Barkcloth as a material for garment production for groom identification at Baganda kwanjula ceremonies

Abstract

This study explored the possibilities of using barkcloth (olubugo) as a material for creating wearable garments that identify the groom during Baganda Kwanjula (introduction) ceremonies. Barkcloth holds significant cultural and spiritual importance among the Baganda. Still, its role in the production of contemporary attire, especially garments used by Senga to identify the groom, has been minimally explored. Today, grooms are often adorned with artificial flowers and makers, which lack cultural symbolism and visual clarity. The purpose of this study was to explore and design culturally meaningful wearable garments using barkcloth that distinctly identify the groom during kwanjula ceremonies. The study was led by three specific objectives: to examine the different types of barkcloth used by the Baganda, to explore surface decoration techniques that enhance the aesthetic appeal of barkcloth, and to design suitable garments that reflect the groom’s status and identity during the ceremony. The research is grounded in material culture theory, which emphasizes the symbolic and functional meanings of traditional materials in contemporary society. A qualitative approach was selected as a research design because the data collected were non-numeric, including text, video, and audio. Semi-structured interviews, participant observation, library research, studio experimentation, and photography were employed during the data collection process, contributing significantly to data triangulation. A sample of fifteen participants, including barkcloth makers, barkcloth dealers, cultural masters of ceremonies, and tailors specializing in men's ceremonial wear, were selected from the Bulange, Mengo, Kampala district. These participants were selected purposely to provide stimulating and insightful experiences with the phenomena under study. The study findings revealed that barkcloth varies in texture, thickness, and quality, which influences its suitability for garments. In studio work, the researcher experimented with surface decoration techniques such as reverse appliqué, embroidery, patchwork, pleating, slashing, and tie-dye, using motifs from the traditional spear to symbolize leadership and identity. The final garments included wearable accessories such as scarves, sashes, throws, waistcoats, and caps made from barkcloth, designed to identify the groom while ensuring comfort, durability, and cultural authenticity. This study concludes that barkcloth can be transformed through contemporary design methods without losing its traditional essence, contributing to sustainable fashion, cultural preservation, and the renewed use of indigenous materials in Ugandan ceremonies.