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All libraries are closed Wed., Nov. 11 for Veterans' Day, and
all web sites & catalog will be unavailable during maintenance.

News & Events Blog.

Books Sandwiched In
Join the Friends of the Tulsa City-County Libraries at noontime on Mondays in November for Books Sandwiched In.*

Books to Treasure
Meet children’s author and illustrator Brad Sneed at Books to Treasure on Nov. 13.*

Geraldine Brooks
Geraldine Brooks is coming to Tulsa Dec. 4 and 5 to receive the 2009 Peggy V. Helmerich Distinguished Author Award*

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Suburban Acres Library
Kente Cloth and Adinkra Cloth

Kente Cloth

Folklore links Kente to the Asante hunters' encounter with the spider or Anasi. The word "Kente" is said to have originated from the Fante people of Ghana, who sold this cloth and carried it in baskets -- the Fante word for basket is "kenten." Authentic Kente is woven in 4-inch-wide strips. Often Kente is sewn by machine, but the traditional method is to whipstitch the segments by hand.  Because of its vibrant beauty and regal legacy as a cloth fit for kings and queens, authentic Kente remains one of the most popular fabrics on the market.

Kente patterns have religious, political and even financial significance.  Today there is a pattern to mark the importance of almost any special occasion and colors are chosen to reflect customs and beliefs.

Epie Akyi

Epie Akyi
(displayed in entrance lobby)
This means "behind the defensive wall" or "the encampment."  The pattern is reminiscent of the Asante wartime arrangements, the design of encampments provided for women and the invalid during war time.  It symbolizes social security, military strategy, survival and continuity.

Fathia Fata Nkrumah
(displayed in the reference area)
This design was made to celebrate Fathia, the daughter of President Nassar of Egypt. She married Kwame Nkrumah, the first president of the Republic of Ghana and became the first lady of Ghana. Their marriage represented the unity of the African people. This cloth symbolizes marital relationships, unity, participatory democracy and warning against dictatorial rule.

Fathia Fata Nkrumah
Golden Stool

Golden Stool
(displayed next to computer area)
This pattern was designed by an ancient Asante king. The Golden Stool is a significant item in the history of the Asante kingdom representing the king's power, rulership and authority.

Adinkra Cloth

Adrinkra is highly valued in the realm of handprinted and embroidered cloths. Its origin is traced to the Asante people of Ghana and the Gyaman people of Cote' d'Ivoire (Ivory Coast). However, the production and use of Adinkra are more associated with the Asante people than any other group of people. Around the 19th century, the Asante people developed their unique art of Adinkra printing.

The work adinkra means goodbye, and originally the cloth was worn only by royalty and spiritual leaders for mourning during funeral services and important sacred ceremonies. Now anyone can wear it for any occasion.

The symbols and their meaning are still used to convey a message. In its totality, Adinkra symbolism is a visual representation of social thought relating to the history, philosophy and religious beliefs of the Akan peoples of Ghana and Cote' d'Ivoire.

Adinkra cloth

Each of the symbols on this cloth have a special meaning.

  • The spiral design, Adinkrahene, symbolizes greatness, prudence, firmness and liberality.
  • The four-sided design, Mmusuyidee, symbolizes good wishes and uprightness of spirit.
  • The triangular design, Nkimu, symbolizes accuracy, decency and precision.

Adinkera aduru (Adinkera medicine) is the dye used in the stamping process. It is prepared by boiling the bark of the Badie tree together with iron slag. Originally the printing was done on a cotton piece lying on the ground. Today, raised platforms with sack coverings act as the printing table. The designs, cut on pieces of calabash with pieces of wood attached for handling, are dipped into the Adinkera aduru, then stamped onto the cloth.

The Kente and Adinkra cloths that are on display in the Suburban Acres Library were woven for the library system in Tema, Ghana. The fabric was obtained through the efforts of Mary Badoe, a native of Ghana who lives in Tulsa. She contacted her family, the Ocran family, who live in Ghana and asked them to assist us in locating authentic fabrics. Her sister, Elizabeth Lawani, arranged for local craftsmen to weave the special designs for use in the library, then handled all of the special shipping requirements to send the fabrics to the United States. We commend the Ocran family for their collaboration on this project and for making sure that it was completed on time for the grand reopening of the library.

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