Calabash: Evolution of the Desert Gourd

History of Interior Design-Global Issues College of Architecture, Art, and Design American University of Sharjah

Calabash

Evolution of the Desert Gourd

by Hafsa Tameez

Overview

It is perhaps the most well-established belief in humanity that there is nothing in this world that stands alone, independent from all else around it.

When looked at through the eyes of a designer, this belief becomes all the more secure. This dependency on the surrounding environment can be interpreted as context, whether cultural, historical, geographical, or chronological. It represents the greatest expression of the human condition to discover the extent to which the significance and evolution of specific cultural artifacts draw meaning from other parts of the world. It can be said that this global interdependency can be attributed to the nineteenth century industrial revolution. Thanks to the advent of technological advancement and the beginnings of mass production, the world became a very accessible place even for far flung places like the land-locked desert country of Niger.

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Premise The pre-colonized 18th to the 19th century Niger was the domain of the various Nomadic tribes that tended to their cattle and never stayed in a single place for long. The harsh Sahara made crossing difficult so the Nomadic tribes kept largely to themselves, each developing its unique culture.

However, among these various groups, one feature acted as a unifying agent: the humble calabash.

While the treatment of the calabash had almost primitive beginnings, it did not prove to be immune to the effects of the Industrial Revolution brought in by the French colonization.

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What is the Calabash?

Species of Calabash

The calabash can be described as a gourd fruit that is often hollowed out and adapted for use as utensils. It is predominantly either of two species: Slightly smaller gourds picked from trees, or the gourds grown on ground-crawling vines such as squash or pumpkin. The term calabash and gourd are often erroneously used interchangeably. While gourd is the generic term used to describe the fruit in the Caribbean or Mediterranean area, the calabash refers specifically to the original fruit grown in Africa and introduced to the rest of the world around 3000BC.

The vine-grown gourds are more common in the West African area. The gourds are either spherical or bottle-shaped. Over time, the indigenous peoples learned to manipulate the shape by tying the gourd with strings. The hard outer surface is water-resistant, which makes the calabash sturdy enough to be used in household utilitarian items.

The inside is a porous cork-like texture, making it very lightweight.

Above Carved calabash bowls sold by roadside vendors are a common commodity in the Nigerien marketplace.

Below While some calabashes are round, the bottle-like shape can be exaggerated by tying the gourd before ripening

Below Before carving and processing, the calabash gourd is a simple round structure with an unevenly coloured surface

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History of the Calabash Among the first recorded use of the calabash in the Niger area was by the Nomadic tribes such as the Fulani, Touareg, and Hausa. The Nomads were mainly cattle herders, who followed the rains and were almost constantly on the move. Their versatile lifestyle required a versatile and lightweight cargo. The calabash served this purpose well since it was lightweight and flexible in its adaptability. The Nomads carved the calabashes into bowls and spoons, along with an assortment of other needed objects. The wide bowls were usually used to store water in for drinking and ablution before prayer. They were also used to make dolls for young girls, or used as hip water flasks by the herders in leaner seasons where the animal skins were unable to be harvested.

Below In their simplest, most utilitarian form, the calabash is split in half for use as spoons, ladles, and bowls

Above The Nomads often cut the top off the calabash and used the emptied shell to store water in the camps Right An example of a calabash hip flask for carrying water on the trail

Above The calabash dolls were often tied with straw and wrapped in a cloth Right Large bowls were used to hold water for ablution and washing, or to wash rice in prior to cooking

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Old Methods of Manufacture Before the introduction of tools and steel, the calabashes were often left to soak until the insides became soft enough to remove. These were then scraped out with a stick. The seeds were eaten when fresh, or used as decorative beads when they were dried. In places where streams were inaccessible, the top of the gourd was often cut out to allow gravel to be poured inside. This was then shaken until the insides were dislodged by the stones. After the insides were removed, the calabash was either used as a sphere with a hole in the top, or chiseled open to make bowls or other utensils. The Tuareg nomads often have minimal decoration. Some carving was done on the exterior, or it was blackened with soot.

The insides of the calabash become soft when submersed in water for a long time making it easy to scrape out with a pointy stick

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Sharp rocks poured into the calabash scratch the insides out when the calabash is shaken For decoration, soot from the camp fire is rubbed onto the surface to stain it black

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Cultural and Spiritual Significance

Since the calabash has been part of the Nigerien culture since roughly 3000BC, it is a national symbol laden with significance and meaning.

Since the calabash is a symbol of security and sustenance in the bush lifestyle, it has become associated with purity and tradition. It is the standing icon of a peaceful community guided by the wisdom of its elders. It is affiliated with stories told around the village fire and has become the subject of numerous poems and theatrical plays that explore the boundary between tradition and modernization. One such poem by a Nigerian writer is a good representation of the cultural ties associated with the object and the degradation of society when that significance is lost.

Spirit Possession

The purity associated with the calabash made it a key instrument in conducting a ritual simply called the Calabash Ceremony when a priestess could communicate with the ancestral spirits for guidance. During the ritual, the calabash is used as a drum. The beat signifies to the spirit when to possess and leave the body of the priestess.

The Family Calabash

by Frida Menkan Mbunda It holds waters.

Waters of unanimity and veracity, Waters of love and impartiality, Waters of acumen and exculpation, Gathered from the wells of time.

Our ancestors drank of its content And when they opened thier mouths, Bright lessons issued forth.

In friendship, harmony and uprightedness issued forth.

Astuteness moderation and affection were their watchwords.

But now we have on the directives of strangers unschooled in our ways, Untutored in our provers polluted the content of the family calabash When we drink of it, stupidity, Selfishness and injustice issues forth.

Immorality, corruption and exploitation are Our watchwords.

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Protection and Empowerment

Empowerment for Women

The motifs and decoration engraved into the calabash bowls are also laden with spiritual meaning.

Among the Fulani tribes, the carved motifs are believed to provide protection for the cattle and the herders on their travels in search of water.

In a cultural context, calabash decoration was initially a form of empowerment for the women of the tribes. Each artisan had a unique stroke and pattern that were used to tell stories and preserve history. Often, the women would sell their calabashes in the market place for money. However, as tools were introduced, it shifted to become a more male-dominated trade.

Special symbols and motifs were carved on utensils given to the herders when they set out on the trail. These motifs were believed to protect the herders and the cattle from harm

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Industrial Revolution in Europe During the nineteenth century, while interior Niger continued much the same way it had for thousands of years, Europe was undergoing a radical change.

With the industrial revolution, following the Great Exhibition of 1851, Europe discovered radical new ways to transform everyday living. With the introduction of technological advancements, the common society was suddenly granted access to mass produced merchandise made readily available through production lines and developing transportation systems.

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As production grew and the revolution spread from England to the rest of Europe, it brought with it a need for raw materials.

With the invention of better transportation methods, the last stone was put into place. Europe was now ripe to embark on a mission of conquest.

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Scramble for Africa- Effects on Niger

New Methods of Fabrication

One of the nations that set out in search of new land and resources was France. In the late 19th century, their ships landed on the shores of Africa.

By the early 20th century, Niger was a French colony. With that title, came the technology of the Industrial Revolution. Although it took several decades for the technology to spread throughout the remote regions of Niger, it forever transformed the way Nigeriens dealt with everyday life and the way they produced goods. Among the many objects that experienced a radical change was the humble calabash.

The French colonizers brought the technology of steel tools and electric machinery. These new tools offered new opportunities to explore the manufacture of calabash products. Where carving was first impossible due to the delicate nature of the calabash shell and the clumsy iron or bronze tools, the introduction of thin steel blades, artisans were able to scrape away the topmost layer to expose the cork-like textured second layer in their designs.

In modern workshops, a retractable utility knife is a common commodity.

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The Nomad’s tools were designed for utilitarian purposes making it hard to achieve decorative effects. Carving or peeling the top shell was especially difficult since the clumsy tools broke the surface.

Below Artisan Raphael using a modern utility knife to peel off the top shell

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New Tools Electric wire saws allowed artisans to take advantage of the entirety of the calabash structure without having to throw the tops away. It also provided the opportunity to created lidded containers and curving lines that were difficult before.

Above, Right, Far Right, Below Right An array of handheld and electric tools commonly found in a modern calabash artisan’s workshop Below The new tools allowed the artists to experiment with new forms that were not possible before

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New Method Electric drills also allowed perforating the shell to allow various amounts of light to go through the structure and to attach decorative items such as shells to an otherwise smooth surface.

Top A musical instrument created by drilling holes and attaching throngs of beads Left and Below Close up of the drilled hole patterns on the inside of a lamp

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To start, the artisan Bachir scrapes off the outermost layer with a thin steel knife or razor. A hooked tool is then used to scrape the insides out. The seeds are then recycled as either food or beads. The scraped insides are then sandpapered to make them smooth

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Pyro- Engraving Pressure engraving and pyro-engraving also underwent significant transformation. Previously, a pointy metal rod shaped like a quill was used for both methods. The point is used to create incisions in the surface that were then filled with soot or clay. The same rod was also heated to burn the incision lines in black. However, electric instruments that could heat up on demand and carve precise lines became available to artisans.

The surface is then polished and treated before the pattern is drawn on with a pencil The design is then engraved or carved Once the design is done, assembly of the various parts is done with white carpenter’s glue

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Above The metal rod is often encased in a wooden handle to allow easy grip. The pointy part is then used to burn the pattern into the calabash Below Traditionally the engraving is done by women. While one tool is being heated in an open flame, she uses the other to engrave the pattern

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Colour

Modern artists like Raphael derive ways to create electric tools that heat up without the need of a fire, thereby saving time from having to wait for the metal to heat up

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Bachir uses standard manufactured paints to directly paint the designs onto the treated calabash surface

Application of colour radically changed as well. The traditional method involved rubbing wet clay on the calabash to get the red patina of the clay on the calabash. As the industrial revolution allowed the production of dyes and pigments, Nigerien artisans adopted the techniques to initially create pigments of their own. They later found it easier to use the manufactured paints themselves without having to include the labour of creating the hues themselves. Artisans also grew acquainted with the use of wood stains, polishes, and lacquers to achieve more wood-like effects on the outer surface of the calabash.

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Left View of the canisters of paint in Bachir’s workshop Below Example of a painted lamp shade with gradated painted pattern

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Artisans Bachir and Raphael invent creative methods of applying colour to their designs. Bachir uses shoe polish to create a matte finish to protect the colour. Raphael uses conventional markers and then applies a coat of lacquer to protect the colour.

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New Applications

Recently, the use of wood stains is coming into practice to create a more wood-like aesthetic

Above Carved and pyro-engraved decorative calabash spoon Below Pyro-engraved ceremonial bowl

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As the manufacture process slowly changed, it became apparent that the calabash had the potential to be used for so much more than merely a bowl. Since more precise instruments no longer necessitated the need to cut out parts and throw them away, the gourd was adopted for a variety of treatments directly resulting from the advances of the Industrial Revolution.

While the calabash is still used as bowls, it is now available in either purely utilitarian or purely decorative variations. It is common to go through the streets of the capital city and find ladies mixing farimasa batter in calabashes. The simple round shape of the original calabash gourd has also been interpreted in various materials such as plastic and metal. In some communities the practicality of plastic bowls is often preferred to the traditional calabash when it comes to daily use. However, the ownership of decorated calabash bowls is now associated with heritage pride and prestige. The original unadorned calabash spoons and ladles are also reinterpreted into more decorative forms in very much the same elaborately decorative quality associated with the post- Industrial revolution Victorian era.

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The modern use of calabash is a combination of decorative objects and purely utilitarian ones. The spoons on the left are simply ceremonial while the bowls below are more functional

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Right The wide bowls are often used by vendors to sell their wares in Below Often, original Tuaregs or their descendents sell the plain bowls in much the same manner as the first nomads

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Wall Hangings Decorative wall hangings and cut-outs were also a new development. Often engraved with traditional scenes of huts and camels in the desert, one also occasionally finds remnants of the traditional geometric African patterns and animal representations.

While tribal homes were often painted, these platelike hangings were most likely a translation of the picture frames introduced through colonization.

The bowls are largely being replaced by easily available, now cheaper plastic versions, but the original is still preferred by roadside stall vendors due to its connection to Niger’s heritage past

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Above Raphael displays two circular wall hangings that he has just finished carving Below He studies two potential bowls for shape and surface to see if it is ready for the image to be applied

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Musical Instruments

Sculptures

Another retranslation of the application of the calabash is a wide assortment of musical instruments. An inverted calabash bowl has long been used as a percussion drum instrument. The shape also became widespread as tambourines and rattles. Where the method initially involved filling a hollowed out gourd with tiny rocks that was then shaken as a maracas, the use of drills now allows manufacturers to weave shells and other objects to the exterior surface. Some such variations include a rattle-like maracas, or a form of tambourine with beads hung on the rim by leather cords. The calabash is then thrown up and twirled in midair to produce the desired sound.

Local artisans often invent unique methods of trying to utilize the shape of the calabash. One such artist named Raphael is known for his creative and deviant ideas. One of these ideas involves placing engraved cutouts within a calabash structure to create a three-dimensional diorama depicting scenes of the desert and herders. He explains that his products would not be possible without the array of electric tools he uses in his trade. Less common are animal sculptures created by attaching various sized calabashes to depict the various animal parts.

Above The Tuaregs would use an inverted calabash in a bucket of water. This was then beaten like a drum with a slipper

An innovative design unique to Raphael, he cuts out animal shapes like the one above which he then installs in his dioramas to create three dimensional scenes

Above The painted maracas filled with sand is a popular traditional musical instrument Above Right This instrument uses the calabash as an enclosed reverberation chamber for the metal spokes Right The maracas is also interpreted as a tambourine rattle by drilling beads and shells that knock against the surface

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Architectural Applications The use of the calabash as a form of architectural detail is a relatively unexplored possibility. While inverted calabash bowls have long been placed on entrance posts to houses as references to ancestral lineage, contemporary interpretations are infrequent. While most application is restrained to main entrances and gateways, it is possible that future advancements may introduce architectural calabash dĂŠcor to interiors as well. There seems to be some realisation of the potential to use calabash in interiors since there are exampls of it being used to conceal electric sockets or on light switches.

Left In this case, the calabash acts as a hidden support that the rope is tied onto to create the turtle shape Below While this style of using multiple calabashes to create larger sculptures is rather rare, it remains an innovative way of interpreting calabash sculptures

Architectural applications of calabashes is still timid, but one can identify hints of potential such as in the socket covers and light switches

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Electric Lamps

Exterior applications are also rare, but more frequent than interior applications. Tribal villages used calabashes at entrances to evoke the ancestors.

While that is no longer the case today, calabashes are still cladded onto gates to create a traditional rustic aesthetic

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Bachir demonstrates the assembly of his calabash lamps. He uses a combination of glue and screws to make the structure stable yet easy to take apart

One of the most innovative uses of the calabash that can be traced to the invention of electricity in the post-industrial revolution is a table lamp.

Bachir, a calabash artisan specializing in making calabash lamps explained how electric calabash lamps was a new market in the big cities, since electricity is not yet a commodity in the outlying villages. This use of the calabash as a lighting device is revolutionary since the flammability of the material makes it ill-suited for use around candle flames. In order to accommodate the necessary electrical parts, Bachir has to screw in the various sockets. He explains how the drill is useful in making perforations for light to seep through. Since the interior of the calabash lamp shade gives off a dim reflective glow, the perforations add brightness to the painted design.

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The lamps have taken on various interpretations that seek different ways of utilizing the form of the calabash.

Some like the desk lamp (Left) use the half bowl shape, while others like the round table lamp (Below) use the whole calabash

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The lamps are available in several finishes, commonly paint to wood stains

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Importing the Industrial Revolution Mentality

Bachir takes great pride in his trade.

Given the freedom to explore, he produces everything from stand-alone lamps to wall and ceiling light fixtures such as the ones visible on the wall beside him

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The calabash market aligned itself to satisfy the different cultural perspective of the new European audience. The Christmas ornament below is a modern interpretation for a foreign market since Niger is predominantly Muslim

The effects of the industrial revolution are most clearly observed when studied in the context of the aesthetic direction of the Victorian Era. Due to the sudden abundance of ideas combined with the newly-found ability to reproduce those ideas, the overall quality and significance of produced goods saw a significant decline. What mattered was whether the product appealed to the market.

This mentality also found its way to the Nigerien calabash market along with the technology and the new methods of production.

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The Oriental Influence Almost simultaneous to the time frame of the colonization of Niger, Europe was smitten by the lure of Orientalist mindset. Captivated and delighted by stereotypical images of Black Africa and the raw aesthetic it offered, the Nigerien art market aligned itself to meet the demands and curiosity of the white man. As a result, the decorative treatment of the calabash lost its significance. While the variety of available objects increased, the age-old motifs lost their significance as the artisans tried to focus on imagery that the European conquerors would be more interested in. While the French conquerors did not care for the complicated line patterns that told of native legends and ancestors, they did like the quaint images of camels, huts, and dunes. When girls were married, they were given a decorated calabash bowl at the wedding that told the story of their lineage and marital union. As the style changed, the tradition died out since artists were more interested in trying to sell their wares to a foreign audience. Slowly, the art lost its appeal to the indigenous peoples and became primarily a tourist market. Now, calabash artisans and studios are few and huddled close to tourist hubs in the main cities and the engravings are mostly graphic representations of iconic animals and traditional mud huts.

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The traditional motifs were more geometrical and linear. Each line had significance behind it depending on the community of artists, such as spiritual meaning or ancestral lineage. Historically, each artist had a particular recognizable style that she specialized in.

Today, the secret behind the meaning of such designs is largely lost

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Conclusion and Summary

The more image-oriented ornamentation is a recent development since foreigners were not keenly interested in tribal ancestry. The bright donkey with a bib design or the tropical fish sell better in such a diminished market

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While the practice of calabash engraving continues in a style reminiscent of the original form in interior regions of Niger where contact with the Western world is more limited, it is undeniable that the treatment of the calabash is not and will never be the same as what it used to be before colonization. While that change may be related to new tools or new methods the image of the calabash gourd has come a long way from the utilitarian bowls of the Nomads. While the practice of decorative calabash artistry is now centered around new patrons, new methods, and new innovative ideas in the use of mediums, it would seem that each artisan who picks up his electric tools still takes inspiration from what the calabash stood for in the past. While the contemporary intent of calabash decoration and engraving focuses on creating aesthetically pleasing artwork, the engraving of the lone Nomad with his camels in the desert or the village scene around a common field are the two most recurrent depictions. Perhaps this is an indication of an awareness of what this sturdy bowl once stood for, and possibly still stands for at some subconscious level of modern Nigerien society. Geographically, Niger is advantageously situated in a location where progress comes only in slow stages. Thereby, today Niger stands at a place where progress and tradition stand in an uneasy balance, each eyeing the other. In a manner typical of the paradoxically progressive yet degenerative influence of the unstoppable reach of the industrial revolution, over time, this desert gourd has come to mean so much more and so much less than the bowl strapped to the back of a wandering desert Nomad.

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Acknowledgements

The credit for the effective portrayal of this information is due to the collaborative efforts of several people. My parents, Mr. and Mrs. Tameez, and my brother Osama Tameez took time to visit the artisans on my behalf and send me photographs. Mrs. Mikki Schmidt, Mr. and Mrs. Banke, Sue Rosenfeld, and Bio Gado also contributed by adding their wealth of knowledge and supplementary photographs. The artisans Bachir Abdullah and Raphael are graciously thanked for their time and patience.

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