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Structural Patterns in Asante Kente: An Indigenous Instructional
Resource for Design Education in Textiles

(illia) *adoe
1+
Nana ,fia #po-u-,sare
2

1. .epart)ent of Industrial ,rt% /wa)e N-ru)a0 1ni2ersit3 of Science and 4ec0nolog3% 50ana
2. .epart)ent of ,rt Education% /wa)e N-ru)a0 1ni2ersit3 of Science and 4ec0nolog3% 50ana
+
E)ail of corresponding aut0or6 w7adoe8g)ail.co)

College Of Art And Social Sciences, Kwame Nkrumah University of Science and Technology, Kumasi Ghana
finance the research

Abstract
,sante Kente is a ric0l3 coloured% intricatel3 patterned indigenous 0and wo2en fa7ric t0at is t3picall3 produced
at *onwire and ,danwo)ase in ,s0anti 9egion% 50ana. Kente is wo2en in long narrow strips wit0 7rig0tl3
coloured sil- or cotton 3arns on Nsadua Kofi% t0e traditional narrow loo)% w0ic0 is a 7o:-li-e wooden structure
in w0ic0 t0e wea2er sits to wea2e. 40e strips are sewn toget0er lengt0wa3s to purposel3 create definite patterns
in t0e constructed clot0. ,sante Kente )otifs and clot0 designs 0a2e na)es wit0 p0ilosop0ical )eanings and
colour s3)7olis) t0at ser2e as a )ediu) of co))unication to t0e indigenes. 40e clot0 designs consist of dots%
lines% s0apes% te:tures and colours t0at are carefull3 crafted to for) geo)etric s0apes and intricate patterns t0at
e:0i7it 7alance% r03t0)% 2ariet3% proportion and repetition. 1nli-e ,sante Kente clot0 designs t0at e2ol2e on t0e
loo)% wea2ing in t0e 0ig0er education te:tiles curriculu) re;uires e:pression of t0e structure of design concepts
as drafts on point paper. 4o de)3stif3 drafting% w0ic0 )an3 te:tiles students percei2e as <difficult to learn= led
to adoption of t0e ;uasi-e:peri)ental approac0 to interpret selected Kente )otifs to de)onstrate t0e process of
drafting to 1'! >ear #ne Industrial ,rt students of /wa)e N-ru)a0 1ni2ersit3 of Science and 4ec0nolog3%
50ana. 1sing t0e draft as instructional resource% t0e students were guided to translate drafts t0e3 0ad )ade into
wo2en Kente stole on t0e 7roadloo). 40e focus of t0is wor- was to 7ridge t0e gap 7etween indigenous 0and
wea2ing and wea2ing as it is taug0t in t0e for)al educational s3ste). 40e structural patterns of ,sante Kente
designs pro2ided t0e needed instructional resource and aest0etic e:perience to ensure successful learning of
drafting in te:tiles design education. 40e i)portance of t0e stud3 is to 0elp preser2e t0is natural cultural 0eritage
of Kente wea2ing in t0e 3out0 w0o are gi2en for)al education and again to set t0e pace for furt0er researc0 to 7e
conducted into t0e use of )otifs% s3)7ols and designs in indigenous clot0 as 2ast resource in design education in
te:tiles.
Keywords6 ,sante Kente .esign% Structural Pattern% Instructional 9esource% .rafting% and 4e:tiles .esign
Education

1. Introduction
40e art of clot0 wea2ing is a do)inant occupation across (est ,frica? it is traditionall3 co))on fro) Senegal
in t0e west to @a)eroon in t0e east% and sout0 of t0e Sa0ara to t0e coast (.uncan% 2&&2. (ea2ing is done 73
)en in long% narrow strips of fa7ric on narrow dou7le-0eddle loo)s t0at )ostl3 0a2e two or four 0eddles. 40e
loo)s are funda)entall3 si)ple fra)es t0at 0old a set of t0reads in tension? t0e3 0a2e no warp 7ea) so weig0t
is used to gi2e tension to t0e warp 3arns during wea2ing (Insert% 1AA2 as cited in 9oss% 1AA!. (ea2ing is also
t0e oldest craft -nown in 50ana (Besse% 1AA&. *efore )odern wea2ing was introduced to 5old @oast (now
50ana% t0e )aterial used for clot0ing was o7tained fro) t0e 7ar- of t0e Kyenkyen tree. Cong% narrow pieces of
Kyenkyen 7ar- was softened in water% and 7eaten o2er trun-s of fallen trees wit0 wooden )allets into so)e0ow
fle:i7le )aterial t0at was used as a co2ering (9attra3% 1A27. (0en cotton and costl3 sil- clot0s ca)e into t0e
5old @oast fro) Europe and ,sia t0e ,sante people unra2eled t0e 3arns and s-illfull3 wo2e t0e) into
e:tra2agant Kente clot0s of all t0e 2arieties of colour and pattern (*aa0% 2&&&. Kente t0at was wo2en wit0 sil-
3arns in t0e past were reser2ed for ro3alt3 and t0e wealt03 (/wa-u #fori-,nsa% 2&&A.

1.1 ,sante Kente @lot0
,sante Kente is a wo2en clot0 t0at is identified 73 its daDDling% )ulti-coloured patterns of 7rig0t colours%
geo)etric s0apes and 7old designs (/wa-u #fori-,nsa% 2&&A. 40e word Kente is a deri2ati2e of K!nt!n, t0e
4wi word for 7as-et (/we-udee% 2&12? it also represents w0at ,sa)oa0->aw (1AA2 descri7es as t0e Ecreati2e%
t0oug0tful or designerFs wo2en clot0F. Kente is un;uestiona7l3 t0e )ost popular and 7est -nown of all ,frican
te:tiles 7ecause it is produced in greater ;uantities% e:ported to )ore places% and incorporated into a greater
2ariet3 of for)s t0an an3 ot0er ,frican fa7ric. ,sante Kente 0as also captured t0e attention of 2isitors since at
least 1!17 as a clot0 of splendour and ostentation% of e:tra2agant price and incredi7le siDe and weig0t (,2ins G
Huic-% 1AA!. Kente clot0 is constructed and worn according to gender. 40e wo)anFs Kente clot0 is worn in
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t0ree pieces? one piece is wrapped around t0e lower 7od3 as a long s-irt and 0eld down at t0e waist wit0 a scarf.
,lternatel3% t0e piece of clot0 is sewn into an an-le lengt0 s-irt 0eld at t0e waist wit0 a string of clot0 or elastic
7and w0ile t0e second piece is sewn into a st3lis0 Ka"a or 7louse. 40e t0ird piece of t0e wo)anFs Kente clot0 is
eit0er folded widt0wise into a s)all piece and 0eld in one 0and li-e a purse or folded lengt0wise and 0ung o2er
t0e left s0oulder. 40e )ale and fe)ale Kente clot0s )a3 7ear si)ilar features suc0 as )otifs% arrange)ent and
colours 3et t0e3 0a2e distinct c0aracteristics (*adoe% 2&&5. 40e )ale Kente clot0 is worn 73 draping it loosel3
around t0e 7od3 fro) t0e s0oulders down wit0 t0e ends 0eld o2er t0e left one s0oulder (o2er t0e rig0t s0oulder is
culturall3 inappropriate in t0e )anner of t0e 9o)an toga (*owdic0% 1AII as cited in *adoe% 2&&5.

1.2 Structure of t0e Jale ,sante Kente clot0
40e )ale Kente clot0 is )ade up of 2! strips sewn toget0er. Eac0 strip )easures a7out ' inc0es in widt0. 40e
lengt0 is )ade up of 3A )otifs and t0e 7rea- down is as follows6
5 )otifs for t0e starting 7order design and anot0er 5 )otifs for t0e closing 7order design.
2A )otifs for t0e )ain design.
Note t0at onl3 3 different )otifs are used for t0e 7order design w0ereas anot0er 2 )otifs are alternated to for)
t0e )ain design? t0us in all 5 different )otifs are use to produce a Kente clot0 (Plate 1.

1.3 Structure of t0e Ke)ale ,sante Kente clot0
40e fe)ale Kente clot0 is )ade up of 2' strips sewn toget0er? ! strips for t0e Ka"a, ! strips for t0e Slit and
anot0er ! strips for t0e cover cloth Eac0 strip )easures a7out ' inc0es in widt0. 40e lengt0 is )ade up of 21
)otifs wit0 t0e 7rea- down as follows6
5 )otifs for t0e starting 7order design and anot0er 5 )otifs for t0e closing 7order design.
11 )otifs for t0e )ain design? t0e )iddle )otif is a uni;ue one.
Note t0at onl3 3 different )otifs are used for t0e 7order design w0ereas anot0er 2 )otifs are alternated to for)
t0e )ain design wit0 a different )iddle )otif? t0us in all I different )otifs are use to produce a Kente clot0.

. Kente !ea"ing
Kente wea2ing is a traditional cultural art t0at 0as 7een practiced 73 t0e ,sante people of 50ana since t0e 17
t0

@entur3 (#fori-,nsa0% 2&&A. Kente wea2ing as a te:tile production tec0ni;ue w0ere73 narrow loo) is use to
produce long and narrow strips of clot0% w0ic0 )a3 t0en 7e Loined edge to edge to create s;uare or rectangular
co2er clot0s. 40e tec0ni;ue offers endless possi7ilities for 2ariations of scale and co)position (,dler% 1AA5.
40is cultural 0eritage of Kente wea2ing is go2erned 73 strict gender guidelines (9oss G ,du-,g3e)% 2&&' until
t0e introduction of indigenous wea2ing in t0e sc0ool art curriculu)% Kente wea2ing was t0e preser2e of )en.
@onstruction of t0e Kente clot0 is also done according to gender specifications6 t0e )ale clot0 co)es in one
large% rectangular siDe w0ile t0e fe)ale clot0 co)es as a set of t0ree relati2el3 s0orter pieces (*adoe% 2&&5.

Kente is wo2en in strips )easuring appro:i)atel3 ' inc0es wide and 1'' inc0es long (1&c) : 3I&c) for a )ale
clot0 and ' inc0es : 72 inc0es (1&c) : 1!&c) for a fe)ale clot0% in two or )ore colours (,sa)oa0->aw% 1AA2.
Eac0 strip 0as an open 7order design t0at is followed 73 t0e )ain clot0 design and a close-end 7order design as
s0own in Plate 1. In effect% t0e )ain clot0 design is sandwic0ed 7etween two end designs (*adoe% 2&&5.

Plate 1 43pical )ale ,sante Kente strip
2.1 Kente Jotifs
40e t0ree distinct parts t0at constitute t0e open-end and close-end 7order designs (Akyem, Atwede! and #a"adua
of t0e Kente strip in Plate 1 are s0own as Plate 2.


Plate 2 Kente *order design
40e Akyem, Atwede! and #a"adua )otifs constitute t0e open-end and close-end 7order designs in Plate1 and
illustrated separatel3 in Plates 3M5. 40e wea2er repeats t0e t0ree different )otifs fi2e ti)es in eac0 case to create
t0e open-end and close-end 7order designs.
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Plate 3 Akyem Plate ' Atwede! Plate 5 #a"adua
Plate I s0ows Nkyimkyim and $%uankron% t0e 2 )otifs t0at are repeated 2A ti)es to arri2e at t0e )ain clot0
design in Plate !.

Plate I Nkyimkyim Plate 7 $%uankron

Plate ! Jain clot0 design
2.2 Kente Patterns
40e distincti2e c0aracteristics of t0e ,sante Kente clot0 are t0e geo)etric s0apes of different siDes in 7rilliant
colours of )aroon% gold% green% dar- 7lue and 7lac- (9oss% 1AA!? ,2ins G Huic-% 1AA!? Edusei% 2&&I. 40e
structure of t0e Kente strip centres on t0e creation of weft floats and geo)etric s0apes to ac0ie2e an o2erall
design. 40e )ost co))onl3 seen designs in Kente are produced 73 co)7ining two distinct decorati2e
tec0ni;ues6 1 t0e introduction of rows of supple)entar3 weft floats into t0e ground wea2es? t0e weft floats are
arranged to for) triangles% wedges% 0our glass s0apes and ot0er designs? and 2 t0e creation of solid 7loc-s of
coloured t0reads across t0e clot0 strip to entirel3 conceal t0e warp (@lar-e% 2&&2. 40e outco)e is four groups of
Kente patterns6 Ahwe%an, To%reko, &a%renu and Asasia (@ole G 9oss% 1A77.
Ahwe%an is a plain-wea2e wit0 or wit0out si)ple weft stripes? To%reko t3picall3 features t0e c0aracteristic
Esingle wea2eF Kente pattern co)posed of two 7loc-s of weft-faced #a"adua% a 7loc- of weft-faced Adwini asa
t0at is created wit0 dou7le or triple weft t0reads going o2er and under% and alternate groups of si: warp t0reads
followed 73 a group t0read. &a%renu is created wit0 two or t0ree 0andpic-ed supple)entar3 weft t0reads t0at are
wound on a single 7o77in wit0 t0e t0reads passing 7ac- and fort0 7efore t0e ground t0read is inserted to create
7loc-s of Adwini asa so densel3 pac-ed t0at t0e warp t0reads are not seen t0roug0 t0e weft. 40is Edou7le wea2eF
uses twice as )an3 weft t0reads as t0e ground t0read. Asasia is t0e rarest and )ost prestigious of t0e ,sante
Kente patterns. It is a distincti2e twill pattern in a diagonal align)ent of weft floats. 40is intricate weft pattern is
wo2en e:clusi2el3 for t0e Asantehene (@ole G 9oss% 1A77? ,sin3o G Kri)pong% 2&13.

#. T$e Traditional %oo&
40is is called Nsadua Kofi in t0e indigenous language. It is constructed eit0er stationar3 or in a )o7ile for)? in
t0e case of t0e for)er t0e 1prig0t posts la7eled 1% 2% 3 and ' in Kig. 1 are )ounted in t0e ground e:posed to t0e
)erc3 of t0e weat0er w0ereas t0e latter is constructed wit0 t0e support of 12-Klat wooden 7oard t0at ena7les it to
7e )o2ed around.
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Kigure 1 40e traditional loo)
40e traditional or Kente loo) as s0own in Kig. 1 consists of four uprig0t posts% (1% 2% 3% ' Loined toget0er on t0e
sides 73 four 7ars (5% I% 7% ! w0ic0 slant towards t0e 7ac- of t0e )ain fra)ewor-. 40e upper part of t0e top 7ars
(7 and ! called Asatwedee (0eald ladder are serrated. 4wo 7ars% (A and 1& called 'onko (warp protector%
connect t0e two front corner posts (1 and 2 in t0e )iddle and top portions of t0e fra)ewor- respecti2el3 w0ile
one 7ar (11 connects t0e top of t0e 7ac- corner posts (3 and '. 40e 7otto) part (12 of t0e fra)ewor- is
co2ered wit0 flat wooden 7oards and it on t0ese 7oards t0at a stool is placed to seat t0e wea2er. 40ere are four
0eddle fra)es (13 called Asa 40e two front ones are called Asatia w0ile t0e two 7ac- ones are called Asanan.
40e 7eater or reed (1' is -nown as Kyereye 40e four 0eddle fra)es and t0e 7eater are suspended 73 )eans of
strings on two or )ore pulle3 7ars (1I called Nyansoo w0ic0 are placed in t0e notc0es of t0e serrated top side
7ars (!.
E)pt3 tins or s)all wooden fra)es t0at ser2e as pulle3s Awiedie (15 in w0ic0 are fi:ed spools wit0 flanges
called Awiedie"a are fi:ed 7etween t0e pulle3 7ars.

'. Designs( Draft And Tie)*+ Arrange&ent
,sante Kente clot0 designs are not drafted prior to wea2ing 7ut t0e3 e2ol2e on t0e loo)% depending on t0e
wea2erFs ingenuit3 and crafts)ans0ip and t0e )oti2e for wea2ing t0e clot0. 40is is in direct contrast to t0e
re;uire)ents of t0e te:tiles curriculu) for 0ig0er education% w0ic0 includes reduction of design concepts into
grap0ical for)at to guide in generating draft and tie-up arrange)ent t0at will aid in wea2ing a fa7ric t0at
incorporates t0e specific design on t0e 7roadloo).

'.1.raft
.raft refers to grap0ical representation of t0e warp ends on t0e 2arious s0afts of t0e loo). .raft is deri2ed fro)
design 73 following t0e principle of <place all ends t0at lift ali-e in a design on t0e sa)e s0aft and all ends t0at
lift differentl3 on different s0afts=. Beddling order t0at is generated fro) a draft is t0e nu)erical infor)ation in
t0e draft t0at guides a wea2er to pass t0e ends t0roug0 t0e e3es of t0e 0ealds (*adoe% 2&&5.

'.2 4ie-up
4ie-up refers to t0e wa3 t0e s0afts are tied to t0e treadles on t0e loo). 4o open a s0ed% a treadle )ust 7e
depressed and 7ecause t0e3 are tied to t0e s0afts% t0e3 cause so)e of t0e s0afts to 7e lowered and ot0ers to 7e
lifted up. 40e s0afts carr3 t0e 0ealds on w0ic0 t0e ends are suspended? t0is causes t0e ends to 7e di2ided into
two s0eds. 40e Kente loo) operates wit0 four treadles (Ntiamu t0at are connected to four s0afts (a pair of
Asatia and Asanan. 40e first pair of Ntiamu is tied to a pair of Asatia w0ic0 are controlled wit0 t0e feet and
used to produce plain wea2es. 40e second pair of Ntiamu is tied to anot0er pair of Asanan t0at is )ade to 0ang
so t0at t0e wea2er can pull t0e cord down wit0 t0e 0and to cause an open s0ed in order to create a desired design
wea2e (See Plates A and 1&.
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Plate A @onnection of treadles to s0afts

Plate 1& 4wo pairs of Kente loo) s0afts
,. Kente -a&es And .eaning
Kente strips are sewn toget0er lengt0wa3s to purposel3 create definite patterns in t0e finis0ed clot0 fro) t0e wa3
t0e wea2er aligns t0e )otifs in t0e indi2idual strips. ,ll Kente )otifs 0a2e distincti2e na)es t0at 0a2e
p0ilosop0ical )eaning and also reflect in t0e na)es t0at are gi2en to t0e Kente clot0 t0at t0e wea2er constructs
fro) indi2idual strips as illustrated in Plates 11 - 13. 40e )otif in Plate 11 is na)ed &a hia kotwere Agyeman
(literall3 )eans carr3 po2ert3 to ,g3e)an or see- 0elp fro) ,g3e)an s3)7oliDes 0ope% fait0% s0aring and
7ene2olence.

Plate 11 &a hia kotwere Agyeman
40e )otif in Plate 12 is na)ed Nsoroma (star and s3)7oliDes fe)inine aspects of life t0at )eans fait0fulness
and affection.

Plate 12 Nsoroma
40e )otif in Plate 13 is na)ed Sika futuro (gold dust. It s3)7oliDes wealt0% ro3alt3% elegance% spiritual purit3
and 0onoura7le ac0ie2e)ent.
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Plate 13 Sika futoro
Plate 1' s0ows Adwini asa (t0e end of design )otif% w0ic0 s3)7oliDes ro3alt3% elegance% creati2e ingenuit3%
e:cellence% wealt0% perfection% and superior crafts)ans0ip.

Plate 1' Adwini asa

5.1 Inno2ations in Kente wea2ing
Inno2ations in conte)porar3 Kente wea2ing include interesting deri2ati2es of original designs to docu)ent and
co))e)orate 0istoric national e2ents% outstanding ac0ie2e)ents of personalities% and ot0er socio-econo)ic
de2elop)ents. 40e new designs are also gi2en na)es t0at reflect t0e )oti2e or p0ilosop03 7e0ind t0e). 43pical
e:a)ples are Kuffuor a te Ghana a nim (E:-President Jo0n ,g3e-u) /uffuor 0as )ade 50ana proud in 0onour
of for)er President /uffuorFs de2elop)ent efforts in 50ana. Si)ilarl3% political% social% econo)ic and religious
de2elop)ents in 50ana also inspire t0e creation of new Kente clot0 designs% w0ic0 are also na)ed accordingl3
(,c0ea)pong% 2&12.
Kente wea2ing is 7eing influenced 73 touris) so 7oo-)ar-ers% 7anners% tapestr3 and ot0er functional and
decorati2e products can 7e found on t0e 50anaian )ar-et and also internationall3. 40e stud3 of Kente wea2ing
as a sc0ool art 0as also 7ro-en t0e strict traditional gender rules t0at 7ar wo)en fro) wea2ing Kente 7ecause
7ot0 )ale and fe)ale students 0a2e to satisf3 t0e sa)e course re;uire)ents. 40is% 0owe2er% 0as not eroded t0e
aut0enticit3 of t0e Kente clot0% w0ic0 is t0e preser2e of t0e )aster wea2ers of *onwire% ,danwo)ase and ot0er
co))unities in ,s0anti 9egion in particular.

/. Data collection
.ata for t0is ;ualitati2e stud3 were gat0ered t0roug0 direct o7ser2ation of indigenous 50anaian Kente wea2ing
processes at *onwire and ,danwo)ase in ,s0anti 9egion% inter2iew of )aster wea2ers% and stud3 of old and
newer 2ersions of ,sante Kente designs. 40e ne:t stage was adoption of a ;uasi-e:peri)ental drafting of
selected Kente )otifs to de)onstrate t0e possi7ilit3 of adapting t0is 50anaian cultural e:e)plar of indigenous
creati2it3 and tec0nolog3 as a tool to facilitate ;ualit3 teac0ing and learning of te:tile design in 0ig0er education.
40e population for t0is stud3 co)prised 1'! Industrial ,rt students of /wa)e N-ru)a0 1ni2ersit3 of Science
and 4ec0nolog3 (/N1S4 w0ose se)ester proLect for course I,4 152 Introduction to (ea2ing 4ec0ni;ues was
to draft a selected Kente design and wea2e a Kente stole 7ased on t0at design. 40is foundation class co)prised
students w0o 0ad 7ac-ground -nowledge in te:tiles fro) Senior Big0 Sc0ool and t0ose w0o 0ad prior learning
in ot0er $isual ,rts su7Lects 7ut not te:tiles.
,s ,de-e3e (2&&! indicates% classroo) use of instructional )aterials 0as enor)ous 7enefits for
teac0ing and learning at all le2els 7ecause t0e3 pro2ide interesting and co)pelling platfor)s for con2e3ing
infor)ation t0at en0ances conceptualiDation and understanding in different wa3s? and a sound 7asis on w0ic0
concepts and ideas can 7e concretiDed. Instructional )aterials also si)plif3 t0e teac0ing-learning process and
facilitate learning and understanding of content 73 adding ele)ents of realit3 t0at attract attention% de2elop
interest% and adLust t0e learning cli)ate towards pro)oting acceptance of an idea (,7delra0ee) G ,l-9a7ane%
2&&5.
Instructional )edia t0at assisted t0e teac0ing-learning process were assorted strips of )ale and fe)ale
Kente clot0s and t0e protot3pe draft of Kente )otifs illustrated in Kigs. 2 and 3% w0ic0 ena7led t0e students to
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2isualiDe design concepts and t0e structural patterns t0at )a-e up a 2ariet3 of Kente clot0 designs% including
w0at is s0own in Plate 1. 40ese resources were used wit0 t0e understanding t0at in2ol2e)ent of t0e learner in
rele2ant e:periences w0ic0 appeal to t0e senses is a 2ital part of t0e co))unication process t0at results in
greater interest% correct interpretation% clear understanding and retention of w0at is learned (Karrant% 1AAI. *3
adopting t0e )edia )et0od of teac0ing art t0at focuses on 7uilding -nowledge t0roug0 tec0ni;ues and
e:peri)entation (@a)p7ell% 2&12% t0e class of 1'! students were a7le to criticall3 e:a)ine different Kente
fa7rics and discussed t0e te:ture% colour sc0e)e% constituent )otifs in t0e patterns% and ot0er c0aracteristics of
t0e different sa)ples% w0ic0 )ade it eas3 for t0e) to as- and answer ;uestions on t0e ele)ents and principles of
design and 0ow t0is -nowledge applies in Kente wea2ing.
40e ensuing discussions touc0ed on t0e na)es of Kente designs and its p0ilosop03% and t0e distincti2e
patterns t0at are 2isuall3 discerni7le fro) t0e constructed clot0 after indi2idual strips 0a2e 7een sewn toget0er.
40is -nowledge platfor) ena7led assess)ent of eac0 studentFs le2el of co)pre0ension of t0e principles of
design and to also ascertain fro) t0e) 0ow t0ese principles were applied in t0eir areas of prior learning as
indi2iduals and s)all groups. 40e3 were also as-ed to e:a)ine criticall3 and fa)iliariDe wit0 t0e c0aracter of
t0e different sa)ples of Kente fa7rics in order for t0e) to de2elop a deeper understanding of t0e place)ent of
t0e )otifs in t0e o2erall design e2ident in t0ose fa7rics. @o)ple: )otifs t0at ca)e up for detailed discussion
included Nky!mfr! and &a hia kotwere Agyeman (Kig. 26 top left and rig0t. 1sing t0e two )otifs as e:a)ples of
Kente designs t0at incorporates Eturning pointF in t0e design% reference was )ade to t0e drafts of eac0 )otif and
0ow Kente wea2ers ac0ie2e t0at feat.
Identif3ing t0e two )otifs in t0e fa7rics and t0eir representation in Kigs. 2 and 3% Eturning pointF was
e:plained as w0ere t0e wea2er re2erses t0e )otif 73 pic-ing out two coloured weft 3arns on depressing t0e
design treadle wit0 t0e 0and, inserting a w0ite pic- fro) t0e left% 7ringing it to t0e )id-point and t0en out again.
Be t0en inserts a 7lac- pic- fro) t0e )id-point to t0e end to co)plete one pic-% t0en effects 7eat-up to pus0 t0e
pic- to t0e fell of t0e clot0 and in return% creates a counter-s0ed% and t0us repeats t0e process to co)plete t0e
ne:t pic-. 4o ac0ie2e t0e angular diagonal pattern in Nky!mfr!% t0e wea2er reduces t0e distance of eac0
successi2e pic- after eac0 s0ed and counter-s0eds to 7uild up t0e )otif to a step w0ere a Eturning pointF s0ows in
t0e pattern. 40e draft instructional resource ca)e in 0and3 to ena7le t0e studentsF co)pare t0e angular pattern on
point paper to t0e )otifs in t0e fa7ric and descri7e t0e distincti2e features in 7ot0 for)ats.
40e Kente )otifs and structural patterns identified in t0e sa)ples offered opportunit3 to discuss t0e
concept and process of drafting% w0ic0 )an3 te:tiles students percei2e as a Edifficult to learnF topic in te:tile
design. ,t t0is stage% t0e students were introduced to la)inated s0eets of draft Kente )otifs suc0 as seen in Kigs
2 and 3 w0ic0 t0e3 were allowed to stud3 carefull3 in groups for a w0ile. 40e ensuing discussion focused on
)ainl3 identif3ing t0ose draft )otifs in t0e patterns in t0e sa)ple Kente fa7rics to induce t0e students
co))unicate t0eir 2iews and as- ;uestions. Issues t0at e)erged fro) t0e discussion turned t0e studentsF
attention to field notes )ade on an earlier trip to o7ser2e Kente wea2ers at *onwire and ,danwo)ase and to
o7ser2e t0e wea2ing processes and interact wit0 t0e).
40e fact t0at Kente wea2ing in2ol2es no drafting 3et generates 0ig0l3 creati2e designs on t0e
traditional narrow loo) ca)e up 2er3 strongl3 and ena7led in-dept0 discussion of 0ow a7stract ideas could 7e
e:pressed as a tangi7le structure on point paper. 40e scenario offered opportunit3 to e:plain w03 it was
i)portant to produce t0e e:peri)ent drafts and t0e need for selecting to wor- wit0 co)ple: )otifs. 40e step-73-
step process of drafting t0ose )otifs was e:plained to de)onstrate accuratel3 0ow to arri2e at a draft on point
paper% its significant use as 2isual reference resource to ena7le t0e) understand 0ow draft is interpreted in tie-up
and wea2ing of a designed fa7ric on t0e 7roadloo).

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5A

Atwede

Kigure 2 5rap0ical representations of selected Kente )otifs
Journal of Education and Practice www.iiste.org
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I&
Ntabon Donowa
Apremuo
Nkyimkyim
Atweremansa
Damedame
Mpuanum

Kigure 3 5rap0ical representations of selected Kente )otifs
1sing Kig. ' to illustrate two repeats of Kente draft and t0e corresponding 0eddling order w0ere eac0 row
represents a s0aft (nu)7ered fro) 7otto) up% t0e step-73-step process of drafting )otifs was e:plained to
ena7le t0e students conceptualiDe and understand t0e 1-2-1? '-3-' 0eddling order in Kente wea2ing w0ic0 is
e:plained as follows6 1
st
end goes t0roug0 0eald on s0aft 1% 2
nd
end goes t0roug0 0eald on s0aft 2% 3
rd
end goes
t0roug0 0eald on s0aft 1% '
t0
end goes t0roug0 0eald on s0aft '% 5
t0
end goes t0roug0 0eald on s0aft 3% and I
t0
end
t0roug0 0eald on s0aft ' to co)plete one repeat of 0eddling. 40e sa)e process is repeated until all t0e ends are
0eddled t0roug0 t0e e3es of t0e 0ealds (0eddling.

Kigure ' Kente draft


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I1
0. Results and Discussions
,s an indigenous craft% ac;uiring t0e s-ill of Kente wea2ing is done t0roug0 long 3ears of apprentices0ip and
constant practice under a )aster crafts)an 7ecause no s3ste) of for)al education e:ists for training professional
Kente wea2ers (,sa)oa0->aw% 1AA'? *adoe% 2&&5. #n t0e ot0er 0and% 0ig0er education in te:tiles specifies
deli2er3 of t0e $isual ,rts curriculu) 2ia t0eor3 and practical lessons and assigning of class e:ercises t0at test
understanding of w0at is taug0t (@9.. 2&1&. .rafting prior to wea2ing also contradicts t0e traditional wa3 of
clot0 wea2ing in ter)s of t0e re;uire)ent to translate inert ideas t0at co)e to )ind as conceptualiDed designs
t0at can 7e 2isualiDed and reduced to a grap0ic i)age on point paper. 9educing Kente wea2ing to t0e le2el of an
acade)ic discipline t0erefore re;uires in-dept0 understanding of t0e intricate processes and t0e tec0nical
co)petence to successfull3 adapt t0e 7roadloo) for wea2ing 7roader pieces of Kente fa7ric instead of narrow
strips t0at t0e wea2er 0as to sew toget0er to construct a clot0.
,lt0oug0 wea2ing as a sc0ool su7Lect is taug0t under t0e section on traditional clot0 wea2ing%
effecti2e teac0ing and learning of wea2ing oug0t to 7e done 2ia t0e appropriate narrow loo) and its accessories.
Bowe2er% t0e traditional Kente loo) is not produced and sold on t0e open )ar-et? traditionall3% loo)s are
speciall3 )ade for a wea2er or 0e in0erits a loo) fro) fa)il3 )e)7ers (,sa)oa0->aw% 1AA'. 40ere does not
see) to 7e trained tec0nicians to ser2ice traditional loo)s% w0ic0 pro7a7l3 e:plains w03 50ana Education
Ser2ice onl3 supplies 7roadloo)s to support t0e teac0ing and learning of wea2ing (#sei% 2&12. Per0aps t0e few
sc0ools t0at 0a2e traditional loo)s 7ut do not use t0e) for t0e intended purpose (.anso-Sinti)% 2&&A are
0indered 73 t0e a7sence of Kente wea2ers in t0eir co))unities. (0ile t0ese )a3 offer sufficient grounds for
teac0ers not to teac0 wea2ing% art education in Senior Big0 Sc0ools 0a2e pro7le)s accessing ade;uate le2els of
logistics and institutional support to i)ple)ent t0e curriculu)% including funding for fieldtrips to ac;uire
rele2ant aest0etic e:periences fro) co))unit3 resources (#wusu-,fri3ie% 2&&A? ,g7enatoe% 2&11? E2ans-
Solo)on G #po-u-,sare% 2&11? #sei-Jensa0% 2&12? #po-u-,sare et al% 2&1'. 1sing Kente as instructional
resource to ensure effecti2e teac0ing and learning of wea2ing is an appropriate )eans to counter t0e c0allenges
in2ol2ed in pro2iding t0e 0ig0 ;ualit3 -nowledge and s-ills re;uired for national de2elop)ent.
40e fact t0at t0e Kente fa7ric e)7odies nu)erous intricate and interesting )otifs )a-es t0is culturall3
significant s3)7ol of indigenous creati2it3 t0e )ost appropriate artefact to facilitate ;ualit3 instruction in te:tile
design.

1. 2onclusion
40is >ear #ne class in Kente wea2ing la3s t0e needed foundation for te:tiles students to assi)ilate t0e step-73-
step process of 7rea-ing a design into )odules t0at can 7e learned easil3 and represented as drafts on point paper
to indicate accuratel3% t0e appropriate tie-up arrange)ent re;uired to guide wea2ing. 40e teac0ing of design%
draft and tie-up arrange)ent as part of te:tiles designing and fa7ric structure cannot 7e taug0t wit0out recourse
to t0e Kente fa7ric itself. 40us% utiliDing sa)ples of aut0entic Kente fa7rics as instructional resource was
t0erefore t0e )ost appropriate )eans to ena7le 2isualiDation of t0e o7Lect of t0e lesson and satisf3ing t0e
re;uire)ents of t0e te:tiles s3lla7us e2en t0oug0 t0e )ost appropriate loo) was not accessi7le for t0e proLect.
40e se)esterFs o7Lecti2es could not 0a2e 7een ac0ie2ed wit0out t0e out-of-t0e-classroo) interaction wit0 Kente
wea2ers% w0ic0 ena7led collection of a 2ariet3 of Kente fa7rics and docu)entation of t0e indigenous wea2ing
processes as digital p0otograp0ic and 2ideo for)at to aid independent learning o2er a long ti)e.
40e Kente sa)ples facilitated first0and e:perience of aut0entic Kente clot0% ena7led p03sical
e:a)ination and anal3sis of t0e c0aracteristics of t0e fa7ric% and t0e 2ariet3 of )otifs% patterns% na)es and
p0ilosop03 of different Kente clot0s. 40is laid t0e foundation for t0e students to appreciate traditional wea2ing
and a )eans to trace out t0e structure of Kente )otifs and t0e patterns t0at e)erge w0en t0e wea2er sews strips
of Kente fa7ric of a particular design toget0er to construct a )ale or fe)ale clot0. 40is -nowledge platfor)
ena7led understanding of t0e issues in2ol2ed and aided t0e drafting process and co)pre0ension of 0ow inert
ideas could 7e interpreted on point paper to satisf3 te:tile design. 40e e:peri)ental draft of Kente )otifs also
pro2ided opportunit3 for t0e students to co)pare t0e structure of t0e 2isi7le )otifs and patterns in t0e sa)ple
Kente fa7rics wit0 t0e structure of t0ose sa)e )otifs presented in grap0ical for)at to ena7le t0e) appreciate
indigenous creati2it3 and t0e rele2ance of t0is cultural 0eritage to te:tiles design education.
In t0e e:peri)ent% all 1'! students were a7le to draft a c0oice Kente design and produce a stole eac0. It
needs e)p0asiDing t0at a )i:ed class of students wit0 different 7ac-grounds in art? 2! or 1!.AN of t0e) 0ad
e2er done an3 wea2ing 7efore and t0e 12& or !1N 0ad no -nowledge a7out wea2ing at all constituted t0e
population engaged in t0e stud3. Nonet0eless% adopting t0e o7ser2ation% de)onstration% discussion and
e:periential approac0es to teac0ing t0e su7Lect )ade it eas3 for eac0 of t0e 1'! students to draft selected Kente
designs on point paper% interpret t0ose ideas in t0e 0eddling% reeding% and tie-up t0at constitute warp preparation
processes. 40e3 successfull3 wo2e a Kente stole eac0 )easuring 1&c) 73 1!&c) on t0e 7roadloo) to satisf3 t0e
re;uire)ents of course (AT )*+ (ntroduction to ,eaving Techni-ues wit0in t0e se)ester.
Preser2ing t0e ,sante traditional cultural 0eritage of Kente wea2ing 73 integrating it into t0e sc0ool
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I2
te:tiles progra))e and also )erging t0is tradition wit0 7roadloo) wea2ing approac0es can encourage capacit3
7uilding t0roug0 researc0 73 te:tiles staff and students. It is culturall3 rig0t and appropriate t0at t0e 0eritage of
indigenous creati2it3 and e:a)ples of Kente wea2ing 7e studied t0roug0 colla7oration and cooperation 7etween
0ig0er education and indigenous artists to ensure ;ualit3 of 2isual arts education in 50ana.
40e uni;ueness of ,sante Kente as a cultural 0eritage lies in t0e generational protection it 0as enLo3ed
o2er centuries. 40e original designs% na)es and p0ilosop0ical content 0a2e 7een preser2ed and new designs are
e2ol2ing. Kente 0as defied )odern tec0nological ad2ance)ents in t0e te:tiles industr3 to t0e e:tent t0at ,sante
Kente cannot 7e produced in co))ercial ;uantities wit0 t0e use of sop0isticated power loo)s. ,sante Kente
clot0 enLo3s so )uc0 prestige worldwide as a s3)7ol of 50anaian culture and identit3 t0at it 0as 7eco)e t0e
cere)onial EgiftF to gi2e to state 2isitors and t0e clot0 for -ings% c0iefs% politicians% and people of 0ig0 standing
in societ3. 40e clerg3 in 50ana 0a2e t0eir 2est)ents adorned wit0 Kente strips and )an3 indi2iduals use Kente
clot0 at dur7ars% state functions% special cere)onies and c0urc0 ser2ices (#fori-,nsa0% 2&&A.
*ecause aut0entic ,sante Kente clot0 is 0and wo2en 73 indigenous people on narrow traditional loo)
wit0 t0e indigenous warp preparator3 accessories% production of t0e Kente clot0 ta-es a long ti)e% w0ic0 )a-es
it e:pensi2e. Bowe2er% contact 7etween traditional wea2ers and practitioners of sc0ool art as a result of researc0
into indigenous art for)s 0as )ade it possi7le for te:tiles students to wea2e )oderniDed 2ersions of Kente on t0e
7roadloo) as part of t0e re;uire)ents of t0e sc0ool s3lla7us. 40is colla7oration 0as also ena7led t0e wea2ers
outside acade)ia to infuse conte)porar3 designs into Kente to t0e e:tent t0at new 2ersions of aut0entic designs
are 7eing wo2en and gi2en na)es t0at p0ilosop0icall3 intertwine wit0 de2elop)ent% politics% and national e2ents.
,s t0is stud3 s0ows% Kente as an indigenous artefact is a sustaina7le )eans of satisf3ing o7Lecti2es
specified for t0e principles and practice of design% draft and tie-up wit0in t0e te:tiles s3lla7i for secondar3 and
0ig0er art education institutions. 40e fact t0at Kente can 7e plotted on point paper offers great opportunit3 for
si)plif3ing and de)3stif3ing te:tile designing% drafting of designs on point paper% and tie-up arrange)ents
w0ic0 are classified as Edifficult to teac0F and Edifficult to learnF aspects of t0e te:tiles curriculu). Kente is a
rare instructional resource t0at adds ;ualit3 to t0e teac0ing and learning of t0e ele)ents and principles of design%
colour s3)7olis)% p0ilosop03 of design and wea2ing on t0e loo) in particular and s0ould 7e adopted 73 art
educators in sc0ools% colleges and uni2ersities.
Big0er education in te:tiles curriculu) )andates t0e t0eor3-to-practice teac0ing of design% draft and
tie-up arrange)ent as part of te:tile design and fa7ric structure. Incorporating Kente wea2ing in t0e sc0ool
s3lla7us pro2ides a sustaina7le )eans to preser2e and trans)it indigenous culture and infuse 0eritage studies
into conte)porar3 education. Kente pro2ided t0e needed foundation for students to assi)ilate t0e step-73-step
process of 7rea-ing a design into )odules t0at te:tiles studentsF can easil3 learn to draft on point paper and also
indicate t0e appropriate tie-up arrange)ent. ,s an indigenous craft% ac;uiring t0e s-ill of Kente wea2ing is done
t0roug0 apprentices0ip and constant practice under a )aster crafts)an. No s3ste) of for)al education e:ists for
training professional Kente wea2ers (,sa)oa0->aw% 1AA'? *adoe% 2&&5. In direct contrast to t0is infor)al
education s3ste)% te:tiles students are re;uired to translate t0e conceptualiDed design into grap0ical for)at on
point paper to guide wea2ing of Kente on t0e 7roadloo) instead of t0e traditional loo) t0at generates narrow
strips.
9educing Kente wea2ing to t0e le2el of acade)ic studio art re;uires in-dept0 understanding of t0e
intricate processes and rele2ant tec0nical co)petence to successfull3 adapt t0e 7roadloo) for wea2ing 7roader
widt0 of Kente fa7ric. ,reas of furt0er researc0 interest to t0is stud3 include wea2ing traditions in 50ana% and a
co)parati2e anal3sis of )otifs% designs and c0aracter of ,sante Kente and Ewe /ete of ,s0anti and $olta
9egions of 50ana respecti2el3.

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