ANALYSIS OF DESIGN MOTIFS IN HAND EMBROIDERED GARMENTS

ANALYSIS OF DESIGN MOTIFS IN HAND EMBROIDERED GARMENTS OF HAUSAS IN ILORIN ESEAGWU OYENIKE OLUWAYEMISI (9131750002) ARTS AND CULTURE 1

Background to the Study v. Nigeria is endowed with rich and vast art traditions and culture. (Nok, Ife, Igbo-Ukwu, Benin, and Essie culture. v. Nigerian sculptures and textiles were looted by European colonial exploiters in 15 th century due to their aesthetic qualities. 2

Background to the Study (cont’) v They are now displayed in European museums and in many other parts of the world. v Unfortunately, so much attention has been concentrated to the study of only the aesthetic merit of sculpture at the expense of textiles. v Oyelola (2004) lamented the relegation of textiles to the low realm of artistic productions. 3

Background to the Study (cont’) v Embroidery, known in Hausa as Zubi, is purely decorative and common in most Hausa communities but has been accorded little cognizance in terms of literary documentation especially in Ilorin. v Literary documentation in terms of hand embroidery on caps and male garments practiced in Ilorin is still almost non-existent. v This study emphasis on the analysis of motif designs of Hausa embroidered caps and men’s garments in Ilorin. 4

Statement of Problem q The need to pay much attention to textile scholarship and fill the vacuum created in embroidery Design. The need to investigate into the contextual relevance of motifs and designs. q Probe into stylistic influences and cultural inclinations of Hausa embroidered garments and caps in Ilorin. 5

Statement of Problem (cont’) q There is need to make a comparative study of traditional and modern garments embroideries among the Yoruba and Hausa immigrant in Ilorin, Nigeria. q There is need to open a new stream of study in literary documentation of the motifs and designs on Hausa hand embroidered garments in Ilorin, . 6

Objectives 1. Identify design motifs of hand embroidered garments of Hausa in Ilorin. 2. Investigate the factors responsible for the range of motifs of hand embroidered garments available in Ilorin. 3. Analyse the design motifs of hand embroidered garments in Ilorin. 4. Explore modalities for creating more hand embroidered designs. 7

Research Questions 1. What represent design motifs in Hausa hand embroidered garments in Ilorin? 2. What factors are responsible for the range of design motifs in Hausa hand embroidered garments in Ilorin? 3. What are the specific design motifs in Hausa hand embroidered garments in Ilorin? 4. What are the possible ways of creating, preserving and documenting these designs for future generation? 8

Delimitation 1. This Study focused on analyses of Hausa hand- embroidered motifs, style and designs on caps and garments in Ilorin produced between 1980 and 2007. 2. This study is geographically confined to Ilorin a city in Kwara state, in south central of Nigeria. 9

Literature Review This study hinges on semiotic theory. Semioticians like Hodge and Kress 1988, rightly posits that individual creativity, changing historical circumstances and new social identities and projects can all affect change patterns of usage and design in fabric. Semiotic theory are categorized by Hodge and Kress 1998, into three signs Iconic- signs in which the signifier resembles the signified. That is objects that resemble another object with a recognizable visual. 10

Literature Review (cont’) Symbolic signs- are signs in which the relationship between the signifier and the signified is arbitrary and based purely on social convention and cultural practices. Indexical signs have a casual relationship between the signified and the signifier. That is the signifier is caused by the signified. 11

Literature Review (cont’) Trowel in her summary of traditional decorative crafts of Africa, South of the Sahara makes reference to embroidery; while sampling the many crafts of Nigeria. Eicher cites cloth embroidery among the Hausa and Nupe. Thompson tries to link the introduction of embroidery to trade connection. Perani, in examining Northern Nigeria Prestige Textile, discusses the big embroidered gowns worn by men of high status. 12

Literature Review (cont’) However, an analysis of embroidery motifs and designs as it relates to their socio-cultural environment is yet to receive adequate attention. Embroidery Design The study on embroidery has not received adequate scholarship. Scholars such as Eve De Negri (1962), Trowel (1965), Roy (1972), 13

Literature Review (cont’) Eicher (1976) and Duncan (2003), made mentioned of materials used for embroidery in yoruba garments. 14

Methodology Research Design Visual Semiotics Theory Setting of the study Ilorin, Kwara state, South Central Nigeria. 15

Methodology (cont’) Population The palace of emir of Ilorin, Nigeria, the department of Islamic studies, Federal College of education Ilorin, Kwara State council for arts and culture Other key informants comprises: elderly people (traditional historians-Mai-tarihi) garments embroiders. Users of embroidered garments and cap. Rationale for Selection: affinity with embroidery garments and cap 16

Methodology (cont’) Sample and Sampling Procedures Ø 17

Methodology (cont’) Research instruments Non-participant observation, structured interview, and visual aids in the form of photographs of design samples were used. Data analysis plan (a) Responses from the interviews were presented in descriptive format. (b) Pictorial analysis was used for the motif designs. 18

Major Findings In line with the main objectives of this study and the research questions, the following findings were made: Research Question One 1. What represents design motifs in Hausa hand embroidered garments in Ilorin? Finding One 1. The study identified the following motif designs: (a)aska (b)gafiya (c)Alkyabba (d)aska-tara with turarawa (e)embroidered caps 19

Hausa Motif Design Fig: 1. Aska-tara with taurarawan motif design front and back view 20

Hausa Motif Design Fig: 2. Gafiya extra shoulder design motif 21

Hausa Motif Design Fig: 3 Alkyabba robe or gown worn by the royals 22

Hausa Motif Design Fig: 4 Fully Embroidered polycromatic caps with tuntun hula design 23

Major Findings Research Question Two 2. What factors are responsible for the range of design motifs in Hausa hand embroidered garments in Ilorin? Finding Two 2. The study revealed that culture, religion, acculturation, modern technology and Creativity of individuals have influenced the creation of embroidery motif designs in Ilorin. The present range of motif designs seen on embroidery garments and caps have a strong tie with the creative instinct of both the user and maker of embroidery garments. 24

Hausa Motif Design Fig. : 5 A common agbada [babanriga] made of aso-oke fabric 25

Hausa Motif Design Fig. : 6 Masallaci- mosque 26

Hausa Motif Design Fig. : 7 Kashin kifi- fish bone Fig. : 8 Allo-Quranic slate 27

Hausa Motif Design Fig. : 9 Tauraruwan Arewa. Northern star Fig. : 10 Aska- Traditional shaving knives 28

Major Findings Research Question Three 3. What are the specific design motifs in Hausa hand embroidered garments in Ilorin? Finding Three Geometric shapes in their combined, duplicated, interlaced and over lapping forms. These are very common features in Islamic decorations. These shapes are equally featured in garment and cap embroidery in Ilorin. (a) aska (b) gafiya (c) Alkyabba (d) aska-tara with turarawa (e) embroidered caps 29

Major Findings Research Question Four 4. What are the possible ways of creating, preserving and . documenting these designs for future generation? . Finding Four 4. The study established that embroidered designs can be preserved through historical and pictorial documentation. 30

CONCLUSIONS 1. Hand embroidery was the original form of embroidery made in ilorin. But the motif has been influence by war, trade and settlements of other people particularly the Hausas. 2. The most frequent factor responsible for the present range of motifs in Ilorin embroidery is the creativity of individuals and embroidery makers, social events, trade with the north, Islam and political events. 31

CONCLUSIONS (cont’) 3. Designs are developed and produced based on cultural, religious awareness and affiliation. 4. Embedded in embroidery designs of the various categories of embroidery have particular symbols that represents religious cultural and social inclination. 32

Recommendations 1. Emphasis should be made in the preservation of traditional design motifs, their significance and influence by the establishment of embroidery weaving centre's in the various communities. 2. Analysis of handmade embroidery should be made to ascertain the level of productivity and ways of developing it to international standard. 33

Recommendations (cont’) 3. State Ministry of Arts and Culture should endeavour to preserve the rich culture of hand embroidered garments and caps in Ilorin. 4. Fashion events should be organized annually to celebrate the evolution of handmade embroidered garments and caps in Ilorin. 34

Contributions to Knowledge 1. This study has drawn an historical overview on the multiplicity of embroidery garment and cap design and how it came into Ilorin. 2. The study divulges a semiotic interpretation and analyses of motif designs on hand embroidered garments and caps. 3. this study provides a variety of iconography and design motifs embedded in Hausa hand embroidered garments and caps. 35

Contributions to Knowledge 4. The study has unveiled the unknown names of most of the motif designs to the respondents in Ilorin. 5. The visual properties in embroidered garments and caps provide a good basis for art historical investigation and inquiry. 36

Recommendations for Further Research 1. A collection of the original hand embroidery designs in the museum is necessary for posterity as it is done in other fields of study such as sculpture and ceramics. 2. There is a need to document the motif designs that were used by the indigenes before the contacts were made with other tribes particularly the Hausas. 3. Experimentation on materials that can conveniently be used in producing embroidery related designs is needed. i. e plastic and synthetic yarns. 37

Thank You 38