The dashiki is a colorful garment that covers the top half of the body and is worn mostly in West Africa. Originated in West Africa, this loose-fitting pullover garment covers the top part of the body and is easily recognizable by its vibrant colors, ornaments, and embroidery. It has formal and informal versions and varies from simple draped clothing to fully tailored suits. A common form is a loose-fitting pullover garment, with an ornate V-shaped collar, and tailored and embroidered neck and sleeve lines. It is frequently worn with a brimless kufi cap (which is worn in Islamic communities in Africa and the African diaspora) and pants.
The word “dashiki" comes from the Yoruba word danshiki, used to refer to the loose-fitting pullover which originated in West Africa as a functional work tunic for men, comfortable enough to wear in the heat. The Yoruba loaned the word dànṣíkí from the Hausa term dan ciki, which means "underneath." The dan ciki garment was commonly worn by males under large robes.
The shirt became an emblem of African heritage in America but was it an emblem of African heritage within Africa at the time? I have not seen this question addressed in the scant texts which cover the history of Angelina but I believe it is of at least equal, if not greater, significance to the question of the garment’s authenticity as its geographic trajectory.
Each West African tribe has their own unique textile customs and there were no paradigms for ‘national textiles’ let alone ‘a textile of the continent’. People express pride in their heritage by wearing hand woven textiles affiliated exclusively with the tribe each individual belongs to, as exemplified by political dignitaries of the past and present, regardless of whether or not it reflects the national cultural majority.
Given that connections between cloth and identity derive from tribe, I find it doubtful that West African people considered dashiki print (which belonged to no tribe at all) to be symbolic of their identity. It is far more likely that the local perception of dashiki was simply that it was pretty, and thanks to being a European import, exotic.
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The African America dashiki might be a rare episode in fashion history where an erroneous perception of African authenticity galvanized a motif into such enduring popularity that it eventually became authenticated as bona fide African culture.
The origin of the shirt was likely an early influence of Arabian traders who brought Islamic religion and culture to Africa. The dashiki shirt is distinct from what is colloquially known as the dashiki textile print.
West African participation in the international import and export textile trade began in the 11th century however it was in the 1800’s that a series of events coincided to create what would become the phenomenon of African wax print:
- The British and Dutch colonized Indonesia.
- European factories developed the capability to mechanically reproduce traditional hand-printed Indonesian batik textiles with the goal of selling them in Indonesia
- The Indonesian market rejected the textile
- An economic upturn in west Africa prompted a surge in demand for printed textiles
- The idiosyncratic irregularities of wax print ‘bubbles’ and ‘crackle’ captivated the West African market.
By the early 1900’s British and Dutch textile manufacturers had started adapting Indonesian designs to align with African aesthetic principles, though the legacy of Indonesian themes is still present in wax print today. Further technological developments during the 20th century also led to the introduction of java and fancy print which were wax print variations of lesser quality and price.
Paradoxically, the very textiles once deemed by Indonesians to be inferior imitations of genuine wax batik are now considered “guaranteed real” wax in Africa - premium quality products compared to java and fancy print.
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The dashiki textile, originally named Angelina, was a java print designed in 1963 by Toon van de Manakker - an employee of the Dutch textile manufacturer Vlisco which caters to Central and West African markets. Van de Manakker drew inspiration from 19th century Ethiopian tunics when designing Angelina which was one of numerous styles the company produced each year to meet a constantly fluctuating demand for novelty.
Given that Angelina is java print rather than ‘genuine wax print’, it is also in essence a cheap imitation of itself. The popularity of dashiki print also ebbed and flowed in Africa.
The informal version consists of traditional printed or embroidered dashiki, while there are three formal versions. First type includes dashiki, Sokoto (drawstring trousers), and kufi and is called dashiki suit worn by grooms for wedding ceremonies. The second version is called a robe or Senegalese kaftan and consists of an ankle-length shirt, matching kufi, and Sokoto. The third style is worn by Tribal chiefs, Nigerians, or Muslims.
The roots of the garment are not lost on anyone-it is an unmistakably African item. Its symbolic significance, however, was molded thousands of miles outside of the continent's borders. It was those of African descent, whose ancestors were hauled to North America in chains, who carried this torch.
The dashiki appeared on the American fashion scene during the 1960s when embraced by the black pride and white counterculture movements. In the 1960s, the dashiki appeared in the American ethnic fashion inventory, along with other Afrocentric clothing styles, possibly from the example of African students and African diplomats at the United Nations in New York. The American term dashiki was coined from the Yoruba dàńṣíkí meaning ‘work shirt’, which was itself coopted from the Hausa dan chiki meaning an ‘inner garment’ intended to be worn beneath a much grander robe.
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New Breed opened their first storefront in Harlem and a factory in Clinton Hill soon followed by boutiques in several American cities and partnerships with department stores such as Sears and Bloomindales distributing dashikis across the country. The founders’ mission was to be “to uplift the black man by working toward economic independence and developing pride in his heritage”. The dashiki rapidly extended its reach beyond initial associations with black heritage to become a leitmotif of mainstream bohemian style. The explosive demand encouraged Southeast Asian manufacturers to mass-produce replicas, undercutting Vlisco’s inflated price. American dashiki shirts were fabricated from imported Southeast Asian imitations of an original Dutch design made for export to West Africa. The Dutch original was both a simulation of Ethiopian embroidered shirt designs made from imported British and Chinese materials and a failed attempt at reproducing Indonesian batik designs.
The Civil Rights and Black Panther Movements of the 1960s and early 70s gave the dashiki its political potency. African Americans adopted the article as a means of rejecting Western cultural norms. Its meaning developed in the same vein as the “Africa as Promised Land" rhetoric that fueled movements like Pan-Africanism and Rastafarianism. Many of these outward concepts of African identity adopted by Black Americans were once again reinforced by people on the actual continent. This transference of ideas is much less odd than it seems-perhaps such philosophies could have only been nurtured within the context of the Black American and Caribbean experience. Like the Black Americans who championed it in the mid 20th century, the dashiki is no less African because the bulk of its identity was shaped in a different land.
The dashiki found a market in America during the Civil Rights and Black Power movements. The United States was introduced with the term “dashiki” circa 1968, developed by Jason Benning, Milton Clarke, Howard Davis, and William Smith, following up the Civil Rights and Black Panther movement of the 1960s, and was worn with pride and as a racial and cultural heritage, at the same time rejecting Western cultural norms. It became the emblem of Black pride, and metaphorical significance in black activist rhetoric - “Black is beautiful”, while commonly combined with the Afro hairstyle, headgear, and African beads.
The dashiki found a market in America during the Black cultural and political struggles in the 1960s. The dashiki rebelled against men's fashions of that time: brightly colored instead of drab, loose instead of tight, worn outside the pants instead of tucked in. It could be worn defiantly on occasions that normally would call for a coat and tie. The dashiki was worn as a way to protest society' s disrespect for African Americans. The militancy of the 1960s may have faded, but the dashiki has not. It still serves as a symbol of Africanness within American culture, especially during Kwanzaa and Black History Month. It is also sometimes worn as a high fashion look or just a colorful, comfortable shirt for all occasions.
The dashiki was featured in the movies Uptight (1968), Putney Swope (1969), and the weekly television series Soul Train (1971). The Sanford and Son episode "Lamont Goes African" features Sanford's son Lamont wearing a dashiki as part of his attempt to return to his African roots. Jim Brown, Wilt Chamberlain, Sammy Davis Jr., and Bill Russell were among the well-known African-American athletes and entertainers who wore the dashiki on talk shows.
Hippies also adopted dashikis into their wardrobe as a means to express counterculture values. The dashiki's political vigor weakened towards the end of the 60s when it became popular among white counterculture groups, whose adoption of the garment-based primarily on its aesthetic appeal-undermined its status as a sign of Black identity. Retailers began to import dashikis made in India, Bangladesh and Thailand in large numbers. During this period, notable Black intellectuals began to warn their communities against the trivialization of dashikis and other symbols of Black beauty.
The dashiki, whether worn in Lagos or Washington D.C. Through it all, the dashiki maintains its underlying cultural significance-even with its recent reappearance on the fashion landscape, which some might consider a fad-the dashiki still relays a commanding message. The dashiki has become a ready-to-wear conveyor of blackness, linking the continent and the diaspora by a shared assertion of the value of an original Black creation. Its inherent symbolism comes from a struggle against white supremacy and an embracing of African culture as its antitheses-yes, this is a lot of weight to put on a clothing item, but symbols are truly that powerful.
Today, dashiki is featured in popular culture all over the world, although seldom seen as streetwear, it is worn in many different occasions, for modern Kwanzaa celebrations, and particularly during Black History Month as a way to respect the West African heritage and mark the unity of African American descent and pride. Vintage retailers rank it high as a “must have”, as well as other fashion companies, in combination with dark glasses and a variety of necklaces. Its popularity continues to rise with movies including them into their costume ideas, book mentions and celebrities wearing it all across the globe, even for press conferences and similar events.
As mentioned before, dashiki took over the popular culture and there are different ways you can wear this African inspired fashion, no matter the gender or age. Starting with toddler sizes, this flamboyant garment will be the most comfortable and colorful part of your wardrobe. Through all the struggles, its cultural significance stays untouched, even with changes of meaning made on a larger scale in the fashion industry.
For some people, wearing an African dashiki is a tradition in Black History Month. This probably is the reason why dashiki sales soar so high during February. Dashikis are directly associated with Africa, and instantly recognizable as an African look. In Nigeria and many other African countries, dashikis are worn for comfort in the hot climate.
The versatility of dashiki can be seen in its diversity of designs, colors, and variety of shapes, going from pullover shirts or caftan with different sleeve sizes, shorter or longer. The versatility can be seen also in its patterns, although commonly known as “Angelina”, where each color included has its meaning - gold as a symbol of fertility and wealth, green for life and prosperity, etc.
The informal version of the dashiki is a traditional print or embroidered dashiki. Three formal versions exist. The first type consists of a dashiki, sokoto (drawstring pants), and a matching kufi. This style is called a dashiki suit or dashiki trouser set and it is the attire worn by most grooms during wedding ceremonies. The second version consists of an ankle-length shirt, matching kufi, and sokoto and is called a Senegalese kaftan. The third type consists of a dashiki and matching trousers. A flowing gown is worn over these.
There are several different styles of dashiki suits available from clothing stores. The type of shirt included in the set determines the name. The traditional dashiki suit includes a thigh-length shirt. The short sleeve, traditional style is preferred by purists. A long dashiki suit includes a shirt that is knee-length or longer. However, if the shirt reaches the ankles, it is a Senegalese kaftan. Finally, the lace dashiki suit includes a shirt made of lace.
Grey is the traditional color for some West African weddings. Some grooms wear white dashiki suits during wedding ceremonies. Some couples wear non-traditional colors.
The term dashiki began appearing in print at least as early as 1967. Reporting on the 1967 Newark riots in the Amsterdam News on July 22, 1967, George Barner refers to a new African garment called a "danshiki". An article by Faith Berry in The New York Times Magazine includes it on July 7, 1968. Dashiki formally appeared in the Webster's New World Dictionary, 1st College Edition of 1970/72. It cites J. Benning with the first written usage of the word in 1967.
Former District of Columbia mayor and council member Marion Barry was known for wearing a dashiki leading up to elections. Fred Hampton of the Black Panther Party made note of black business owners wearing dashikis in his 1969 speech "Power Anywhere Where There's People": "[A]nybody who comes into the community to make profit off the people by exploiting them can be defined as a capitalist. And we don't care how many programs they have, how long a dashiki they have.
In February 2023, freshman lawmaker Justin J. Pearson was inaugurated to the Tennessee House of Representatives while wearing a dashiki, prompting an immediate backlash from conservative lawmakers.
