THE ARTISTRY OF THE TUTSI BASKET - ANDRES MORAGA TEXTILE ART by Andres Moraga Textile Art

THE ARTISTRY OF THE

TUTSI BASKET

ANDRES MORAGA TEXTILE ART

THE ARTISTRY OF THE TUTSI BASKET FIBER ART FROM THE GREAT LAKES REGION OF CENTRAL AFRICA

CATALOGUE 2019 1

www.andresmoragatextileart.com andresmoraga@lmi.net CATALOGUE DESIGN AND CONTENT: Vanessa Drake Moraga PHOTOGRAPHY: Ralph Koch Catalogue © 2019 Andres Moraga Textile Art, Berkeley CA. Text © 2019 Vanessa Drake Moraga Photography © 2019 Ralph Koch Image Processing: Gaston Moraga Vintage photographs: Vanessa Drake Archive Collection; Photo Services, Missionnaires d’Afrique. Graphics adapted from Anna Kreuzer (1991) and J.B. Ntakhokaja (1960). ALL RIGHTS RESERVED. No parts of this catalogue may be transmitted, copied, reprinted or utilized in any form, digital media or context without permission.

With great thanks to our friends Clive Loveless, Pierre Loos, Yannik von Ruysevelt and the late Alain Guisson, among many other colleagues, whose keen aesthetic focus, perceptive commentary and generous sharing of knowledge have shaped and informed our appreciation of Tutsi basketry and fiber art. AndrĂŠs Moraga & Vanessa Drake Moraga

The restrained elegance of the Tutsi aesthetic found expression in the distinctive sculptural forms and geometric patterning of prestige basketry made for elite households, as gifts and offerings for high-ranking chiefs or honored guests, and for ceremonial exchanges marking marriages and other alliances. Although they did serve to store personal finery and possessions such as beadwork, tobacco, pipes and other small objects, as well as grains, the containers were not merely utilitarian. They were intended to be displayed in the home as emblems of affluence and social importance. Within a society that elevated the use of fiber into an essential material for living, craft and artistry, an assemblage of fine basketry, arrayed on specially decorated ledges and shelves, conferred and projected status on domestic interiors and the reception areas of homes and palaces. The superb technical proficiency and finesse of the basketry reflects the impeccable skills and visual sophistication of the women who wove them (most typically noblewomen or their attendants and servants). Working within design conventions defined by long tradition, the basket makers developed creative modifications of form, contour, proportion, scale, texture, color, line and motif to create works of subtle distinction and originality. Collectively, the fiber arts of the Great Lake region (notably that of Rwanda and Burundi) radiate an extraordinary visual cohesiveness and uniformity. Design parameters entrenched over generations established preferred shapes and color schemes based on a certain number of organic (and later aniline) dyes. The stock of patterns used to embellish the baskets was similarly constrained. This was generated with simple geometric shapes (triangles, squares, rhomboids, lozenges) configured along zigzag and stepped lines or in banded arrangements, which afforded a dynamic interplay of positive and negative space, horizontal, diagonal or vertical directions, and dark and light elements. A more free-form or "painterly" approach to design is occasionally encountered, reflecting a unique idiosyncratic spirit. Yet despite this seeming conformity of shape and pattern, incremental stylistic shifts and innovative forms and designs can be charted over the period during which the baskets were collected by European colonialists, starting with the first excursions and missionary activities in the region around 1900. The beauty of these quiet modulations emerges when the baskets and calabash lids ("milk tops") are massed together, as they were meant to be seen, so that the repeating and shifting patterns could harmonize with each other in a kind of rhythmical composition created by many hands. The effect is only enhanced by variations of sheen, color and texture among the pieces. This visual relationship between the objects was clearly a fundamental aspect of their value and significance, evoking a larger metaphor for social connection between family groups, lineages and clans. As much as it was practiced and appreciated as an exquisite form of art and craftsmanship, the basketry was the quintessential expression of the cultivation and maintenance of those ties.

The Great Lakes Region (Rwanda and Burundi), early 20th c 5

MATERIALS

A natural landscape of grassy valleys and hills, bamboo forests, and river and lake marshes supply supple and rigid plant fibers from which the baskets are woven. These include several species of native Eleusina grasses, sorghum, reeds, bamboo and papyrus as well as the leaves and stalks of raffia palm, Pandanus, Ficus and the cultivated banana tree. The undyed fibers often acquired a rich golden patina over time. The traditional aesthetic favored a small number of organic colorants for patterning the baskets. Black and shades of grey and brown were derived from banana flower sap, mud, charcoal or soot from metal pots that was fixed with Phytolacca or Diospyros abyssinica. Red was obtained from Pterocarpus redwood bark, ocher, or the roots and seeds of several local plants, as well in earlier periods, cattle or cattle tick blood. With the wider availability of commercial aniline dyes in the 1930s, purple, green and blue were added to the color repertoire.

TECHNIQUES

Uruhindu (coiling) technique

Igihisi technique

A variety of weave structures are found among the basketry containers and trays, primarily stitch or sewn coiling (uruhindu), plain weave (insobekerane), twining, and wedge weave. The pliability and texture of the fine grasses used for the coiled baskets is particularly suited to the sculptural properties of the baskets and lids. The majority of baskets in this catalogue are coiled. As noted individually, however, several of the baskets are double-layered (igihisi), with a fine outer surface covering a foundation built from narrow, rigid bamboo splints twined or woven together with a more pliable fiber strand, and the two layers sewn together at the rim. The technique is also used for screens. In addition to woven patterning, surface designs are sometimes created with wedge weave, weft floats or supplementary stitching.

THE PATTERN LANGUAGE

Tutsi design is based upon a set of solid geometric shapes (triangle, rhomboid, square, trapezoid, lozenge, arrow, crescent). The principal building block is the triangle in all its iterations, which is inverted, rotated, reflected and stacked to yield more complex patterns. The zigzag, slicing diagonally across the height of the basket (like a jagged bolt of lighting, which gives the pattern the name umuraza) is a fundamental pattern theme. It may be expressed through a sequence of repeat motifs or be articulated as a stepped single line or multiple parallel lines that encircle the cylindrical forms. Basket makers manipulate the weight, number, thickness, angle and direction of these linear elements to produce varied effects such as stripes and fine striated or checkered inlays. Contrasts of scale and texturing also serve to vary a single color line or adjacent motifs. The resulting highly graphic designs tend to be angular and crisply defined, with the exception of horn, talon, feather or leaf-like motifs that have tapering, curving lines that counter the underlying rectilinear structure. These are usually reserved for the shallow or flat surfaces of miniature presentation trays.

Aristocratic basket makers, Rwanda, 1930s 8

AGASEKE and IGISEKE

Agaseke and Igiseke

Fine baskets, both large and medium size, for prestige display and storing personal finery, beadwork, pipes, tobacco and grains in elite households

Udoseke

Small and miniature prestige baskets for gifts to chiefs, honored guests and marriage celebrations

Agaseke Prestige Basket Rwanda-Burundi 20th c H 6Âź ins; 15 cm D 3Âź ins; 8 cm

Agaseke Prestige Basket Rwanda-Burundi 20th c H 10Â˝ ins; 27 cm D 4Âž ins; 12 cm

3 opposite

4 below left

5 below right

H 5½ ins; 14 cm D 2¼ ins; 6 cm

H 6½ ins; 16.25 cm D 3¼ ins; 8 cm

H 6 ins; 15 cm D 3 ins; 7.5 cm

Agaseke Miniature Basket Rwanda-Burundi Early 20th c

Agaseke Miniature Basket Rwanda-Burundi 20th c

6 left

Agaseke Tall Prestige Basket Rwanda-Burundi 20th c H 17 ins; 43 cm D 8½ ins; 21.5 cm

7 right

Agaseke Prestige Basket Rwanda-Burundi 20th c H 7¼ ins; 18.5 cm D 3½ ins; 9 cm Note This very fine double-layer basket is not coiled but has a similar structure to the larger inkangara baskets, agakoko trays and insika screens.

Hutu basket maker, Rwanda, 1957 17

Agaseke Miniature Basket Burundi 20th c

Ruanda - Princess and her Attendants (detail), 1930s, (Missions d'Afrique) 18

H 6 ins; 15 cm D 2Â˝ ins; 6.5 cm

Agaseke Miniature Basket Rwanda-Burundi 20th c H 6 ins; 15 cm D 2Â˝ ins; 6.5 cm

Agaseke Miniature Basket Rwanda-Burundi 20th c H 4Âź ins; 10.5 cm D 2 ins; 5.5 cm

Agaseke Prestige Basket Rwanda-Burundi Early 20th c H 13 ins; 33 cm D 6Âź ins; 17 cm Note The lid may not be original to the base.

Agaseke Prestige Basket Rwanda-Burundi Early 20th c H 10Â˝ ins; 27 cm D 4Âź ins; 11 cm

Above Young Tutsi King, Burundi, 1920s (Peres Blancs collection) 21

Agaseke Prestige Basket Burundi Early 20th c H 11 ins; 27.5 cm D 6Âž ins; 16.9 cm

Agaseke Columnar Basket with Pedestal Base Burundi Early 20th c H 12Âź ins; 31 cm D 4 ins; 10 cm

15 below

16 opposite

H 15½ ins; 39 cm D 9¾ ins; 24.5 cm

H 13 ins; 32.5 cm D 7½ ins; 18.75 cm

Agaseke Eccentric Tapered Basket Probably Burundi 20th c (after 1930s)

Agaseke Prestige Basket Rwanda or Burundi 20th c (1930-1950?)

Agaseke Prestige Basket Rwanda or Burundi 20th c H 15Â˝ ins; 38.75 cm D 7Âž ins; 19.4 cm Note Surprisingly, the undecorated exterior conceals a patterned inner layer (see detail above).

18 above

19 opposite right

H 7 ins; 17.75 cm D 3¼ ins; 18 cm

H 8¼ ins; 21 cm D 6½ ins; 16.5 cm

Agaseke Prestige Basket Probably Burundi 20th c

Agaseke Open top Prestige Basket Rwanda - Burundi Circa 1900

Note A very early, beautifully aged, open top basket with a double-layer igihisi structure and natural dyes. 28

Inkangara Prestige Basket Rwanda-Burundi 20th c (1930s?) H 15Â˝ ins; 39 cm D 9 ins; 23 cm

Note This basket (as well as cat. 21, 22 and 23) is double layered, with an inner core constructed from rigid bamboo splints woven together with strands of raffia or sisal and then further embellished with wedge weave to create the bold, crisp designs of the outer surface. The technique is known as igihisi.

21 left

22 right

H 16Â˝ ins; 42 cm D 8Â˝ ins; 21.5 cm

H 16 ins; 40.5 cm D 9 ins; 23 cm

Inkangara Prestige Basket Rwanda-Burundi 20th c (1960-1970s)

Inkangara Giant Storage Basket Rwanda-Burundi 20th c H 29 ins; 72 cm D 22 ins; 55 cm Note Perhaps for reasons of scale and strength, this striking basket is also constructed with a double layer, in the same technique as the insika architectural panels and screens. An aniline purple dye has yielded multiple striations and beautiful tones of color.

IMITERI or UMUTEMERI

Woven Lids for Milk and Beer Containers

For the prestige display of milk pots, gifts for nuptial celebrations, or serving ritual beers on festive occasions

Imiteri or Umutemeri Basketry Lid for Milk or Beer Pot Rwanda-Burundi Early 20th c H 5Â˝ ins ins; 14 cm D 4Âž ins; 12 cm Interior of a Tutsi Chief's House, Burundi, c. 1905. Peres Blancs collection. 40

Provenance: collected around 1918 by a Belgian doctor working in Ruanda-Urundi.

25 above

26 opposite

H 5Âź ins; 13.5 cm D 4 ins; 10 cm

H 5 ins; 12.5 cm D 3Â˝ ins; 9 cm

Imiteri or Umutemeri Basketry Lid for Milk or Beer Pot Rwanda-Burundi Early 20th c

Provenance: collected around 1918 by a Belgian doctor working in Ruanda-Urundi.

Imiteri or Umutemeri Basketry Lid for Milk of Beer Pot Rwanda-Burundi Early 20th c

Opposite: Lake Kivu, 1901

AGAKOKO and INKOKO

Inkoko

Woven platters and bowls for serving food in noble homes

Agakoko

Miniature presentation winnowing trays and plates for gifts and offerings

Inkoko Woven Platter Rwanda-Burundi 20th c Note: Photographs show back and front of the same object

D 14 ins; 35 cm H 2 ins; 10 cm

Inkoko Woven Bowl Rwanda-Burundi 20th c D 9 ins; 25 cm H 4 ins; 10 cm Provenance: collection of Alain Guisson, Brussels

29 Inkoko Woven Lidded Bowl Rwanda-Burundi Early 20th c D 4 ins; 10 cm H 5Â˝ ins; 12.5 cm Provenance: collection of Pierre Loos, Brussels Note A very rare, early complete bowl with matching lid in excellent condition; only a few examples are documented.

30 back and front Agakoko Miniature Presentation or Gift Basket Rwanda-Burundi Early 20th c D 7Â˝ ins; 19 cm Note This extremely unusual agakoko features a different design on each side (back and front).

31 opposite page Agakoko Miniature Presentation or Gift Tray Rwanda-Burundi Early 20th c D 6½ x 7¾ ins; 16.6 x 19 cm Note A clay paste or cow dung residue is adhered to the underside of this agakoko.

32 below

Agakoko Miniature Presentation or Gift Tray Rwanda-Burundi Early 20th c D 8¼ ins; 21 cm

Tutsi Coiffure, Rwanda, 1925 Photo J. Dardenne/Nels 56

33 opposite above

34 opposite below

35 above

Inkoko Presentation Platter Rwanda-Burundi 20th c

D 7Âź ins; 18 cm

D 7 ins; 17.5 cm

D 7Âź ins; 18 cm

Provenance: Tad Dale collection 57

36 Inkoko Miniature Presentation Trays Rwanda-Burundi 20th c D 2Â˝ to 5Â˝ ins; 6.25 to 13.75 cm

37 Agakoko Miniature Presentation Tray Rwanda-Burundi 20th c D 10 ins; 25 cm

38 Agakoko Miniature Presentation Tray Rwanda-Burundi 20th c D 8Âž ins; 21.5 cm

39 Inkoko Presentation Platter Rwanda-Burundi 20th c H 8 ins; 20 cm W 9Âž ins; 25 cm

40 Inkoko Presentation Platter Rwanda-Burundi 20th c H 7Âž ins; 19.5 cm W 10 ins; 25 cm

42 opposite above Inkoko Presentation Bowl Rwanda-Burundi 20th c H 7¾ ins; 19.5 cm W 7¼ ins; 18 cm

41 below Inkoko Presentation Tray Rwanda-Burundi 20th c W 5 ins; 12.5 cm W 5¾ ins; 19.5 cm

43 opposite below Inkoko Presentation Bowl Rwanda-Burundi 20th c

H 7 ins; 17.5 cm W 7¼ ins; 18 cm

44 left

45 right

Ikidasesa Large Winnowing Tray Rwanda-Burundi 20th c

D 18½ ins; 46.25 cm H 1½ ins; 3.75 cm

D 18 ½ ins; 46.25 cm H 1½ ins; 3.75 cm

AGATANA and INGATA

Ingata

Woven stands for baskets, pots and gourds

Agatana

Holders for ceremonial beer straws and milk batons

46 below Basketry Plate or Pedestal Rwanda-Burundi 20th c D 6Âź ins; 16 cm H 4 ins; 10 cm Note There are no known published or documented examples of this atypical form, which elevates the traditional agakoko disc with a pedestal base.

47 left Ingata Small Ring Stand for Basket or Pot Rwanda-Burundi 20th c D 5Âź ins; 13 cm H Âž in; 2 cm 48 below Ingata Large Ring Stand for Basket or Pot Rwanda-Burundi 20th c D 10 ins; 25 cm H 1 in; 2.5 cm

49 opposite page Ingata Large Ring Stand for Basket or Pot Rwanda-Burundi 20th c D 4½ ins; 11.25 cm H 2 ins; 5 cm 50 left Intembo or Agatana Holder for Ceremonial Beer Straws or Milk Batons Rwanda-Burundi 20th c D 2¾ ins; 6.9 cm H 19¾ ins; 49.4 cm

51 opposite left Intembo or Agatana Holder for Ceremonial Beer Straws or Milk Batons Rwanda-Burundi 20th c D 1½ ins; 3.75 cm H 19 ins; 47.5 cm

52 opposite right Intembo or Agatana Holder for Ceremonial Beer Straws or Milk Batons Rwanda-Burundi 20th c D 1½ ins; 3.75 cm H 17½ ins; 43.75 cm

select references Celis, Georges 1970 “The Decorative Arts in Rwanda and Burundi,” in African Arts 4 (1): 41-43. Collart R., and G. Celis 1984 Burundi: Trente ans d’histoire en photos 1900-1930. Brussels. Czekanowski, Jan 1917 Scientific Results of the German Central-Africa Expedition, 1907-1908, led by Adolf Friedrichs, Duke of Mecklenburg, vol. VI, pt. 1, translated at the Smithsonian Institution. Drake Moraga, Vanessa 2011 Weaving Abstraction. Kuba Textiles and the Woven Art of Central Africa. Washington DC: The Textile Museum. 2011 "Cultural Landscapes. The Fibre Art and Basketry of the Great Lakes Region." Hali 169, Autumn. Eisenhofer Stefan, Iris Hahner-Herzog and Christine Stelzig 2000 Mein Africa. Die Sammlung Fritz Koenig. Munich: Prestel. Gorju, Msgr. 1926 En Zigzags a Travers l'Urundi. Antwerp: Missionnaires D'Afrique (Pères Blancs). Guisson, Alain, and Bart Suys 2004 “Tradition and Innovation in the Arts of Rwanda and Burundi,” in Tribal IX (2) 35: 80-91. Kreuzer, Anna 1991 “Die Flechtarbeiten aus dem Zwischenseegebeit: eine Studie an hand des Materials des Museum für Völkerkunde Berlin,” in Baessler-Archiv, n.f. 39: 345-439. Misago, Celestin Kanimba, and Thierry Mesas 2000 Artisanat au Rwanda: La Vannerie. Saint-Maur: Editions Sepia. 2007 Regards sur le Rwanda. Collections du Musée National. Paris: Maisonneuve et Larose. Ntakhokaja, J.B. 1960 Ubuhinga Kama, Art Traditionnel Rundi. Paris: UNESCO. Pauwels, P. Marcel 1955 Les Metiers et les Objets en Usage au Rwanda,” in Annali Lateranensi. Rome: Pontificio Museo Missionario Etnologico. 1952 "Les Couleurs et Dessins au Rwanda," in Anthropos 47. Phillips, Tom (ed.) 1995 Africa. The Art of a Continent. London: Royal Academy of Arts/Prestel. Pollefort, Suzanne 2003 Ibiseke: Les paniers et vanneries des grands lacs d’Afrique Centrale. Brussels: Congo Basin Art History Research Center. Smith, Pierre 1985 “Aspects de l’esthétique au Rwanda,” in L’Homme (Paris) 96 XXV (4): 7-22. Trowell, Margaret 1960 African Design. London: Praeger.