Agbada, a flowing robe, is a traditional garment worn by the Yoruba people throughout West Africa. It also includes a pair of bottom clothing in the style of Shokoto, or native trousers, and an inside cloth in various lengths.
Additionally, it is typically worn with various caps, such as Fila, Abeti Aja, and others. Most traditional Yoruba beads are worn with it. Depending on how extravagant it is, men wear this outfit for formal occasions and daily wear. It is a unique robe with a variety of styles and patterns.
Agbada, a Yoruba garment, is made from Aso Oke fabric and, in some cases, Adire. Despite similarities, they differ significantly in appearance, design, shape, and materials. Agbada often features the Grand Knot symbol and traditional Yoruba needlework. Yoruba men wear various attire, including agada, gbariye, sulia, oyala, and kembe. Gbariye, which resembles Agbada, is frequently mistaken for it.
THE HISTORY AND CULTURAL CONTEXT OF AGBADA
It is divided into three sections: wide sleeves, flank, and rectangular centrepiece. The centrepieces, often covered in intricate embroidery on both the front and back, have a large pocket (apo) and a neck hole (run) on the left side. The embroidery’s density and scope vary greatly depending on a patron’s budget.
THERE ARE TWO TYPES OF UNDERWEAR:
Buba: A loose, round-neck shirt with elbow-length sleeves.
Dansiki: A loose, round-neck, sleeveless smock.
The Yoruba trousers, which have a drawstring for securing them around the waist, come in various shapes and lengths.
THE TWO MOST POPULAR TROUSERS FOR THE AGBADA ARE:
Sooro: A close-fitting, ankle-length, and narrow-bottomed piece.
Kembe: A loose, wide-bottomed garment extending just below the knee but not reaching the ankle.
The agbada is a traditional garment worn with various headgear, including the abeti aja, a dog-eared hat with flaps, and the gobi, a cylindrical hat. The abetiaja’s crest-like shape is emphasised by its upward flaps. The labankada, a larger version, features a contrast fabric flap underlay. Men can accessorise with a wraparound and shoes or sandals.
The agbada, a traditional clothing item for the Yoruba people, is not exclusive to the Yoruba people and is also found in other African countries. Its origins can be traced back to the Middle East, possibly brought by Arab and Berber traders from the Maghreb and the Tuaregs during the trans-Saharan trade, which began pre-Christian times and continued until the late nineteenth century.
The riga, or mbubb, was a status symbol for Arab, Berber, desert Tuareg, or Muslim individuals. Its intricate embroidery and expensive fabrics made it a symbol of wealth and social standing. By the early 1800s, non-Muslims in sub-Saharan Africa, particularly kings and chiefs, adopted the clothing, altering it to suit local fashion preferences and swapping the turban for native headgear. Larger, more intricate robes symbolised higher status and authority.
Yoruba agbadas are divided into ceremonial and casual categories. The casual agbada, or Sapara or Sulia, is made of light, plain cotton and is smaller and less voluminous. Originating in the 1920s, it was named after Dr Oguntola Sapara, a Yoruba physician who disliked traditional agbada and requested a lighter cotton agbada from his tailor.
The ceremonial agbada, or agbada nla or girike, are more extensive, elaborate, and intricately embroidered items made of heavier, more costly materials like Aso Ofi or Aso Oke, the latter being the most valuable material.
The term “Aso Oke” refers to the Oyo Yoruba’s contribution to the Yoruba in the south, indicating their close cultural ties with their northern neighbours, the Nupe, Hausa, and Fulani. The Oyo Yoruba borrowed musical instruments and clothing from their northern neighbours, creating a narrow-band weave on a horizontal loom.
The strip is cut into lengths, sewed into wide sheets, and tailored into dress shapes. The fabric is woven from deep red wild silk fibre, brown or beige silk, or cotton dyed with indigo. High-quality fabric with intricate embroidery increases social visibility by communicating rank, taste, and status, making it a popular choice for dress-wearing occasions.
Yoruba culture emphasises the importance of showcasing an expensive agbada, often comparing it to a sail or a grey heron’s plumage. An oversized agbada is frequently mocked as risky, while an undersized one is compared to the bird’s body-tight plumage. Tall, muscular men are often more attractive when dressed in an elegant agbada, as it symbolises their physical strength.
Yoruba women refer to men with square shoulders as agunlejika, tall enough to flaunt a robe to its fullest. The saying “Gele o dun, bii ka mo o we, ka mo o we, ko da bi ko yeni” reflects the Yoruba belief that material quality is equally essential as fit when choosing a dress, highlighting the importance of proper fit.
Since the 20th century, agbadas have evolved from traditional materials like velvet, damask, and brocade to modern embroidery and design. Oba Adesida, the late king of Akure, wore an elaborate, costly, and colourful agbada partially embroidered with glass beads and imported European velvet, symbolising his ancestors’ living embodiment.
The Yoruba garment agbada could be more visually appealing to non-Yorubas. Its loose fit and regular adjusting of open sleeves allow the body to breathe, especially when manipulated to highlight specific body movements, such as when a dancer is in motion.
The Agbada symbolises African history and culture, dating back to its inception among the West African aristocracy. Its elaborate patterns, vivid hues, and striking outline represent grace, strength, and dignity. The Agbada reminds us of the continent’s future and magnificent past. Its legacy should be honoured and preserved, ensuring it remains part of Africa’s cultural fabric for years.