PI: Lawrence Barham | Collaborators: Perrice Nkombwe, Peter Chitungu, and Stephen Mwila
Project ID: 2020SG01 | Location of Research: Northern Zambia
Host Institution: University of Liverpool
Until the early 20th century, bark fibre was the traditional material for making clothing and containers among communities in northern Zambia. The introduction of commercial textiles and plastics containers led to the dramatic decline in bark-cloth production to the extent that, as of 2020, only three individuals still retained the knowledge of this craft. Now, only two artisans remain.
These three men make small quantities of coarse and fine bark-cloth, the former for daily use and the latter for ceremonial use. No detailed studies had been made of this endangered craft tradition. The aim of this project was to record the working methods of these craftsmen and elicit information on how they learned their craft, their and their community’s perceptions, and the social value of this traditional material.
The primary objective was to make an audio-visual archive of the techniques and materials used to make the two types of bark cloth. The research team then followed the finished products to their places of use. Using structured and unstructured interviews, they documented the individual and communal values associated with this material. This information gave invaluable insights into how this tradition survives in an age of industrialisation and globalisation.
Methodology
The project employed a multi-layered approach that combined ethnographic fieldwork, community engagement, and digital documentation to capture both technical processes and cultural meanings of bark-cloth. Structured interviews with artisans were conducted to document their knowledge, skills, and experiences in bark-cloth production. These were complemented by direct observation of artisans at work, enabling the research team to record the practical steps of harvesting, beating, and finishing bark-cloth. To broaden the perspective, village headmen from Kampanda, Chimanti, and Koni Villages—the communities in which the artisans reside—were interviewed, providing contextual accounts of bark-cloth’s social and cultural significance. Women participants were also engaged to validate the findings, ensuring inclusivity and accuracy in the representation of community knowledge. In addition, contextual accounts of the ceremonial uses of bark-cloth were gathered during the Ukusefya pa Ng’wena traditional ceremony of the Bemba in 2022 and 2023, where interviews and observations formed part of the continuous documentation process.
Data collection combined oral testimony, observation, and continuous digital documentation. Interviews and observations were recorded, transcribed, and annotated to preserve linguistic and cultural details. Video and audio captured production processes, while photographs documented each stage plus finished bark-cloth pieces. Reports were drafted in Microsoft Word, and inventories and metadata tables were structured in Excel. Digital tools, including audiovisual recordings, photographs, and metadata, were employed throughout the project to safeguard both tangible processes and intangible heritage. All collected data—textual, visual, and audio—was systematically organised, cross‑referenced, and archived to meet standards of accessibility and long‑term preservation.
Selected Assets
The following assets provide an overview of the bark-cloth making process.
Interviews
An interview with John Mukopa on his methods and knowledge of raw materials for bark-cloth making. By Lawrence Barham.
Tree identification
Patrick Chanda demonstrating bark-cloth tree identification. By Lawrence Barham.
Bark stripping
Patrick Chanda sstripping bark from Muputu Tree. For arm and leg coverings, the bark is pulled off the log intact. By Lawrence Barham.
Bark beating
Simon Chileshe beating the bark material during the making of skirt. By Lawrence Barham.
Donation
Simon Chileshe with Perrice Nkombwe, Moto Moto Museum Director, who tries on the finished skirt. By Lawrence Barham.
Fieldwork
Simeo Chimfwembe Chakulanda welcoming the research team during the preliminary visit to Chimanti Village. By Lawrence Barham.
Tree cutting
Patrick Chanda cutting a Muputu tree branch using an axe. By Lawrence Barham.
Bark soaking
John Mukopa’s bark materials soaked in a spring, held underwater by a heavy stone to resist the current. By Lawrence Barham.
Bark sewing
John Mukopa sews bark-cloth using a needle and sisal threads (katani). By Lawrence Barham.
Finished products in use
Royal Carriers and singers (Ing’omba Sha Lubemba) during the Ukusefya Pang’wena of the Bemba 2023. By Lawrence Barham.
Acknowledgements from the Project Team
We thank the following institutions and individuals for their support in enabling this project to take place: the National Museums Board of Zambia, the University of Zambia Humanities and Social Sciences Research Ethics Committee, and the University of Liverpool. The project moreover would not have been possible without the contributions of Charles Matipa as research assistant.