Introduction
Osun State and Ogun State are engaged in a cultural war over Adire. Governor Ademola Adeleke of Osun humorously accused Ogun State of stealing Adire from Osun State. Chief Somodale Akamo, the Iyaloja of Kemta Adire/Kampala Market in Itoku, Ogun State refute the governor’s claim. She demanded a retraction of his statement and an apology to the Egba people. In response, Mallam Rasheed, spokesperson for the Osun State governor, later countered Chief Akamo’s objections in his “The History of How Osun is the Birthplace of Adire” (https://sahelstandard.com/news/30/the-history-of-how-osun-is-the-birthplace-of-adire…) rs/). At the heart of the ongoing conflict is the debate over the birthplace of Adire. Governor Adeleke’s administration appears determined to rewrite history.
Myths on the Origin of Adire
Based on Osogbo’s oral tradition, both Governor Adeleke and Mallam Rasheed trace the origins of Adire to the Osun goddess, a revered spiritual deity. But they are silent that there is an Ede myth, in Osun State, which credits the Yoruba goddess of creativity, as the the true source of Adire (http://www.academicjournals.org/AJHC ). Furthermore, the Osun myth does not necessarily establish Osogbo as the birthplace of Adire. Margaret Areo offers an insightful interpretation, suggesting that the myth “…by implication, points to the existence of a dyeing tradition in the town that precedes the people’s” (https://www.theartsjournal.org/index. Php/site/article/view…)
Ejiogbe, a significant passage in the Ifa Corpus, attributes the origins of Adire to Orunmila, the Yoruba deity of wisdom. Oladosu Adebolu explains that “This Ifa corpus identified how Orunmila was divinely inspired to produce patterned dyed cloths using the material technology of certain birds like, agbe, aluko, odidere, akuko, lekeleke and agbufon.” (https://www.academicexcellencesociety.com/the_myth_of_decolonisation_an_example_of_adire.pdf) The Ifa oracle’s account is considered more credible, as its corpus appears free from regional biases. As Nancy Ruegg insightfully notes, “creativity is always a manifestation of wisdom” (https://healthyspirituality.org/how-creativity-connects-with-wisdom/). Given the connection between wisdom and creativity, it is only fitting that Orunmila, the Yoruba god of wisdom, is depicted in Ejiogbe as the first to conceive Adire.
The Reference to Igi Elu
Mallam Rasheed made an error in claiming “…that the Igi Elu, which is the major traditional ingredient used for the production of Aro [dye] before the advent of imported Chinese dyes, is situated in Osun…” (https://sahelstandard.com/news/30/the-history-of-how-osun-is-the-birthplace-of-adire-osun…) However, Igi Elu (Philenoptera cyanescens), commonly known as African Indigo, is not limited to Osun State. As Olugbemisola and Rom clearly state, notable locations for its cultivation across Yorubaland include Osogbo, Ibadan, Ede, Ondo, and Abeokuta (file:///C:/Users/USER/Downloads/ajol-file-journals_ 336 articles 88276_ submission_proof _88276-4009-219516-1-10-20130503-1.pdf)
Disregarding the fact that Elu cultivation is not exclusive to Osogbo, the Osun State government misinterprets the oral saying “Osogbo n’ilu aro” (Osogbo is the home of indigo or dyeing) to claim Osogbo as the birthplace of Adire. However, the presence of Elu and Aro Elu (indigo dye) in any Yoruba region should not automatically be linked solely to Adire production, as indigo dye also plays a crucial role in crafting Aso Ofi Etu.
Osogbo as a Centre for Training
In his cultural dispute, Mallam Rasheed asserts that “It is worthy to note that the majority of Adire merchants across the Southwest today were historically trained by Adire producers from Osogbo who migrated to settle in those regions.” The Osun State government is also presenting a side of the coin in this matter. While it is true that some artisans from other regions sought training in Osogbo after the Osogbo School of Arts was established in the 1960s, Areo and Kalilu highlight that Susanne Wenger, a prominent figure in the school, initially studied the Egba tradition of Adire Eleko before modifying it into the “art batik” style now associated with Osogbo (https://www.iiste.org/Journals/index.php/ADS/article/viewFile/7566/7614).
It is clear that the Osun State Government may not realize that in 1924, Alimi Tela, an Egba artisan, exhibited Adire Eleko at the British Empire Exhibition in Wembley, London—without any prior training from Osogbo. Historical records confirm that in the same year, Tela “not only showcased his exceptional artistic skills but also helped to promote Adire textiles globally, leaving a lasting legacy in the world of textile art” (https://web.facebook.com/merchantofknowledge/posts/alimi-tela-a-pioneering-adire-eleko-artist-from-abeokuta-played-a-significant-ro/1108781887933304/?_rdc=1&_rdr). Notably, this milestone occurred 40 years before the Osogbo School of Arts was established, at a time when Egba artisans had already been actively preserving and elevating Adire at both local and international levels.
Before the Osogbo School of Arts was established—with support from foreign contributors—Oba Ladapo Ademola founded the Adire-makers Association in Abeokuta in 1927 to regulate competition between traditional and modern Adire artisans, particularly regarding the use of caustic soda in dyeing (https://academicjournals.org/journal/AJHC/article-full-text-pdf/EA40DEB40947). Eventually, Alake Ademola II banned the use of caustic soda in Adire production within his domain. Byfield notes that some traditional Egba artisans imported indigo from Dahomey (https://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=2032&context=tsaconf). However, due to rising costs, many later discontinued imports. Despite this, Adire saw significant demand in the 1920s—Senegalese merchants reportedly traveled to Abeokuta, purchasing as many as 2,000 wrappers in a single day from female traders (https://www.encyclopedia.com/fashion/encyclopedias-almanacs-transcripts-and-maps/adire).
To maintain a steady supply of Adire in the Egba market, some “Adire producers in Abeokuta had to take their cloth to Osogbo for dyeing, while its neighbouring town of Ede supplied Abeokuta dyers with indigo balls, elu…” (file:///C:/Users/USER/Downloads/ajol-file-journals_336_articles_88276_submission_proof_88276-4009-219516-1-10-20130503-8.pdf). However, Mallam Rasheed misrepresents historical facts by claiming that “Ogun Adire traders [from Abeokuta] were artisans who learned the art of Adire from their Osun State masters”
The ancestors of the Egba Adire makers were true pioneers and masters. When cassava was introduced to Yorubaland in the 19th century, Adire artisans in Abeokuta harnessed their creativity to incorporate it into textile production, leading to the development of the traditional paste-resist Adire Eleko around 1910. It was not until roughly 50 years later that the Osogbo School of Arts developed its own Batik style in 1960, with Susanne Wenger first learning the Egba Adire Eleko technique before adapting it into Osogbo’s wax-resist method. Bukola Oyeniyi further observes that “In Ede however a lot of machine stitching is found to be prevalent with few tieing.. The machine techniques and stencil Eleko were introduced in the 1930s in Abeokuta, with a small proportion of both techniques found in Ibadan…” (http://www.academicjournals.org/AJHC ) Additionally, Egba Adire makers began using imported European textiles for production, whereas their counterparts in Ede and Osogbo continued to work with locally woven fabrics.
Egba as the Origin of Adire
BellAfricana highlights that Old Oyo exported Adire and other Yoruba “…art across and beyond West Africa through trade, military activities and political dominance.” (https://bellafricana.com/history-adire-textile/ ) While Igbo Egba and Osogbo were likely key suppliers of exported Adire, historical evidences support Igbo Egba as its place of origin, without indicating that Osogbo was where Adire originated.
While written records on the Yoruba origins of Adire are limited, oral traditions do not support the claim that it originated in Osogbo. Instead, historical evidence points to Egba as its place of origin. A well-known saying reinforces this: “Egba lo l’Adire” (Adire belongs to the Egba). In addition to oral accounts, written sources also back this perspective. For example, Businessday states that “Adire, or traditionally-crafted fabric, is an age-old textile that arguably traces its roots to the Egba people—today’s Abeokuta—where it is meticulously crafted, albeit manually” (https://businessday.ng/style-luxury/article/redefining-the-adire-fabric/).
Before the Egba migrated to Abeokuta, they cultivated Elu and distinguished between Elu-iwase (small-leaf indigo) and Elu-ogbo (broad-leaf indigo) for dye production. Additionally, they grew cotton, which they used to create textiles that were later tied and dyed. According to tradition, Orunmila granted them the wisdom and creativity to elevate simple fabric dyeing into the more intricate tie-dye technique. However, the aftermath of the Owu War brought widespread devastation—Egba cotton farms, Elu plantations, and dyeing pots were destroyed. Many men who farmed cotton and Elu, along with women and young girls who practiced Adire-making, were forcibly taken as slaves. This disruption significantly hindered the growth and development of the long-established cottage industry in Egba Forest.
Evidence suggests that the Egba were already practicing Adire-making before their migration to Abeokuta, as shown by the dyeing pots they left behind in Ibadan, which was once part of Igbo Egba. These pots were later inherited by some of the Oyo people who settled in Ibadan. Areo and Kalilu reference Balogun Coker Sowemimo, who noted “the remains of old dye pots [originally belonging to the Egba] at Sowemimo compound at Ita Baale, Olugbode, Ibadan… [now part of Oyo State],” which were subsequently taken over by the Oyo. (file:///C:/Users/USER/Downloads/ajol-file-journals_336_articles_88276_submission_proof...).
There is no doubt about it, while Osogbo is the home of Aro; Egba is the home of Adire, EGBA LO NI ADIRE.Yinka Kareem, a former Cultural Officer with the Ogun State Council for Arts and Culture, and a member of Ogun ANA (Association of Nigerian Authors) writes from Abeokuta.
