The London-based masters graduate weaving stories of history and ancestors
“For a long time, people that don't look like us have been telling our stories. And you know that the way we do document things is rarely done through writing, it's through the textiles, the food and the architecture,” says Lorelle Aboagye-Mubanga, a textile artist who is using traditional Asante techniques to tell her own story. “Through my work I’m always thinking of legacy. What do I want to say about now and what am I leaving for the next generation? What can they learn from the work I have produced? But ultimately, I want my work to start conversations - it's not the end, it's the beginning.”
This erudite young talent grew up in London with both Zambian and Ghanaian heritage. She graduated from Norwich University of the Arts’ masters programme in September 2020 with a body of work that discusses tradition, empire and the misappropriation of spiritual objects. The Batakari Project featured a woven cloth designed to cover the sacred Asante stools. By rights it will be displayed in the centre of a museum’s room so both sides of the work can be viewed. The front was woven in a Ghanaian style and other side uses traditional British techniques. “I was interested in creating a contemporary kente cloth that reflects both the dual identity of the kente and the Ghanaian diaspora.”
The process of making this cloth was a spiritual one for Aboagye-Mubanga. “Weaving is one way the Asante connect with their ancestors, there's a really deep respect for the people who came before us. For me, even if it didn't start that way, it has now transcended the realm of the physical and evolved into a spiritual process.” Asante textiles are steeped in meaning and that’s true of Aboagye-Mubanga’s work, too. “It’s within the pattern, which relate to proverbs. The interchange of the warp and weft slowly merging to become one solid fabric is exciting. The colours within the warp are all hand-dyed and reflect the three major themes of nature, wealth and spirituality, whilst the weft adds structure, weight and power to the fabric.”
The trigger for this piece was a trip to London’s V&A museum where she attended a talk on the controversially acquired Asante Goldweights. “I wanted to understand the migration narrative of these objects and was keen to draw attention to the need for the people belonging to the African diaspora and beyond to understand and preserve their own histories,” she says. Her woven response was focused around one piece of regalia found within the V&A collection - The Soul Washer's Disc, or Akrafokonmu in the language of the Akan. “These pectoral discs are cast in gold and are worn by those responsible for the ritual purification of King and his court. The curator said we have to be honest about the way that some of the artifacts were acquired - they weren't actually given to us, they were stolen. A part of my and my family’s history was stolen, and in that sense, I felt a big connection to it.”
“I want my work to start conversations - it's not the end, it's the beginning”
Aboagye-Mubanga found it hard to study the cultural traditions of the Asante within the confines of a UK university. “It irks me when I read books that have an imperialist perspective. While doing my masters research, it was really difficult to find books about Ghanaian textiles written by Ghanaian people - you can't beat their understanding of that culture because they actually belong to it and have that lived experience.”
Happily, the weaver has her maternal grandfather on hand to provide her with insights, inspiration and most importantly, family stories. “It sounds silly but I really like plantain and always felt that I had a connection to it and now I realise why - my great grandmother was a plantain seller so it's in my blood to like this food. Small stories like that are where I find my inspiration, and through old family photographs.”
In her photo series Ode to my Grandmother, the artist creates self-portraits wearing heirloom silks. Dripping in ancestral jewellery, she pays homage to those who came before her. “As a generational fault, I am requesting forgiveness for not appreciating nor accepting the value of my traditions and spiritual beliefs that are within me,” she says. “Being my own model also enabled me to further engage with my Ghanaian heritage. The jewellery and fabrics that I wore belonged to my great-grandmother who once held the position of Queen Mother.”
Through weaving, the artist has found a way of not only feeling closer to her ancestors but has found a new purpose – one that is flourishing as she continues to evolve her vital practice. “It’s not just the blood that connects us, it's the way that we communicate and how we see the world through our craft. I feel really happy that I've found weaving as my way of expressing what is important to me.”