property_law_to_protect_adinkra_and_kente_fabrics","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/6166048/Examining_Ghanas_use_of_intellectual_property_law_to_protect_adinkra_and_kente_fabrics"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="40717481" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/40717481/Modern_Technological_Advances_and_the_Challenges_in_the_Kente_Weaving_Business_of_Ghana">Modern Technological Advances and the Challenges in the Kente Weaving Business of Ghana</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="72191591" href="https://texilaconnect.academia.edu/PhilipSpittaAnsah">Philip Spitta Ansah</a><span>, </span><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="37769006" href="https://texilaconnect.academia.edu/TexilaInternationalJournal">Texila International Journal</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Texila International Journal of Academic Research, 2019</p><p class="ds-related-work--abstract ds2-5-body-sm">The study examined the challenges of introducing modern technology to facilitate the traditional Kente weaving business of Ghana. Amongst its objectives were ascertaining the weaknesses associated with introducing the technology by identifying the threats emanating from infusing modern technology into the industry. The importance of the study lies in the fact that the findings and recommendations will not only go a very long way to enrich the body of knowledge on the subject of Kente weaving business in Ghana, but will also help make the cottage industry more attractive to the youth and uplift the living standards of the Kente weavers. Challenges associated with the initiative had to do with the fact that most of the weavers are old and illiterates so a lot of work has to be done in coaching them to come on board with the new technology. It is unlikely that the existing weavers would be able to fund the equipments needed for a smooth integration of technology into the weaving of Kente.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Modern Technological Advances and the Challenges in the Kente Weaving Business of Ghana","attachmentId":61003663,"attachmentType":"pdf","work_url":"https://www.academia.edu/40717481/Modern_Technological_Advances_and_the_Challenges_in_the_Kente_Weaving_Business_of_Ghana","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/40717481/Modern_Technological_Advances_and_the_Challenges_in_the_Kente_Weaving_Business_of_Ghana"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="111989697" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/111989697/Consumers_Preference_and_Further_Uses_of_Kente_Cloth">Consumers’ Preference and Further Uses of Kente Cloth</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="49722123" href="https://independent.academia.edu/MAdashie">Michael Adashie</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Arts and Design Studies, 2015</p><div 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data-collection-position="9" data-entity-id="100577088" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/100577088/Discussion_of_Textile_Transformations_and_Cultural_Continuities_in_West_Africa">Discussion of "Textile Transformations and Cultural Continuities in West Africa</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="32052" href="https://conncoll.academia.edu/ChristopherSteiner">Christopher Steiner</a></div><p class="ds-related-work--metadata ds2-5-body-xs">1994</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Discussion of \"Textile Transformations and Cultural Continuities in West 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You can download the paper by clicking the button above.</p></div></div></div></div><div class="ds-sidebar--container js-work-sidebar"><div class="ds-related-content--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-related-work-sidebar-card" data-collection-position="0" data-entity-id="92872598" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/92872598/African_Textiles">African Textiles</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="36290081" href="https://independent.academia.edu/PictonJohn">John Picton</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2021</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"African Textiles","attachmentId":95767133,"attachmentType":"pdf","work_url":"https://www.academia.edu/92872598/African_Textiles","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-related-work-grid-card-view-pdf" href="https://www.academia.edu/92872598/African_Textiles"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-related-work-sidebar-card" data-collection-position="1" data-entity-id="78969240" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/78969240/Aesthetic_and_philosophical_meanings_of_indigenous_Asante_Kente">Aesthetic and philosophical meanings of indigenous Asante Kente</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="146665216" href="https://independent.academia.edu/QuameG">George K. 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class="ds-related-work--metadata ds2-5-body-xs">Journal of Science and Technology (Ghana), 2013</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Technical Limitations of African Prints and their Implications on Garment Construction in Ghana","attachmentId":76610798,"attachmentType":"pdf","work_url":"https://www.academia.edu/64689421/Technical_Limitations_of_African_Prints_and_their_Implications_on_Garment_Construction_in_Ghana","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-related-work-grid-card-view-pdf" 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