The rise and fall of broadloom weaving among the Yoruba: An historical overview

Asakitikpi, Aretha

doi:10.4314/rrias.v22i1.22962

Cited by 3 publications

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“…Equally remote is the question of the gendered nature of weaving in the deep past, although various arguments have been advanced (see Asakitikpi, 2006 for an overview). In Nigeria, women primarily weave on the vertical broadloom and men on the narrow strip treadle loom, but this is not uniformly the case.…”

Section: Early Forest Textiles: Use and Significancementioning

confidence: 99%

Igbo-Ukwu Textiles: AMS Dating and Fiber Analysis

McIntosh

Cartwright

2022

Afr Archaeol Rev

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Thurstan Shaw’s excavations at Igbo-Ukwu revealed many artifacts and technologies that remain astonishing, unique, and incompletely understood, both within Africa and more broadly, even after 50 years. Among these are the textiles recovered primarily from Igbo Isaiah, where fragments were preserved by contact with the bronze artifacts gathered in what has been interpreted as a shrine. In the 1960s, an analysis of 20 textile samples was unable to identify the plant fibers used to weave the fabric. In this article, we report the results of new fiber identifications based on the SEM study of two Igbo-Ukwu fabric samples curated by the British Museum. The combination of bast fibers from one or more species of the fig tree (Ficus genus) and leaf fibers from Raphia sp. provides evidence of a complex indigenous weaving technology that has largely disappeared from Africa. An AMS date on one of the samples provides an important new element to our understanding of the culture and chronology of Igbo-Ukwu. A final section positions the Igbo-Ukwu cloth within the known history of textiles in Africa, emphasizing sub-Saharan West Africa over the past two millennia.

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Section: Early Forest Textiles: Use and Significancementioning

confidence: 99%

Igbo-Ukwu Textiles: AMS Dating and Fiber Analysis

McIntosh

Cartwright

2022

Afr Archaeol Rev

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“…For example, history reveals that some of these expensive traditional clothes are either produced or adapted. And the wearer of the cloth is usually a wealthy and highly placed person (Asakitikpi, 2007). In the 1990s, a Nigerian woman, Shade Thomas-Fahm was notable for her thirty-five years of wealth of experience in the Nigerian fashion industry, where she produced creative straight lines and curvilinear patterns of embroidery on Yoruba women's traditional iro (wrapper) and buba (blouse).…”

Section: The Analysis Of Women Adorned In Cultural Dress Formsmentioning

confidence: 99%

Intersecting identities: interrogating women in cultural dress forms in contemporary Nigerian paintings

James

2021

African Identities

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This paper interrogates the identities in the representations of women adorned in African cultural dress forms in contemporary Nigerian paintings. While many studies have explored the subject of African dress forms from other viewpoints, not many are known to investigate the topic from the perspective of contemporary Nigerian paintings. It is for this reason I purposively selected five paintings from different artists in which they represented women adorned in African dress forms to communicate the expressions of personal, social, religious, and cultural identities within different contexts. Although the contemporary paintings give clues to the expressions of identities in dress, the ideas and meanings conveyed were also interrogated in each work. In engaging the paintings in close case study interrogations, the paper combines formal analysis and cultural history methodologies. Formal analysis is adopted for the analysis of the formal elements in each painting, whereas cultural history is used to contextualise each painting within the culture and history that is recalled to give the representation its proper identity. Besides, the close case study analysis reveals that the artists drew inspiration from the personal aesthetics of women adorned in African dress forms in different Nigerian cultures. Through the representations, three notable African cultural identities are manifested, which include Yoruba, Gwari, or Gbagyi and Hausa cultures, aside from other identities interrogated in each painting.

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“…Traditionally, men wove on a horizontal narrow loom that produced strips of cloth a few inches wide, while women wove on a vertical broad loom that produced cloth wider in breadth but much shorter in length than those produced by men. Asakitikpi A.O (2007). Though Aso Oke belongs to the class of small-scale industries, they especially play an important role in the development of a country by reducing the degree of inequality in the distribution of gains from development, balancing the geographical distribution of the population, and generating employment and foreign exchange earnings.…”

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confidence: 99%

Acceptability of Aso Oke as work and casual wear among Tertiary institution female staff in Damaturu, Yobe State, Nigeria

Fadipe,

Obiana,

Zangina

et al. 2023

IJASCT

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The purpose of this study was to investigate the acceptability of Aso-Oke for casual and work wear clothes among tertiary institution female staff in Damaturu, Yobe State, Nigeria. Three different types of Aso-Oke; etu, alaari and sanyan were purchased in Oja-Oba market in Ilorin, Kwara State. Three types of garment design were produced from fabrics; gown, skirt suit and straight line skirt. Structured questionnaires were used as instruments for data collection. Most respondents are also aware of the different types of fabrics, but the majority complains that they did not drape well on the body, though they agreed that if it is well designed, it can be used both as casual and work wear. The bulk of the respondents asserted that the majority of fashion designers did not know how to sew fabrics. Hence, they need more training in the methodology of sewing the fabrics, especially the joining of the strip fabrics and the cutting to prevent fraying. It is recommended that people should be encouraged to set up the weaving shed of Aso Oke in Damaturu or any part of the north east. It will help to diversify culture and serve as a means of livelihood.

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The rise and fall of broadloom weaving among the Yoruba: An historical overview

Cited by 3 publications

References 0 publications

Igbo-Ukwu Textiles: AMS Dating and Fiber Analysis

Igbo-Ukwu Textiles: AMS Dating and Fiber Analysis

Intersecting identities: interrogating women in cultural dress forms in contemporary Nigerian paintings

Acceptability of Aso Oke as work and casual wear among Tertiary institution female staff in Damaturu, Yobe State, Nigeria

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