Preserving every ounce of one’s African-ness is a duty several expats have taken on. For many, wearing “African” wax print is a means to not only affirm but also reinstate their identity in foreign lands. For others belonging to the Old African diaspora, flaunting a Ghananian Kente head wrap or strutting a fabulous ankara maxi skirt becomes a means of identifying with Africa. However, the authenticity of our beloved “African” fabric comes into scrutiny when discussing the historical origins and commercialization of these products.
During the 1800s Indonesians used a wax resisting dyeing technique for pattern making known as Batik. As a result of colonization Batik was introduced and quickly gained popularity throughout Europe. Roller print machines allowed for mass production, however, these imitation fabrics never found foot in the Indonesian market. As a result, French, British, and Dutch companies sought new markets, which they found in Africa.
European wax prints were not originally intended for African markets, yet Africa became the largest consumer of their imitation Batik styles. By the end of the 19th century European fabric companies sold wax fabrics along the Gold Coast on the trading path to Indonesia. These fabrics quickly became synonymous of high quality and fashion throughout West and Central Africa. The presence of an enthusiastic market along the Gold Coast led Dutch companies to adapt the printed pattern styles to West and Central African tastes.
Although “African” wax fabrics carry designs and prints found in African textile, it isn’t authentically African. From weddings to funeral ceremonies, every major event in West and Central African culture almost always requires for its attendees to be adorned with various “African” print fabrics. In very traditional ceremonies these wax fabrics have major roles to play.
Yet, the supposed African-ness engrained in each fiber is merely a reflection of Europe’s continual exploitative relations with Africa. From the onset, each stage of production was void of any African’s perspective on the patterns, designs, and motifs. The tragedy isn’t the fact that a major aspect of West and Central African culture was prescribed, but that the very thing by which we affirm our identity continues to benefit the prescriber.
The widespread popularity and use of wax fabric is an economic gain for its manufacturers. Major producers of “African” wax are European owned. Before the 1960s every fabric sold in West and Central Africa was manufactured in Europe. Today, Africa is home to the production of some high quality wax prints.
How I wish we possessed the ability to manufacture that which represents us, to have proprietorship over our own culture. Nevertheless, “African” wax will continue to authenticate and reinstate our African-ness in the diaspora despite it not being authentically African.