Author: Zainab Bello (NG)
Précis-writer: Akello Odundo (KE)
Weaving Peace: Indigenous Fabric for Justice and Transformation
In a world marked by persistent social, political and environmental upheaval, the pursuit of peace education, justice and social transformation is more urgent than ever. In this piece, Zainab Bello, a scholar as well an academic staff member at Ahmadu Bello University Zaria in Kaduna State, explores this pursuit using indigenous resist fabric techniques as a tool. This piece is based on a larger study on the same topic.
Art plays a vital role in healing and reconciliation. Sor Sen’s painting The Future is Now depicts Nigeria’s ethnic groups collaboratively mending a fabric in the national colors, symbolizing unity and peace. Art-based peacebuilding can reshape perceptions, even among enemies.
Indigenous resist fabric techniques, like tie-die and Yoruba adire, offer rich symbolic meaning. For example, the akòko leaf motif represents peaceful coronation and acceptance. Though empirical links between these techniques and peace education are limited, their potential in transforming classrooms and communities is profound.
Traditional classrooms often silence students, but peace educators advocate for participatory and critical learning. They challenge dominant ideologies and promote solidarity with the oppressed. Nigerian textile artists like Adetoro Abayomi and Nike Davies use fabric to express unity, suggesting that indigenous methods can enrich peace education and justice efforts, one stitch at a time.
The Yoruba adire fabric “Ori mi Pe” meaning “my head is complete,” offers more than aesthetic appeal. It’s a cultural response to tension and a symbol of destiny. In Lagos, this fabric counters aggression with visual plenitude, featuring birds and animals that evoke abundance and calm.
Adire fabrics like “Ori mi Pe” and “Akòko” carry coded messages understood by community insiders, serving as tools for peacebuilding and conflict resolution. Beyond symbolism, indigenous resist techniques empower women economically. Scholars highlight how textile artisans (dyers, decorators, and weavers) engage with institutions to challenge inequality and promote justice.
Peace decoration, rooted in cultural production, fosters community building and future-oriented thinking. Motifs in adire reflect societal values, hierarchy, and events. These motifs range from cassava leaves to cosmic symbols. Some designs are reserved for royalty or used to promote unity, such as Ogun State’s attempted adoption of adire as public school uniforms, enhancing identity and pride.
Techniques like tie-dye and stitching resist dye penetration create intricate patterns. These methods not only preserve heritage but also support sustainable practices, creativity and economic growth. Adire, therefore, becomes a living canvas for justice, transformation and cultural continuity.
Indigenous resist fabric techniques like batik and starch resist are more than artistic traditions. They are vehicles for peace, empowerment and cultural transformation. Batik, meaning “wax writing” in Indonesian, is a process where hot wax is applied to cloth followed by dyeing and de-waxing. Starch resist employs a similar technique but uses cassava flour paste in place of wax.
Starch resist involves applying cassava flour paste through stencils to block dye penetration creating bold and symbolic patterns. Motifs and symbols are often drawn from nature, daily life and cultural rites. They carry messages of unity, resilience and identity.
These resist techniques have empowered women through initiatives like Nigeria’s Better Life Program for Rural Women. When integrated into public programs, such as proposed school uniforms in Ogun State, they promote pride, cohesion and cultural continuity.
Ultimately, resist fabric techniques offer a tactile visual language for challenging colonial legacies, celebrating indigenous knowledge and building inclusive futures. By stitching together diverse cultural expressions, a more empathetic and equitable society can be built.