For centuries, Owambo women of North-Central Namibia have woven functional baskets with great talent and artistry. In a time of worldwide cultural exchange Namibians have found an opportunity to share their craft with the world. As the country addresses rapid modernization, changes in gender roles and the spread of HIV, the Oshikuku Basket Project was created to utilize traditional Namibian art to economically and socially empower Owambo women. Monthly meetings provide a space where together the women negotiate prices and encourage standards of excellence, resulting in a local project with a global reach.
Traditional Owambo basket weaving is, most often, a completely environmentally friendly craft. Women collect palm tree leaves, strip and moisten them; these form the basket’s structure. Some palm leaves have a slightly green tint; this depends on the age of the palm leaves.
Most dyes used come from a variety of natural sources, as will be explained, and are then pounded. “Pounding” is an incredibly arduous practice girls learn from an early age. It takes strength, endurance, and precision to literally pound seeds in a narrow concrete hole in the ground with a ~1.5m long wooden heavy pounding cane into a fine powder. Once a powder, they are added to boiling water and the palm leaves follow. The longer the palm leaves are “cooked,” the stronger the color. The traditional and most common brown dye is collected in strips from root bark of trees. Most red dyes are collected from muhangu stalk leaves. Muhangu (millet) is the traditional village crop and grows tall like maize, where millet seeds are then harvested and later pounded for the traditional porridge and other drinks. Some yellows, oranges, purples, and greens are found from traditional plants around members’ homes and communities. Most often women bring baskets with similar color designs, because these colors are most accessible to them.
A successful and independent producer group for two years, The Oshikuku Basket Project has a membership of 82 people and is consultant-free.
Many artisan groups and co-operatives can claim hundreds and hundreds of members; we focus on quality of relationships, baskets, and income while staying realistic. We were slow to increase membership until we saw an increase in our sales. Members are uninterested in outside craft consultants instructing them how to weave better baskets. When they need guidance, they look to others in the group. We have no basket commandments, no clear regulations; their achievements are all their own. All instruction and craft development has been in-house, leaving the women even more proud of what they have accomplished.
Leaders are passionate about the project staying independent, concerned about a reduction in sales if they join a larger co-operative or artisan group. However, the challenge is, for sustainability and management, can we strike a balance and maintain independence as such a small producer group?
