"DEVELOPING  AN UNDERSTANDING OF SCIENCE FROM THE SIERRA LEONEAN
TRADITIONAL GARA DYEING PROCESS".  

By Dr. Sonia Spencer
Dept. of Education, Fourah Bay College
University of Sierra Leone, 
P.M.B. Freetown, Sierra Leone

Abstract 

This paper gives a brief historical account of 'gara' dyeing in Sierra Leone.  It goes on to
explain the traditional method of gara dyeing. The Author in her work is asking and
answering the question "How can the science in women's traditional activities inform the
science that is taught in schools?"  Although this presentation has focussed mainly on the
processing of the indigo dye, the module developed by the Author looked at the traditional
dyeing process using both natural and synthetic dyes.  So far, six lessons have been
developed based on the gara dyeing process.  After highlighting the various activities which
can be done in school based on gara dyeing, the problem (among others) of engendering
enthusiasm and confidence among science educators for this approach to science teaching
are given.

Keywords:  Indigenous Technology, Traditional "GARA' dyeing. Sierra Leone, understanding
School Science, women's activity.

Sierra Leone is a small developing Country on the West Coast of Africa.  It has a population
of about four million people. Sierra Leone is not a highly industrialized country but can
boast of a large variety of indigenous/traditional technologies which are sometimes referred
to as "Cottage Industries". Some of these cottage industries produce among other things,
"gara cloth".  This paper will focus on "gara" dyeing and how it can be used to help children,
aged 10-14 years understand the concept of light, colours and dyes.

"Gara" is the Madingo word for the indigo dye which is the most important traditional dye
found in Sierra Leone cloths.  The source of this dye is the 'gara leaf' as it is commonly called,
it's scientific name being 'Lonchocarpus cyanescens' as opposed to the Asian plants of the
genus Indigofera, some of which also occur in the West African sub-region  (Lamb & Lamb,
1984).  Gara dyeing is believed to have been introduced in Sierra Leone about the middle of
the nineteenth century by Susu and Madingo traders from the neighbouring Republic of
Guinea who settled in Kabala in the northern province of Sierra Leone.  The Madingos
encouraged the Temne (the predominant ethnic group in the northern province) women to
engage in gara dyeing. It is they who have developed it to what it is today and have spread
it to other parts of the country. Presently, according to Nelson-Williams (1994), there are
about 3,000 Sierra Leoneans of different ethnic groups engaged in the 'gara' trade.  A survey
by Cole and Hamilton, (1970) revealed that 'gara' 

dyeing is a female-dominated indigenous activity which is widely practised in the northern
province.

The 'gara' plant, Lonchocarpus cyanescens is a leguminous climbing plant which grows to a
height of about 10-15 feet.  The plant thrives well in the Kamakwei and Kabala areas (in the
northern province) where the climatic conditions are favourable.  The leaves of this plant
contain the indigo dye which give colours ranging from light to dark blue.

The 'gara' industry in the past had ready patrons in the chiefs and warriors in the northern
and southern provinces.  Traditionally woven cloth known as 'country cloth' dyed with the
indigo dye, were used by chiefs for ceremonial dress, bedspreads, coverlets, wall hangings,
burial cloths, bridal dowry, court fines and gifts to important expatriate visitors.

Currently, the word 'gara' embraces the dyeing process (using both synthetic and natural
dyes) and the products (the dyed materials).  'Gara' is worn by a wider circle of people for
aesthetic and cultural reasons and has ceased to be exclusively for chiefs and warriors, 
'Gara' products have attracted attention on both the domestic and international markets,
and have gained the status of a national identity.  Gara is used as day and ceremonial
uniforms for some schools, and a number of offices use it as uniforms for their workers.  In
the hotel industry, 'gara' is used as tablecloths, bedspreads, napkins, curtains and backdrop
for conference halls and lounges.

PROCEDURE FOR MAKING GARA

The process of 'gara' dyeing described below was given during a period of study and an
interview with Haja Kaday Tejan-Kamara, a 'gara' expert who specialises in natural dyes
and whose work has gained recognition within and outside Sierra Leone.  As a little girl, her
father who was headmaster of a primary school, refused to send her to school because for
him, it was a waste of resources. She was therefore made to learn the 'gara' trade from her
mother who was well-known for her work with natural dyes.  She is illiterate one has to
watch her several times to have a rough idea of the quantities of substances used, as she
does not go by measurements but by instinct, experience and the knowledge of the craft she
has gained over the years.

The whole process of 'gara' dyeing can be divided into three stages, namely: the preparation
of the leaves, preparation of the dye bath and the dyeing process.

a)  Preparation of the 'gara' leaves.

The tender leaves are first cut from the tree, washed and pounded in a mortar.  The ground
leaves are then made into balls about the size of a tennis ball and dried in the sun. Once
dried, they can keep for long periods.  Hence it is common to find 'gara' dyers storing bags of 'gara' balls.

b)  Preparation of the dye bath.

The following items listed below are needed for preparing the dye bath or 'setting the drum'
as it is commonly called:

Pounded and dried 'gara' leaves (Lonchocarpus Cyanescens) 
Broomstone roots (Morinda germinate-Rubiaceae) 
Fignut tree bark (Jatropha curcas Euphorbiaceae) 
Mango tree bark (Mangifera Indica)
(2)  44 gallon drums
Stirring rod (about 5 feet long)
Long piece of wood (rounded at one end and flat at the other)
2 Mallets
Lubi or caustic soda
Fabric
'Koimet' (synthetic indigo)

The 'gara' leaves are put into the first drum and all the tree barks are put, into the other.  The
amount of broomstone should double the other barks.  The second drum is filled to the top
with water, a generous amount of either lubi or caustic soda added to the contents of the
drum and the mixture boiled for six hours.  The resulting hot liquid which is dark brown in
colour is poured on to the 'gara' leaves in the other drum and left to stand for three days. 
After three days the dye bath is dark blue in colour and is ready for use.

c)  The dyeing process.

This process is a multi-stage one, the number of stages depending on the technique used for
creating the design.  If the design was waxed on to the fabric a cold dye bath is used.  A
warm dye bath is generally used for synthetic dyes.

STEPS

1.  The fabric is first dipped into water before putting it into the dye bath to ensure an even
colouring results.  It is then left to soak until the desired depth of colour is obtained. This can
range from about 30 minutes to up to two days.

2.  The fabric is taken out of the dyebath and hung or spread out to dry to ensure complete
oxidation, absorption and 'fixing' of the dye.  When it is taken out of the dye bath, it has a
greenish-blue sheen which turns dark blue on exposure to air.

3.  After drying, the fabric is washed with cold water (without soap) several times until the
water runs clear.  It is then starched using cooked cassava starch and left to dry in the sun.

4.  When dried, the fabric is folded and beaten, by a process known as "calendering", locally
called ("tapraka") to smoothen out all the creases and give it both a sheen and a permanent
press finish.

In an attempt to explore how school science could be more closely related to the experience
and needs of the majority of Sierra Leonean children, the author, in her work in indigenous
technologies is asking and answering the question "How can the science in women's
traditional activities inform the science that is taught in schools?  A number of modules have
been developed which can be used as starting points for investigations that teachers and
pupils could do.

Although this presentation has focussed mainly on the processing of the indigo dye, the
module developed by the author looked at the dyeing process using both natural and
synthetic dyes.  So far, the following six lessons have been developed based on the gara
dyeing process:

lesson 1: Pupils construct a Newton's colour disc as a way of reinforcing what they have
studied about colours.

lesson 2: Pupils are introduced to the technique of chromatography using water soluble
felt pens and blotting paper.

lesson 3: Pupils complete a questionnaire on gara.  This is followed by a group discussion
on what gara is.

lesson 4: Pupils extract dyes from the different materials used to make the indigo dye. 
This is followed by its separation to see whether the separated colours are the same as
the ones extracted.

lesson 5: In this lesson, pupils study a factsheet entitled "Gara", identify the hazards of
the working environment and make suggestions for eliminating them.

lesson 6: Pupils use the factsheet on "waste and recycling" to determine how the wastes
of the gara dyeing process can be reduced or managed.

School children in forms or years 1 and 2 at the secondary school level, can, through the gara
dyeing process, understand for example, the distinction between light, coloured materials
and dyes.  In the lesson on extraction of dyes, pupils can investigate common plants in their
environment to identify different:
a)  colours of dyes,
b)  media for extraction of dyes.
They can also find out if there is any relationship between the medium  of extraction and the
intensity of the dye produced as well as the rate of production of the dyes in the different
media.  The dyes extracted can be kept and used in their Fine Art lessons.


From the lessons in which pupils have to construct the Newton's colour disc and the colour
triangles, the concept of mixing light and colours and the difference in the products obtained
will be better understood especially as they well be engaged in hands-on experiments.  By
carrying out the technique of paper chromatography, not only will pupils learn the principles,
their skill in making observations and recording them correctly can be improved and at the
same time, science will be more relevant to them as they will be able to relate/apply what
they learn at school to their activities at home.

What the author is trying to do through this kind of work, is to achieve a closer link between
science and technology as it happens in the children's world outside of school and what is
taught in school.  This work is based on the conviction that the science and technology being
practised traditionally at home and in 'cottage-industries' can form the basis of good
investigatory science at the junior secondary school level.  But like similar attempts in other
parts of Africa, one is struggling with the problem of how to link the notion of knowledge use
and knowledge production.  It seems that our common aim is to package science and
technology education material that is meaningful for all categories of children.  Experience
has shown that it is relatively easy to come up with investigations based on our indigenous
activities for our children.  However, it is much harder to engender enthusiasm and
confidence among science educators for such an approach, even though, this is the kind of
work that the new system of education which came into operation in Sierra Leone two years
ago seems to be advocating on paper.  Another difficulty that is worth mentioning is that of
designing ways to infuse community-based, investigatory science and technology into school
syllabuses, teacher training curricula and selection examinations at all levels.  It is hoped that
Sierra Leonean science educators and policy makers will take up this challenge as we
approach the year 2000.

References

Cole, M. J. A. and Hamilton D. B, (1979) Indigenous Technology in Sierra Leone.  Report
submitted to the Economic Commission for Africa.

Lamb & Lamb, (1984), Sierra Leone Weaving.  Hertfordshire
Roxford Books

Nelson-Williams, M. A. (1992) "The Historical and Technological Development of Gara
Dyeing in Sierra Leone".  Paper submitted to the Department of Fine and Applied Arts,
University of Nigeria, Nsukka.