Samhain: Digging Up the Celtic Roots of Halloween

Samhain: Digging Up the Celtic Roots of Halloween

Depending on our cultural point of view, the shadowy intersection where the realms of the living and the dead meet looks different. Folklore, religion and local customs will dictate how we honour our dearly departed; even Halloween, wherever it’s celebrated, can take many forms. As its birthplace, Ireland has a particular claim to creepy fame.

While each country or culture keeps the memories of their deceased alive, communing with spirits at various times of the year, the autumnal spooky season has slowly but steadily gained international popularity. So on 31 October, whether you’re putting your all into creating the ultimate costume in Tokyo or heading out trick-or-treating in Nashville, you have Ireland to thank.

Many outside the Celtic community may not be aware of Halloween’s ancient roots in Samhain (pronounced ‘sow-in’) in Ireland thousands of years ago. Following these quite possibly Neolithic beginnings, fast-forward a few millennia to when the Irish emigrated to the United States in great numbers during the 19th century, carrying these old traditions with them.

Today, Halloween is a major US holiday. Some aspects of the celebration have become more obviously Americanised over time than others, with cheerily festive pumpkins taking the place of the truly terrifying carved turnip, for example. However, you can still unearth the original features, even when they’ve lost their Irish accent in the migration process.

Looking at the celebration in its most ancient form, this is the time when the invisible veil between this world and the next was at its thinnest, making it possible for spirits to pass through. This is also one of Ireland’s traditional fire festivals — a series of seasonal observances that helped our ancestors connect with the changing landscape and cope with the unpredictable weather as the Wheel of the Year turned. 

While Imbolc on 1 February kicks off spring, Bealtaine celebrates the arrival of summer on 1 May. Then on 1 August, it’s time for Lughnasa as autumn harvesting gets underway. Finally, Samhain marks the end of harvest and signals the start of winter. This last festival of the annual calendar was the dividing line between the light half of the year — with its warm summer and long days of sunlight — and its dark, wintry counterpart.

Of course, fire festivals require a roaring blaze, along with a fair amount of storytelling and song-singing. Two hills in the Boyne Valley are associated with Samhain, Tlachtga (the Hill of Ward) and the Hill of Tara, with Tlachtga as the historic location of the Great Fire Festival. By order of the High King, as Samhain approached, every other fire in the land was extinguished; and with the lighting of the Great Fire, warmth and light were restored and home hearths rekindled.

To celebrate the thinning of the veil and welcome the darker half of the year, there are community gatherings and special events across the modern-day island of Ireland. Unsurprisingly, bonfires still play a large part in the festivities. Much busyness surrounds their preparation pre-lighting, with the sound of their crackle and the smell of woodsmoke everywhere on the last night of October.

 Halloween's Celtic Roots

Special food was also a key part of celebrating Samhain, prepared for both the living and the dead. The symbolic food for the departed was taken to neighbours and shared with those who needed it more, eventually leading to the trick-or-treat custom.

These days, around Halloween, seasonal treats like barmbrack (bairín breac, meaning speckled loaf) appear in shops alongside the bags of candy intended for trick-or-treaters, tooth-punishing toffee apples, and monkey nuts (peanuts in the shell).

Barmbrack — or simply ‘brack’ — is a sweet yeast bread, studded with sultanas, raisins or currants soaked in cold tea (and perhaps even a splash of whiskey). In the old days, a number of items were hidden inside; among them a pea, a piece of cloth, a matchstick, a sixpence coin and a ring. When found in a slice of the brack, each had significance for its finder, whether that was good or bad luck, wealth or poverty, or the likelihood of marrying in the year to come. Nowadays, many of these little surprises have fallen out of favour, but commercially made brack will still have a ring hidden inside for those who get the lucky slice.

Samhain’s access to the otherworld enabled the honouring of ancestors and welcoming of their spirits home to visit. But it was a mixed blessing; ill-intentioned wraiths needed to be warded off, so costumes and masks were used to confuse these unwanted visitors (or just scare the neighbours for fun). But now that our traditions have come full circle — travelling to America and points beyond to return home transformed — with trick-or-treating all the rage in Ireland, the scariest thing you’re likely to encounter on your doorstep is dressed-up local children making the rounds, little hands politely outstretched.

Emily Cathcart

Resonate Team

From her base in Ireland, Emily Cathcart was delighted to join Resonate as a Content Manager and has been revelling in the opportunity to collaborate with writers worldwide ever since. Emily enjoys encouraging authors through the creation process and also helping non-writers to tell their tales — all with Resonate’s ethical principles in mind. When she isn’t busy commissioning or editing, she can be found, camera in hand, seeking out-of-the-way discoveries for her own site that’s literally All About Dublin. And when Emily’s not working on any/all of the above, she’s writing articles and photo essays as a freelance journalist for publications from boutique magazines to national newspapers.

Time to Read:  4 Minutes
Resonate Team: Emily Cathcart
31 October 2023
Category:
Local Stories - Customs and Traditions

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Mind Your Language: Bridging the Communication Gap

Mind Your Language: Bridging the Communication Gap

Anyone who has done a bit of travelling — and hasn’t mastered every language spoken on the planet — will have come up against the occasional inability to understand the local people, or to be understood by them. But even when it proves challenging, communication is still a powerful tool to unite us.

There are times when it’s hard enough to be understood in our own culture, when we’re using our first language. Sometimes even our own families fail to grasp our meaning, so what hope have we got when we’re feeling like strangers in a strange land? What happens when we try to adapt to a new way of expressing ourselves in an unfamiliar environment?

If your birthplace and destination both happen to speak the same language, it may be easy to assume that communication will be straightforward. But to use just one example, as writer George Bernard Shaw famously said: “England and America are two countries separated by a common language.” As explained in great detail by an American linguist now resident in the UK, there are nearly endless ways to be tripped up when the local versions of English differ in the day-to-day.

Continuing with this thought, this is of course true of every English-speaking nation; local slang expressions may take a while to get used to, with regional variation within each country to boot. Even worse, some of the same expressions have very different, potentially quite embarrassing, meanings. What’s acceptable in New York may not be at all suitable in polite company in Newcastle or New South Wales, or vice versa. The most innocently intended remarks can be positively blush-inducing.

And the French spoken in Montréal isn’t quite the same as that of Marseille; nor is the Spanish in Córdoba identical to that of Cancún; and so on. But so much for the finer points of how the same language travels to different places around the globe. What about those times when you simply don’t speak what everyone around you is speaking? It’s easy to get a bit lost when you’re not part of the conversation, even when you’re trying your best to stay involved.

Bridging the Communication Gap

So whether it’s subtle shadings of meaning or a completely different tongue, what are some good tactics for communication when you’re unsure of the right way to say something (or simply at a loss for words in a new destination)?

  • Do some research and reading before you go. Here at Resonate, we say this about virtually every travel situation — but be prepared and read up prior to departure! Investigate the local slang when visiting a country that speaks your first language, and learn a few new words (hello/goodbye, please/thank you, good morning/good afternoon/good evening for starters) when visiting a place where what’s spoken will be completely unfamiliar to your ears.
  • Don’t make assumptions about people’s ability. They may share a language with you, and they may not. Respectfully asking whether they can communicate in a particular language, to see if you can establish common ground, is the only way to find out.
  • Do take a tour with a bilingual guide. Whether it’s an old friend, new acquaintance or professional tour company, this will be an enormous help to give you an authentic feel for the place, its culture and its language as you pick up some words (and some valuable local tips). Do it early in your visit to get the maximum benefit.
  • Don’t think you can ‘secretly’ have private chats in public. Just because you and your travelling companion speak a language not regularly heard where you are, that doesn’t mean that the person next to you on the train doesn’t understand; you might well be caught out saying something you shouldn’t. There’s no need to be impolite (in any language).
  • Do be creative in getting your point across. Use your newly learned words, indicate with your hand gestures, body language and facial expressions, ask local people how they would say something if at all possible. Look up pictures on your mobile to show what you’re talking about, or point to your phone’s calendar/clock if you need to clarify crucial dates and times. It’s inevitably true that a picture is worth a thousand words, and sometimes it’s much easier to ‘show’ rather than ‘tell’.
  • Don’t worry about being good enough. Jump right in! The smallest effort can go a long way towards demonstrating a willingness to engage and a friendly attitude. Flawless grammar and perfect pronunciation are not needed (or expected) for basic communication.
  • Do ask for help if you need it. It’s only natural to find the language barrier difficult at times. As a traveller, if you’re really stuck, it’s better to ask for assistance than to be missing out on potentially important information, and along these same lines…
  • Don’t hesitate to use an app to translate. While not perfect, they can be a big help, or even a literal lifesaver in an emergency. There are many to choose from, so you can decide what works for you.

And if you’re planning to stay for a while, you might want to take language lessons. Give yourself the opportunity to get properly immersed in the culture, and truly connect with your new friends and neighbours. If you’re in a group setting, learning together is always an excellent bonding exercise too, and ideal for establishing a social circle!

We all have a particular way of expressing ourselves, and it can be hard to change that. But a simple willingness to try is a gateway to improving communication, increasing your own knowledge, and quickly enhancing your immersion in the sounds — and stories — of a new place.

Emily Cathcart

Resonate Team

From her base in Ireland, Emily Cathcart was delighted to join Resonate as a Content Manager and has been revelling in the opportunity to collaborate with writers worldwide ever since. Emily enjoys encouraging authors through the creation process and also helping non-writers to tell their tales — all with Resonate’s ethical principles in mind. When she isn’t busy commissioning or editing, she can be found, camera in hand, seeking out-of-the-way discoveries for her own site that’s literally All About Dublin. And when Emily’s not working on any/all of the above, she’s writing articles and photo essays as a freelance journalist for publications from boutique magazines to national newspapers.

Time to Read:  4 Minutes
Resonate Team: Emily Cathcart
26 October 2023
Category:
From the Editor

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Meet the Cherokee National Treasures Preserving Traditional Skills
The intricate dance of weaving turns into a functional work of art. | All photos used with permission from the Cherokee Nation and their Tourism Department.

Meet the Cherokee National Treasures Preserving Traditional Skills

In the heart of the Cherokee Nation in northeast Oklahoma, the Native American tribe gives a special distinction to some of its members known as Cherokee National Treasures. This special recognition honours people who have made significant contributions to the preservation of the tribe’s art, language, and culture. It’s not only a celebration of the craftspeople, but a testament to the enduring spirit of the Cherokees and a way of keeping their rich culture and traditions alive for generations to come. 

The weaver grasps the slender, flexible willow branches, carefully selecting the sturdiest branches as the foundation that will form the base of the basket. As she bends the chosen branches into a circular shape, she carefully intertwines them to create a sturdy foundation. Using willow branches, she creates the backbone of the basket that rises upward from the base, weaving them over and under the others creating a pattern and main structure. 

Slowly, the basket begins to take shape, growing taller, with the rhythm of the weaving almost becoming meditative. The intricate dance of weaving turns into a symmetrical functional work of art, turning a handful of willow branches into a beautifully woven basket, each movement a demonstration of patience and craftsmanship. 

Cherokee

One of the treasured artists in the Cherokee National Treasures program is Anna Sixkiller. She is celebrated for her exquisite baskets, a craft deeply intertwined with the tribe’s history. Cherokee basketry is not merely an art form, it is also a vessel of cultural preservation.

Each piece she creates tells a story, with intricate designs reflecting the tribe’s connection to nature and the importance of harmony with the world around them. Sixkiller’s artistry and baskets are a conduit through which Cherokee culture is passed down to future generations but also a way of remembering the elders before her, weaving the baskets in the same methods that her ancestors did.

She first learned to make baskets by watching her grandmother and other relatives. “It was really my grandmother’s sister. We used to go visit her a lot and then she was making baskets by the creek when I watched her and she told me how to start, how to do this, and what to go look for, how to boil [the natural materials], and strip them,” says Sixkiller. “That’s where I got started.”

The Cherokees are known for their own unique style of baskets, especially their double-weave or double-walled baskets, where two baskets are made with one inside the other, woven together. There are many steps that must be completed before weaving can begin; the first is gathering natural materials to create the basket.

Sixkiller prefers to use honeysuckle vine, bug brush, and natural materials to make dye like bloodroot, which is only available in the springtime. After gathering the materials, the vine is usually cut, trimmed, stripped, and then dyed. 

Each tribe has their own way of making baskets, with designs that are unique to their Nation, and materials that are native to their lands. Their purpose was more than just decorative, they were for storing and carrying items, for holding foodstuffs, and also used during special ceremonial purposes.

In recent years, basket weaving has experienced a revival, it’s a source of cultural pride, with many communities holding classes so the techniques and designs can be passed down to others. These are more than just functional objects, they are a symbol of resilience and a living legacy of the Cherokee people’s ability to adapt and preserve.

National Treasures, like Sixkiller, are helping keep this custom alive, these contemporary basketweaves are helping to save an important link to their heritage. Their work preserves the past and also is a bridge to the future, allowing the culture and traditions to flourish for years to come. 

Sixkiller was named as a National Treasure in 1996. “My responsibility as a Master Craftsperson, as well as National Treasure is to pass on the basketry to whomever wants to learn.  I’ve taught many and will continue teaching,” says Sixkiller. “I love making baskets, because you can say you have made something.”

The Cherokee Nation Anna Mitchell Cultural & Welcome Center offers a gallery, a café that serves Native-inspired cuisine, and an exhibit space for cultural classes and events. Visitors can participate in language and history classes, art demonstrations, interactive hands-on art classes, and other workshops.

To learn a craft from National Treasures, like basket weaving or pottery making, upcoming classes are listed online in events and exhibits. These sessions provide an invaluable opportunity to learn a traditional artform from a master craftsperson, as specialist skills and cherished traditions are shared and the depth of knowledge gained over a lifetime can be fully appreciated.

Carrie Back

Storyteller

Carrie Back is a freelance writer and trained journalist based between the United States and Southeast Asia. She has been freelancing since 2018 and specialises in writing about sustainability, travel, and culture. Her work has been published in numerous magazines and online publications such as Travel and Leisure, AFAR, Culture Trip, and Matador Network, among others. She is a proud member of the Cherokee Nation. Find her work online.

Time to Read:  3 Minutes
Storyteller: Carrie Back
24 October 2023
Category:
Game Changers

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Meet the British Chairmakers Revitalising an Endangered Craft
Traditional artisan Richard Platt prepares stock using the planer. | All photos: Sam Cooper

Meet the British Chairmakers Revitalising an Endangered Craft

On the edges of the Marchmont Estate in the Scottish Borders sits a major arts and crafts centre that is reviving the UK’s craft heritage. Funded by the late philanthropist Hugo Burge, the collection of workshops includes that of chairmakers Sam Cooper and Richard Platt. During seasonal Makers Markets, visitors can gain a unique insight into their process, one that represents a history of furniture making that dates back centuries.

To step into Cooper and Platt’s workshop is to be embraced by busy orderliness. Parts of what will later become a whole chair sit partially finished. Smooth back slats. The curved twist of a leg. Shavings and wood dust powder the floor. There’s the hum of the bandsaw or, much quieter, the consistent scrape of chisel and gouge against wood. Just outside, logs of ash and oak sit beneath an awning. Metres of rush are piled up in spindly bouquets, drying out before they are ready for weaving. 

Cooper and Platt met in 2018, when they responded to an apprenticeship opportunity with master chairmaker Lawrence Neal. Separately, both had long held an interest in crafting, as childhoods and teenage years spent wood-carving spoons, guitar-making and bowl-turning testify. A popular story in Platt’s family is the time he was given a junior hacksaw on his fourth birthday. “I’ve always wanted to make things that are meant to be used”, says Cooper. 

Revitalising an Endangered Craft
Richard Platt and Sam Cooper in their workshop in the Scottish Borders, with their dogs Bobbin and Pepper.

It was the chance to revitalise an endangered craft, however, that really inspired them both. The history of the rush seated ladder-back chairs that they make (so-called because of the ladder-like horizontal slats of wood at their backs) is closely tied to the beginnings of the British Arts and Crafts movement. In the nineteenth century, at a time of rapid industrialisation, this organisation argued for the need to maintain the connection between maker and product. Visionaries such as Ernest Gimson (1864–1919) and Philip Clissett (1817–1913) raised the position and status of chairs as both functional and beautiful craft objects. Today, their designs sit in homes and museums internationally. 

As the mechanisation of furniture mass production took hold, and a global market opened up to offer cheap materials, Gimon and Clissett’s local, slow and laborious process of chairmaking became less popular. By 2018, Neal was the last full-time rush-seated chairmaker left in the UK. The knowledge accumulated over generations was in danger of ending with him.

Revitalising an Endangered Craft
Assembling a 4-seat settee in the workshop.

Over two years Cooper and Platt were taught what Neal had learnt over a lifetime of chairmaking. The apprenticeship had its challenges. Initially, much of Cooper and Platt’s creative output met the fate of the burn pile. Weaving rush consistently took a long time to grasp. Nothing had been written down, there were no precise measurements or instruction manuals. Neal had embodied this knowledge over time through an oral tradition that was passed on to the two young men. As Cooper notes, it’s now their responsibility to ensure its future survival. “We’re custodians of this craft. Eventually, we want to pass that knowledge on to a generation beyond us as well”. 

Cooper and Platt use methods and techniques that would have been practised over a century ago. The way they work follows the central tenet of the original Arts and Crafts Movement, maintaining a strong relationship between the makers and the results of their labour. Each chair is made without computerised machinery and finished by hand. Platt sums up with elegant simplicity the flow state that comes from working slowly and meaningfully: “There’s a peacefulness that comes from setting up with an empty chair frame in the morning and twisting and weaving with complete focus until, at the end of the day, you have a completed chair.” Unlike the uniformity that happens on a mechanised production line, each chair is unique. Even after working together for five years, a chair made by one of them will be ever-so-slightly different to one made by the other. 

Richard Platt harvesting rushes in the River Wansbeck.

The materials the pair use reflect the deep respect they feel for their local landscapes. Everything is sourced from within the UK. The ash comes from the Marchmont Estate, the oak from local sawmills. Throughout the heavy heat of midsummer, they travel down south, to harvest the rush from rivers in Northumberland and the English Midlands. Wading up to their chests, they cut the 8-foot-tall rushes with scythes, before carrying them, heavy and waterlogged, onto the banks to start the drying process. The closeness that they feel to their materials is palpable, as Platt illuminates. “Because Sam and I do every single process involved in making these items of furniture, save for cutting down the tree, I get the privilege of being able to look at the log on the ground outside and know that in a couple of weeks that log will be a set of eight chairs, going off to their new home.”

The chairs that Cooper and Platt make, like those made by Clissett, Gimson and Neal before them, will last the owner’s lifetime and beyond. Occasionally, someone will drop a chair by one of the old masters at the workshop for repair. A chair that has been inherited, that has been treated as a comfortable seat, a functional object, but also appreciated as any work of art would be. Cooper smiles. “That’s what I love making, chairs that I know are going to be used and passed down and outlast us.” 

Wishbone table and Bedales chairs crafted in oak, pictured in the Marchmont Common Room.

Emma Jones

Storyteller

Emma Jones is a non-fiction writer based in the UK. She specialises in art and culture writing, reviews and travel writing. Emma’s work has been published online and in print, including in Source Magazine, The Radavist and Elsewhere: A Journal of Place. In September 2023, she was writer in residence at Marchmont House in the Scottish Borders, working on her first full-length manuscript.  A comprehensive writing bibliography, and her contact details, can be found on her website.

Time to Read:  4 Minutes
Storyteller: Emma Jones
19 October 2023
Category:
Game Changers

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The Pioneering Town of West African Weaving
A community keeping the ancient art of kente alive. | All photos: Mwende Mutuli Musau

The Pioneering Town of West African Weaving

Tucked away 18 km off the Kumasi-Mampong Road in Ghana is an ancient African village that has preserved its unique way of life for centuries by creating one of the most popular textiles on the continent — kente. The village of Bonwire (pronounced “bon-ray”) is dedicated to the age-old custom of West African weaving that lies at the core of the Ashanti tribe’s rich traditions.

A visit to the Bonwire Kente Weaving Centre showed me a lively cultural destination where visitors can take a tour to learn about the origins of kente and its production, and in the process support the local community. A colourful and vibrant traditional fabric worn for important celebrations and occasions, kente is the national fabric of Ghana; and Bonwire is known throughout the country as its birthplace.

Kente was developed in Ghana during the 17th century AD by the Ashanti Kingdom. It continued an ancient tradition of African weaving that can be traced back even further to West African kingdoms between 300 AD and circa 1600 BC, with remnants and relics of this weaving practice having been discovered. More distant still, archaeological excavations have revealed that weaving instruments such as spindle whorls and looms were used in the Meroë Empire in the Kingdom of Kush (modern-day South Sudan) from 800 BC–300 AD. 

weaving

The tale I was told of kente’s history comes from a local legend. Having repeated this folklore countless times, Ghanaians believe this myth to be more than a children’s bedtime story; it is regarded as fact.

Once upon a time…

In the village of Bonwire, a man called Ota Karaban and his friend, Kwaku Ameyaw took weaving classes from a spider that was designing its web. They attempted to imitate the spider’s patterns by weaving a colourful piece of raffia fabric. They were summoned by Bobie, their Nana (chief), who spread the news far and wide about this achievement. As legend tells it, the news eventually reached the paramount chief of the Ashanti people, the Asantehene. He summoned Nana Bobie, Ota and Kwaku to present this textile to the great court. The Asantehene was so amazed by this fantastic fabric that he immediately declared it to be the national cloth for all Asantis (members of the Ashanti tribe).

He believed that this cloth was sacred and couldn’t be worn at any ordinary time or place. For this reason, he announced to his people that it must only be donned for special occasions such as weddings, festivals, funerals and naming ceremonies. Ota and Kwaku were immediately promoted and given the task of making the Asantehene’s royal robes. Subsequently, Bonwire was turned into a weaving village which would make fabrics for all Asantis to wear. Production greatly increased and the name of this fabulous new fabric subsequently became “kente” referencing its basket-like pattern (the word ‘kenten’ meaning basket). 

Kente is an indigenous Ashanti handicraft that has gained widespread popularity across the globe. There are many kinds of kente fabric, each having its own unique name and symbolism, with each revealing an aspect of the Ashanti Kingdom’s rich history, culture and social practice passed down through generations. Kente was declared the national cloth of Ghana when the country attained independence from British Colonialism on 6 March 1957, becoming the first African country to do so.

It’s important to remember that kente’s purpose is not beauty alone; instead, it’s a symbol of African unity, oneness and togetherness. Kente represents a cultural imperative where the weaver derives meaning from philosophical concepts, moral values, oral literature, human behaviour, individual achievements, African proverbs, local animal life and the social code of conduct within the community. 

Aesthetically, the attractiveness of kente fabric is derived from its meaningful colour, with hues chosen for their visual and symbolic effects. A weaver’s colour choice is also influenced by their personal preference or their tradition. Gender, too, plays a great determining factor in colour selection. Traditionally, women preferred turquoise, mustard, purple and pink while men preferred navy, black, orange, red and forest green. 

Presently, there are over 50 types of kente patterns with the most expensive and elaborate of all designs in the Asanti culture being the Adwene Asa which translates to ‘my skills are exhausted’. This kente design is a pattern where the strips join together all the known designs. It was created exclusively for the Asantehene (paramount chief) who is regarded to be the king of the Asantis, and only one master craftsman is allowed to weave it. There are rare occasions when kente weavers make new designs for the sake of honour. For instance, in 1960 Dr Kwame Nkrumah, Ghana’s first president and his Egyptian wife, Madam Fathia had a fabric designed for them called Fathia Fata Nkrumah — meaning ‘Nkrumah merits Fathia’.

Today, Bonwire is the home of hundreds of kente weavers. While visiting I learned about the history and practice of weaving and watched artisans in action, as weavers operated traditional looms with their hands and feet.

The treadle beneath the feet of the weaver separates the vertical threads of the warp, while a shuttle passing from the left hand to the right hand in deft movement inserts the horizontal weft threads between them. Each of the parts of the loom, like the distinctive cloth motifs they create, has a symbolic significance and is accorded respect.

Concurrent with the movement of the kente loom is its percussive music, a familiar tune to weavers and locals of ‘kro-hin-kro… kro-hin-kro.’ This soothing, repetitive rhythm is made by reverberating shuttles as they intertwine the coloured yarns smoothly over one another to produce the dazzling eight-foot-long by four-inch-wide strips of cloth. Afterwards, the strips are sewn together to make the required fabric sizes.

A variety of kente fabrics can be obtained from many shops in Bonwire, with weaving as the main source of livelihood here. These weavers have created a community around their skill and are working to preserve their age-old tradition through advocacy campaigns and teaching about their craft. For lovers of the art of African fabrics, kente is sensationally stunning — but it’s also full of meticulous skill and cultural meaning. 

Mwende Mutuli Musau

Traveller

Mwende Mutuli Musau is a freelance writer from Kenya. She covers travel, culture, and food for an array of international publications. Mwende is an ardent African traveler who began exploring the world in her early childhood and it has become a part of her lifestyle. Mwende also has a passion for content creation; she actively creates travel content on Tiktok, Instagram, and Youtube. During her leisure time, she's a healthy girl who eats sustainably and is a fitness fanatic. Mwende enjoys spending time in nature, reading books, and yoga.

Time to Read:  5 Minutes
Traveller: Mwende Mutuli Musau
17 October 2023
Category:
Travellers' Tales - Customs and Traditions

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