2010.37 Tunic with appliquéd designs


GENERAL DESCRIPTION  
The dominant motif appliquéd on this garment is a double gong, the emblem of a men’s regulatory society. The actual ceremonial gong was made of iron, a precious but mysterious metal believed to be imbued with special powers. During the pre-colonial era, the regulatory society was so powerful it could punish a king for wrongdoing, banish him, or execute him. Now, tunics displaying this emblem are worn by dignitaries at traditional festivals and on ceremonial occasions.

This style of garment is a variation on the Islamic robes that were introduced along with Islam. Originally imported from North Africa, such garments were eventually produced locally by Hausa tailors. The round neckline, lack of a central pocket, and appliquéd and/or embroidered motifs are Kom adaptations of the foreign dress.

Adapted from
Roslyn A. Walker, Add to, Take Away: Artistry and Innovation in African Textiles, Label text, 2014.

NOTES

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PROVENANCE 
2010: Dallas Museum of Art, purchased from Jonathan Hope, London

The main source for this provenance is the invoice dated December 21, 2010, in the Collections Records object file (2010.37).

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Apply to objects where number equals 2010.37

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General Description
 
The dominant motif appliquéd on this garment is a double gong, the emblem of a men’s regulatory society. The actual ceremonial gong was made of iron, a precious but mysterious metal believed to be imbued with special powers. During the pre-colonial era, the regulatory society was so powerful it could punish a king for wrongdoing, banish him, or execute him. Now, tunics displaying this emblem are worn by dignitaries at traditional festivals and on ceremonial occasions.

This style of garment is a variation on the Islamic robes that were introduced along with Islam. Originally imported from North Africa, such garments were eventually produced locally by Hausa tailors. The round neckline, lack of a central pocket, and appliquéd and/or embroidered motifs are Kom adaptations of the foreign dress.

Adapted from
Roslyn A. Walker, Add to, Take Away: Artistry and Innovation in African Textiles, Label text, 2014.

Fun Facts

Archival Resources

Web Resources
 

Notes

Catalogue essays

Artist/designers

Cultures

Geography 

Process/materials

Historical periods

Individuals

Subject terms

RELATED OBJECTS 

PROVENANCE 
2010: Dallas Museum of Art, purchased from Jonathan Hope, London

The main source for this provenance is the invoice dated December 21, 2010, in the Collections Records object file (2010.37).

AUDIO ASSETS 

VIDEO ASSETS

rules
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Objects
number
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2010.37
tags
#draft
#completed
%copyedited_Gail
%Archived
men: AAT: 300025928
geometric patterns: AAT: 300165213
ceremonies: AAT: 300054754
@Bilal-Gore
white (color): AAT: 300129784
#routed
*Arts of Africa
red (color): AAT: 300126225
patterns (design elements): AAT: 300010108
textiles (visual works): AAT: 300014063
ceremonial costume: AAT: 300210387
festivals: AAT: 300073472
weaving: AAT: 300053642
Islam: AAT: 300073715
symbols of office or status: AAT: 300212147
warp: AAT: 300227930
weft: AAT: 300227934
cotton (fiber): AAT: 300183670
appliqué (technique): AAT: 300053646
tunics (main garments): AAT: 300209869
wool (hair material): AAT: 300014074
Cameroon (nation): TGN: 1000153
sleeves (costume): AAT: 300210530
gongs: AAT: 300041905
source file
object_notes_2_b-0248.xml.nores