Lemurs and Lamba: Textile Conservation
Training in Madagascar
By Julia Brennan
IN JANUARY 2005 THE
CONSERVATION WINDS BLEW
me to Madagascar, the fourth
largest island in the world: the
land of chameleons, baobabs,
vanilla, lemurs and lamba. My
impression of Madagascar was of
an exotic land, the African gateway
to Asia, abundant in spices,
rare biodiversity and the fabled
lemurs. My mission was to conserve
a unique collection of 19th
century traditional lamba or
wrappers at the Andafiavaratra
Museum which represent the
great artistic and technical
achievements of Malagasy
weavers.
When this important national
collection was recently uncovered,
it captured the attention of
local museums and international
scholars. Its conservation
became the
object of a unique
collaboration
between the
Ministry of Culture and Tourism and the US
Embassy. This project involved
the first comprehensive textile
conservation training ever conducted
in Madagascar and was
the first U.S. Ambassador’s Fund
for Cultural Preservation Grant
awarded in Madagascar.
Our conservation activities
were big news. Within days of
my arrival, articles on our workshop,
together with photographs
of the Minister of Culture and
the workshop participants were
featured in many of the daily
newspapers, heralding "Julia
Brennan est la!"
I was deeply honored to be
invited to take part in preserving
such a significant part of Madagascar’s
cultural heritage, and I was overwhelmed. I was greeted
on day one with piles of tattered,
soiled and mildewed un-accessioned
textiles heaped in a corner
of the rundown, dark exhibition
room with plaster crumbling
off the ceilings, and twelve anxious
trainees waiting for me to
perform miracles. We had to
heat water for detergent baths
on a charcoal brazier early every
morning, and track down and
purchase local materials daily
and adapt them for our needs.
Electricity was erratic, daily
storms caused leaking, translations
of textile terminology were
on-going, and the incremental
lessons had to be continually
reinforced, but the enormous
efforts invested in this project
yielded great rewards for the
participants and certainly for me.
In three weeks of intensive work
we transformed almost half of
the collection into a stunning
exhibit; the textiles were stabilized,
cleaned, beautifully mounted,
and displayed in the newly
plastered, painted and illuminated
exhibition room, with a grand
opening to mirror the pride and
hard work of the trainees. It really
was a miracle.
The legendary lamba
Until around 1920, nearly all
Malagasy women wove, and
their handiwork – cloths of silk,
cotton, raffia, banana fiber and
beaten bark – was the island’s
most developed art form. Most
of Madagascar’s finest historic
textiles are in museums abroad,
among them The British Museum,
The Field Museum, and Musee
de L’Homme. The Smithsonian
also has several fine lamba,
including two cloths presented
to President Grover Cleveland
by Queen Ranavalona in 1886.
Typical lamba are boldly
striped, dyed with both natural
and imported synthetic dyes,
and often adorned with metal or
glass beads along the fringed
ends. For the Malagasy people,
lamba served as daily dress, head
coverings, ceremonial attire, prestigious
gifts, and ancestor wrappings.
Beyond their aesthetic
value, lamba also had deep-rooted
social and religious significance,
and served as keys to status of
both the weaver and wearer.
This tradition exists today in a
limited way with the manufacture
of burial cloths available in
the markets. In the last few
years, Malagasy weavers have
begun experimenting with
imported and wild silk, and the
shawls, scarves, and home décor
items they are creating are
appearing in local boutiques. Our
hope is that the current national
exhibit of this historic collection
will help inspire a revival of this
beautiful art form and re-establish
the status and use of the
lamba in Madagascar.
The collection of seventy
lamba being conserved is the
only 19th century collection of
cloth remaining in Madagascar
since the National Museum,
Queen’s Palace, burned in 1995
along with many pre-1900 artifacts.
This group of textiles had
been housed in a former king’s
regional summer palace at Ilafy
and was recently transferred to
Madagasar from
the Palace of Andafiavaratra in
the capital for preservation. It
contains examples of all kinds of
traditional cloths, including the
very large-size traditional lamba,
loin cloths, ceremonial shawls
and funerary shrouds. Many of
the textiles are silk, the most
prestigious fiber in Madagascar.
A majority are woven from the
indigenous "wild" silkworm
(Borocera), which is unique to the
island. Several examples are of
very fine raffia, beaten bark,
reeds, hemp and banana stem.
Training Approach
My job was to train a group of
museum staff in the basics of
textile conservation using this
collection as our living laboratory;
to develop and put in place a
new storage facility, and to design
and install a major exhibit–all in
three weeks! Educating participants
in preventative conservation
was the core goal of the
project. This included establishing
guidelines for handling, cataloguing,
processing, storage, treatment,
and exhibition of historic
artifacts.
The scope of work was
extensive. My teaching methodology
integrated principles and
hands-on techniques, and was a
successful model for training a
range of participants. Thanks to
the dedication of the project’s
twelve participants who each
committed to a full-time, six-day a
week schedule, the final results
were impressive and their work
continues. Since the workshop,
staff and participants have installed the textile exhibition,
implemented the storage room,
and begun rotations and conservation
improvements in other
parts of the museum. These
achievements are a testament to
the project’s sustainability.
We started with basics: the
importance of documentation,
good housekeeping, and detailed
analysis. We then worked on
cleaning and stabilization treatments,
and the preparation of
display mounts. Conservation
and treatment focused on the
wet cleaning and stabilization of
about twenty textiles. We conducted
scientific analysis of the
dyes to determine color fastness
and to select appropriate cleaning
methods. We designed and
set up a flexible outdoor wetcleaning
facility using available
materials. We cleaned 15 textiles
in this manner, including a wild
silk uniform belonging to the
18th-Century Prime Minister in
whose palace we were working,
a bark textile, and a rare ikat-patterned
raffia lamba.
In the second part of the
curriculum we addressed stabilization
to secure areas of loss in
the individual textiles. Students
learned stabilization techniques,
not “restoration.” We supported
holes and tears with patches of
fabric that complemented the
original textile and secured other
areas with a translucent fabric
laid over damaged areas. Using
this approach, areas of wear and
damage are visible and recognizable,
but they no longer cause
damage to the textile.
of images illustrating the production
and use of textiles in southern
Ghana, as well as scenes of
various aspects of daily life to
use in the classroom. I also
hoped to collect textiles so that
my students can have the experience
of seeing and touching
actual cloth in addition to studying
two-dimensional images. I
feel fortunate that the tour
allowed me to achieve both of
these goals. Art history majors
are often trained to hold the art
object as something precious and
rare. Having the chance to handle
special pieces of cloth
reminds students that these textiles
are created to be seen,
touched and often displayed in
movement on the human body.
I learned a great deal from
daily contact with the talented
and insightful Ghanaian guides
who traveled with us, as well as
from many of the artists we
befriended along the way. I also
appreciate the opportunity to
travel with such a diverse group
of women. The participants
included art historians, museum
professionals, artists, and collectors,
and I think we each
approached the trip with different
ideas and goals. I was able
to establish professional and personal
relationships that I hope
will last a lifetime.
I wish to express my deep
appreciation to the Textile
Society of America and to Lisa
Aronson for making my participation
in the study tour possible.
I am certain that the scholarship
for young scholars will have a
tremendously positive impact on
the course of my career.
Understanding the distinction
between conservation and restoration
was particularly important
in working with a collection in
very poor condition; to my mind,
this was one of the project’s
most significant achievements.
Workshop participants learned
the ethics and parameters of conservation,
and to accept age and
imperfections as part of the history
of the artifact. Equally
important, working on an important
national textile collection
heightened and reinforced the
participants’ respect and pride for
Madagascar’s textile heritage.
I taught mehods of display
and mounting during the last
portion of the workshop. The
design of these mounts, including
Velcro and slat, roller and stretcher
supports were all new techniques
for the trainees. Finally, a
modern and appropriate textile
storage room was designed and
installed at the Andafiavaratra
Museum. This is the first storage
facility of this standard in
Madagascar, and a model for
other museums.
The workshop culminated in
a superb national textile exhibition.
This show has attracted
hundreds of visitors, including
many school groups coming to
learn about historic lamba for the
first time.
Conservation: The
Past as Prologue
This textile conservation project
was an important start. We made
good progress in conserving a
small collection of textiles and
raised participants’ skill and knowledge
levels. However, ongoing
sustainable training is vital in order
to advance an understanding of
the importance and viability of
preservation of cultural property.
Repeated training sessions
will help set new goals, empower
the staff, and offer creative ways
to achieve success within the
museum hierarchies. Training not
only builds specific skills, it also
builds confidence and strengthens
cultural pride. These benefits
reach far beyond the walls of a
single museum.
This kind of training focus
can add greatly to the value of
Madagascar’s museums and is
much needed. Our foreign counterparts
and other museum staff
are eager to learn and implement
better standards of practice; they
simply need training and professional
encouragement. Many
curators, anthropologists and textile
researchers travel and work
abroad; however the field of conservation
is not as well represented.
I urge my conservation colleagues
to volunteer their time to
work overseas on small distinct
projects, teaching fundamental
principles and practices of conservation,
and aiding in the oftenneglected
field of preservation.
A project such as this one
did not require large budgets for
infrastructure or materials. This
grant, including funds for materials,
exhibition room construction,
lighting, display materials, national
educational packets, storage
room upgrades and my travel
costs, was $27,000 It was a small
investment that yielded remarkable
returns. Textile professionals
who can teach conservation (and
appreciate the adventure of
working in less-than ideal conditions)
will find abundant opportunities
and funding to get in on
the ground floor. Their contributions
will have lasting impact.
Special thanks to Sarah Fee, the textile
specialist who first documented
this collection, initiated the funding,
wrote the exhibit script, and brought
me in. Thanks also to Paul
Cunningham, Public Diplomacy
Officer at the US Embassy in
Antananarivo, who spearheaded the
project and enthusiastically facilitated
every detail.
This conservation project was funded
by the US Department of State’s
Ambassador’s Fund for Cultural
Preservation and the Ministry of
Culture and Tourism of Madagascar.
– Julia Brennan
Textile Conservation Services
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