Ankara is a printed cotton cloth, produced in a variety of patterns formed by the layering of polychromatic dyes. Fashionable in West and East Africa since the late 19th century, ankara is variously known as 'African wax' or 'Dutch wax' print – despite wax rarely being used in its manufacture. Embodying the overlapping colonial interests that prevailed in the region and beyond, the cloth has a complex history – rooted in trade monopolisation and cultural appropriation, yet acting as a conduit for African agency and resistance.

Originally produced in the Netherlands, ankara emerged from experiments to mechanically replicate batik, an Indonesian wax-print cloth traditionally developed by hand. Early Dutch attempts roller-printed a resin-resist onto both sides of the cloth before dyeing; the resist was then washed out, with additional layers of colour added by repeating this process, hand-blocking and/or roller-printing. The intended export market of Indonesia did not respond well to this imitation batik, as the resin was prone to cracking and bubbling, producing defects in the print. A keen market for the cloth did, however, emerge across West Africa in the 1890s, such that several factories – chiefly in Britain and the Netherlands – began producing ankara with this new customer in mind. Responding to market feedback on popular colours and patterns, European producers adapted ankara designs to suit the tastes of their discerning West African customers. In a collaboration between the consumer, dealer and manufacturer, local sellers would inform European merchants which styles were in demand and suggest motifs that would likely sell well.

By the early 20th century, a cheaper and more refined method of ankara production had been developed, roller-printing only one side of the cloth with a design, without the use of a resin-resist. Many examples of this later ankara purposefully include the imperfections that originally marred Dutch attempts to replicate batik – alluding to the more esteemed resin-resist technique.

This particular design is Dutch, and was first printed in 1911. Like many wax prints, the design goes by several names, including 'Leidse Ruit', 'Linoleum', 'Round Table' or 'Broken Pots'. Assigned by maunfacturers, traders, and ultimately the wearer, these names display regional varations, and are often based upon proverbs. In Ghana, this design is known in Akan as 'Nkyenfre', whilst in southern Ghana the Ga call this design 'Didei baa'. In Côte d'Ivoire, the design is referred to as 'mari ingrat' or 'homme ingrat' meaning ungrateful husband.

The design combines natural and geometric motifs in a patchwork arrangement; large squares are arranged in diagonal rows, separated by rectangular and smaller square dividers. The larger squares feature either alternating stylised foliage, or eight triangles said to represent the broken shards of a pot. The colours are typical of this pattern, being red, indigo blue, pale yellow and cream.