Introduction. African textiles, as African masks, figures, pottery, and body ornaments and painting are all expressions of the rich African cultural heritage. These creations of art, through structural relationships of form, design, and colors express feelings that cannot be voiced any other way. Picasso, influenced by African art was capable to breake the western figure and start a revolution in western art. He can be considered the first western genius coming out of Africa. Modigliani, and Giacometti, created work deeply influenced by the art of Africa. The sculptures of the Dogon artist and Giacometti are strong creations which speak the same universal language.

Textile. The word textile, comes form the Latin "texere," to weave. African textile is rich in colors, and is endlessly creative in geometrical design. Hand made textile, from the hands of weavers, spinners and dyers, is related to ancient pre-colonial traditions. Particular colors, shapes, and decorations may have political and ritual significance. Textiles are used not only to make articles of clothing, but also for decoration, to dress a house or a shrine during important events, or simply as gifts. The meaning of color varies from place to place. In Benin the color red is part of their ceremonial court dress, among the Ebira red color is associated with success, while in Madagascar red is applied to burial cloths. In most of West Africa, Ethiopia, East Africa and Zaire, all weaving is done by men. In North Africa and Madagascar, all weaving is done by women. In other areas both men and women weave. The most common materials used in weaving are wool, silk, cotton, bast, and raphia. Indigo is the most common dye, and is obtain from various plants of the genus Indigofera. Indigo gives various shades from pale blue to deep black. Other colors like red, yellow, blue, green, brown, and black are available from local vegetable and mineral sources.

The Logo Textile. Islamic tessellations, Maya hieroglyphics and weaving, African masks and textiles is art that speaks directly to the Logo programmer. It is impossible to visit a Mayan site without mentally creating at least a simple procedure and "repeat" the design. The same happened to me and my students with African textiles. My students taught the turtle to "weave" and generated several screens. They did not simply copy the designs, but used their own color schemes, "stitched" the various parts of the design in their own way, and changed backgrounds to see the effect of different "materials."

The Exhibit. The exhibit was held in the Spring of 1992 at the Black Books Plus bookstore. At the opening, in addition to the customary wall-hung work, two Apple IIgs computers were showing a sequence of African textiles in vivid, colorful screens. Students were on hand to explain their LogoWriter programs to the visiting public; flipping the pages showing their procedures and shapes. Many visitors said that they learned something new from the kids that day. They praised the work as "illuminating" and of "excellent quality." The students interviewed the visiting public, added music to the LogoWriter screens, and created an "official" VCR tape of the event. During the opening, unexpectedly, they sold 21 of their creations. My students were once again winners. Proud of their work and of themselves they went on to a well deserved summer vacation.

The following screens are reflections not only of artistic and aesthetic feelings but also of knowledge of mathematics and geometry.

The Logo African Textiles Project was created at Joan of Arc, Junior High School 118, Community School District 3 in New York City, by the following students: Michael Toribio, Myckele Spencer, Michael Hailstock, Coedell Page, Henry Polanco, Antoine Draughon, and their teacher Orlando Mihich.

The work appeared in an article in the Winter 1992 issue of Logo Exchange, Volume 11 Number 2.

For a detailed description of the project and more information please see the Logo Foundation page.