Kiswahili proverb Kanga

Originating in the East African Swahili Coast, kanga are printed cloths with three distinct features: a pindo (border), jina (proverb or phrase), and mji, or central motif, which comes from the Kiswahili word for town. They were first designed by East African women to decorate their plain cotton wrap cloths with bold patterns and colours to distinguish themselves from more plainly dressed women who were enslaved or recently freed from slavery. Modern kanga are still used by women in East Africa to communicate their social status, express their opinions, and convey their feelings to (and about) other people.

Although the first kanga produced before the 1880s were typically block printed or resist dyed by hand, the availability of synthetic aniline dyes made commercial screen printing the primary mode of kanga production by the beginning of the 20th century. Their vibrant, repeating patterns and contemplative proverbs have been typically designed by vendors on the Swahili coast with the input of local market-going women and reproduced by a manufacturer in Europe, East Asia, or by one of the many domestic textile mills in the area.

The assortment of four kanga (1990.5.1; 1994.2.17, 1994.2.21, 1994.2.22), like the other wrap cloths featured in this exhibition, follow in the rich tradition of textiles designed and produced on the African continent. They feature vivid colours, geometric and naturalistic motifs, and symbols with auspicious meaning.

Plain weave cotton textile screen printed with a yellow background, green linear geometric pattern and green dotted border. Central motif is yellow concentric circles on a green background with bottom-central script reading ‘MAZOWEYA YANA TABU.’ Selvedge reads ‘MALI YA ABDULLA’  and ‘RIVATEX ELDORET MADE IN KENYA.’

Mazoweya Yana Tabu kanga; ca. 1988

Cotton, commercially printed; 152.5 cm x 100.5 cm

Anne Lambert Clothing and Textiles Collection, 1990.5.1

Donated by Marina Mascarenhas Fedun

MAZOWEYA YANA TABU KANGA

This kanga was produced by manufacturer Rivatex in Eldoret, Kenya, for Kaderdina Hajee Essak (KHE) Ltd., a shop in Mombasa, Kenya, that has been designing and trading kanga since the 1880s. One of the shop’s original proprietors, Hajee Essak Abdulkaderdina, is widely known for popularizing the phenomenon of printed proverbs on kanga cloth in the 1930s (1).

The jina of this kanga reads, “MAZOWEYA YANA TABU,” which roughly translates to, “Familiarity can be a burden,” in Kiswahili. This kanga likely gets its name from the popular taarab, “Mazowea yana tabu(2). Taarab, or Swahili poetry recited to musical accompaniment, is characterized by its heavy use of metaphors and euphemisms, therefore making song verses a popular choice for kanga names (3).

This kanga has been hemmed along the short sides to be worn as a wrap. The colour of the printed cloth, green and yellow, is typically worn by women who want to indicate that they are in love and happy (1).

  1. Ong'oa-Morara, R. (2014). One size fits all: The fashionable kanga of Zanzibari women. Fashion Theory, 18(1), 73-95. https://www.tandfonline.com/doi/abs/10.2752/175174114X13788163471703

  2. This music video shows a taarab of the same name being performed with English subtitles: https://www.youtube.com/watch?v=dGtmJkyqz3M&ab_channel=mswahilisuper

  3. Beck, R. M. (2000). Aesthetics of communication: Texts on textiles (leso) from the East African Coast (Swahili). Research in African Literatures, 31(4), 104-124. https://www.jstor.org/stable/3821081

Plain weave cotton textile screen printed with a yellow background and red and black paisley with flowers motif border. Central motif is repeating red and black flowers over red and black dots with bottom-central script that reads ‘MIMI NA WEWE HATUACHANI.’

Mimi na wewe hatuachani kanga; ca. 1990-1994

Cotton, commercially printed; 161.5 cm x 118 cm

Anne Lambert Clothing and Textiles Collection, 1994.2.17

Donated by Kerry Maguire King

MIMI NA WEWE HATUACHANI KANGA

This kanga was produced by Mount Kenya Textiles (Mountex) in Nanyuki, Kenya, a market town located at the base of Mount Kenya. Although the manufacturer went out of business in 2000, efforts are underway to revive the company and bring back more industrial production to the area (1).

MIMI NA WEWE HATUACHANI,” this kanga's jina, means “You and I are inseperable" in Kiswahili. Kanga with romantic inscriptions are typically given to a woman by her huband or partner as a gift. Floral motifs against a bright yellow grid background are an especially popular kanga pattern, and similar kanga with different jina have been reprinted since the post–WWII era (2). This kanga was hemmed on the short sides to be worn as a wrap.

The novelty of limited-run kanga prints means that these pieces can become more valuable over time. Some Swahili women have collections of kanga that number in the dozens, while others may trade-in older patterns to afford the latest design at the market (3).

  1. County Government of Laikipia. (2020, December 17). Revival of Mt. Kenya textile industry underway. https://www.laikipia.go.ke/1029/revival-mt-kenya-textile-industry-underway/

  2. Ryan, M. M. (2013). The global reach of a fashionable commodity: A manufacturing and design history of kanga textiles. [Unpublished doctoral dissertation]. University of Florida. https://ufdc.ufl.edu/UFE0045692/00001

  3. Beck, R. M. (2000). Aesthetics of communication: Texts on textiles (leso) from the East African Coast (Swahili). Research in African Literatures, 31(4), 104-124. https://www.jstor.org/stable/3821081

Plain weave cotton textile screen printed with a red background and a border of white fowl in flight around central motif of a single large white fowl in a red and black circle. Central motif is surrounded by red and black six-point stars and bottom-central text reads ‘MGENI NI KUKU MWEUPE.’

Mgeni ni kuku mweupe kanga; ca. 1990-1994

Cotton, commercially printed; 162 cm x 115 cm

Anne Lambert Clothing and Textiles Collection, 1994.2.21

Donated by Kerry Maguire King

MGENI NI KUKU MWEUPE KANGA

Manufactured in Kenya by an unidentified producer, this red, black, and white kanga would be worn by a woman as an everyday wrap, or given as a gift to someone she knows—perhaps to communicate a message of warning to the receiver.

This kanga's jina reads, “MGENI NI KUKU MWEUPE,” a Swahili proverb that translates to, “A visitor/stranger is like a white fowl." This alludes to the conspicuousness of outsiders' behaviour in foreign environments and reminds the wearer to be mindful of their actions when away from home (1). Hemmed on the short sides and intended to be worn as a wrap, this kanga features six-pointed stars and patterned pindo that are indicative of an Indonesian batik influence.

The ambiguity of kanga names ensure that the gift giver could feign ignorance of any implied meaning. She could claim to have selected the textile based on pattern and colour instead of the written proverb (2). In this way, kanga are a communication medium for women to express themselves within cultural norms, beyond reproach, and without unwanted social consequences (3).

  1. Kobia, J. M. (2016). A conceptual metaphorical analysis of Swahili proverbs with reference to chicken metaphor. International Journal of Education and Research, 4(2). 217-228 https://www.ijern.com/journal/2016/February-2016/19.pdf

  2. Ong'oa-Morara, R. (2014). One Size Fits All: The Fashionable Kanga of Zanzibari Women. Fashion Theory, 18(1), 73-95. https://www.tandfonline.com/doi/abs/10.2752/175174114X13788163471703

  3. Birch, S., & Lutomia, A. N. (2017). Con(texts): Re-examining the social life of kanga cloth. Africa e Mediterraneo, 85(1), 39-45. https://www.academia.edu/36200919/Con_Texts_Re_Examining_the_Social_Life_of_Kanga_Cloth?sm=b

Plain weave cotton textile screen printed with a white background and large black and red paisley border and three black-bordered white leaves with crossed stems surrounded by white dots in a linear arrangement on red background. Bottom-central text reads ‘TAMU YA HARUSI NI FURAHA.’

Tamu ya harusi ni furaha kanga; ca. 1990-1994

Cotton, commercially printed; 164 cm x 116.5 cm

Anne Lambert Clothing and Textiles Collection, 1994.2.22

Donated by Kerry Maguire King

TAMU YA HARUSI NI FURAHA KANGA

This kanga was made in Kenya by an unidentified manufacturer and prominently features korosho (paisley) motifs—named after the Kiswahili term for the cashew nut—as is typical of textiles influenced by Indian woodblock printing and Indonesian batik. Also known by the Persian term boteh or buttah, this teardrop-shaped motif has featured heavily in kanga designs since its introduction to the Swahili East African Coast by Gujarati traders (1).

The jina of this kanga reads, “TAMU YA HARUSI NI FURAHA,” which approximately translates to, “The sweetness of the wedding is joy/happiness" in Kiswahili. The textile's short edges have been hemmed so it can be worn as a wrap.

Kanga with romantic inscriptions are often gifted to brides for their wedding in celebration of a successful union, and women who attend as guests are also expected to wear their best kanga to the event itself (2). This practice is changing as fewer urban women choose to dress in kanga for everyday life, and wrap cloths are further relegated to the private, domestic sphere.

  1. Beck, R. M. (2000). Aesthetics of communication: Texts on textiles (leso) from the East African Coast (Swahili). Research in African Literatures, 31(4), 104-124. https://www.jstor.org/stable/3821081

  2. Ryan, M. M. (2017) A Decade of Design: The global invention of the kanga, 1876–1886. Textile History, 48(1), 101-132. https://www.tandfonline.com/doi/full/10.1080/00404969.2017.1294815