Making Stories Telling Tales II

It’s been challenging accessing the internet whilst on the road in Nigeria so apologies for the gaps with my posts. I’m about to upload another post on The Yorùbá Blues, but in the meantime and staying with the Nigerian theme I’m sharing details of a wonderful exhibition launching this Saturday 29th April for those of you in London.

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The artist Flo Awolaja uses African fabrics to create exciting abstract mosaic compositions “that hark back to West-African traditions of using textiles as a means of commemoration and communication, taking them and placing them in a contemporary setting”. The exhibition is the second part of her previous exhibition Making Stories and Telling Tales (Part I) which I saw at the Park Theatre, Finsbury Park. London and which really was as Flo described a “vibrant celebration reminding us that narrative is not always verbal, and to appreciate the contribution of African and Caribbean communities around the world”.

image.jpgThere’s a great review of her upcoming exhibition by Elise Markham on her wonderfully entitled blog Cinnamon & Brown and for more information on the venue Gida Collective

Flo also has various size fabric artworks for purchase at Gida and can do commissions with specific fabrics and colours. You can contact her directly on floraawolaja@hotmail.com or follow her on twitter @Maverikartz.

The Yorùbá Blues – Lagos to Abẹ́òkuta

Abẹ́òkuta is about 100 kilometers from Lagos and is still is one of the major centres of àdìrẹ making. The journey should take about two hours by road except that my first trip took nearly five hours because of traffic congestion and uneven roads. I decided to make my return trip by train, leaving from Lagos Terminus, on Iddo Island, a district in Lagos Mainland. Iddo used to be an island, but following land reclamation, it’s now part of the rest of Lagos Mainland.

When I arrived at the station the engineers were still working on the train but the delay was only 30 minutes. The train was old, most definitely in need of investment, but the train and the station were clean. My fellow passengers were really friendly and helpful and actually, it was a really pleasant three-hour trip. Apart from some new seat covers the interior looked original, possibly 1950s and there was something quite romantic about its faded grandeur.

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It was so nice to take a break from the heavily congested Nigerian roads. The train passed through lots of rural villages and towns where the landscape was green and lush with palm trees, banana trees, sugar cane and bamboo. The historic stations at Kajola and Ifaw Junction were particularly beautiful. I arrived in Abẹ́òkuta just before sunset and crossed the railway track with my suitcase as instructed by the helpful station staff who even negotiated a reasonable price for my taxi to the hotel.

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Ogun State was created in 1976 with Abẹ́òkuta as its capital and largest city. The State is named after the Ogun river. The Yorùbá are the major ethnic nationality in Ogun State, comprising many subgroups including Ẹ̀gbá people. Abẹ́òkuta lies below the Olumo Rock, home to several caves and shrines. It was founded by Ẹ̀gbá people around 1830 seeking refuge from Yoruba civil wars. The name Abẹ́òkuta translates literally as the underneath the rock.

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Abẹ́òkuta is a really interesting town. Not only is it the birthplace of some famous Nigerians including former president Olusegun Obasanjo, Afrobeat musician Fela Kuti and writer Wole Soyinka but it’s also home to some magnificent Brazilian and Cuban mansions built by returning former enslaved. There’s an excellent blog post on the history of Abẹ́òkuta on Fulbright scholar Kọ́lá Túbọ̀sún’s Travel Blog and a wonderful book called Ogun State published by Glendora Books.

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It took a few trips to build up a relationship of trust with the àdìrẹ makers and to convey to them that as an indigo dyer and textile artist I was looking to document and exchange ideas on sustainable practices rather than copy their work. As an embroiderer and indigo dyer, the stitch workshop and dye compound were my favourite spots.

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I also met the traditional àdìrẹ ẹlẹ́ko stencil maker and textile practitioner. His beautiful work really resonated with me, because of my first stencil àdìrẹ ẹlẹ́ko cloth.

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Thirteen to Zero – Exploring Sustainable Design

le designFor those of you in Vancouver,  I highly recommend checking out the first solo exhibition of fellow natural dyer Dawn Russell. Dawn has a wonderful organic approach to creating her work. She captures the beauty, colour and texture of nature with photography and sketches which she uses to inspire her very experimental, very exciting pieces, using only natural dye plants and natural fibres. 

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Yorùbá Birthday Greetings – Kú ọjọ́ ìbí and Ẹ kú ọjọ́ ìbí

I will post a follow up to my first Yorùbá Blues post on Monday. Today I’m enjoying birthday celebrations and sending a big thank you for all my lovely birthday greetings.

I’m spending a lot of my time around Yorùbá people, because of their history and relationship with àdìrẹ ẹlẹ́ko. I’m trying my best to understand, not just the language but how the language is used. My birthday greeting was given to me in two ways. The first one, “Kú ọjọ́ ìbí” by people of a similar age and the second, “Ẹ kú ọjọ́ ìbí” by people who were younger. I’m also learning the morning, afternoon and evening greetings and it’s fascinating and wonderful how respect for elders is reinforced through the language.

A big thank you to Mayowa and Yemi for helping me navigate the beauty and subtlety of Yorùbá language.

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The Yorùbá Blues – Introduction

For my 21st birthday, I treated myself to a piece of indigo dyed fabric. It has been washed too many times to count and the dye, although still strong has acquired the beautiful variegated patina of age. Years later I discovered it was a Nigerian Yorùbá indigo dyed textile using a starch resist technique called àdìrẹ ẹlẹ́ko. This fabric provides the initial inspiration for my indigo research and my desire to explore my personal connection with Jamaica’s indigo plantations and Yorùbá indigo textiles.

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This part of my research has been made possible through a Winston Churchill Travelling Fellowship under the Crafts and Makers category. The award has been made in partnership with the Heritage Crafts Association, the advocacy body for traditional crafts. The fellowship has enabled me to travel to South Western Nigeria to research Yorùbá àdìrẹ ẹlẹ́ko pattern making.

The Winston Churchill Memorial Trust is the UK’s national memorial to Winston Churchill. Each year the Trust awards Travelling Fellowship grants to UK citizens in a range of fields to enable Churchill Fellows to carry out research projects overseas. These projects are designed to exchange ideas and best practice, and build greater understanding between peoples and different cultures.

My travels start in Lagos and from there I head to Abeokuta, Ibadan, Osogbo, Ogbomosho and Olusun-Ota. I’m meeting indigo dyers, artisans and academics along the route. Please follow my Nigerian travels and keep a look out for talks and workshops when I return to the UK.

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Jamaica & Indigo

In 1672 a Jamaican land survey recorded sixty indigo plantations with many concentrated in the parish of Clarendon along the Rio Minho River.  Under British rule, these plantations were cultivated by enslaved Africans from ethnic groups including Igbo Akan, Fon, Yoruba, Efik, Bantu and Moko people. Many arrived with indigo cultivation skills coming from cultures with rich traditions of indigo dyed textiles, traditionally woven and patterned to reflect African identity. Within slavery, Africans were forced to grow indigo commercially and were denied their cultural and creative connection with the dye. 

As the enslaved outnumbered their owners the plantation system was dependent on suppressing, erasing and subjugating the African identity to avoid and minimise the risk of resistance. Plantation owners prevented their enslaved building family links with bonds of kinship, especially to Africa and other Africans, disconnecting them from their culture and history and denying African spirituality and heritage. The process could last up to three years and was called ‘seasoning’.

My MA research explores this lost African heritage through natural indigo dyed cotton paper and fabric and embroidery, drawing inspiration from Yoruba indigo dyed starch resist textiles known as àdìrẹ ẹlẹ́ko. 

If you are in London come and see my show. There are three days left for the show Lots to see, probably over 150 shows! Fine art, textiles, graphic design communication, curating and interior and spatial design.

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