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Paper short abstract:

This study is effected through a descriptive method by analyzing selected Yoruba proverbs and relating them to what obtains in the dress sense of the Yorubas of Lagos Island. The connotation of the proverbs revealed the value dressing holds among the Yorubas.

Paper long abstract:

In Sociolinguistics, it is stated that language is the bearer of culture. Of all linguistics units, proverbs seem to be the one which mostly reflect the culture of a given community. Yoruba proverbs with their rich images and metaphors would therefore, reflect the style, Fashion and dress sense of the Yoruba Society at large and indeed that of the Lagosians of Lagos Island. Based on ethnographic linguistic research, this paper aims to expose the interrelation of Yoruba proverbs that portray fashion, style and dressing and the dress sense of those Lagosians. This study is effected through a descriptive method by analyzing selected Yoruba proverbs and relating them to what obtains in the dress sense of the Yorubas of Lagos Island. The proverbs analysed should enable us to know what value dressing holds among the Yorubas, which could be determined by the amount of proverbs available in this regard and what they connote. The findings of this study however, revealed that despite the importance of dressing and good appearance portrayed by some proverbs, a good number of dress / fashion related proverbs portray good character, known as ‘Ọmọlúàbí’ in general parlance as more valuable than dressing and physical appearance and is rated as paramount in Yoruba culture.

Keywords: Yoruba Proverbs, Dress sense, ethnography, Lagosians.

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Paper long abstract:

Over the years, the African continent has witnessed diverse creative and innovative indigenous textile designs that reflected the visual symbolism of their cultural values, fashion taste, social engagements amongst others. A typical example of this African indigenous fabric is “ Aso-Oke,” a hand woven fabric of the Yoruba people of south-western, Nigeria. From historical narratives, Aso-Oke is known as a prestigious fabric traditionally worn by the rich and powerful in that society to depict their affluence and social class. Apart from that, their designs also show case gender identities, visual aesthetics and cultural affinities during major ceremonies such as weddings, naming ceremonies and important religious festivals. However recent studies on global dress culture in the 21st century, have revealed that globalization and modernity have tremendously influenced the perception of Yoruba people about Aso oke, leading to a paradigm shift in fashion trend, global visibility and acceptability. In the light of the aforementioned realities, Aso-Oke is now in the spotlight of global fashion on social media and has become a very popular dress culture worn by celebrities and actors in music, film and fashion industry to showcase gender dynamics, aesthetic sensibilities and socio-cultural values of the Nigerian people to the world. From this scenario, it is very clear that its popularity can be expanded through intensive social media publicity by depicting it as cogent dress culture that can stand the test of time and give the African fashion more positive image before the world.

Keywords: Re-configure, Aso-oke, Global dress culture, Fabric,

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Paper short abstract:

A study on dress identity and reconfiguration among youths in Nigeria revealed a rise in cross-dressing, online selection of styles and expression of gender identities. Loss of dignity of labour and deviation from values were observed. Educational campaign for youths was recommended.

Paper long abstract:

Youths often set fashion trends by dictating dress styles and expressing identity. Nigeria has the largest youth population globally. Historically, Nigerian dress has been conservative until the advent of Information and Communication Technology (ICT). The study examined the impact of ICT on the dress culture among youths and the factors influencing the dress. The study adopted a qualitative and quantitative approach. Purposive sampling was used to select 400 youths with variant dressing from Southwest Nigeria. Primary and secondary data were collected. Information on gender identities, impact and reasons for the dressing were gathered. Data was analysed using Atlas.ti. Results show a growing trend in cross-dressing and customised dresses in the form of T-shirts. Gender identities are reflected in sagging, hair-locks, and earrings among males while the females express themselves in shorts, body exposure and nudity. ICT has influenced the dressing patterns of youths making them shift from established traditional patterns. They select their styles online, promote Western culture and change their gender identities. Values for dignity, hard work and achievement towards their career tend towards negativity. Moral values are trampled upon. There is an increasing intensity of get-rich-quick syndrome. The study concludes that the sociocultural values before the 21st century seem to be going into extinction and negatively impacting the future of youths. The study recommends that youth organisations carry out a more educative campaign against the negative concept attached to reconfigured dress among youths in Southwest Nigeria.

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Paper short abstract:

Igbo royalty dress cultures as depicted in Nollywood has become a subject of controversies. This research inquires into the Igbo royalty dress cultures as represented in Nollywood films in order to determine the place of these representations in Igbo royalty dress realities.

Paper long abstract:

Nollywood, the Nigerian film industry has massively marketed Nigerian cultural realities to global audiences. It has become a prism, a very potent medium for telling the Nigerian story in particular and the African story in general. It massively influences the construction of perspectives and perceptions with specific regard to the Nigerian Peoples and their cultures. Cultures as represented in Nollywood films have many times become subjects of controversies. The Igbo royalty dressing as most times represented in Nollyood has become one of these controversies with flaming arguments mostly bordering on authenticity, loyalty and originality. Through a contrastive study of Igbo royalty dress representations in Nollywood films and realities in Igbo royalty environments, this study aims to empirically weigh on Nollywood representations of the Igbo royalty dress culture with the view to distinguish the fantasies, realities and influences.

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Paper short abstract:

This paper examines the cultural politics of protest dress in both Biafra and Amabazonia separatist regions of Nigeria and Cameroon to unpack the aesthetic sensibilities and identity contestations associated with the consumption of clothes that communicate defiance against repressive states.

Paper long abstract:

How is the contemporary nationalist movements in Biafra and Ambazonia separatist regions of Nigeria and Cameroon articulated and choreographed through dress? What socio-cultural and political factors are shaping the mobilization of protest fashion as a ‘weapon of the weak’ to confront and mediate the state and how is dress yielding to state repression and governmentality? This paper examines the cultural politics of protest dress in both Biafra and Amabazonia separatist regions to understand the aesthetic sensibilities, gender and identity construction and contestations. I unpack the multi-layered motivations and consequences of people’s dressing choices employed as resources for ethnic nationalism. I comparatively examine the tension animated by government’s counter-strategy to eliminate the production, consumption and circulation of protest fashion taking into account the materiality, positionality and temporality of dress as a mobile corpus of local agency of resistance amplified by social media, local nationalists and celebrities. I draw from Michel Foucault theory of power to argue that power is decentred or layered and that state repressions in both Biafra and Ambazonia regions have reordered and shifted the zone of nationalism to dress even as the politicization of dressing as an expression of protest and dissent is violently pursued through the production and consumption of clothes that communicate defiance against repressive states. Primary data like oral interviews with Biafran and Ambazonia fashion consumers and producers, celebrities, state officials and civil society advocates and secondary literatures like journals and newspaper reports. Collected data were analyzed qualitatively through the lens of fashion political statement.

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Paper short abstract:

The paper examines Nigerian dress culture’s reconfiguration, focusing on gender, identity, and artistic representation. This study highlights how Nigerian dress culture represents diverse identities, its influences, and implications for gender dynamics and future trends.

Paper long abstract:

Nigerian dress culture is deeply rooted on gender and that which represents the identity formation of the people. It reflects the artistic, socio-cultural heritage, and the complex but coexistent independent identities of the diverse groups. Traditional attire, such as Yoruba’s ‘aso-oke’, Igbo’s ‘isi-agu’, and Hausa’s ‘babanriga’, has their social significations, cultural ethos, and gendered expressions. However, global influences and evolving social landscapes have taken a toll on the people’s dress culture, prompting Nigerians to reinterpret these traditional attires in contemporary contexts while challenging conventional gender boundaries and identity constructs. The Nigerian fashion industry, characterized by designers and artists, play pivotal role in reconfiguring narratives around gender lines, incorporating elements of tradition and contemporary styles that allows these pieces to embody a narrative that goes beyond visuals, turning them into socio-cultural statements. This study examines how contemporary societal values, globalization, and evolving identity constructs are influencing the way Nigerians express themselves through clothing vis-à-vis fashion. The study reveals how the younger generation is reshaping traditional gendered dress codes to create new expressions of identity. The research uses qualitative method to provide a comprehensive understanding of the subject matter. Ultimately, this research contributes to the global dialogue on the transformative power of fashion in challenging redefinition of gender norms and identities, in societies with rich cultural traditions undergoing rapid social change through fashion.

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Paper short abstract:

The paper examines the momentum rupturing in the collective sense of dressing and appearance culture among the Yorubas through a ethnographic juxtaposition of certain African Proverbs vis-a-vis the notions of what is apt appearance from selected individuals in the public space.

Paper long abstract:

Of Omoluabi Aesthetic Discourse of Certain African Proverbs on Dressing and their Significance in Yoruba

Cultural Space

This paper argues that there is a way the art/act of dressing in the Yoruba sensibility informs certain values of the individual dressed on the consciousness of the public that it prompts reactions of approval and or disapproval. The reaction, either ways, is often predicated on the collective sense of apt appearance at both public and private space as located in certain African proverbs. Thus, to distill its literary and metaphoric significance, it explores the cultural system through the examination of certain African proverbs on dressing/appearance as ethnographic sites of collective understanding. It however attempts to answer certain questions that; at the advent of certain development in dressing/appearance culture as informed by modernization, how should we regard dressing/appearance around gender line? What is the motivation for dressing and arbitrary appearance among youth populace? Going by the imports of modernity and the seeming relegation of cultural codes of appearance, how can dressing/appearance be codified along social status? Through the adoption of ethnographic method of data collection and Omoluabi Aesthetic Perspective, the paper concludes that dressing/appearance culture will continue to reflect the dominant force of power as global influence continues to transcend boarders and change individual taste.

Keywords: Omoluabi Aesthetic, African Proverbs, Dressing/Appearance

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Paper short abstract:

Isi-Agu is a cloth traditionally worn by men conferred with chieftaincy titles. It was a symbol of tradition and identity. However, with modernization, there has been a gender fusion in the use of this apparel originally meant for men. Following this new trend, what is the implication for the woman?

Paper long abstract:

Ancient Igbo traditional costume and attire reflect the rich cultural heritage of the Igbo people from from Nigeria. Each garment and accessory told a story, representing the wearer's heritage, status and role in the society. Isi-Agu is traditionally worn by Igbo men and royals conferred with a chieftaincy title. This makes it a heritage inspired attire. The dominant motif in the apparel is the head of a lion or the head of a roaring lion. This depicts the strength of the Igbo man. The wearing was restricted to only males; no woman dared to wear Isi-Agu. However, with modernization which led to the fizzling off of a deep cultural traditions of the past, the limitations put in place have gradually faded away. Thus, in a bid to change with the new trend, women have begun to wear Isi-Agu. This has led to a gender fusion in the use of this apparel originally meant for men. Women have become the main curators, having seen men hang in to the exclusivity for long. Following this new trend, are there implications associated with this fad?This paper shall be approached from the view point of gender renaissance in modern societies.

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Paper short abstract:

Dance costumes reflect the dress culture, social and economic status of a people . Costumes are gendered and reflect shared roles includng the aesthetic and cultural values of a people. Nkwa umuagbogho is identified for study because of the contestation in its reconfiguration in recent times.

Paper long abstract:

Over the years, costume has become an integral cultural identifier that characterizes the indigenous peoples’ dress culture. These costumes shape the gender narratives and role performances between the different gender groups. Nkwa umu agbogho costume has continued to evolve due to modernization and this has affected its cultural importance. There is therefore the need study the historical trajectory of the costume, meaning and the socio-cultural significance of this costume. The study will also look at the gender roles and contribution of the costume in the contemporary times. The emergence of western ideologies has contributed in the shift of the cultural believes of the people hence the spate of contestations in the reconfiguration of the dance costume today. This study contends that since the world is in a continual flux, mutation which will result to reconfiguration and transmogrification of this dance costume is inevitable and concludes that the ‘marriage’ of the two (old and new) will create an aesthetic balance.

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Paper short abstract:

The paper examines the role of institutions in preserving African Dress Culture (ADC), exploring challenges like globalization and cultural appropriation. It uses mixed methods to assess initiatives for ADC preservation and recommends policy development, educational reforms, and community .

Paper long abstract:

This paper examines how educational institutions play a key role in advancing and preserving African Dress Culture (ADC), a diverse and symbolic sartorial heritage. Using a mixed-methods approach, the paper explores how institutions conserve and disseminate ADC in the face of globalization, skill loss, and cultural appropriation. The paper also highlights the multifaceted nature of ADC, as both a cultural marker and a global fashion participant. BADC, recognized for its rich aesthetic and symbolic significance, serves not only as a marker of cultural identity but also as a reservoir of traditional wisdom, influencing and contributing to global fashion narratives. The study embarks on a comprehensive exploration of how educational, institutions actively engage in the conservation and dissemination of ADC The paper aims to provide a framework for the sustainable preservation of cultural heritage in the modern era. These recommendations underscore the need for comprehensive policy development, educational reforms tailored to promote ADC, community-centric engagement programs, and the mainstreaming of innovative practices that align with contemporary trends while respecting traditional values. Such strategies are pivotal in maintaining the relevance and vibrancy of ADC in the modern era. The findings of this research hold implications for policy-makers, educators, and cultural practitioners, offering a blueprint for the sustainable preservation of cultural heritage in the face of modern challenges.

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Paper short abstract:

This paper delves into the complex discourse surrounding the adjudication of beauty, particularly within the context of African dress culture. Drawing from philosophical inquiries and cultural studies, the paper explores the criteria and standards used to measure aesthetic merit across cultures.

Paper long abstract:

Scholarship on African dress culture reveals its deep-rooted connections to historical narratives, socio-cultural values, aesthetic sensibilities, beauty and gender dynamics. For instance, studies by scholars such as Hansen (2000) and Renne (1995) delve into the intricate meanings embedded in African clothing practices, shedding light on how they reflect broader social structures and identities. The paper seeks to engage in discussions that critically examine the multifaceted dimensions of African dress culture. It aims to explore how historical legacies continue to inform contemporary fashion practices, the ways in which socio-cultural values are embodied in clothing choices, and the evolving dynamics of gender representation within African fashion narratives. The concept of beauty and its evaluation across cultures provoke critical inquiries into aesthetic standards and cultural sensibilities. This paper delves into the complex discourse surrounding the adjudication of beauty, particularly within the context of African culture. It poses fundamental questions regarding the objectivity and universality of beauty, the imposition of standards from external cultures, and the diverse functions of dressing within different cultural contexts. By engaging with these questions, the paper seeks to challenge assumptions of aesthetic superiority and foster a more nuanced understanding of beauty across cultural boundaries. Drawing from philosophical inquiries and cultural studies, the paper explores the criteria and standards used to measure aesthetic merit across cultures. It underscores the importance of acknowledging and respecting diverse cultural perspectives in the adjudication of aesthetic merit, thereby enriching the discourse on beauty in a global context.