Adire is a traditional Yoruba textile produced through resist-dyeing with indigo. The craft developed over centuries in southwestern Nigeria and became prominent in towns such as Abeokuta, Ibadan, Osogbo, and Ede. A photograph from Ede in 1971 shows Yoruba women preparing indigo dye in large pots, illustrating techniques that remained in use and economically important into the late twentieth century.
Indigo dyeing in Yorubaland relied on indigenous plants, notably Philenoptera cyanescens, known locally as elu. The leaves were fermented in water and combined with alkaline substances to produce the blue dye used in Adire textiles. This practice predates colonial influence and reflects the transmission of technical knowledge through generations.
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Development of Adire Production
Adire production expanded significantly during the nineteenth century, following political and population shifts in Yorubaland. Abeokuta became a central hub, from which dyeing techniques and design patterns spread through trade networks and family connections to neighbouring towns, including Ede. Cloth used in Adire was typically locally woven cotton, with techniques adapted as imported cotton became more available.
Women and Textile Labour
Women played a central role in the production of Adire, preparing dye vats, applying resist patterns, dyeing, and finishing cloth. Dyeing yards often functioned as small-scale enterprises, providing employment and apprenticeship opportunities. Through these systems, knowledge of techniques and patterns was transmitted from experienced dyers to younger women.
Economic independence gained through Adire allowed women to contribute significantly to household income and local markets. The craft also reinforced social networks, as successful dyers gained recognition and influence within their communities.
Indigo Dyeing Techniques
Resist-dyeing techniques included Adire Oniko, which involved tying sections of cloth with thread or raffia to prevent dye penetration, and Adire Eleko, using cassava starch paste applied with combs, feathers, or sticks to create patterns. Cloth was repeatedly dipped in dye vats, with oxidation between immersions allowing the development of rich blue shades. Skill and experience were necessary to produce consistent colour and intricate designs.
Economic and Social Role
Adire production supported local and regional markets, linking towns such as Ede to trade networks across Yorubaland. The craft provided significant income for women and contributed to household economies. Apprenticeship and cooperative work helped maintain communal cohesion, while recognition of skilled dyers reinforced social status and cultural authority.
Colonial and Postcolonial Context
During the colonial and early postcolonial periods, imported machine-printed textiles presented competition, as they were less labour-intensive and cheaper. Some dyers adopted synthetic dyes or simplified designs, while others continued traditional practices for specialist markets. Documentation by colonial administrators and missionaries, although influenced by external perspectives, provides valuable evidence of techniques and economic activity.
Legacy
The 1971 photograph of women in Ede is an important historical record, demonstrating continued reliance on natural indigo and traditional techniques during a period of economic transition. Today, Adire remains a symbol of Yoruba cultural heritage, with training and production centres in Abeokuta, Osogbo, and Ede supporting new generations of artisans. Museums and cultural institutions preserve examples for study and exhibition.
Adire indigo dyeing represents a long-standing Yoruba craft shaped by women’s labour, inherited technical knowledge, and regional trade. The Ede photograph captures a moment of continuity amid economic change, offering insights into Nigeria’s cultural and economic history. Studying Adire illustrates the significance of women in sustaining indigenous industries and preserving material culture.
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Author’s Note
This article highlights the craft’s cultural, economic, and social significance, and underscoring the importance of documenting traditional practices.
References
- Picton, J., & Mack, J. (1989), African Textiles, British Museum Press
- Ogundiran, A. (2014), The Yoruba: A New History, Indiana University Press
- Adepegba, C. O. (1976), Nigerian Art: Its Traditions and Modern Tendencies, J.J. Augustin
