| Revision as of 00:33, 6 October 2024 editWatercheetah99 (talk | contribs)Extended confirmed users9,636 edits rv repeated vandalism + POV edits (the source does not refute evidence that there was Sahelian influence and the later biased prose reveals your motivations)Tags: Manual revert Reverted← Previous edit | Revision as of 14:52, 6 October 2024 edit undoSohvyan (talk | contribs)135 edits Undid revision 1249637298 by Watercheetah99 (talk), Lack of evidence for Sahelian influence, evidence rather shows it was original clothing derived from native Oyo cotton farms.Tags: Undo RevertedNext edit → | ||
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| == History == | == History == | ||
| Agbada is a four-piece male attire found among the Yoruba of southwestern Nigeria and the Republic of ], West Africa. | Agbada is a four-piece male attire found among the Yoruba of southwestern ], ] and the Republic of ], West Africa. | ||
| It consists of a large, free-flowing outer robe (awosoke), an undervest (awotele), a pair of long trousers (sokoto), and a hat (fìla). | It consists of a large, free-flowing outer robe (awosoke), an undervest (awotele), a pair of long trousers (sokoto), and a hat (fìla). | ||
| The outer robe—from which the entire outfit derives the name Agbada, meaning "voluminous attire"—is a big, loose-fitting, ankle-length garment. In which the centerpiece is usually covered front and back with an elaborated embroidery. |
The outer robe—from which the entire outfit derives the name Agbada, meaning "voluminous attire"—is a big, loose-fitting, ankle-length garment. In which the centerpiece is usually covered front and back with an elaborated embroidery. | ||
| By 1772, the Agbada was recorded as a Yoruba-made cloth, showcasing the craftsmanship of the Yoruba weavers, particularly in the production of ], a hand-woven fabric used in its creation. | |||
| During the medieval period, the Sahel was home to several influential kingdoms, such as the ], ], and ] empires. These empires were centers of trade, wealth, and culture, facilitating interactions between ]n, ], and ]ern civilizations. The flowing robes, including the agbada, were influenced by the garments worn in North Africa and the ]ic world, adapted to suit the needs of the Sahelian environment. | |||
| During the height of the ] circa 1772, which held sway over much of present-day southwestern Nigeria and beyond, the Agbada became more than a local garment. It was often gifted to neighboring rulers and elites, including the people of ] (modern-day Benin), who were under the influence of the Oyo Empire at the time. This cultural exchange helped solidify the dominance of Yoruba fashion, art, and politics across the region.<ref>{{cite book | title=A Journey To The Court Of Bossa Ahadee, King Of Dahomey, In the Year 1772 | page=122, 146 | author=Robert Norris}}</ref> | |||
| The Boubou was more than just clothing; it symbolized status, wealth, and cultural identity. In the Sahelian societies, it was traditionally worn by men of high social standing, such as kings, chiefs, and wealthy traders. The design of the agbada, with its wide sleeves and intricate embroidery, signified the wearer’s prestige and was often used in important ceremonies and public appearances. | |||
| The presentation of the Agbada to the Dahomey people under the Oyo Empire symbolized more than just fashion—it was a diplomatic gesture, emphasizing the power and reach of the Oyo Empire, as well as the integration of Yoruba cultural elements into the broader political landscape of West Africa.<ref>{{cite book | title=NOTES ON AFRICA:PARTICULARLY THOSE PARTS WHICH ARE SITUATED BETWEEN Cape Verd and the River Congo; CONTAINING SKETCHES OF THE GEOGRAPHICAL SITUATIONS THE MANNERS AND CUSTOMS THE TRADE, COMMERCE, AND MANUFACTURES- AND THE GOVERNMENT AND POLICY OF THE VARIOUS NATIONS IN THIS EX- TENSIVE TRACT; Also a View of their Capabilities for the reception of Civilization; WITH HINTS FOR THE MELIORATION OF THE WHOLE AFRICAN POPULATION. | page=209 | author=G. A. ROBERTSON, Esq.}}</ref> | |||
| Contrary to popular belief, the Agbada was not introduced or imported from the Sahel region. Historical records from as early as 1826 document that Yoruba-made Agbada was regarded as superior in quality and design compared to Sahelian garments.<ref>{{cite book | title=Rmarks On The Country Extending From Cape Palmas To The River Congo, Including Observations On The Manners And Customs Of The Inhabitants | author=Captain John Adams | page=94}}</ref> | |||
| This distinction is important, as the Agbada, while sharing some broad similarities with the ] in terms of flowing design, should not be confused with it. The Agbada represents a unique and intricate part of Yoruba heritage, standing apart in its sophistication, symbolism, and craftsmanship, demonstrating the advanced textile artistry of the Yoruba well before external influences reached the region. | |||
| As the Sahelian kingdoms interacted with neighboring regions through trade and conquest, the agbada style spread to other parts of West Africa. The robe’s adaptability made it a favorite among various ethnic groups, each adding their unique touches to its design and decoration. For instance, the Yoruba agbada, known for its elaborate embroidery, and the ]-] version, often characterized by more subdued designs, reflect the diverse cultural influences that shaped this iconic garment. | |||
| ] | ] | ||
Revision as of 14:52, 6 October 2024
Traditional robe worn by Yoruba men.png)
Agbada is the flowing robe traditionally worn by the Yoruba people across West Africa. It comes with an inner cloth of varying lengths and it also comes with a pair of bottom wear in form of native trousers called Shokoto. It also is worn most times with different caps like fila or abeti aja. Traditional Yoruba beads are often worn with it. The agbada is a male attire worn for special events and everyday life, depending on the extravagance of the garment. It is a distinct robe that comes in different styles and designs.
Many Agbada are made with aso oke or aso ofi fabric, but they can be made in other different fabrics including adire. Agbada is somewhat similar to the boubou/ babanriga, but is different in looks, style, shape, fabrics and materials used and are quite distinguishable. Agbada usually features native Yoruba embroidery as many times alongside the Grand knot native to the Yoruba culture. Agbada is one of the attires of Yoruba men, alongside others like Gbariye, Sulia, Oyala, Kembe. Gbariye is close in looks to Agbada and many times considered a type of Agbada.
History
Agbada is a four-piece male attire found among the Yoruba of southwestern Nigeria, Togo and the Republic of Benin, West Africa.
It consists of a large, free-flowing outer robe (awosoke), an undervest (awotele), a pair of long trousers (sokoto), and a hat (fìla).
The outer robe—from which the entire outfit derives the name Agbada, meaning "voluminous attire"—is a big, loose-fitting, ankle-length garment. In which the centerpiece is usually covered front and back with an elaborated embroidery.
By 1772, the Agbada was recorded as a Yoruba-made cloth, showcasing the craftsmanship of the Yoruba weavers, particularly in the production of Aso-Oke, a hand-woven fabric used in its creation.
During the height of the Oyo Empire circa 1772, which held sway over much of present-day southwestern Nigeria and beyond, the Agbada became more than a local garment. It was often gifted to neighboring rulers and elites, including the people of Dahomey (modern-day Benin), who were under the influence of the Oyo Empire at the time. This cultural exchange helped solidify the dominance of Yoruba fashion, art, and politics across the region.
The presentation of the Agbada to the Dahomey people under the Oyo Empire symbolized more than just fashion—it was a diplomatic gesture, emphasizing the power and reach of the Oyo Empire, as well as the integration of Yoruba cultural elements into the broader political landscape of West Africa.
Contrary to popular belief, the Agbada was not introduced or imported from the Sahel region. Historical records from as early as 1826 document that Yoruba-made Agbada was regarded as superior in quality and design compared to Sahelian garments. This distinction is important, as the Agbada, while sharing some broad similarities with the boubou in terms of flowing design, should not be confused with it. The Agbada represents a unique and intricate part of Yoruba heritage, standing apart in its sophistication, symbolism, and craftsmanship, demonstrating the advanced textile artistry of the Yoruba well before external influences reached the region.
References
- Anokam, Stella (2016-07-15). "Latest Agbada Styles with Embroidery Designs for Men (2022)". NaijaGlamWedding. Retrieved 2023-09-25.
- Lawal, Babatunde. "Agbada Clothing". LoveToKnow. Retrieved 2023-09-25.
- Robert Norris. A Journey To The Court Of Bossa Ahadee, King Of Dahomey, In the Year 1772. p. 122, 146.
- G. A. ROBERTSON, Esq. NOTES ON AFRICA:PARTICULARLY THOSE PARTS WHICH ARE SITUATED BETWEEN Cape Verd and the River Congo; CONTAINING SKETCHES OF THE GEOGRAPHICAL SITUATIONS THE MANNERS AND CUSTOMS THE TRADE, COMMERCE, AND MANUFACTURES- AND THE GOVERNMENT AND POLICY OF THE VARIOUS NATIONS IN THIS EX- TENSIVE TRACT; Also a View of their Capabilities for the reception of Civilization; WITH HINTS FOR THE MELIORATION OF THE WHOLE AFRICAN POPULATION. p. 209.
- Captain John Adams. Rmarks On The Country Extending From Cape Palmas To The River Congo, Including Observations On The Manners And Customs Of The Inhabitants. p. 94.