An ancestral tradition well kept
Whether among the Mandjaks, the Halpulaars or the Sereres, the art of weaving is a well-kept, even mysterious, secret that is passed on from father to son, and sometimes only within a single caste. On large wooden looms, alone or in groups depending on the ethnic group, they spontaneously repeat very precise gestures, at a rhythmic pace, thus making colored bands, whose dyeing of the thread is entrusted to the women. These bands, which are then assembled by a seamstress, represent symbolic, often mystical motifs, telling the story of a people, with its values, its rites and its culture. Sometimes, these patterns would even be revealed by their ancestors, and some weavers would be inhabited at night by the spirit of their ancestors... Anyway, not everyone is a master weaver, and this secret so well kept is sometimes even out of reach of apprentices, some of whom will use trickery with their master to know all the threads of this art. Among the Fulani and the Toucouleurs, this know-how is held by the Maboubés, a specific caste of this common ethnic group, the Halpulaars. However, each ethnic group has its own specialty, the Fulani weaving wool and the Toucouleurs cotton, to make blankets and boubous. A family business where nothing is left to chance, from the loom that is passed down from generation to generation to the gris-gris offered to ward off evil spirits and bring prosperous business. There are also itinerant weavers who go from house to house making beautiful pieces of cloth to measure, setting up in the yard with their loom.
The woven loincloth, a cultural identity
In Senegal, the woven loincloth accompanies certain ethnic groups at each important stage of life, from baptism to burial, through marriage or other ceremonies. This fabric, full of stories through its patterns and colors, serves above all to protect the wearer, by warding off bad luck or bringing him good fortune. Thus, the young bride will be led to the marital home, dressed entirely in a woven fabric, a kind of talisman which, according to popular beliefs, will offer her all the chances of a successful marriage. Similarly, if a single woman wishes to find a husband, she must wear a loincloth for three consecutive days, accompanying this ritual with mystical formulas pronounced by her native griot. If this protocol is well respected, the woman will soon be fulfilled. Thus, these valuable objects, carefully stored in the houses, have several functions. Whether they are used to protect the newborn, to accompany the deceased in the afterlife, as shields against jealous people or against evil in general, the woven loincloth is an integral part of the Peul, Diola or Serer ethnic cultures, which even perfume them to increase their protective power. Skirts, shawls or boubous, the Senegalese also wear it as a garment, especially on feast days when they dress in their most beautiful attire. As a gift, it is received as a true honor and a mark of respect. Although it is rarely worn, it is even unrolled when a deserving person passes by to honor them. More than a symbol of identity, it is an object of prestige, an essential part of Senegalese daily life.
The tapestries of Thies, the local prestige beyond the borders
On the initiative of Léopold Sédar Senghor, who wished to promote Senegalese plastic arts throughout the world, the National Tapestry Factory was created in Thiès in 1966. To perfect their training, the president-poet decided to send the artisans to France to train at the royal factories of Gobelins and Aubusson, a practice that continues to this day. Upon their return, they work for the State, which chooses the models and buys the productions. Thus, for more than fifty years, numerous wall tapestries of varying sizes and limited editions have been woven entirely by hand in this prestigious workshop, renowned beyond the borders. Through these true masterpieces, Senegal radiates today in the whole world. In addition to Senegalese institutions, these frescoes can be seen in the palaces of heads of state, in international headquarters such as the World Bank and the IMF, and even at the Atlanta airport in the United States! They became the Manufactures sénégalaises des arts décoratifs in 1973, and diversified into different fields of production such as painting and sculpture. However, in spite of their influence abroad, they have experienced difficult situations since the 1980s, as they are still dependent on the State and its subsidies which have become increasingly rare. Fortunately, they have found new vigor with certain commissions, the most notable of which was in 2008, by the United Nations headquarters. Nearly three years of meticulous work were required to offer the headquarters the largest work woven by the Manufactures since its history. Made of wool and cotton, this 24 m² tapestry represents the Magal of Touba, the great annual gathering of the Mourides, and has adorned the United Nations headquarters since late 2012.
Weaving, a revisited tradition
In addition to all the symbolism it contains, woven loincloths appeal for their harmonious colors, the beauty of their patterns and, above all, for the exceptional quality of their fabrics. The most famous is undoubtedly the mandjak woven loincloth, which is soft, supple and thick at the same time. Renowned Senegalese designers such as Collé Sow Ardo and Angélique Diédhiou have made it their fabric of choice. This is also the case for designer Maï Diop in Saint-Louis, Aïssa Dione and her decorative items, and textile designer Johanna Brambles, who work with Senegalese weavers, helping to preserve and promote this ancestral know-how. From shoes and dresses to scarves and cushion covers, loincloth is now available in all its forms, from trendy garments to original fashion and decorative accessories, and has become an essential part of African fashion.
