2º relatorio de investigacao em design 2011/FAUTL by Sofia Vilarinho

Mozambique Capulana in a D4S design perspective identity, tradition and fashion-able challenges in the XXI century Phd Student | Sofia Leonor Vilarinho Lucas Supervisor | Henri Christiaans, TU Delft Co-Supervisor| Maria Paula Meneses, CES, Coimbra

Design Second half yearly report January 2011- December 2011

Theme Fashion for development (F4D)

Title Mozambique Capulana in a D4S design perspective: identity, tradition and fashion-able challenges in the XXI century

Key-words Sustainable Fashion design, capulana, hybrid identities, Indian Ocean Cultures

Scientific Area Fashion Design I&D Structure: CIAUD-Centro de Investigação em Arquitectura Urbanismo e Design Host Institution: Faculdade de Arquitectura –Universidade Técnica de Lisboa Fellowship: Phd fellowship number SFRH / BD / 68602 / 2010 financed by Science and Technology Foundation.

Index I. Introduction……………………………………………. 5 II. Methodology…………………………………………... 7 III. Research development…………………………………. 8 IV Publications ………………………………………… 14 V Planning ……………………………………………… 15 VI Bibliography ………………………………………… 16 VII First Bibliography’s report ………………………….. 20 VIII Future Bibliography ………………………………... 26

Appendix A Appendix B Appendix C Appendix D Appendix E Appendix F

Publications Mind map exercise Overview of the thesis project- 1st reformulation Table of contents Research methodology phases, 2010 Supervisor letter

Figure index Figure 1 –Traditional Capulana with Portuguese influence. Maputo, 2011 Figure 2 – Personal definition about sustainability Figure 3 – Records on the field diary Figure 4 - The stylists and the tailors developing draping technics with a non cut capulana Figure 5 – Tailors at Xipamanine’market – Maputo Figure 6 –Diagram synthetizing the operationalization with the selected group of African immigrant tailors and Mozambican immigrant women.

Table index Table 1. Proposed planning

Figure 1: Traditional Capulana with Portuguese influence. Maputo, 2011

I. Introduction

This interdisciplinary research is addressing fashion for development (F4D) based upon Mozambican capulana. The aim to introduce new epistemic and methodological approaches that will contribute to a deeper reading and understanding of this Mozambican fabric. The capulana, a rectangle of colourfully printed cotton fabric is mainly used by women, but also by men. Part of the social dimension of the capulana is that it is a form of non-verbal communication which might be readable or non-readable to the Other. In this way and also culturally this fabric can be a powerful instrument of communication on social, political, religious and sexual themes. This fabric is the reflection of several centuries of an intense commerce of fashions and textiles across the Indian Ocean – that registered the history since the second half of the 19th century, and nowadays is considered the symbol of Mozambiqueness. Through data collection and bibliographic research we observed that there is no such comprehensive study yet about capulana in Mozambique. Moreover, there is a generation and identity gap between three levels of knowledge about capulana based on history/tradition, culture and contemporary capulana fashions. Besides, second-hand clothing undermined the historical awareness of the textile (see the appendix A-article 1). Traditionally capulana is not cut, but modern looks (from the 60’s onward) started to propose “fashionable africanisms”, by cutting capulana based on western patterns cutting. But this outfits mostly reveal only one aspect of this textile: visual imaginary. With this research project we aim to ask for another perspective on a African fabric, which goes beyond the exotic, ethnic or folklore classification, highlighting the three main characteristics of this fabric (defined by the author as ‘capulana concepts’) to increase design that is thought/readable from the African point of view and is able to include both identity and sustainability. How can contemporary capulana fashion, based in tradition and culture, contribute to reinforce national identity and support the cultural sustainability of African diaspora?

By hypothesis, if we develop a pilot project based on “hands-on” capulana cultural concepts (see appendix B), to be carried out with the Afro-Mozambican community, we not only will achieve alternative identity discourses and cultural awareness through this fabric, but also will the process improve well-being, and development and livelihood for the community of practice; in that way justifying the proposed definition of sustainability in design: A practice that mirrors selfidentity to co-design the future, through the power of cultural knowledge that drives positive social change, human flourishing and prosperity (see figure 2)

Figure 2: Personal definition about sustainability To validate this hypothesis we have developed a research methodology that consists of three different and crucial phases, each of which marks the effective steps in our project. The first phase is mainly bibliographic research to contextualize the object according to a historical, cultural, political and economic framework. The second phase is a semi-anthropological field study and the third phase can be defined as action research, developed by the research laboratories in Lisbon. The applied methodology is described in section II and the development of the research in section III.

II. Methodology In the first phase we mainly use a non-interventionist methodology based on bibliographic research and analysis of the object of study. Regarding the research methods applied in the second phase - a field studymainly qualitative research has been conducted. The data collection comprises historical research (web and traditional research tools), interviews, fabric analysis, observational

studies

including

photography

and

video

recording

Mozambique/Maputo. On another level of discussion we propose a multi-method approach of a co-creation program with the local African community that is partly anthropological in nature and at the same time asks for a ‘co-designing future’. In the third phase we propose a multi-method approach of a co-creation program with the local African community that is partly anthropological in nature and at the same time asks for a ‘co- designing future’.

Based on Action research

methodology we propose two research laboratories with the African immigrant community in Portugal: African tailors and afro-Mozambican women. The methodological approach justifies a qualitative research with an emphasis on forums of dialogue and observation of the lab process where culture works as mediation for space and dialogue. But also moments happen where the researcher works directly with the groups, applying action research methodology.

III.

Research development

1. Field study

In order to better understand the object in its ‘natural’ context, the fieldwork in Maputo-Mozambique was accomplished between April 2011 and May 2011. This field study was relevant for the research because the researcher could in this way have ‘real’ contact with the object of study and the ‘users’ of the capulana. 1.1 Field Study Maputo At this stage we adopted a qualitative approach with a focus on direct observation. The practice of empirically based ethnographic observation served our mental and written notes - in terms of field- and photographic records (see Figure 2). This part of the study can be seen as Cool hunting, an applied technique in order to capture capulana appropriation in urban wear in the centre of Maputo. Informal interviews have enabled different sources of oral information about the research object and the observation of different capulana fashions and several appropriations of the object, on the urban centre and on periphery

Figure 3: Records on the field diary

With the intention of mapping and getting in contact with stylist and fashion designers, we did an intensive field research among these agents of fashion in Maputo. After achieving a list of contacts a three-days workshop was organised with a group of local stylists, to develop creativity and technics with capulana. Three stylists participated.

Figure 4: The stylists and the tailors developing draping technics with a non cut capulana We also made several contacts with the fashion students of design school ISARC in order to understand the situation and to study how the capulana was introduced in creative processes. We also established contact with several tailors in Maputo, with whom we had semi-structured and informal interviews with the aim of understanding the importance of these agents in African fashion. The interviews were held in an informal way so that the observed did not feel any embarrassment and not to misinterpret the information provided. These interviews were based on the following questions: -What is your country of origin? -At what age did you start learning this profession? - Who was your teacher and where did he learn this craft? - How was the competition between the learners? - Were there more apprentices with you? - Your apprenticeship as a tailor was also a school of life? The transfer of knowledge took place at other levels? - At what age did you become master? - What are your working conditions? Do you covet other conditions? - And Europe, what do you think?

- What are the most requested clothes by your customers? African style or European style? - Do you work with Mozambican designers?

Figure 5: Tailors at Xipamanine’market 1.1.1

Considerations about this phase

The fieldwork in Maputo was very important for the reformulation of the study plan. Originally, the plan was to implement research laboratories in Mozambique itself, as was mentioned in the first report by "Action Space". However, after consideration of the practical constraints such as time issues, the country circumstances and limitations of resources for the collection and analysis of data, we decided to consider the establishment of the research laboratories in Lisbon and work with two focus groups of African Diaspora: African tailors and AfroMozambican women (see appendix C). It was considered (and after reflections about the field study results) that these two groups are very important for the (re) creation of the cultural Knowledge.

2. Study-Action research Tailors are important agents on clothing “creativity practices” (Grabski, 2009) of local fashion. Endowed with a cosmopolitan view, African tailors are narrators and readers between the ‘fringed’ Western aesthetics and the ‘corset’ of the

tradition that sustains the necessity of cultural belonging. Mozambican women became ‘social activist’ customers with the capulana appropriation on daily life, since the middle of 19th century. Although since 1990’s, with progressive mass production and Chinese domination, local women, who are protagonists in their demands for new patterns (see Koert, 2007:132; Tembe, O., Cardoso, C. 1978a: 38), silenced the ‘traditional’ voice that culturally marked a position across history. The forums of dialogue and laboratories developed with the Afro- Mozambican women are crucial to develop women visibility/identity and re-work the category of third-world women. Aiming to recover women’s voice and position as cultural agents. Building on self– representation (through the development of several laboratories) will allow to illuminate/bright/highlight the ‘printed’ national identity’s representation. Following this revision a blog was created: http://d4capulana.wordpress.com, with the aim of extending the sphere of interactivity with readers and other researchers.

Figure 5: Diagram synthetizing the operationalization with the selected group of African immigrant tailors and Mozambican immigrant women.

The previous contact with the Fashion Institute of Modatex - a vocational training centre of the textile industry located in Lisbon, Benfica - was accomplished with a proposal for collaboration. It was proposed to create the first platform of coeducation 1for the African tailors that live and work in Lisbon. In order to develop knowledge and skills among those African tailors, with their apprenticeship experience as the basis, the author developed a co-learning program and with support of Modatex. Modatex was interested in this program because of its perspective of a social approach in knowledge sharing with African people, who have such a strong cultural background. This course intends to run between November 2011 and December 2012 - the matrix for a pilot course that will be repeated every year with new tailor students. At this first course eight tailors participated, mainly immigrants from West Africa, each of them living with an average income of 300 euros per month: 5 from Guinea Bissau, 1 from Serra Leona, 1 from Gambia and 1 from Guinea Conakry. Their age ranges from 28 till 41. They are registered as tailors on their passport document. Ser alfaiate é ter um estatuto reconhecido socialmente. But most are facing difficulties on getting papers to stay legal in the country. On the course we started with an educational

Sofia Vilarinho 5/16/13 11:57 PM Deleted:

program on pattern cutting that ‘fits’ the cultural background of the African

Sofia Vilarinho 5/16/13 11:57 PM Deleted: b

tailors. As a teaching/learning method we - partly- adopted a constructivist approach in which co-learning plays a dominant role. In the first phase (from November 2011January 2012) the teacher introduced basic pattern cutting for skirt, trouser and body basis. As described below: Module I. Introduction 1. Pattern cutting introduction

1.1

Initiation

1.2

Notions of geometry

1.3

Characterization of equipment and materials

1.4

Basic concepts of pattern cutting

The evolution of the project is registered on the following online platform: http://africantailors.wordpress.com.

Fig6: The group of tailors and the teacher during the session 15th November 2011

The course will continue during 2012, and the results will be presented in the next research report. The project with the group of women will start also during the next year and is intended to open collaboration with a Museum in Lisbon. On the list we have the Museum of Ethnology, MUDE (Design and Fashion Museum) or Costume Museum.

IV.

Publications This year of investigation, we prepared articles to be submitted in 2012. The summaries can be found in Annex I 1. Fashion Tales 2012, 13th International Conference of ModaCult - Center for the Study of Fashion and of Cultural Production of the Università Cattolica of Milan. 2. "Textile Trades and Consumption in the Indian Ocean World, from Early Times to the Present", International Conference at the Indian Ocean World Centre, McGill University, Montreal, 2-4 November 2012

Was also prepared an abstract for an article for the Journal of Textile Design Research and Practice (JTDRP). And we started to work on a book about capulana.

V. Planning

YEAR

ACTION

TIME SPENT

2010-2011

Literature review focusing Indian Ocean cultures, East African textiles and clothing, and specifically capulana and kanga

9 months

3 months

Writing thesis chapter III

Unveiling 2011-2012

Literature review

3 months

Field study in Maputo

2 months

Action research- the African tailors Writing thesis chapter II IV and V (see appendix D)

The course follows a twice-a-week schedule, from 6.30pm until 9.30pm.

7 months 2012-2013

Action researchthe Mozambican women (forums of dialogue and laboratories)

3 months 9 months

Writing chapter I and VII (see appendix D), and finishing the all thesis

15 Â

VI.

Bibliography

According to the predictions outlined in the consultation 1st report, the following bibliographic references were read. However and beyond listing, other readings were also made in consonance with the new directions of the thesis project. This listing follows in Section V-1 other bibliographic references consulted. • Allman J. (2004), Fashioning Africa. Power and Politics of a Dress. USA: Indiana University press. • Appadurai, A. (1996), Modernity At Large: Cultural Dimensions of Globalization. London: University of Minesota Press. • Baudot, F. (1999), A century of Fashion. London: Thames & Hudson. • Brezet, H. and van Hemel, C. (1997), Ecodesign: a promising approach to sustainable production and consumption. Paris: Rathenau Institute, TU Delft & UNEP. • Craick, J. (1994), The face of Fashion: Cultural Studies in Fashion. London and New York: Routledge. • Erner, G. (2004), Vitimas de la moda, como se crea, por qué la seguimos. Paris: GGmoda. • Fiss, K. (2009), “Design in a Global context: envisioning postcolonial and transnational possibilities”, In: Design Issues, 25(3), Massachusetts: Institute of Technology, 3-9. Article stable URL: http://www.mitpressjournals.org/doi/pdf/10.1162/desi.2009.25.3.3. Access: 12th November, 2011. • Foster, H. (1997), New raiments of Self. African American clothing in the Antebellum South. USA: Berg. • Fletcher, K. (2008), Sustainable fashion& textiles design Journeys. London: Earthscan.

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Mangeri, T. (2006), “African Cloth, export production and second hand clothing in Kenya”, department of geography, University of North Carolina, USA. Article Stable URL: http://www.cggc.duke.edu/pdfs/workshop/Kenya%20cloth%20&% 20clothing.pdf. Access: 22th March, 2011.

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•

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VII. First bibliography report

•

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•

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urnal_of_womens_history/v014/14.4gengenbach.pdf. Access: 14th November, 2011. • Kusimba, C.M., Odland, J.C. & Bronson, B. (eds.) (2004), Unwrapping the Textile Traditions of Madagascar. Los Angeles: Field Museum & UCLA, Fowler Museum of Cultural History Textile Series No. 7. • Lave, J. and Wenger, E. (1991), Situated learning: Legitimate peripheral participation. Cambridge: Cambridge University Press. • Machado, P. (2003), “A Forgotten Corner of the Indian Ocean: Gujarati Merchants, Portuguese India and the Mozambique SlaveTrade, c.1730-1830”, In: Slavery & Abolition - A Journal of Slave and Post-Slave Studies, 24(2). Oxfordshire: Taylor & Francis, 1732. • Machado, P. ( 2008), “Awash in a Sea of Cloth: South Asian Merchants, Cloth and Consumption in the Indian Ocean, 13001800”, In: Riello, J., Parthasarathi P., The Spinning World: A Global History of Cotton Textiles, 1200-1850, ed. Pasold Studies in Textile History. Oxford: Oxford University Press, 161-179. • Machado, P. (2008), “Cloths of a New Fashion: Networks of Exchange, African Consumerism and Cloth Zones of Contact in India and the Indian Ocean in the Eighteenth and Nineteenth Centuries”, In: Riello G., Roy, T. (eds.), How India Clothed the World: The World of South Asian Textiles, 1500–1850. Leiden: Brill, 53–84.

• Machaqueiro, M. A. (2011) ,”Islão Ambivalente: A construção identitária dos muçulmanos sob o poder colonial português”, In: Cadernos de Estudos Africanos , n. 22. [online], 43-64. Article Stable URL: http://www.scielo.gpeari.mctes.pt/scielo.php?pid=S164537942011000200003&script=sci_abstract. Access: 14th November, 2011. • Meneses, M.P. (2008), “Mulheres insubmissas ?Mudanças e conflitos no Norte de Moçambique”, In: ex æquo, n.º 17. Porto: Afrontamento, 71-87. Article Stable URL: http://www.scielo.oces.mctes.pt/pdf/aeq/n17/n17a05.pdf. Access: 19th October, 2011. • Mutualo, A. (2006), “The serch for Identity”, In: Islamic Horizons, 35 (September/October). Plainfield: ISNA, 58-60. • Oyewùmí, O. (1997), The invention of Women: making an African sense of western gender discourses. Minneapolis: University of Minnesota Press. • Oyewùmí, O. (2002), “Conceptualizing gender: the Eurocentric foundations of feminist concepts and the challenge of African epistemologies”, In: Jenda: A jornal of Culture and African Women’s Studies, 2(1), [online], 1-7. • Parthasarathi, P. (2009), “Cotton Textiles in the Indian Subcontinent, 1200–1800”, In: Riello, G., Prasarathi, P. (eds.), The Spinning World: A Global History of Cotton Textiles, 1200-1850. Oxford: Oxford University Press, 17–41. • Teixeira, L.P. (2008), “Partners in Business.The working of the Indian traders of zambezia, Mozambique, 1870s-1910s”, In: Lusotophie, XV(1). Leiden: Koninklijke, 39-58.

Appendix A - Publications 1. Fashion Tales 2012, 13th International Conference of ModaCult - Center for the Study of Fashion and of Cultural Production of the Università Cattolica of Milan

"Textile Trades and Consumption in the Indian Ocean World, from Early Times to the Present", International Conference at the Indian Ocean World Centre, McGill University, Montreal, 2-4 November 2012

Appendix B- Mind map exercise

Appendix C - Overview of the thesis project- 1st reformulation

32 Â

Appendix D - Table of contents

(DRAFT) Abstract :

( Title;keywords, and text)

Map of contents (mind-map of the thesis: drawing) Part one : presentation of research Chapter I: introduction 1. The research goals: why capulana? 2. Why D4S: design for sustainability in fashion? 3. The designer role: settings and new paradigms on fashion 4. From personal assumptions to alternative directions 5. Overview with reference to methods, aims and definitions. Chapter II: Gear -Methodology and methods 1. Research methodology for fashion design 2. Methodologies used in this project 3. Applied methods 4. Dialoging with theories Bridge to part two: understanding of the fabric Part two: The Capulana Chapter III: Unveiling 1. The Indian Ocean World: Unveiling capulana history 2. Dimensions of the fabric 2.1. The material 2.2. The cultural 2.3. The social 3. Capulana by decades: Making of a visual diary 4. Coolhunting: fieldwork in Maputo 4.1(Un)sustainable tradition: local notions of being modern and breaking with tradition 4.2. Second-hand clothes: the hacker of capulana tradition 4.3 Local agents of capulana’ modernity 4.4 Experience/standpoint

Bridge to part three: Local development: Capulana in a D4S perspective Part Three: From cultural phenomenon to cultural concepts.

Chapter IV 1. The fashionable capulana 1.1 Africa today: the ‘modern’ capulana 1.2 Fashionable Africanisms: the western perspective 2. The Fashion-able capulana 2.1 Alternative readings 2.2 The golden rectangle 2.3 The cultural concepts Chapter V Action spaces: Towards a well-founded concept: taking action with the community of practice

1. The African diaspora: Tailors in Lisbon 1.1 What’s up? Observation about the tailors in Maputo 1.2 What’s up? Some observations about the tailors in Lisbon 1.3 Planning action: 1.3.1 Who? 1.3.2 Where? 1.3.3 When? 1.3.5 What? 1.3.6 How? 1.4 The applied methodologies 1.5 The results 2. The African diaspora: The Afro-Mozambican women in Lisbon 1.1. Forums of Dialogue 1.2. Hands-on Capulana Lab1: What is your pattern ID Lab2: The colour of your memories Lab3: Clothing as a ritual Lab4: D4S, hands-on culture 3. Considerations| reflections on fashion-able processes and identity building. Part Four: Fuse for small changes through fashion Chapter VII 1. 2. 3. 4.

Model|guidelines for future applications Reflections Conclusions Co-learning|some proposals

Appendix F – Supervisor letter The next two pages show the letter from Dr Hans Brezet, explaining his decision about his supervisor position on this phd research. The second letter presents Dr.Henri Christiaans as the new supervisor of this Phd research project.