OWENS P. EROMOSELE

Fabrics are far more than clothing especially in indigenous culture and this is same for the Yoruba people. This study investigate the meaning of Aso-oke and Adire Fabrics and it importance to the Yoruba people, showing that that fabric designs are expressions of artistry, the people’s beliefs, custom and tradition. The problem addresses the loss of design, Symbols and motif original meaning over time and globalization. Using a qualitative research approach with interview with seller, dyers and observation, this research project shows how the Aso-oke and Adire Fabrics express cultural identity. The research findings shows that the Aso-oke and Adire Fabrics are far more than just attractive clothing, but are communicators of identity, status, unity and cultural heritage. After all research and findings, this study recommend documentation, cultural education, and government support to ensure the preservation and sustainable transmission of these fabric traditions to future generations.

Costume design is a vital element of the theatre, where ideas are communicated through a visual narrative. Traditionally, costume has been associated primarily with character interpretation, but in contemporary practice, its expressive nature extends beyond giving a character depth. It functions as an interpretative art that breaks the boundaries of creativity, allowing even abstract ideas to be expressed visually through costume. The aim of this project is to investigate the expressive nature of costume in bringing abstract ideas to life and to examine the processes involved in designing costumes that express not only aesthetic appeal but also conceptual depth. It seeks to conduct a practical investigation of costume as a medium of non-character-based expression in innovative platforms such as exhibitions, using Becoming the Element as a case study. The research adopts a qualitative approach, employing both primary and secondary methods of data collection. The primary method involves participant observation and interviews, while the secondary method draws on relevant literature analyzed in relation to the study. Findings reveal that expressive design relies not only on technical skill but on the
designer’s ability to interpret concepts and translate them into visual form. However, designers’ expressive abilities can be limited by material constraints and inadequate resources, often leading to improvisation.

Adornment serves as a powerful form of communication within many cultures. This study
investigates the profound relationship between adornment, identity, and power within the ritual
practices of the Egba Yoruba people. It argues that dress and bodily embellishments are not
merely aesthetic choices but are critical sites for negotiating social status, expressing spiritual
affiliations, and reinforcing political hierarchies.
Through a qualitative analysis of specific Egba rituals, this research demonstrates how the
deliberate selection and arrangement of clothing, beads, and other ornaments serve as a visual
language. This language communicates an individual's lineage, age-grade, and role within the
community, while also signifying a powerful connection to the divine.
This research reveals that these forms of adornment are a dynamic tool used to contest, affirm,
and reshape power structures, highlighting the complex interplay between material culture and
social order. Findings show that specific traditional Egba elements help to preserve cultural
identity, history, and individual expressiveness. Based on this findings this researcher
recommends that a deeper understanding and documentation of the cultural importance of these
elements are essential for the preservation of this rich heritage. By focusing on the Egba context,
this study offers a micro-level examination of a broader African phenomenon, contributing to a
deeper understanding of how dress acts as a powerful agent in the construction and maintenance
of cultural identity.