Skirt
Item number Af456 b from the MOA: University of British Columbia.
Item number Af456 b from the MOA: University of British Columbia.
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Skirt that is part of a costume or suit with a blouse (Af456 a) and a head tie (Af456 c). It has short sleeves, rounded neck, and is composed of narrow black cotton strips sewn together; decorated with four vertical rows of gold metallic thread per strip and three horizontal rows repeated within each strip but not aligned between strips. A linear, solid geometric pattern occurs randomly, in gold, silk thread.
Aso-òkè wrap skirt. The strips are normally woven by men on a belt loom. Weaving is concentrated in a few centres, and the weavers are full time specialists. The supplementary weft floats are common in Yoruba textiles. The clothing would be sewn together by women. Aso-oke was used for everyday use, and traditional and religious occasions. Generally, aso-oke is classified into three main types: etu, alaari, and sanyan. They are identified by their pattern- achieved through extra weft brocading technique- and colour, as well as their use for designated traditional ceremonies. Aso-oke use was impacted by British colonization as economic policies implemented then favored the influx of foreign goods, especially British cotton manufactured goods at the expense of indigenous traditional textiles industries. Mass-produced English-style cotton garments, and the introduction of foreign yarn, competed with hand crafted aso-oke leading to decline in patronage and production, evident by the early 1900s. The introduction of Islam and Christianity to Yorubaland also introduced new dress styles for converts, affecting the popularity of aso-oke. British garments were largely seen as markers of prestige, innovation and civility over indigenous clothing. However, the struggle for independence leading up to 1960 ushered in a wave of cultural nationalism, leading major ethnic groups to dress in garments particular to their region. Aso-oke can be found in markets today and is still worn at special occasions, such as weddings, birthdays and burial ceremonies around the world.
Aso-oke is known to symbolize protection, especially from spiritual problems. It is used as a sacred cloth by a cult called the Ogboni society, as a covering for religious objects, and is said to be prescribed by traditional priests as a choice of attire for wedding ceremonies to guarantee the success of a marriage.
This data has been provided to the RRN by the MOA: University of British Columbia. We've used it to provide the information on the Data tab.
Skirt that is part of a costume or suit with a blouse (Af456 a) and a head tie (Af456 c). It has short sleeves, rounded neck, and is composed of narrow black cotton strips sewn together; decorated with four vertical rows of gold metallic thread per strip and three horizontal rows repeated within each strip but not aligned between strips. A linear, solid geometric pattern occurs randomly, in gold, silk thread.
Aso-òkè wrap skirt. The strips are normally woven by men on a belt loom. Weaving is concentrated in a few centres, and the weavers are full time specialists. The supplementary weft floats are common in Yoruba textiles. The clothing would be sewn together by women. Aso-oke was used for everyday use, and traditional and religious occasions. Generally, aso-oke is classified into three main types: etu, alaari, and sanyan. They are identified by their pattern- achieved through extra weft brocading technique- and colour, as well as their use for designated traditional ceremonies. Aso-oke use was impacted by British colonization as economic policies implemented then favored the influx of foreign goods, especially British cotton manufactured goods at the expense of indigenous traditional textiles industries. Mass-produced English-style cotton garments, and the introduction of foreign yarn, competed with hand crafted aso-oke leading to decline in patronage and production, evident by the early 1900s. The introduction of Islam and Christianity to Yorubaland also introduced new dress styles for converts, affecting the popularity of aso-oke. British garments were largely seen as markers of prestige, innovation and civility over indigenous clothing. However, the struggle for independence leading up to 1960 ushered in a wave of cultural nationalism, leading major ethnic groups to dress in garments particular to their region. Aso-oke can be found in markets today and is still worn at special occasions, such as weddings, birthdays and burial ceremonies around the world.
Aso-oke is known to symbolize protection, especially from spiritual problems. It is used as a sacred cloth by a cult called the Ogboni society, as a covering for religious objects, and is said to be prescribed by traditional priests as a choice of attire for wedding ceremonies to guarantee the success of a marriage.
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