Among the many traditions present in Ghana, one of the most iconic is kente. But what is kente cloth? Keep reading and delve into the rich history of the vibrant Ghana kente styles, its origins, symbolism, weaving techniques and most of all, its relevance in the Ghanaian cultural identity.
What is Kente cloth?
Kente is a traditional Ghanaian woven cloth made of silk and cotton, known for its vibrant colors and symbolic patterns. It represents a staple in the cultural identity of Ghana and its heritage, often worn during significant ceremonies like weddings, festivals, and state events.
Did you know that the Ashanti region is not the only region to produce Kente? There are also distinctive Ghana Kente styles woven in the Volta Region by the Ewe people, and the rich woven textiles from Northern Ghana by ethnic groups like the Dagomba, Mamprusi, and Frafra.
These regional Ghana kente styles differ in technique, symbolism, function, and local names—each telling a unique story of the people who create and wear them.
Origins and Cultural Roots of Kente Fabric
Ewe Kente (Kete) – Volta Region
The Ewe people of Ghana’s Volta Region have their own version of Kente, locally called Kete. The town of Agotime-Kpetoe is considered a key center of Ewe weaving, and the people here believe they introduced the earliest forms of Kente to Ghana. This claim is celebrated annually through the Agbamevo Festival, meaning “cloth from the loom.”
Unlike Ashanti Kente, which was historically reserved for royalty and special occasions, Ewe Kente was traditionally accessible to anyone, though certain patterns were still worn only by elders or people of status. It evolved as a deeply personal, story-telling cloth—woven with imagery and motifs that communicate messages, proverbs, and individual or communal experiences.
If you’re travelling through the Volta region, be sure to not miss these road trips across this beautiful Ghanaian region.
Woven Cloth from Northern Ghana
In the Northern region of Ghana, weaving is widespread across many ethnic groups, particularly the Dagomba, Mamprusi, Frafra, and Gonja people. Though not usually called “Kente” in the traditional sense, these woven cloths serve similar purposes in terms of cultural identity, status, and aesthetics.
The most recognized form is “Fugu”: a fabric used to create the popular smock worn by men across Northern Ghana, and an essential gift from Ghana you should definitely check out!
Fugu is a staple of northern dress and carries significant cultural meaning, especially when worn during festivals, funerals, and religious ceremonies. The cloth is also used to create Batakari, a heavily embroidered and decorated smock that historically doubled as protective wear in war.
Kente Weaving Techniques and Design Philosophies
Ewe Kente Techniques
Ewe Kente is woven on a narrow double-heddle loom, similar to that used by Ashanti weavers. However, what distinguishes Ewe Kente is the incorporation of figurative patterns—animals, human shapes, stools, and other meaningful symbols—which are rarely found in Ashanti Kente. This gives Ewe Kente a unique ability to visually narrate stories.
A distinct technique in Ewe weaving is the interlocking supplementary weft design, where additional threads are inserted to create these images or symbols across the cloth. The Ewe also frequently name their patterns, turning the cloth into a visual proverb or a poetic statement.
Some traditional Ewe Kente pattern names include:
- Tritriku – “Nothing lasts forever”
- Agbemevor – “Life cloth”
- Tsapim – “Jealousy”
- Gabusu – “Unity brings strength”
- Zevideka – “Let’s unite and move forward”
Each of these names reflects deeper messages—political, philosophical, or personal—woven directly into the fabric.
Northern Ghanaian Weaving
Northern weaving also uses narrow-strip looms, but the weaving process and aesthetic principles differ. The strips, typically wider than Ewe Kente strips, are sewn together to form larger cloths used to make the Fugu. This cloth is generally thicker and sturdier, suited to the cooler temperatures of the north and often practical for daily wear.
The designs are typically geometric—lines, blocks, checkered patterns—and feature earth tones like indigo, ochre, black, and white. These colors are achieved through natural dyes, a tradition passed down for generations.
Common northern textile types and their local names include:
- Fugu (Dagbani) – General term for the woven smock cloth.
- Batakari (Akan, but used widely in the north) – The smock garment made from Fugu, often with talismanic additions.
- Bana (in some Mamprusi areas) – A smaller form of the Fugu worn during farming or casual use.
- Dan Kpalogo – A more decorative or celebratory cloth style, used in festivals or traditional dance ceremonies.
Kente Cloth Symbolism and Function
Ewe Kente is deeply symbolic. Every color, every motif, every name is chosen with purpose. For example:
- Blue symbolizes harmony and peace
- Red may stand for struggle or bloodshed
- Green reflects prosperity and agriculture
- White symbolizes purity and victory
Northern textiles, while sometimes more utilitarian, are no less meaningful. The Fugu is seen as a symbol of pride, masculinity, and respect. Wearing it during special ceremonies or by political and traditional leaders elevates the wearer’s status. The Batakari smocks are often believed to offer spiritual protection, especially when sewn with amulets or verses tucked into hidden pouches.
Modern Use and Cultural Preservation of Kente fabric
Today, both Ewe Kente and Northern woven cloth have gained national and even international recognition. The fashion industry in Ghana has incorporated it into everyday life, weddings, political events, and diasporan celebrations of heritage.
However, both styles face threats from mass-produced imitations and declining interest among youth. Ewe weavers have raised concerns about the loss of traditional patterns such as Tsatsatsa or Agutemakpa, while northern weavers struggle with access to markets and modernization of looms.
Efforts are being made through festivals (like Agbamevo), cultural heritage programs, and training initiatives to revive these traditional arts.
