Mud cloth - also called 'bogolan' - is one of Africa's most unusual and unique textiles.

Narrow strips of handwoven cotton are stitched together into a whole cloth, then painted with patterns
and symbols using a variety of natural dyes, including river mud that has been aged up to one year. As
these cloths are handwoven, the thickness and weight are variable, but generally they are similar to a
light blanket.

Usually, each cloth is a unique creation: there is only one.  

Sizes vary, usually about 100 x 170 cm / 40 x 66 in.

Read and print story Bogolan: Artistry in Mud

© Robert Irwin and Magie Relph, Patchwork & Quilting, 2011

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Bògòlanfini

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Bògòlanfini or bogolan (Bambara: bɔgɔlanfini; "mud cloth") is a handmade Malian cotton fabric

traditionally dyed with fermented mud.[1] It has an important place in traditional Malian culture and
has, more recently, become a symbol of Malian cultural identity. The cloth is exported worldwide for use
in fashion, fine art and decoration.
Bògòlanfini fabric

Origins and etymologyEdit

The dye technique is associated with several Malian ethnic groups, but the Bambaran version has
become best known outside Mali. In the Bambara language, the word bògòlanfini is a composite of bɔgɔ,
meaning "earth" or "mud"; lan, meaning "with" or "by means of"; and fini, meaning "cloth".[1] Although
usually translated as "mud cloth," bogolan actually refers to a clay slip with a high iron content that
produces a black pigment when applied to handspun and handwoven cotton textiles.[2]

ProductionEdit

Bògòlanfini in the market of Enndé

The center of bògòlanfini production, and the source of the highest quality cloth, is the town of San.[3]

Traditional productionEdit

In traditional bògòlanfini production, men weave the cloth and women dye it. On narrow looms, strips
of cotton fabric about 15 centimetres (5.9 in) wide are woven and stitched into cloths about 1 metre
(3 ft) wide and 1.5 metres (5 ft) long.[1]

The dyeing (a "strange and cumbersome technique", according to the 1973 opinion of J.B. Donne[4])
begins with a step invisible in the finished product: the cloth is soaked in a dye bath made from leaves of
the n'gallama (Anogeissus leiocarpa) tree that have been mashed and boiled, or soaked. Now yellow,
the cloth is sun-dried and then painted with designs using a piece of metal or wood. The paint, carefully
and repeatedly applied to outline the intricate motifs, is a special mud, collected from riverbeds and
fermented for up to a year in a clay jar. Because of a chemical reaction between the mud and the dyed
cloth, the brown color remains after the mud is washed off. Finally, the yellow n'gallama dye is removed
from the unpainted parts of the cloth by applying soap or bleach, rendering the finished cloth white.[1]

After long use, the very dark brown color turns a variety of rich tones of brown, while the unpainted
underside of the fabric retains a pale russet color.[4]

 
Variants and modern productionEdit

Around Mopti and Djenné, a simpler method is used by artists considered to be of inferior skill.[3] The

cloth is dyed yellow in wolo solution, made from the leaves of Terminalia avicennoides, and then
painted over with black designs. The yellow is either removed, producing a stark black and white design,
or painted a deep orange with a solution from the bark of M'Peku (Lannea velutina).[3]

Based on these simplified techniques, as of around 2000, large quantities of bògòlanfini are being mass-
produced for the tourist and export markets. These fabrics use simpler designs, often applied by stencil,
painted in black on a yellow or orange background. With this method, the cloth can be produced about
six to seven times faster. The democratic reforms after the overthrow of Moussa Traoré in 1991 caused
many young men to lose their previously guaranteed government jobs and scholarships. This led many
to take up bògòlanfini production. Consequently, most cloth is now produced by men rather than
women, and the traditional year-long apprenticeships have been replaced by short, informal training
sessions.[3]

Cultural significanceEdit

In traditional Malian culture, bògòlanfini is worn by hunters and serves as camouflage, ritual protection
and a badge of status. Women are wrapped in bògòlanfini after their initiation into adulthood (which
includes genital cutting) and immediately after childbirth, as the cloth is believed to have the power to
absorb the dangerous forces released under such circumstances.[1]

Bògòlanfini patterns are rich in cultural significance, referring to historical events (such as a famous
battle between a Malian warrior and the French), crocodiles (significant in Bambara mythology) or other
objects, mythological concepts or proverbs.[1] Since about 1980, Bògòlanfini has become a symbol of
Malian cultural identity and is being promoted as such by the Malian government.[1]

UsesEdit

Bògòlanfini has become a popular Malian export, notably to the United States. There, it is marketed as
"mud cloth", either as a symbol of African American culture or as a generically "ethnic" decorative cloth.
[1]

In fashionEdit
A Bogolanfini shirt (dashiki)

In Mali, the cloth is worn by people of all ethnicities, including prominently in Malian cinema and by
Malian musicians, either as an expression of national or ethnic identity or as a fashion statement.
Particularly popular among young people, bògòlanfini is made into a wide range of clothes, including
Western miniskirts and jackets as well as traditional flowing robes (boubous).[1]

The Malian fashion designer Chris Seydou has been credited with popularizing bògòlanfini in

international fashion.[1]

In artEdit

Bògòlanfini is also produced as fine art by several Malian artists, notably by the Groupe Bogolan
Kasobané, six artists collaborating since 1978. These paintings are produced with vegetable dyes and
mud, but often feature designs unrelated to those of traditional fabrics; their newer motifs are also
often found on clothing.[3] Other notable creators include Nakunte Diarra.[5]

Traditional bògòlanfini designs are also used for on a wide range of commercial products, such as coffee
mugs, curtains, towels, sheets, book covers and wrapping paper.[3]

References

Bibliography

Further reading

External links

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