Nigeria’s cultural diversity is not just reflected in its languages, food, and music; it is woven into the very fabrics that its people have produced for centuries. Long before the popularity of mass-printed Ankara fabrics, handwoven textiles were a central part of the visual identity of Nigeria’s regions. Each ethnic group had its weaving traditions, motifs, and fabric functions rooted in spiritual, social, and economic life.
These traditional weaves are more than just clothing materials; they are also a reflection of cultural heritage. They carry memories as they were worn during rites of passage, marriage ceremonies, religious rituals, and political declarations. They signalled status, ethnic pride, and in some cases, trade alliances across regions and even borders.
While many of these weaving traditions have faced decline due to industrialisation and the introduction of imported fabrics, several have endured, sustained by local artisans, cultural custodians, and, more recently, a new wave of Nigerian designers and historians dedicated to their preservation.
In this article, we explore Nigeria through its regional fabrics, examining their origins, construction, usage, and modern reinterpretations. This is not just a style guide; it is a textile map of Nigerian identity.
5 Regional Traditional Weaves That Define Nigerian Cultural Identity
1. Akwete – Southeastern Nigeria (Igbo, Abia State)
2. Alari – Southwestern Nigeria (Yoruba, Oyo/Osun/Ogun)
3. Anger – Central Nigeria (Tiv, Benue State)
4. Okene Cloth – North-Central Nigeria (Ebira, Kogi State)
5. Kente Hybrids – Southwestern Nigeria & Cross-Border (Yoruba/Egun, Nigeria–Benin border)
1. Akwete (Southeastern Nigeria – Igbo)
Ethnic Group: Igbo (Akwete Town)
Technique: Vertical loom weaving, done predominantly by women
Akwete cloth is one of the most historically documented handwoven fabrics in Nigeria. The craft is native to Akwete town in Abia State and is unique for being a highly developed, female-centred textile industry in precolonial and colonial Nigeria.
Historical Context: Akwete cloth was once used as a form of currency and diplomatic gift in Igbo land and beyond. It featured prominently in trade with neighbouring coastal communities, such as the Efik and Kalabari.
Materials & Motifs: Traditional Akwete was initially made with raffia, but later cotton and silk became the standard materials. The patterns are geometric and symmetrical, often passed down through family-specific designs.
Cultural Function: It was worn by titled women, brides, and at festivals. Akwete also served as burial cloths and regalia for female societies.
Today, Designers like Nkwo and Amede are experimenting with Akwete weaves in contemporary silhouettes, while a few weaving cooperatives continue training women and girls in Akwete communities.
2. Alari (Southwestern Nigeria – Yoruba)
Ethnic Group: Yoruba
Technique: Horizontal loom weaving (narrow-strip weaving known as aso-ofi)
Alari is a type of woven aso-òfi, characterised by its deep burgundy or wine colour. It holds historical significance among the Yoruba people, particularly in the Oyo and Ibadan kingdoms.
Historical Context: Alari was often worn by Yoruba royalty and warriors. It was also used for the dressing of the Oba (king), especially in conjunction with other types, such as Sanyan and Etu.
Construction: Woven from locally spun cotton and later silk or imported threads, the cloth is made using a traditional strip loom.
Usage: Typically used for agbada, iro, and gele during ceremonies. The deep red hue of Alari was associated with power and status.
Modern Relevance: While industrial alternatives exist, some Yoruba weavers in Iseyin and Ede continue to produce authentic Alari for traditional markets. The Lagos fashion scene has recently revived it for heritage-themed collections.
3. Anger (Central Nigeria – Tiv)
Ethnic Group: Tiv
Technique: Broadstrip handweaving using cotton yarns
The Anger cloth, often mistaken for a modern striped fabric, is a powerful cultural symbol of the Tiv people. Its black-and-white striped pattern is instantly recognisable and serves as an ethnic identifier.
Historical Role: Anger cloth was worn during burials, coronations, and other rites of passage. It was also part of daily wear for elders and dancers during cultural festivals.
Symbolism: The alternating black and white stripes represent the balance between life’s good and evil, as well as the coexistence of peace and struggle.
Current Use: It remains part of the official regalia of the Tor Tiv (the king of the Tiv people) and is used for political ceremonies and state occasions.
Revival: The Benue State government has supported efforts to teach young artisans the art of Anger weaving. Designers like Mudi Africa and U.Mi-1 have incorporated it into casual and formal wear.
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4. Okene Cloth (North-Central Nigeria – Ebira)
Ethnic Group: Ebira
Technique: Handloom weaving, often done by women
Okene cloth is renowned for its heavy texture and vibrant, interlocking patterns. It is a ceremonial cloth traditionally worn by Ebira women, particularly during marriage ceremonies.
Weaving Tradition: Passed down from mother to daughter, weaving is still a respected economic activity among Ebira women.
Usage: Worn as a wrapper and blouse during cultural events and weddings.
Design: Often uses multiple colours in symmetric arrangements. Unlike Tiv Anger, Okene is more colourful and heavier in feel.
Contemporary Movement: Though not as mainstream as Akwete or Anger, the cloth is gaining recognition in cultural fashion events across Nigeria.
5. Kente Hybrids (Southwestern Nigeria & Cross-Border – Yoruba/Beninese Influence)
Ethnic Groups: Yoruba, Egun, and Anago communities
Technique: Similar to Ghanaian Kente but adapted locally with regional symbols
While Kente is traditionally Ghanaian, hybrid forms of the weave have been produced for decades in Yoruba-speaking communities near the Nigeria–Benin border. These hybrids carry shared West African motifs but with distinct local patterns.
Cultural Connection: Used at weddings, naming ceremonies, and by Yoruba traditional rulers in coastal towns like Badagry and Porto-Novo.
Design Variation: Often more geometric than symbolic, using colour blocks and metallic threads.
Significance: Demonstrates centuries of cultural exchange between the Yoruba of Nigeria and their kin in Benin.
Today, these hybrids are frequently seen at cross-border ceremonies and are often used as diplomatic gifts between leaders.
Conclusion
Traditional weaves in Nigeria are more than textiles; they are archives of memory, community, and resistance. They remind us that fashion did not arrive with colonisation or foreign fabric imports. Nigeria has always had a complex visual language, carefully stitched into regional weaves by generations of artisans.
Understanding these fabrics gives us a new way of looking at Nigerian geography, not by its map, but by its threads. As contemporary fashion slowly rediscovers its roots, these weaves are not just surviving; they are being reinterpreted for the present and preserved for the future.
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FAQs
1. What are the traditional weaves in Nigeria?
They are handwoven fabrics indigenous to Nigerian ethnic groups, such as Akwete (Igbo), Alari (Yoruba), and Anger (Tiv), each with unique cultural significance.
2. Is Akwete the same as Ankara?
No. Akwete is handwoven on a loom by Igbo women in Abia State, while Ankara is an industrially printed cotton fabric not native to Nigeria.
3. What is the meaning of Tiv Anger cloth?
Anger’s black and white stripes symbolise the dualities of life, and it is used during traditional ceremonies among the Tiv people of Benue.
4. Where is Alari fabric from in Nigeria?
Alari is a deep red variant of aso-ofi, traditionally woven by Yoruba people in the southwest, particularly in Oyo and Osun States.
5. Are traditional Nigerian weaves still used today?
Yes. While usage has declined, they are being revived by local artisans and fashion designers, and remain important in cultural ceremonies and as a symbol of identity.