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Lamba Hoany: proverb cloths from Madagascar

African Arts, Summer, 2003 by Rebecca L. Green

The island republic of Madagascar, lying some 400 kilometers off the coast of east Africa, is touted as the only African country with a single language. Yet the peoples of each of its eighteen officially recognized Malagasy ethnic groups speak a distinct and often mutually incomprehensible dialect of the Malagasy language. Moreover, house types, hairstyles, and modes of dress are specific to each group. One item of clothing that is shared island-wide, however, is the "proverb cloth," or Lamba hoany.

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Cousins of the perhaps more familiar khanga from Kenya and the east coast of Africa, lamba hoany are rectangular factory, cloths (measuring approximately 50" x 65") manufactured in either Madagascar or India (Fig. 1).(1) They are generally made of cotton, rayon, or a cotton-rayon blend, and include an overall pattern of repeating designs, often with a central medallion, surrounded by a decorative border. The lamba hoany's most distinctive feature is its incorporation of a Malagasy proverb or other short saying just above the lower border.

The term lamba in its most general sense signifies cloth or clothing. It also denotes a particular rectangular shoulder wrap or scarf regarded as the national clothing, and for the peoples of the central highlands, it is particularly a powerful symbol of highland identity. Worn throughout a person's adult life, lamba, also called lamba fitafy (Fee 2002:78), are traditionally made of natural cotton, or better yet, of silk, and are preferably handwoven.(2)

There are numerous other subcategories of lamba, each designated by a particular name, shape, material, and use.(3) The lamba hearty, however, is arguably the most pervasive textile in Madagascar and the only one that is historically and consistently factory-made. The term hoany itself does not have a direct translation, although he any means "to" or "for" someone. It might therefore possibly be understood as referring to a cloth "for someone" or, perhaps, "for the people." Lightweight and inexpensive, the cloth is used and worn daily by virtually every adult in Madagascar's expansive rural landscape.

Although most often used as a work cloth that can be easily washed and quickly dried, the lamba hoany is not only beautiful but versatile. As clothing worn primarily by women, the cloth (or other lightweight cloths with similar decorative patterning) may be worn in several ways. If the temperature drops, it may be wrapped around one's shoulders as a shawl. If it becomes exceedingly cold, the cloth's upper edge may be slipped over the head so that the shawl becomes a hooded cape that one holds tightly below file chin (Fig. 2). Although lamba hearty are

The textiles illustrated in this article are from the author's collection

I entered graduate school at Indiana University in the fall of 1988, drawn by the possibility of studying with Patrick R. McNaughton and Roy Sieber. I had heard a great deal about the latter in particular, but was unprepared for my first encounter I did not expect so eminent a scholar to look like Santa Claus and to giggle so devilishly

I appreciated Roy's incredible expertise and amazing knowledge, as welt as his connections with what seemed to be anyone and everyone in the field. Some of the most enjoyable and challenging learning experiences he provided were the hands-on encounters, whether field trips to the IU Art Museum and the Indianapolis Museum of Art, to collectors' homes, or to a nearby motel room transformed into an African market by a traveling art trader His own home was always open, itself an amazing collection of objects and artworks. sometimes stacked precariously one on top of another, with his and Sophie's armchairs hidden somewhere in the midst of it all. Sophie Sieber was an integral part of who Roy was; she was his constant companion, colleague, and fell for his wicked humor.

Always the teacher, Roy continually brought the arts and peoples of Africa into focus and loved to test students any time an opportunity arose One could never predict when he might pop a quiz or a question: In a museum? Upon bumping into him in the hallway with a recent publication on African art in his hand? During a "brief" stop to his home or office? In the local gun shop that periodically stocked merchandise from African traders? He was a connoisseur of the highest caliber--he really knew his stuff!

Roy's playfulness and intellectual energy did not stop in the classroom, for he truly loved life, a good joke, a clever turn of phrase, a pun. In fact, the worse the pun, the better I myself shared this fondness, and although I was an aspiring academic trying to hold my own in the intellectual and scholarly circle that he inhabited, Roy always insisted on introducing me to colleagues by repeating a couple of his favorite puns I had told him. He took considerable glee in relating those that would elicit groans of agony. You knew you were in trouble when that mischievous twinkle appeared in Roy's eyes, you never quite knew what was coming a joke, a pop quiz, a witty and searing commentary just that something was, and you'd better be on your toes.

Lamba Hoany: proverb cloths from Madagascar

African Arts, Summer, 2003 by Rebecca L. Green

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