AMONG YORUBA WOMEN of SOUTH-WESTERN NIGERIA By

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HAIRDO AND HEAD-COVER: FASHION EXPRESSION OF REPOSITORY OF ‘ORI’ AMONG YORUBA WOMEN OF SOUTH-WESTERN NIGERIA

By Adeoti Adebowale. A Department of Fine and Applied Arts FCT College of Education Zuba-Abuja Email: [email protected]

(Received May 14, 2020 and accepted June 1, 2020)

Abstract The Yoruba women of South-Western Nigeria are fashionable people just like other women around the world. Every part of their body is a symbolic feature of beauty, especially the head (ori) which is considered as ‘eleda’ (Immortal spiritual being) and the seat of power of the body. Hence, the head must be taken care of with special attention owing to its spiritual and biological significance. The need to take care of ones eleda is informed by various ways which Yoruba women extravagantly decorate their head with fashion adornment as part of the care of the head. The craft of hairdo and wearing of head-cover (gele) is an artistic legacy of beauty from the past and their significance has been emphasized through Yoruba philosophical practices from time immemorial. The main peculiarity is that Yoruba hairstyles and head-cover were not created just for beautification but as means of differentiation. Such differentiation could be religious, on the basis of gender, marital status, age, mood, political orientation etc. In this study, attention is therefore paid toward exemplifying the use of visual and cultural materials to make a fashion statement in the care of women’s head. This research is descriptive through participant observation, interview and literature search to give account of photographic illustration of hair style and head-cover as method while analysis is done in tandem with oral tradition. The study recommends that local content patronage should be encouraged; the craft should be well packaged as a source of income and integration of the craft as academic syllabus in the department of visual arts. However the study concludes that the care of ori (head) is a fashion among the Yoruba women which has basis from visual materials their art provided them. Keywords: Hairdo, Head-cover, Fashion, Ori, Yoruba Women

Introduction Every society of the world ascribes concept of beauty and care to women folks. Art and fashion is synonymous to everybody’s culture and within this context lays paraphernalia of Yoruba

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CAJES Vol. 6 No 2 | SEPTEMBER 2020 women body care. The way and manner of care of the head especially in the olden days was related orally as head being considered as the seat of power. A Yoruba proverb elucidates the significance of oral history in this context that “bi omode o ba ba itan, a ba aroba, aroba ni baba itan” - If a child never experienced historical events but he is acquainted with oral tradition, because oral tradition is the father of history. For instance an oral tradition signifying head as powerful organ of the body and composed as a song by Late Hubert Ogunde in the 1960s and accentuated by Webby (2017) recited as: “Ori mi ye e, ori mi ah, My head I hail you, My head I hail you, Ori ma se pa kun de o, My head, please do not close the door, Lodo re mo m bo o, My head, here I come to you Jowo wa saye mi di rere, Please come and make my life prosperous, Ori wo bi ire gbe mi, My head please take me to a successful end, Ona wo bi ire gbe mi gba o. Let my roads lead me to my fortune” Apart from the oral tradition which places much importance on the care of the head, the vestige of sculptural piece of the Yoruba art is a point to reckon with. In Yoruba typical expression of human representation in painting and sculpture is the rendering of head disproportionately bigger (image 1) than the rest of the body connoting head as the power house of the body and this assertion was reinforced in the work of Ajíbóyè, Fọlárànmí and Umoru-Ọ̀ kẹ (2018). The expression of images in this manner is psycho-cultural philosophy which the artists bear in mind as part of belief system is documented in many studies of the Yoruba art historians and the work of Ademuleya (2007) was peculiar about this phenomenon. The fashion of care of head stems from the visual art which is embedded in Yoruba culture. For instance, the technique of hairdo and head-cover is from textile weaving where two stuck of hair strands are intertwined to achieve a hairdo while warp and weft are applicable for head-cover in care for ori. The aim of this study is therefore, to x-ray aesthetic philosophy of the Yoruba to provide a foundation for fashion care of ori through visual art. Research Objectives The followings are the objectives of the study: 1. to establish the relevance of visual art to care of head among the Yoruba women 2. to account for interpretative meaning of hair styles among the Yoruba women 3. to analyze forms of head-cover as care of the head among Yoruba women 4. to expound concept of ‘Ori’ as viewed from the Yoruba philosophical perspective

Research Questions 1. How relevant is visual art to care of head among the Yoruba women? 2. What is the meaning of hair styles among the Yoruba women? 3. How analytical is forms of head-cover as care of the head among Yoruba women 4. How concept of ‘Ori’ viewed from the Yoruba philosophical perspective? 101

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Research Methodology The study adopted oral tradition as evidential theory from the literature which the result is consistent with formal analysis of material culture in this study. This model is in tandem with Ademuleya (2015) opined that oral tradition remains the most hopeful tool for a better understanding of Yoruba philosophy and also in consonance with the model of Abiodun (2014) as adopted by Ajíbóyè, Fọlárànmí and Umoru-Ọ̀ kẹ (2018), suggests that “we look beyond what is curiously observed if we are to understand Yorùbá art.” In essence he offers that “we should not be content with only formalistic analysis of Yorùbá art, but endeavour to understand it as an expression of the thought and belief system that produced it. Participant observation and Interview were made possible while some photographic images of hairstyles and headgear were purposefully selected using descriptive analysis to explain their meaning. The art of Hairdo It is a general belief among the Yoruba that God (Eledumare) refers to us as ‘omo adari hurun’ (specie that grows hair on the head) which simply put, hair grows and hairdo as basic and complete formation of ori (head) from Yoruba philosophy and aesthetic concept. The art of making hair follows principles and elements of art as mentioned by Adiji, Oladumiye and Ibiwoye (2015) which include line, shape, texture, repetition, form, and balance to mention but a few. Hairdo is the twisting of two strands of hair or more together to form a bunch, a continuous multiple supplies of many strands resulting to a complete pattern while different motif can be intertwisted. The pattern of formation could be repeated in a row which is typical of textile weaving (image 2). News Agency of Nigeria (2015) reporting Prof. Bolanle Awe, a former Director of the Institute of African Studies, University of Ibadan, says the traditional hair-styles of Yoruba women are not only for beautification but also serves religious purposes as well as indicate identification, age, political power, ceremony, occupation or mood. Hairdo is a symbol of pride and honour which communicates several messages such as: mark of initiation, state of mind, religious beliefs, marital and social status of Yoruba women. For instance, Mide (2017) posits that hairstyle which starts from the forehead and ends at the back of the neck (image 3) shows the carrier is married. Besides, married women carry hair styles from both sides of the head, and finish up at the middle of the head in such a network shape that connect the forehead and back together. On the other hand, maiden style runs from the right side of the head to the left ear. The smaller, and the more hair strands a young lady carries, the more beautiful such a lady will look. Maidens usually carry hair-style of 8 to 14 strands, in braided or wrapped form. Hairdo can come in different forms, for example Irun didi – a handmade plaits hair or stuck hair weaving in elaborate formation (image 5). Irun kiko – a thread attachment or braided formation can be good especially for women whose heads are little hairy (image 8). Irun biba - simple form of loose hair formation, it is a preliminary braiding usually done in preparation for the actual didi (weaving) or kiko (braiding) by the professional stylist (onidiri). Irrespective of styling forms of hairdo what is common as predictor to a beautifully finished hairstyle is the working tools such as comb, hair cream and thread as mentioned by Femi (2017): Onya/ Ilarun: a wooden comb with teeth that come in various sizes (image 4), used to

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CAJES Vol. 6 No 2 | SEPTEMBER 2020 set the hairdo in place, hence Yoruba aphorism “Ile, Ogere, afi oko yeri” (Earth, the goddess, who combs her hair with a hoe). Adi - local hair cream traditionally applied to enhance and soften hair strands; and Owu - plaiting threads used for variations of both braiding and weaving hair.

Image 1 Image 2 Image 3

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Image 1: Esie head Source: Adebowale (2011) Image 2: Weaving process Source: http://www.designindaba.com Image 3: Married woman style Source: de-amazon.blogspot.com Image 4: Onya/Ilari (comb) Source: http://www.bellatory.com Graphical Analysis of Some Selected Yoruba Women Hair Styles in Care of Head Aesthetic expressions among the Yoruba women manifest in all parts of their body especially in the styling approach to hairdo. Every hair style has its peculiar name and significant for specific aesthetic functions which are in line with Ogunbambo (2017) and Iyaniwura (2018) submissions:

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Koroba (Bucket or Pail): The braiding radiate from the center of the head to all parts, like an upturned bucket or container and in a manner that some face front while others are backwards with the tips formed into scroll of knots (image 5). Kolese (Legless): This style is braided from the front and runs to the back of the head, not too far from the neck. It is also called ‘all back’ or ‘corn rows’ (image 6). It is the most simplest and popular hairstyle even among the ladies nowadays. All back braid is used to fix wearable wigs among the contemporary women and helps to bring out their face as well as accentuates the size of their forehead. Ipako Elede (Pig’s nape): Also used in reference to police cap because of its shape taking form of beret cap. The styling runs from back to the frontal head ended with a knotted bunch. When scaling the braids, the non-linear contours of the head are followed. There is a main middle model that the Onidiri (hair stylist or hair dresser) follows by repeating the units in an amazing form of fractal geometry (image 7). Eko bridge: It is divided in to 10/11 sections. The thin braids are then twisted to form a bridge- like focal point above the head (image 8). Panumo (Keep Shut): The style runs from both the frontal head and back neck to meet at the centre of the head leaving a little hole. It is mostly worn by teens, brave and courageous women as well as ‘iya oloja’ (leader of the market women) in the olden days (image 9). Suku: This involves braiding to form a hump on top of the head. There are many variations of this popular style. This simple style is sometimes complemented with side plaiting. This hairstyle was traditionally reserved for the wives of royalty, but is now common among young ladies, school girls and married women. The simplicity of it makes it less time-consuming and easier to execute than other more intricate designs. Different types of suku are suku elegbe, suku onididi, suku sesema. sinero kiko, suku fula, suku ologede and suku onibeji. Modern types of suku involve intricate plaiting to form flowers (image 10). Agogo: This translates as ‘pile up’ which runs from both side of the head to meet at the mid centre of the head forming a bunch of semi-circle shape. This hairstyle was famous especially among the married Yoruba women. Agogo is regarded as the traditional Yoruba bridal hairstyle. The hairstyle is adorned by the bride-to-be a night before her wedding. It was believed to be a good luck charm to the married couple (image 11). Ere (Esu symbol): This is the hairstyle used by the worshippers of esu, one of the most well- known deities in Yoruba land considered to be the protector of travellers and the deity with the power of fortune over misfortune. It is shaped like a pig tail left to grow at the center or front of the scalp. The pigtail (called ere) is referred to as an Osu. This appears on the staff of esu worshippers, shaped like a pig tail left to grow at the center or front of the scalp (image 12). Patewo (Clap): It is shaped like clapped hands, hence the name, patewo. The hair is divided vertically down the middle and braided horizontally to the division. Patewo also resembles the Mohawk, but braided and excludes shaved hair, the patewo hairstyle can be easily combined with all back and a fringe (base) to make it more interesting (image 13).

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Moremi: This hairstyle originated from the ancient Oyo Empire. The wonderful ‘Yeye Oba’ (Wife of the King) was Queen Moremi Ajasoro of Ile Ife. The Moremi hairstyle was named after her as a sign of respect and also to show gratitude for her wonderful work she did in her time (image 14). Others are Udoji, Brush Kiko, Onile Gogoro, Beri Beri, Pakunpo, Alhaja, Aro Meta, Agogo, Ikoto, Abeti Aja, Edabo, Ade-Oba, Danfo and a host of others.

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Image 12 Image 13 Image 14 Image 5: Koroba Source: https://www.legit.ng Image 6: Kolese Source: https://www.google.com/amp/s/hintng.com/15-popular- nigerian-hairstyles/amp/ Image 7: Ipako Elede Source: (https://www.bellatory.com Image 8: Eko Bridge Source: https://www.google.com/amp/s/hintng.com/15-popular- nigerian-hairstyles/amp/ Image 9: Panumo Source: https://africa.com/history-african-womens-hairstyles/Image Image 10: Suku Source: https://africa.com/history-african-womens-hairstyles/ Image 11: Agogo Source: https://www.ibadaninsider.com/lifestyle/history-and- culture/trip-yoruba-culture-hairstyles/ Image 12: Ere Eshu Source: https://www.ibadaninsider.com/lifestyle/history-and- culture/trip-yoruba-culture-hairstyles/ Image 13: Patewo Source: https://www.haircutcolor.blogspot.com Image 14: Moremi S ource: https://www.haircutcolor.blogspot.com

Head-cover as a Care of Head Head-cover has been used in reference to head-tie, scarves, head-wrap and headgear achieved with a piece of fabric which is worn on the head by African women usually for socio-cultural or religious reason. Head-cover, translated as gele (image 15) and commonly used in ceremonial functions of all sorts, is made of strong and stiff clothing and can be stylishly elaborate in artistic ways of tying, and, in some cases where soft material is used, it is starched so it becomes stiff to hold its shape. When a Yoruba woman wears her head-cover, it can be a sign of her

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CAJES Vol. 6 No 2 | SEPTEMBER 2020 marital status especially if worn with the ends facing down, it means a woman is married and if worn with the ends up, she is single and this view is upheld by Fihlani (2016). Babatola (2020) opined that this piece of clothing can be as simple as a scarf, head-tie or bandana, to being as elaborate as the arched train of a peacock. A very sophisticated gele is sourced from damask (image 15) or aso oke (Yoruba hand woven fabric). Sometimes it is sourced from the material used for the ìró and bùbá (blouse and wrapper) of the same material (Ajíbóyè, Fọlárànmí, & Umoru-Ọ̀ kẹ, 2018). Apart from gele, others like Iborun or Ibori (ordinary scarf) and Ipele (shawl that form drapes over the shoulder, or around the waist; images 16, 17, 18 ) are also fashion care of head but are spread as free flow apparel on tied gele or placed on elbow of the wearer. Gele is worn as casual or sophisticated accessory over to- match ‘iro and buba’ attire (Olanrewaju, 2019), but nowadays it is a common fashion among ladies to wear gele on all types of attire, such as skirt suits, pantsuits, and cocktail dresses (image 19, 20). Babatola (2020) specified various types of gele that are worn depending on the occasion as casual gele, couture gele, custom-made gele and bling gele. Casual gele (image 16) comes in different forms. The very casual ones are usually the ones made out of the same fabric as the outfit being worn. It can also be a regular polyester scarf or shawl that can sometimes be worn as a head-tie. Couture gele is contemporary fashion made of Grand Swiss, Super Jubilee, and Hayes (image 15). There is also the net gele (see-through fabric gele) which are imported from Switzerland in various colours of embroidered designs (image 21). Custom-made gele are made from aso oke customized for specific buyer and the result is usually a blend of colorful prints and patterns. These colourful print fabrics are then used to make the gele and Shawl or into the complete outfit (gele, ipele, buba, and iro). Bling gele is a type which accessories of all sorts have been adorned such as precious stones, beads, rhinestones, and sometimes silk flowers can be added for quality embellishment (image 22). Mention must be made that techniques of tying gele is not gender sensitive and not every woman knows how to tie it. Moreover there are numerous ways of tying techniques and the process leading to complete style is often handled by a trained professional who is skillful in the art and the beauty depends largely on the artistic way of tying (image 23).

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Image 18 Image 19 Image 20

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Image 15: Damask made gele Source: Adebowale (2020) Image 16: Tied scarf Source: Adebowale (2020) Image 17: Iborun/Ibori (ordinary free-flow scarf) Source: Adebowale (2020) Image 18: Ipele (shawl) Source: Adebowale (2020) Image 19: Iro and buba to-match with gele Source: Adebowale (2020) Image 20: Ladies wearing gele over skirt and blouse Source: Adebowale (2020) Image 21: Net-like made gele Source: Adebowale (2020) Image 22: Bling gele Source: htpps://www.belatory.com Image 23: Technique and steps of tying gele Source: Adebowale (2020)

Concept of ‘Ori’ from the Yoruba Cosmological Belief ‘Ori’ is conceptualized as a metaphysical aura of one’s personality. It is literarily translated as physical head (biological containment of sensory organs including the cranium), much more complex than physicality but where consciousness, soul, wisdom and spiritual being are housed (eleda). Ori works in dual mode functionalities within a singular being; as it is seen as embodiment of artistic organ of the body, so also reverence is made to it as another unseen being which its influence is predominant over the physical head. However both exist in complementary dimensions and driving force of human existence. Based on this philosophical establishment, the spiritual importance attached to the physical head as representation of the inner head by the Yoruba is in no doubt the result for the care of head; hence, the Yoruba saying: Ori la ba bo a ba forisa sile, ti n ba ji lowuro ma fowo gbari mimu ko se temi ni rere, tori ayanmo o gbogun ori lelejo (head is to be placated rather than deity, if I wake up in the morning I will hold my head with my hands to bestow prosperity on me because destiny is inevitable head is the judge). Reference made to head in this saying is on the eternal being hence proper attention must be paid toward its care physically. Therefore, the hair is rarely left without adornment and a considerable time is spent to make it aesthetically appealing (Ajíbóyè, Fọlárànmí and Umoru-Ọ̀ kẹ, 2018). Findings/Discussion The relevance of visual arts to hairdo and head-cover in the objective one was established in the use of line as element of visual arts. For instance, diagonal and zig-gag line is notable in the weaving of hair style (image 10 & 13) as corroborated in the work of Adiji, Oladumiye and Ibiwoye (2015). Besides, the process and end product of head-cover is textile design (image 15- 23). Detail account of hairstyles were given in line with oral history in the objective two, besides interview conducted revealed that hairstyles still maintain their titles and meaning with little

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CAJES Vol. 6 No 2 | SEPTEMBER 2020 variations in stylistic approach, the study of Ogunbambo (2017) and Iyaniwura (2018) exemplified this phenomenal (image 15-23). Objective 3 established the basis of head-cover as care of head among the Yoruba women through aesthetic attachment and belief system guiding the usage. This finding is in tandem with Babatola (2020) whose work ostensibly offered various kinds of head-cover worn for different occasions (5-15). The concept of Ori as perceived by the Yoruba in the objective 4 was substantially rooted in the work of Ademuleya (2007) that the head is viewed as seat of power and spiritual house of one’s personality. Conclusion One area that is much relevant to hairdo and head-cover within the branch of visual arts is textile design where the process involves weaving of strands of hair together to produce hairdo as well as intermingling warp and weft to form piece of head-cover. The material of production is within the context of visual arts while the technique of execution follows principles and elements of design. The use of oral tradition and Yoruba proverbs as contained in Yoruba language helps to convey the motive and meanings associated to head and why it is therefore important to care for it through hairdo and head-cover. A popular Yoruba saying among the women points to this fact: je ki n toju eleda mi (let me take care of my head). The word eleda referred to here is the spiritual being which is believed to be housed inside physical head must be taken care of in order to be visual aesthetically appealing. It is on this premise that this study appropriate proper understanding of hairdo and head-cover as care of the head among Yoruba women. Recommendations i. It is a clarion call to the people that indigenous culture is a representation of fashion value which its embracement can help to sustain it in the face of global pressure and foreign cultural dominance. ii. Yoruba hairdo and head-cover is a local content and entrepreneurship vocation, if it is well branded is a source of income for interested individual as well as contributing to national gross domestic product (GDP). iii. The appreciation of local craft is noticeable outside the shores of Nigeria for instance Yoruba fashion style has become a global feast of interest among the Europeans, Americans and Latin Americans hence the study of hairdo and head-cover can be formalized as part of art curriculum in the higher institution of learning so as to prepare student for future professionalism.

References Ademuleya, B. (2007). The Concept of Ori in the Traditional Yoruba Visual Representation of Human Figures. Nordic Journal of African Studies 16(2): 212–220. Adiji, B. E., Oladumiye, E. B and Ibiwoye, T. I. (2015). Visual Documentation of Traditional

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Nigerian Hair Styles and Designs as a means of expressing Social and Cultural Heritage through Photography. Global Journal of Arts Humanities and Social Sciences 3(6): 23- 33. Ajíbóyè, O., Fọlárànmí, S.,and Umoru-Ọ̀ kẹ, N. (2018). Orí (Head) as an Expression of Yorùbá Aesthetic Philosophy. Mediterranean Journal of Social Sciences (9) 4: 59-70. Iyaniwura, S. (2018). Historical View of 10 Beautiful Traditional (Yoruba) Hair Styles among the Yoruba Women. Retrieved December 5, 2019 from https://www.beautiful- traditional-yoruba-hair.html?m=1 Fihlani, P. (2016). How South African women are reclaiming the headscarf. Retrieved August 25, 2017 from https://www.bbc.com Femi, O. (2017).Yoruba Female Hairstyles. Retrieved December 10, 2019 from www.bellatory.com Mide, S. (2017). A trip to Yoruba culture hair styles. Retrieved from January 24, 2019 https://www.ibadaninsider.com/lifestyle/history-and-culture/trip-yoruba-culture-/ News Agency of Nigeria (2015). Yoruba traditional hairstyles not only for beautification–Awe. Retrieved December 16, 2018 from https://m.guardian.ng/news/yoruba-traditional- hairstyles-not-only-for-beautification-awe/ Ogunbambo, F. (2017). The beauty of the African woman’s hair – how it all began. Retrieved November 20, 2019 from https://acceleratetv.com Olanrewaju, A. (2019). The Fabric of Nigerian Weddings Retrieved March 4, 2020 from https://www.nytimes.com. Webby. (2017). Here are 100 Different Traditional Nigerian Hairstyles with Photos and the Stories behind them. Retrieved June 15, 2019 from www.siteonlinenigeria.com

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