Madagascar · Textile / Basketry

Malagasy Landibe Wild Silk Lamba Weaving

Landibe (also landy be, 'big silk,' the indigenous wild silkworm, Borocera cajani/madagascarensis, and its silk); landy dia (a further local term for the same wild silk); landy kely ('little silk,' the imported/later domesticated Bombyx mori silk, distinguished from indigenous landibe in historical usage); lamba (the general woven rectangular garment); lamba mena ('red silk,' the specific Merina royal-prestige silk cloth)

The harvesting, boiling, hand-spinning, and weaving of wild silk cocoons -- produced by the indigenous landibe silkworm (Borocera cajani, also documented as B. madagascarensis), which feeds exclusively on the leaves of the tapia tree (Uapaca bojeri) -- into lamba, Madagascar's traditional rectangular woven cloth, a centuries-old practice sustained particularly in the tapia-forest regions surrounding Ambalavao and Soatanana, and in weaving centers including Antananarivo and Fianarantsoa. Cocoons are collected from tapia forests, boiled to remove their natural gum coating, hand-spun on wooden spindles, and woven on horizontal or vertical looms into cloth prized for natural textures and color variations no industrial process can replicate. A dedicated peer-reviewed academic study of a vernacular Malagasy manuscript, attributed to a royal diviner-healer and dated to approximately 1870, provides rare direct historical documentation distinguishing indigenous wild silk (landy ny Merina, or landibe) from imported and subsequently domesticated Bombyx mori silk (landy kely), which Malagasy weavers began cultivating themselves from the 1820s after first importing it in skeins from Arab traders. The most prestigious traditional silk product, lamba mena ('red silk'), held deep status significance within the historic Merina kingdom, its name referring not necessarily to literal color but to the cloth's association with royal prestige and ancestral authority, themselves linked to the color red within Merina cosmology; a widely cited Malagasy proverb captures the lamba's extraordinary functional versatility across a person's entire life: 'When one is angry it is wrapped around the waist to free one's hands to fight, when one sleeps it serves as a blanket, when one goes out it is worn as clothing, when one dies it becomes a shroud.' The industry suffered significant mid-20th-century decline as bush fires, felling, and invasive species devastated the tapia forests on which landibe silkworms depend, but has undergone substantial revival over recent decades through combined conservation and craft-cooperative efforts: the NGO Ny Tanintsika ('our land'), affiliated with the UK-based Feedback Madagascar, helped establish silk-worker cooperatives and forest-management groups from the 2000s, recognizing that silk-making and weaving skills do not necessarily occur in the same villages as the tapia trees themselves; separately, in 2004, Peace Corps health volunteer Kyley Schmidt -- who had studied textile design at North Carolina State University -- helped the weavers of Soatanana, whose market had nearly disappeared, organize themselves into the Firaisankina cooperative, restoring economic viability so that, in cooperative member Madame Eugenie's own words, 'there is enough money to buy food, there is enough money to buy medicine, there is enough money for school fees and for each family.'

Risk level: Endangered · Not independently inscribed

Alternate Names
Malagasy wild silk
Geographic Center
Tapia forest regions surrounding Ambalavao and Soatanana; weaving centers at Antananarivo and Fianarantsoa
Community / Ethnic Group
Practiced across multiple Malagasy communities including the Merina, with specific documented cooperative activity among the weavers of Soatanana and the village of Ambohimanjaka
Estimated Origin
A dedicated peer-reviewed academic study of a vernacular manuscript attributed to a royal diviner-healer, dated to approximately 1870, provides direct historical documentation of both wild (landibe) and imported/domesticated (landy kely, Bombyx mori) silk in Highland Madagascar weaving; Malagasy weavers began domesticating Bombyx mori silk themselves from the 1820s, having earlier imported it in skeins from Arab traders, while landibe wild-silk use is documented as considerably older, tied to the tapia forest ecosystem; Malagasy textile arts more broadly are documented as having flourished until around 1950, after which significant decline set in
Cultural Function
Textiles were an essential part of Malagasy social and ethnic identity, with some cloth types imbued with supernatural powers; among the Sakalava, Mahafaly, and Merina specifically, textiles played a significant role in statecraft and metaphysical belief systems, with documented relationships connecting weaving, the ancestors, and reburial practices; lamba mena specifically carried deep royal-prestige and ancestral-authority significance within the historic Merina kingdom; the lamba's extraordinary functional versatility -- serving as fighting-preparation wrap, blanket, daily clothing, and burial shroud across a single lifetime -- is captured in a widely cited Malagasy proverb, directly embedding the textile within the full life-and-death cycle; for contemporary cooperative weavers, silk production functions as a critical household economic support enabling food security, medical care, and school fees
Primary Materials
Wild silk (landibe/landy be), from cocoons of the indigenous Borocera cajani (also documented as B. madagascarensis) silkworm
Primary Tools
Wooden spindles, for hand-spinning; horizontal or vertical looms, for weaving
Process Overview
Collect landibe cocoons from tapia (Uapaca bojeri) forests -- the exclusive food source of Madagascar's indigenous wild silkworm, Borocera cajani -- sort them meticulously by quality, boil them to remove their natural gum coating, hand-spin the extracted fibers into thread on wooden spindles, stretch the thread by hand for even thickness, and weave it on horizontal or vertical looms into lamba, Madagascar's traditional rectangular cloth, in patterns passed down orally including the most prestigious lamba mena ('red silk'), historically associated with royal prestige and ancestral authority in the Merina kingdom; a centuries-old wild-silk tradition sustained in the tapia-forest regions around Ambalavao and Soatanana, which suffered major mid-20th-century decline as deforestation devastated the silkworms' habitat but has undergone substantial revival through combined forest-conservation and craft-cooperative efforts, including the 2004 Firaisankina cooperative organized with Peace Corps volunteer Kyley Schmidt's direct assistance.
Traditional Applications
Ceremonial and daily clothing; burial shrouds; royal and aristocratic status garments (lamba mena)
Contemporary Applications
Continued production through active cooperative structures, sold to boutiques in Ambositra, Fianarantsoa, and other cities; increasingly positioned as a luxury item given hand-weaving's cost relative to industrial alternatives, marketed to wealthy Malagasy buyers and international tourists
Notable Practitioners
Kyley Schmidt, a Peace Corps health volunteer who studied textile design at North Carolina State University, who in 2004 helped the weavers of Soatanana organize themselves into the Firaisankina cooperative; Madame Eugenie, a named cooperative member directly quoted on the economic significance of cooperative silk-weaving income; André Razafimahatratra, a named silkworm technician documented working on tapia forest and silk-industry conservation
Key References
Academia.edu, 'Historic Handweaving in Highland Madagascar: New Insights from a Vernacular Text Attributed to a Royal Diviner-Healer, c. 1870' (peer-reviewed, citing Giambrone ed. and Kriger 2006); Mongabay, 'Madagascar: What's good for the forest is good for the native silk industry' (2019, naming Ny Tanintsika, the tapia tree, and André Razafimahatratra); Cultural Survival, 'Solidarity as Strong as Silk' (naming Kyley Schmidt, the Firaisankina cooperative, and Madame Eugenie in direct quotation); Wikipedia, 'Malagasy weaving' and 'Lamba (garment)' (detailed historical and material documentation); ClothRoads, 'Wild Silk Creates a Strong Bond' (naming Borocera madagascarensis and detailing Tapia forest restoration); The Colorful Cloth, 'The Colorful Cloth: Lamba' (naming jabo-landy and laimasaka lamba variants); Vivy Travel, 'Meet the Malagasy artisans'
Verification Status
Desk-Researched

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