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- Convenors:
-
Ruth Epochi-Olise
(Alex Ekwueme Federal University, Ndufu-Alike, Nigeria)
Mary Okocha-Ajila (Wenzhou-Kean University, Wenzhou)
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- Chair:
-
Casmir Onyemuchara
(Alex Ekwueme Federal University, Ndufu-Alike, Nigeria)
- Format:
- Panel
- Stream:
- Imagining ‘Africanness’
- Location:
- S40 (RW II)
- Sessions:
- Tuesday 1 October, -, -
Time zone: Europe/Berlin
Short Abstract:
The panel aims to reconfigure Africa’s dress culture by addressing the historical narratives, socio-cultural values, aesthetic sensibilities, and gender dynamics in the face of globalization, modernization, socio-political changes, and gender identities in Africa’s social-cultural space.
Long Abstract:
The myriad of ethnic groups and cultural divergences have influenced Africa’s traditional costumes and/or dress culture. African dresses are not mere fashion statements; they contain robust sociocultural significance encapsulating gender paradigms and identities, cultural practices, values to mention but few. The continent’s diverse and historical traditions of visual symbolism depicting gender distinction, hierarchy and power relations is reflective of their dresses and other forms of body decoration. African dress culture has evolved through socio-cultural shifts; Western influences and globalization. Its reflection on gender and societal standing has always raised concerns especially in the African space. reconfiguration of dress culture in Africa is expected to have a positive impact on the continent, creating a more inclusive and diverse fashion landscape. The panel seeks to engage on discussions that focus on how African dress culture embodies historical narratives, socio-cultural values, aesthetic sensibilities, and gender dynamics .and social media influences on the global space now and in the future.
Accepted papers:
Session 1 Tuesday 1 October, 2024, -Paper short abstract:
This study aims to re-configure Aso-oke fabric of south-west, Nigeria as a global dress culture by examining how globalisation has positively influenced its application to showcase gender dynamics, aesthetic sensibilities, fashion trend and cultural values of the Nigerian people to the world
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,
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.
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.
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.
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.