ASO OKE

Abstract

Culture is a dynamic phenomenon which could experience radical changes that may gradually

lead to serious damages. It may become weak or lose its validity as a result of internal social

change, which could be due to overshadowing outside influences (Ogunbameru, 2000; 560). One

of the effects of such changes or influences is the gradual extinction of some aspect of our

traditional arts and crafts. The tradition of

among the Yoruba of southwestern Nigeria is thus an example of such changes and influences

via the introduction of Western values, and internal social-cultural changes. This paper therefore

traces the evolution of traditional

southwestern Nigeria, reveals the factors that are responsible for its declining patronage;

suggests a revival of its traditional uses, and advocates for an alternative usage of

Aso-Oke (Yoruba hand-woven textiles) for clothingaso-oke production and its uses among the Yoruba ofAso-Oke.

Introduction

The production of traditional handcrafted textiles among the people of Africa is long rooted in

their culture. These textiles are produced from locally sourced materials ranging from cotton,

local silk, bark, goats wool to raffia, commonly used in weaving (Renne,1995;102).While felted

backcloth acclaimed to be the oldest form of indigenous African cloth, woven cotton fabrics

dating to the eight century have also been found in burials in Niger (Clarke 1998;18), and

fragments of plain patterned strip woven cloth dated to the eleventh century were also discovered

at the Tellem burial cave in the Dogon region of Mali. Thus, both provide evidence of a long

standing clothing tradition in Africa (Bolland 1992; 13). Although the origin of textiles

productions and usage in Nigeria, most especially among the Yoruba remain unknown, there are

evidences of Yoruba’s long use of textile as apparel as reflected in ancient sculptures, which has

been dated back to the 10

W. Fagg (1977; 29-39), mentions that these sculptures depict the use of accoutrements which

include loin cloth, cap, sashes badge, hats and others He, also suggests that materials used for the

manufacture of these clothing are derived locally because, they resemble today’s traditional

Yoruba hand woven strip cloth ‘A

Oke

Krigger (1990; 39) brought more confusion when he claim that the earliest use of textiles made

from men’s loom among the Yoruba came via the introduction of Islam to Kano through Nupe,

and later to Yoruba land in the 15

th and 12th century A.D.so-Oke’. While relative dating of the local production of Aso-among the Yoruba remain difficult due to its ephemeral nature, the association theory ofth century.

The Journal of Pan African Studies

However, the diffusion theory used by Krigger to establish the evolution of weaving among the

Yoruba is tenable considering Picton’s comments in Ademuleya (2002; 35) that “the

distinctiveness of the West African narrow strip loom (Yoruba inclusive) is a pointer to an

independent tradition.” He thus cautions’ against the popular speculations that there must have

been only one point of origin or source of inspiration; it could therefore be argued that the

Yoruba production of textiles,

before contact. Furthermore, since the radio carbon dates confirms earlier existence of these

sculptural pieces to between 10

Islam or contact with the Nupe people in the 15

of textiles as apparel or as clothing is an age-long tradition which predates contact with Islam.

Aso-Oke in particular could have been developed by the Yorubath and 12th century date which was prior to the introduction ofth century, one can conclude that the Yoruba use

Weaving Tools

Yoruba traditional weavers according to chief Onakanmi of the Fedegbo compound in

Ogbomoso use two types of loom for the production of their traditional hand-woven textiles

‘Aso-Oke’

is a fixed vertical frame upon which the warp is held under tension used to weave cloth of a

predetermined length with about 30 to 90 cm width to allow two or three pieces stitched together

to make a wraparound “

18) refers to as

Second, the double heddle loom (used by men) is an horizontal loom with the unwoven warp

yarns stretched out several yards in front of the weaver with a heavy shed to maintain tension

(see plate 3 below). The loom produce strips of woven fabrics which is about 14-15cm wide; the

fabrics are cut and edge stitched together to make larger piece of cloth which could be used for

clothing or coverings. The men’s horizontal loom compared to the women vertical loom uses

more accessories and provides opportunity for the use of a variety of warp threads which often

determines the types of design found on

include: heddles (

(

warp threads and the means for introducing the weft thread.

. First, the upright single heddle loom, also known as the broad loom (used by women)iro” for women. The fabric produce on this loom is what Aremu (1980;kijipa (see plate 2 below)Aso-Oke. Ojo (2006;105), identifies these accessories toomu aso), treadles’ (itese), beater (Apasa), shuttle (oko), winding shaftgogowu/ikawu), shedding stick (oju/poporo), and pulley (ikeke) to describe for the varieties of

Aso-Oke Types

Basically, there are three major

which is achievable with the use of extra weft brocading technique which are identifiable by

their patterns and colour to inform their uses at a designated traditional ceremony.

First,

having pattern weave structure, a type of traditional

warp direction with a light blue checkerboard with a pattern weave structure. The strips are

woven using local wild silk fiber, thus

which is brought out at intervals for drying and stretching. In the ancient times,

important social dress by chiefs and elders among the Yoruba (see plate 9 below).

Aso-Oke types; etu, alaari and sanyan with many variations,Etu (fowl), via blue and white stripes in the warp direction with a light blue checkerboardAso-Oke with blue and white stripes in theEtu is dyed repeatedly in traditional indigo blue dye,Etu was used as

58

The Journal of Pan African Studies

Second, we have

yarns dyed in red cam wood solution severally to achieve permanence in colour fastness. The use

of

Yoruba of Nigeria (see plate 5 & 6 below). And third,

fabric, grayish in colour with white strip running through the middle of the cloth; traditionally

produced from fibers made from the cocoons of the

hand spun into silk threads, washed and soaked in corn-starch to strengthen the yarn for fabric

production in the ancient times. In addition,

Yoruba woven fabrics, thus, the Yoruba refer to it as

& 8 below).

, vol.3, no.3, September 2009Alaari, crimson in colour, it is traditionally woven with locally spurned silkalaari is not limited to a particular ceremony but traditionally used for all events among theSanyan, an expensive Yoruba hand-wovenanaphe silk warm. Hence, the silk fibers aresanyan is regarded as the most expensive of allbaba-aso, the ‘father of fabrics' (see plate 7

 , vol.3, no.3, September 2009