#igbo waist beads

[lotusarchon]

I heard you write for POC? Could you write some sfw and nsfw headcanons of wukong reacting to the reader wearing waist beads, I don't think waist beads is very common in china so maybe it's his first time seeing them?

back to the kitty cause she's kinda pretty (sun wukong x reader)

content warnings: female reader, second pov (you/your), info gathered from wikipedia so may not be accurate completely, reader is of african descent (trini specifically because yes 🇹🇹), fluffy headcanons, sun wukong being curious as ever, nsfw headcanons, minors + ageless blogs DNI, gentle sex, p in v, cowgirl position, mild breeding kink

author's notes: okay so imma bfr right: this is the first time I've genuinely heard of waist beads, like ever, so Wukong here is a reflection of my own surprise and interest too

SFW;

𐙚 I can personally see Wukong being genuinely intrigued when you bring them up the first time. Mind you, he's never been beyond China and while he has borderline visited India on occasion, that really is about the limit he's done on traveling with his free time. So, naturally, his interest is piqued when you mention them.

𐙚 Wukong's the type of guy to ask you a lot of questions when curious. Though you haven't shown him the waist beads due to cultural reasons, he asks you a lot of questions, like what are their purpose, what do the symbolize, how are they made, etc. It's a good thing he has an amazing memory, but you have to pray he gives you a break between questions. (Which, knowing Wukong, might genuinely be never.)

𐙚 He gives you such a puppy eyed stare to see those waist beads 🥺 please show him, he's just so curious, and you love him, don't you? Don't you wanna show him your pretty waist beads? Pretty please?

𐙚 Dear god he's practically in awe. He wants to touch them so bad―he finds the uniqueness of the chosen gems and your favorite seashells handcrafted by your mother to be gorgeous. The way they settle against your skin and rustle when you move, gods he just wants to touch so bad, but at the same time, he respects you and wouldn't do anything that might make you sad.

𐙚 Consider him surprised when he finds out that in some cultures, the waist beads are intended to be seen only by your significant other. When you confirm he's the first, he is thrilled. To know that you trust him enough to show him…dear god this man is jumping up and down with utter glee. He is not shutting up about it and might also beat up anyone that asks to see it.

𐙚 If it was possible, Wukong would beg you to let him wear one too. He finds them cute and even aesthetically appealing, especially knowing that you don't need them to be all fancy looking or rich. Too bad he's not a girl…

NSFW;

𐙚 Watch him go from sad he can't wear one to intrigued when he finds out in (Igbo) culture, not only does a groom have to give his bride a Mgbájí (waist beads) to ensure her attire is complete, but it's pleasing to watch as the bride dances to her new husband.

𐙚 Well, you know Wukong. Till death till you both part, and he has zero intention of parting with you. You're both practically married at this, point, so wouldn't you love him enough to put on a dance for him, as good wife should?

𐙚 Of course, if you didn't want too, he wouldn't have forced you, but when you wholeheartedly agreed with his request, Wukong thought his dick was gonna bust through his pants.

𐙚 The way the beads looked against your dancing figure, your alluring smile…gah, did he mention how much he loves you? Because, he does, and once you're within grabbing distance he yanks you forward and smooches you so hard.

𐙚 Don't expect to have those waist beads removed, oh hell no. Wukong insists you keep them on, and while he strips you bare, he ensures they're not even hurt by his actions. He wants to see them on your body while he fucks you.

𐙚 His cock literally throbs inside you while you ride him, and the shift of your waist beads while his hands squeeze your ass and your arms are wrapped around his neck are enough to send him over the edge. It genuinely takes a lot for him not to just bend you over right then and there, because he likes watching the beads shift against your body while you bounce on him.

𐙚 Maybe it's your imagination, but you swear he mutters something about knocking you up? And getting you another pair of waist beads to match the one you were gifted with from your mother? Something about you being so utterly divine in this moment, the idea of stuffing you to the brim with his cum and having you as his wife forever and ever..?

𐙚 Long story short, Wukong gives you a baby and keeps his word about granting you another pair of waist beads with pretty flower seeds and shells. Yay.

@lotusarchon, 26.11.2024, all rights reserved. do not copy, repost or translate my works without permission. likes, comments and reblogs are appreciated!!

[literaryvein-reblogs]

Word List: Fashion History

to try to include in your poem/story (pt. 1/3)

Adinkra - a flat, cotton textile that is stamped with symbols which create the meaning of the garment; produced by the Asante peoples in Ghana

Agal - a rope made from animal hair which wraps around a keffiya (square cloth) on the head and is worn typically by Bedouin men

Akwete - a decorative cloth with complex weave designs, creating intricate geometric patterns, made with many vibrant colors; it is usually made into wrappers for women to wear and it is made by the Igbo women of Nigeria

Aniline Dyes - synthetic, chemical dyes for garments first invented in the 19th century

Anorak - a jacket that typically has a hood, but not always, which was originally worn by the indigenous peoples of the Arctic designed to keep them warm and protected from harsh weather

Back Apron (Negbe) - an oval-shaped decorative pad worn by Mangbetu women over the buttocks in Central Africa

Backstrap Loom - a lightweight, mobile loom made of wood and a strap that is wrapped around the back; it only needed to be attached to a tree or a post for stability and to provide tension

Banyan - a loose-fitted informal robe or gown typically worn by men in the late 17th to the early 19th centuries

Barbette - a piece of linen which passes under the chin and is pinned at the sides, usually worn in conjunction with additional head coverings during the Middle Ages

Bark Cloth - fabric made out of bark from trees

Beadnet Dress - a decorative sheath dress made of beads worn in ancient Egypt

Bloomers - a bifurcated garment that were worn under dresses in the 19th century; they soon became a symbol of women’s rights because early activist Amelia Bloomer wore drawers long enough to stick out from under her dress

Bogolanfini - (bogolan- meaning cloth; fini- meaning mud) a cotton cloth made from strips of woven fabric, which are decorated with symbolic patterns using the mud-resist technique, sewn together at the selvage to create a fabric that is utilized during the main four stages of a West African Bamana woman’s life: puberty, marriage, motherhood, and death

Bombast/Bombasted - the padding used to structure clothing and create fashionable silhouettes in the 16th and 17th centuries

Boubou - an African robe made of one large rectangle of fabric with an opening in the center for the neck; when worn it drapes down over the shoulders and billows at the sleeves

Buff Coat - a leather version of the doublet that was often, but not exclusively, worn by people in the military in the 17th century

Bum Roll - a roll of padding tied around the hip line to hold a woman’s skirt out from the body in the late 16th and early 17th centuries

Burqa - an outer garment worn by Muslim women that covers the entire body, often with a cutout or mesh at the eyes

Busk - a flat length stay piece that was inserted into the front of a corset to keep it stiff from the 16th century to the early 20th century

Bustle - a pad or frame worn under a skirt puffing it out behind

Cage Crinoline - a hooped cage worn under petticoats in the 19th century to stiffen and extend the skirt

Caraco - 18th century women’s jacket, fitted around the torso and flared out after the waist

Carrick Coat - an overcoat with three to five cape collars popular in the 19th century and mostly worn for riding and travel–sometimes called a Garrick or coachman’s coat

Chantilly Lace - a kind of bobbin lace popularized in 18th century France; it is identifiable by its fine ground, outlined pattern, and abundant detail, and was generally made from black silk thread

Chaperon - a turban-like headdress worn during the Middle Ages in Western Europe

Chemisette - a piece of fabric worn under bodices in the 19th century to fill in low necklines for modesty and decoration

Chiton - an ancient Greek garment created from a single piece of cloth wrapped around the body and held together by pins at the shoulders

Chlamys - a rectangular cloak fastened at the neck or shoulder that wraps around the body like a cape

Chopines - high platform shoes worn mostly in Venice in the 16th & 17th centuries

Clavus/Clavi - decorative vertical stripes that ran over the shoulder on the front and back of a Late Roman or Byzantine tunic

Clocks/Clocking - decorative and strengthening embroidery on stockings in Europe and America during the 16th-19th centuries

Cochineal Dyes - come from the Cochineal beetle that is native to the Americas and is most commonly found on prickly pear cacti; when dried and crushed, it creates its famous red pigment that is used to dye textiles

Codpiece - originally created as the join between the two hoses at the groin, the codpiece eventually became an ornate piece of male dress in the 16th century

Cuirass Bodice - a form-fitting, long-waisted, boned bodice worn in the 1870s and 1880s–almost gives the appearance of armor as the name suggests

Dagging - an extremely popular decorative edging technique created by cutting that reached its height during the Middle Ages and Renaissance

Dalmatic Tunic - a t-shaped tunic with very wide sleeves; worn by both men and women during the Byzantine empire

Dashiki - a loose-fitting pullover tunic traditionally worn in West African cultures that was adopted by African diasporic communities as a symbol of African heritage in the 1960s and then more widely worn as a popular item of “ethnic” fashion

Dentalium Cape - or dentalium dress is a garment worn by Native American women that is made from the stringing together of dentalium shells in a circular pattern around the neck and across the chest and shoulders

Doublet - an often snug-fitting jacket that is shaped and fitted to a man’s body–worn mostly in the 15th to 17th centuries

Échelle - a decorative ladder of bows descending down the stomacher of a dress; worn during the late 17th and 18th centuries; sometimes spelled eschelle

If any of these words make their way into your next poem/story, please tag me, or leave a link in the replies. I would love to read them!

More: Fashion History ⚜ Word Lists

[fronzie]

(Amph’s main’s blog)

thank you for the tag!!!!

LAST SONG; Golden Hour - Epic Orchestra Version by Vincent Lee

LAST BOOK; The Little Prince

LAST MOVIE; either Prince Of Egypt or West Side Story

SWEET/SOUR/SPICY; bbg I am the sour king (I drink lemon juice)

LAST SEARCH; Jigida (Waist Beads for the Igbo people)

CURRENT OBSESSIONS; Epic (obv), ASMR/Audio Rps, Mermaids, Renaissance Paintings

LOOKING FORWARD TO; Playing Orin in Little Shop of Horrors :3

@zippyskyfalls , @ccstiles , @1ceyanonhasarrived , @sillyshootingstaranon , @cotton-candy-anon , @snowflake-anon , @ anyone!!

thanks for the tag @v7lgar ♡

last song: sinner (the last dinner party)

favorite color: yellow!

last book: goblet of fire (or: italian literature book LMAO)

last movie: coraline :)

last series: i don't even know 😭 i don't particularly like to watch series or movies

sweet/savory/spicy: savory (i HATE everything spicy with a burning passion)

last search: how-to-write-bisou (bisous)

current obsession: my own fic because im a genius and i write exactly what i want to read

looking forward to: christmas break

relationship status: single (spiritually devoted to make evan rosier's life pure hell in every universe)

@major-toast @marsabillions @pansyfilia @doomedtokill @godofwoes @del-stars if you already did this ignore me

[okwuid]

Traditional Igbo Wedding Attire

Traditional Igbo Wedding Attire

There’s a lot of debate surrounding what is and isn’t authentic Igbo wedding attire. As highlighted in our previous post, Igbo wedding outfits vary greatly and often depend on regional practices and, of course, personal tastes.  We’re aware that some people express interest in wearing Igbo attire but are not sure where to look. In this post, we’ve collated some of our favourite traditional Igbo…

[aic-african]

Female Figure (Ntkekpe), Igbo, 1925, Art Institute of Chicago: Arts of Africa

Among the Igbo, women are typically responsible for making pottery and other ceramic sculpture. Terracotta figures like this example would have been part of a shrine or placed in a domestic garden or at the entrance of a compound. The figure is seated on a traditional three-tiered Igbo stool and wears anklets, bracelets, and thick coils of waist beads, all indicators of her high status and wealth. Samuel P. Avery Endowment and Edward E. Ayer Endowment in memory of Charles L. Hutchinson Size: 73.7 × 45.7 × 33 cm (29 × 18 × 13 in.) Medium: Terracotta and iron

https://www.artic.edu/artworks/180969/

[mezony-blog]

Waist beads are dated back as far as the 15th century and it is believed to be originated in ancient Egypt as part of their noticeable culture. Waist beads were worn by women with status, it was then called “girdle”. In West Africa, the waist bead tradition was popularised by the Yoruba tribe, Ghana, and Senegal which connotes femininity and affluence. It has been adopted in countries like Ivory Coast and Sierra Leone. A waist bead is a set of beads strung on a cotton cord. The beads are made from crystals, bone, glass, metal, wooden beads.

Waist beads has its origin traced to Africa that is why it is called African waist bead. Waist beads are called different names in West Africa, the Yoruba people call it “Bebedi”, the Igbo people call it “Mgbaji” and the Hausa people call it “Jigida”.

Waist beads are worn by Yoruba women to celebrate womanhood, fertility, healing, body shape, sexuality, protection, and status. It is considered as “African Lingerie”. It is majorly used for seduction, it has a way of catching attention and it is irresistible to the opposite sex.

Ghana’s tradition mandates it for a man to buy his bride tsets of beads which includes the bracelet, anklets, necklace, and most importantly the waist beads as part of her dowry and her first property. It is only the husband that is allowed to remove it or see it clearly on their wedding night to mean that she’s off the market.

Multiple waist beads are worn to keep women in shape as it helps maintain weight and keep one in shape. It keeps the waist small and makes the hips more pronounced. The waist bead goes up when weight is gained and goes down when weight is lost. Waist beads appreciate women’s beauty no matter the size of the woman. It corrects bad posture (slouching).

Most Africans put it on because their culture demands them to wear it. They are raised like that and passed on to the next generation. At times, some cultures use waist beads to distinguish the ladies, children, and women. A bell is added to the waist bead for ladies looking for suitors so it will find and make noise as she moves and she intends to get the attention of possible suitors and they get the message that she’s old enough to get married.

Waist beads are also used for spiritual purposes, healing, and rejuvenation purposes. It is worn when some are trying to conceive, some wear it to tie their men up somehow spiritually. Some use it also as a love charm. This is no longer popular because some men nowadays detest women that wear waist beads. Some use it as a means of protection especially for pregnant women, it protects the foetus and the mother. It can also be used to cure some ailments and it works as an enhancer.

The African waist beads have a way of making lovers grow intimate during sex. The presence of a waist bead gives an erotic pleasure due to the enhancement it gives to a woman’s physique and also the sound it makes while making out. The waist beads make the partner more attracted to the woman’s body. It gives women the medium of being versatile which requires them to switch waist beads made of different designs and colours to stimulate their men.

Colour plays a significant role and cannot be looked down on when choosing a waist bead as they are intertwined and each colour has its meaning. Here are the colours and their meaning;

White – light, purity

Black – power, protection

Purple – royalty, spirituality, wisdom

Orange – courage, vitality

Blue – truth, loyalty

Green – nature, fertility, prosperity

Yellow – energy, happiness

Gold – wealth, power

Brown – earth

Red – confidence

The African waist bead is used to celebrate African aesthetics. It is used to promote cultural appreciation by African women. African women in the diaspora also wear it to remind them of the root they got separated from as a result of the trans-Atlantic slave trade. The African waist bead is made by African women for African women to celebrate culture and oneness.

[atlantaartisticweddings]

The Rich History of Nigerian Wedding Traditions

The traditions and trends that dictate weddings in America and the Western world are widely known. However, there are many other cultures who celebrate this special ceremony with their own, rich traditions that many people are unfamiliar with. One of these is the Nigerian community, whom the photographers at Atlanta Artistic Wedding Photographers have had the pleasure of working with multiple times. Nigeria has hundreds of tribes, the largest being the Yoruba, Hausa, and Igbo, and each tribe has their own interpretation on wedding traditions and symbolism.

In Nigeria, a wedding is not only the joining of two people, but two entire families as well. This means families are heavily involved and many traditions involve the couple proving their love to each others family. In Igbo tradition, weddings even occur in order of family seniority and the younger siblings aren’t allowed to marry until the older siblings do. When it comes to Nigerian wedding traditions, the process starts as soon as the proposal is made with the Introduction Ceremony, where both families meet each other for the first time. In many tribes, like the Igbo, the bride’s family will use this ceremony to present the potential groom with a dowry, or list of items that he must acquire in order to get their blessing to marry. The list can include many different items and the difficulty of the list can depend on a bride’s social status. For instance, a dowry may become more expensive and the items may be harder to find or more uncommon if the bride has a doctorate or prestigious profession. The women from the bride’s family will then check the items the groom brings and, if they match the list he was given, the engagement will be allowed to proceed. A less common tradition in the Hausa tribe states potential grooms have to endure 100 lashes without wincing or crying out to show their commitment to the bride. If the man shows discomfort, the wedding is not allowed to happen. Even at the ceremony, the groom has to prove his loyalty when he is presented with three women with veils over their face. He has to pick which woman is his bride and the wedding can only proceed if he chooses the right woman.

Weddings are a chance for couples and their families to show their social status, so wedding attire is often opulent and regal. Brides tend to choose bright, vibrant patterns for their dresses and prefer rich fabrics such as lace, silk, or tulle and the colors of their outfits often match their husbands tunic. Yoruba brides wear “aso oke” or “top clothes”, made of a matching buba blouse and iro, a swath of fabric wrapped around the waist. A heavy sash of complementary fabric, called an iborun, is draped on one shoulder. The bride’s ensemble is matched to her husband’s tunic and pants set, along with his agbada draping and fila hat. Similarly, traditional Igbo wedding attire includes a lace blouse, a bright kaftan-like skirt, and head tie. Nigerian brides also adorn themselves with regal accessories. For instance, Igbo brides wear coral beads that match or contrast their wedding outfit, and many Nigerian women wear a Gele, or a scarf or fabric folded into an ornate shape and placed on the brides head. There are also customs surrounding what wedding guests wear. The tradition of “aso-ebi” or “family clothes” means the couple assigns colors that each side of the family has to wear to the ceremony. This makes it easier to tell if a guest is a member of the brides family, a member of the grooms family, or a friend of the couple.

 There are many traditions incorporated into the ceremony as well. Nigerian couples often have two ceremonies held days, maybe weeks apart: a cultural wedding followed by a religious ceremony. The religious ceremony is often more western in nature, although lately couples have increasingly been adding cultural elements to this ceremony as well. At a Yoruba wedding, friends of the groom have to lie prostrate in a planking position on the ground in front of the bride’s parents as a show of respect. Yoruba couples also follow the less serious tradition of “the lift test”, where the groom attempts to carry the bride as a promise that he can “carry her” through life. At some point during the ceremony, typically when the couple steps onto the dance floor for the first time, the guests traditionally throw money at the bride. The money is thrown only to the bride, even though the groom is with her, and the bridesmaids collect the money later to give to the couple. The guest list can easily reach over 500 people at a Nigerian wedding, so the reception is naturally a large, vivacious party. That being said, there are certain songs in this culture that pair with a dance, similar to the “electric slide” in Western tradition, that are usually played during the reception. There is also plenty of delicious, traditional food provided by the mother of the bride.

The Nigerian culture have many wedding traditions that make their ceremonies so special, beautiful, and full of personality. I have always had a fun time seeing this community celebrate life milestones and learning about the traditions that make their culture has been so interesting and I hope you enjoy learning a little bit about it too.

Thanks again,

David

#nigerianweddings #bellanaijaweddings #nigerianwedding #asoebibella #asoebi #hustlersquare #bellanaija #nigeria #lagos #naijaweddings #naijabrandchick #bride #weddingdigestnaija #bbnaija #abuja #nigerian #lagosweddings #sugarweddings #africansweetheartweddings #wedding #owambe #nigerianfashion #weddings #lagosnigeria #abujaweddings #love #fashion #nigerianfood #yorubaweddings #bhfyp #weddings #wedding #bride #weddingphotography #weddingday #weddinginspiration 

[stylevitae]

I’m sure you’re looking at this like “what is this one saying again”; but can you read the article first before you come for my neck?

via Make a Meme

Let me explain. I went for a traditional wedding where I was privileged to see a variety of different cultural attires ranging from the three prominent tribes we have in our amazing country (Igbo, Yoruba, and Hausa/Fulani). As I watched, I couldn’t help noticing similarities with some of the western renowned fashion styles that are making waves. As well as the various unique styles that each tribe brought to the table, being executed beautifully regardless of the tribe of the individual.

So let me break it down with the 3 major tribes in the country.

The Easterners (IGBO)

Ndi Igbo Kwezuonu O! People don’t notice it but don’t you think tying a wrapper around your waist is synonymous to wearing a skirt? Or having an “Isiagu” on a shirt is similar to animal graphic print on a Tee? I mean the Igbo culture could be seen as an inspiration to some trends that have crept into many modern fashion styles in this present era. Think about it what’s the difference between an indigenous styled Igbo man and the talented Young thug on his skirt.

#gallery-0-13 { margin: auto; } #gallery-0-13 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 50%; } #gallery-0-13 img { border: 2px solid #cfcfcf; } #gallery-0-13 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

noble_igwe via Instagram

via Pinterest

The Westerners (YORUBA’S)

I think the famous Agbada, Sokoto, and Buba with the Fila (Cap) predominantly worn by Yoruba men have become something almost every Nigerian man has or aspires to possess. Perhaps, to show a form of wealth, class or maybe because they like the style.

But, what If I tell you we could connect the famous Agbada to a poncho style that is prominently worn by the Mexicans. I’m sure now y’all are like “Now he’s saying rubbish”. But let’s look at this way. Poncho is worn (Most of the time) with another shirt beneath it; it also has an elongated widened sleeve that can be dragged up like the famous agbada: so could we say that the Agbada is Nigerian’s own form of Poncho? I mean think about it, that’s creativity at its highest level despite it looking different.

#gallery-0-14 { margin: auto; } #gallery-0-14 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 50%; } #gallery-0-14 img { border: 2px solid #cfcfcf; } #gallery-0-14 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

ebuka via Instagram

via Charles River Apparel

The Northerners (Hausas and Fulani)

Just putting out there; Fulani people have the finest faces in Nigeria. Not once have I seen an ugly Fulani.

They are well known for tying their wrappers (Zani) made from Atampa (A colorful fabric) with a short sleeved shirt embroidered with beads and flowing down with strings of thread that showcase their bellybutton with their beautiful pierced or painted body. Now don’t tell me after that description, a crop top doesn’t come to mind. Like literally, the crop top that the westerners adopted has been worn among the Fulani for the longest. So who really started it?  Not to forget the fringes that are also on the Fulani attire is now seen in popular fashion.

#gallery-0-15 { margin: auto; } #gallery-0-15 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 50%; } #gallery-0-15 img { border: 2px solid #cfcfcf; } #gallery-0-15 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

via StarGist

via Fashion Gum

Well, Gratitude to our predecessor cause they really had brilliant ideas on how to be stylish and comfortable in our indigenous attire. But what do I know really; if you doubt it you could always educate me in the comment section below.

Our Predecessors are the Real Fashion Influencers, Don’t You Think So? I’m sure you’re looking at this like “what is this one saying again”; but can you read the article first before you come for my neck?

[biofunmy]

The Fabric of Nigerian Weddings

Dola Fatunbi Olutoye, 25, was ecstatic after becoming engaged last November to Dr. Yinka Olutoye, 26. She knew she wanted a traditional Nigerian wedding, but needed help executing the cultural elements of the ceremony, which took place on May 25 in Houston.

Mrs. Olutoye, a pharmacy student from Houston, and Dr. Olutoye, a recent medical school graduate, are both Nigerian-Americans who are part of the Yoruba ethnic group, which is heavily concentrated in the Southwest region of Nigeria.

On the top of her to-do list, after graduating from pharmacy school and starting a residency program, was to shop for traditional fabrics, which have become emblematic of Nigerian weddings today.

“Nigerian weddings are full of color, vibrant, and are flashy,” said Mrs. Olutoye, who has attended many traditional Nigerian weddings in her hometown. “Without your fabrics, you’re not having a traditional Nigerian wedding.”

In Houston and throughout other Nigerian enclaves, like Atlanta, New York and Baltimore, Nigerian wedding ceremonies are especially opulent. Guest lists can number in the hundreds — a cultural holdover from Nigeria, where significant life events were typically community gatherings open to close relatives and loose acquaintances. With such a big audience, a bride aims to impart regality, vibrancy and thoughtfulness in each of her bridal looks.

With the help of her mother, Modupe Fatunbi, who had connections to a fabric distributor in Asia, Mrs. Olatoye picked out the colorful, patterned yards of lace and silk for each of her ensembles. They featured: a champagne and rose gold-color set, heavily beaded with pearls and embroidered flowers for her Yoruba traditional wedding (also known as the engagement ceremony); a royal blue dress with a detachable skirt for her western wedding, which included a conventional white gown; and various fabrics for three thanksgivings after the wedding, when the couple receives well-wishes and blessings from friends and family.

To streamline the process, Mrs. Olutoye enlisted the assistance of Doyin Fashakin, the owner of Doyin Fash Events, a luxury bridal consultancy and events company in Houston. Mrs. Fashakin, also of Nigerian heritage, knew the subtle fashion elements necessary for an authentic cultural wedding, and wears many informal hats during the wedding preparation process — family therapist, budget enforcer and fashion consultant for anxious clients.

“When you’re picking out your outfits, it’s very important that you select something unique and colorful but also of quality,” said Mrs. Fashakin, who along with overseeing the more logistical aspects of planning a wedding, also helps brides source fabrics and accessories for their ensembles from vendors in Nigeria, Switzerland, Dubai and Australia.

What makes a good fabric? “No synthetic fibers or blends; the material should be 100 percent lace or silk,” Mrs. Fashakin said. “The material also shouldn’t bunch or fade. There shouldn’t be loose threads and it should always feel good against your skin.”

Chioma Nwogu-Johnson of Dure Events, a wedding and events company in Houston, said that while planning a wedding in Houston is more cost-effective than in New York, the brides who procure her services still spend from $100,000 to $300,000 or more to host their nuptials. A sizable budget — sometimes $10,000 or more — is usually allocated to wedding fashions. Couples also absorb the cost to outfit large bridal parties and select attendees in aso ebi (translating to “family clothes,” or a uniform dress worn by friends of the couple as a show of solidarity). Some brides opt to send their raw fabrics to trusted tailors in Nigeria, where the craft work is less expensive.

“Nigerian brides spend months searching for their wedding fabrics looking for something distinct — something that no one else will have — and that can sometimes be a tedious and frustrating process for brides,” said Ms. Nwogu-Johnson, whose clients often include affluent professionals, like medical doctors, engineers and oil contractors. “They want to make sure that no other brides are wearing their fabrics. More than anything, they want to make sure they stand out.”

Social media can provide some inspiration for brides. The hashtag #nigerianwedding on Instagram touts more than 3 million posts, showing brides in all manner of colors, fabrics and bridal party size.

The style of dress at Nigerian occasions will vary, depending on the tribe of the celebrants. For instance, brides from the Igbo people, another major ethnic group concentrated primarily in south-central and southeastern Nigeria, adorn themselves with coral beads signifying royalty, and at times use George fabric, a heavily embroidered material from India.

Material made of lace is also popular for many Nigerian brides across tribes, as are other textiles like silk and tulle, embellished with hand-stitched beads, stones and pearls tailored painstakingly to a bride’s taste.

Many brides spare no expense in making what the Yoruba people call their aso oke or top clothes, made of a matching buba blouse and iro, a swath of fabric wrapped around the waist. A heavy sash of complementary fabric, called an iborun, is draped on one shoulder. The bride’s ensemble is matched to her husband’s tunic and pants set, along with his agbada draping and fila hat.

But perhaps the most important part of any Nigerian bride’s look is her gele, a scarf or fabric folded into an ornate shape atop a woman’s head. The gele is standard in African women’s wear, although called by different names throughout the continent. A bride’s look is incomplete without it.

Tying gele requires artistry, nimble fingers and a touch of originality; no two geles are tied the same. “A well-tied gele at a wedding is what an ascot is at the Kentucky Derby,” said Hakeem Oluwasegun Olaleye, a bridal stylist based in Houston who is known within the bridal circuit as Segun Gele. Named for his skill in fashioning the head scarves, Mr. Olaleye is commissioned to wrap geles around the heads of brides and female attendees at weddings around the world.

“Geles are art — it is your crowning glory,” Mr. Olaleye said. “It’s as important as your hair. You can wear a cheap dress and have your head wrap beautifully done and no one will notice your outfit. Your gele is the focal point.”

When Charlye Nichols Egbo, 31, a luxury property manager in Houston, married her husband Stanley Egbo, 38, who works in oil and gas logistics, in March, she employed five distinct dress changes for her traditional engagement and western wedding, sourcing materials from Nigeria and Turkey. With nods to her husband’s Igbo culture — Mrs. Egbo, who is African-American — solicited help from Ms. Nwogu-Johnson and Mr. Egbo’s three sisters to pull each of her distinct bridal looks together. One of her looks was a heavily beaded navy and gold embroidered ensemble with an embellished floral sleeve made from fabric bought in Dubai. Another outfit — a sparkling, two-tone red set number with coral neckwear — was complemented by a fuchsia-laden aso ebi party of 27 and a custom-made white gown by Esé Azénabor, a Nigerian atelier.

“Every suit maker, every dressmaker we used was Nigerian, Mrs. Egbo said. “I could have bought a gown from Vera Wang, but it was important to us to maintain authenticity, which made everything that more intimate and that more special.”

Continue following our fashion and lifestyle coverage on Facebook (Styles and Modern Love), Twitter (Styles, Fashion and Weddings) and Instagram.

Sahred From Source link Fashion and Style

from WordPress http://bit.ly/2KPNTms via IFTTT

[toptecharena]

Beyond The Three is a new series on BellaNaija where we celebrate and spotlight every tribe and ethnic group that is NOT Yoruba, Hausa or Igbo. We invite ALL BellaNaijarians to be a part of this initiative.

In the first edition of this series, we were introduced to the Idoma people; this was followed by the Esan people.  Joan introduced us to the Oegorok people and we learned about the Mhiships from Mwanret. Last week, Ma’ade told us about the Bassa people. Today, we’re going down south to discover the Uwano people of the Weppa Wanno kingdom. 

Shout out to Emike who chose to tell the story of her people in a different way! We’re always here for a fresh stylistic approach.

*** Apemah vha mooh! Can words actually do justice to this unique people of Weppa Wanno Kingdom? I doubt much, but read on. I do not bear an English name as my father believes we are not English and he was miffed that his own father did not give him a native name. Imagine a Weppa Wanno man named Okolo. What traditional man does that? My grandfather obviously.

Emike means my heart’s desire, Ebokhasomi -how successful it should be, Omoayena – you live for the child. These are great names, if I dare say so myself.

Weppa Wanno is home to the Uwano people of Etsako East local government area of Edo state. This kingdom is a merger of the Weppa and Wanno clans. It consists of several towns and villages: Ivioghe, Igiode, Iviebua, Agiere, and Ivianokpodi, to name a few. Agenebode serves as the headquarters.

My hometown is Ivioghe and I have been there several times. It really does come alive during the festive periods like Christmas, Easter, burial ceremonies etc. Otherwise it is quiet. My dialect is known as Uwano, and yes I speak it fluently. There is a kind of joy I get when it is spoken. Minority tribes in Nigeria would totally get this. Growing up in Jos, it was quite hard to come across Weppa Wanno people, so my dad made it compulsory to speak the native dialect at home. It was very tough, but it worked so well. Looking back now I am so grateful for the effort he put into making us learn our language. I feel learning how to speak one’s native tongue is a way to preserve the culture.

We have a wide array of foods: Omisagwe (groundnut soup) picture it with a little bitterleaf ,cow tongue, goat meat and other protein assortments, now I feel so hungry and homesick.

Okotikpoi (lumpy egusi soup), any occasion without it is not an occasion at all, it is that serious.

Omi Ukpoka (corn meal soup), Omi Uvhavha, Omi Isamhaguah, Omi Ikpeh, Omi Ese ogbomi (fresh fish soup),Omi Irherhe, Omi Atsanifah and Ugbawenwen.

The soups are eaten with pounded yam, fufu or eba and washed down with palm wine if available. I bet Uwano people reading this would be salivating. I could go on and on about the food, but I do have to showcase other parts of my culture, so let’s continue.

There are so many unique cultures that set Weppa Wanno people apart; hopefully this space can do justice to a fraction of them. A typical Weppa-Wanno woman wears two George wrappers, a blouse and a scarf. The whole outfit is polished off with her Ivie (coral beads)

Ivie

The males wear the George wrapper across their chest. The ruling class comes from Agiere in Weppa and Eggoh/Ivioghe in Wanno.

The traditional head is known as the Okumagbe translated as the “unifier” of Weppa Wanno and rotates around the ruling classes.

The unique and colourful akhe (cooking) is a 2-part ceremony: Akhe ceremony and the Ukweh mhi akhe ceremony. For the first part, females from the land who are married to Weppa-Wanno men are mandated to carry out this ceremony during their lifetime. If she was unable to do it and she passes on, her offspring would be unable to do theirs, until they have done hers posthumously. Pretty strange right? But that is tradition. Basically the ceremony involves the woman cooking for all her invited guests and the village in general. She does not do this alone; she has helpers and it’s done according to the financial capability of her husband. After performing this rite, she earns the title” One kha kha (great cook of nations).

If a woman gets married to a man from a different tribe she is not compelled to complete this rite. If a man marries a woman from a different tribe, she is also not compelled to do so. For a female who has older sisters that have not performed this traditional rite (when she is ready to do hers) she would have to combine theirs with hers. The second part of the ceremony takes place later in the year around August or September. All the Wanno women that carried out their Akhe ceremony within the year gather at the Agenebode market. They wear a native hand-woven wrapper, Igbogane on their chest with  Idibie tattoos on their bodies, Asamha, an elephant’s tusk on her legs. They also wear beads on their waists and head. There is a very colourful procession, where they move like queens with their entourage with umbrellas held over their heads to protect them from the elements of the weather. This is a compulsory conclusion to the first part of the ceremony.

Wedding ceremonies are very beautiful. For an Amoyah -female first born, her bride price is 500naira 7kobo, and for an Adegbe -female second born, 300naira 7kobo. Dear future husband, I am an Amoyah but do not fret, we would find a way to get 7kobo. Adegbe females have equal rights with men and can therefore inherit their father’s properties. An Amoyah’s marriage ceremony is usually done on ewoh noh kwah i.e. a day to market day while an Adegbe’s own is done on a market day.

The bride ties a George wrapper across her chest and is heavily adorned with ivie on her head, neck, arms and ears. The ceremony is mostly done in the evenings. The morning after, the bride’s parents carry food items: basin of agidi, basin of plantains, bananas and coconuts to their daughter in her husband’s house. After 7 days, the bride’s parents will still carry soup ingredients and yams to their daughter, but nowadays, they carry breakfast beverages and a basin full of bread.

The funeral ceremonies are a sight to behold and very entertaining. The likes of Waziri, Ugabi, and Young Bolivia to name a few bring their unique tunes to every occasion. As I write this, I am steadily moving to their rhythm in my head. The dance steps are so unique but let me try to describe it. Imagine someone bending a bit low and moving their legs backwards, funny I know and I am sure you are trying it out now. The size of the ceremony depends on the age of the deceased and the financial power of the deceased family. It is generally believed that an old person has lived a rich and full life and the funeral is actually a celebration of life. The funeral ceremony is a three day event.

For the wake keep, the body is brought to the deceased home to lie in state amidst pomp and pageantry. I remember my grandfather’s ceremony.We had a very lively and colourful procession from the funeral home down to his house. Family and friends gather at the deceased’s compound. The deceased’s children according to their age and marital status are called upon to pay certain amounts of money and drinks to the village and neighbouring villages. Each child comes out with their well wishers to dance to tunes belted out by the invited musician(s). Guests are entertained with food and drinks. It was a norm for the wake keep to continue throughout the night until the wee hours of the morning but this has been abolished in Ivioghe. Currently, all wake keeps have a curfew of 6pm.A good step in my own opinion.

The deceased is laid to rest based on their own religious belief, the day after the wake keep. Entertainment of guest follows afterward. Again if the family is well to do they invite one of the super star musicians. On the third day, ukpemhi and uthughiemhi are traditional rites done for males and adegbe females. Ukpemhi involves going to ukhue – village square where masquerades of different kinds perform with the family dancing and carrying pictures of the deceased. Uthughiemhi is for sharing souvenirs and this is done by the children, grand children and other relatives. As a sign of respect, the children of the deceased are expected to shave off all their hair, but can opt out by paying a fine.

The age group (okhe) traditional rite is only for males either old or young. Male children of Adegbe mothers carry out this rite while their fathers are still alive whereas those of the Amoyah do theirs only when their fathers are late. This puts male children of an Adegbe in a more likely position to rule. Okhe initiation takes place over several days in caves called godo and is done by the elders of the community. Food items and other necessities are carried along. The red cap is only worn by those who have completed this rite.

How can I talk about my culture and not drop at least one proverb? Dear sons and daughters of the soil, attempt to pronounce this. Yes you can try it or better still get your parents to help you out, bet they would be proud. “Baba otonah, agwemoh ethuagba” means “father has died and you are talking of his beard”.

The most amazing attributes of my tribe are our hospitality and open-mindedness. We welcome strangers into our homes and communities, making them feel so comfortable with our delicious meals and storytelling. A typical Weppa-wanno person is so blunt and says things as they see it; no sugar coating. As amazing as we are, I am still uncomfortable about the fact that not all females inherit properties. It’s a very sad situation. Hopefully, this can be addressed and abolished.

Overall, I absolutely love my tribe and wish more people knew about us and our fascinating culture. This series is one of such avenues that aim to put the spotlight on us. Having foodies blog more about our food and how to source the ingredients; as some can be scarce would be so welcome. Who knows I just might have planted an idea in someone’s head. An app that teaches the language would go a long way in preserving it as more and more people born away from home are not so keen on learning.

My parents, Dr and Mrs Omoayena, did an amazing job in teaching us about our culture. I am still learning how to read and write in my local dialect.

It was an absolute delight writing this piece. If you know more, you can add it in the comment section. Together we can show the world more of the Weppa-Wanno people. Hopefully this article has stirred up something in you; perhaps you would want to visit. Come around during Christmas, you can thank me later.

On a final note, Apemah vha mie PVC. Lo khi ekpaboh ni mamoh. Translation: My people go and collect your PVC. It is the power we have.

Wow, Emike makes us feel like packing our bags and moving straight to Weppa-Wanno. Thank you so so much for giving us all of the feels. BellaNaijarians are awesome! We can’t thank y’all enough for being such a great community. Find out more about the series HERE. Click HERE to read more entries in the series.

The post BN Presents Beyond the Three: Emike’s Exposition of the Uwano People is a Must Read appeared first on BellaNaija – Nigeria breaking & top news to the World 24/7. Read Today.

Go to Source Author: BellaNaija.com BN Presents Beyond the Three: Emike’s Exposition of the Uwano People is a Must Read Beyond The Three is a new series on BellaNaija where we celebrate and spotlight every tribe and ethnic group that is NOT Yoruba, Hausa or Igbo.

[aic-african]

Female Figure (Ntkekpe), Igbo, 1925, Art Institute of Chicago: Arts of Africa

Among the Igbo, women are typically responsible for making pottery and other ceramic sculpture. Terracotta figures like this example would have been part of a shrine or placed in a domestic garden or at the entrance of a compound. The figure is seated on a traditional three-tiered Igbo stool and wears anklets, bracelets, and thick coils of waist beads, all indicators of her high status and wealth. Samuel P. Avery Endowment and Edward E. Ayer Endowment in memory of Charles L. Hutchinson Size: 73.7 × 45.7 × 33 cm (29 × 18 × 13 in.) Medium: Terracotta and iron

https://www.artic.edu/artworks/180969/

[aic-african]

Female Figure (Ntkekpe), Igbo, 1925, Art Institute of Chicago: Arts of Africa

Among the Igbo, women are typically responsible for making pottery and other ceramic sculpture. Terracotta figures like this example would have been part of a shrine or placed in a domestic garden or at the entrance of a compound. The figure is seated on a traditional three-tiered Igbo stool and wears anklets, bracelets, and thick coils of waist beads, all indicators of her high status and wealth. Samuel P. Avery Endowment and Edward E. Ayer Endowment in memory of Charles L. Hutchinson Size: 73.7 × 45.7 × 33 cm (29 × 18 × 13 in.) Medium: Terracotta and iron

https://www.artic.edu/artworks/180969/

[aic-african]

Female Figure (Ntkekpe), Igbo, 1925, Art Institute of Chicago: Arts of Africa

Among the Igbo, women are typically responsible for making pottery and other ceramic sculpture. Terracotta figures like this example would have been part of a shrine or placed in a domestic garden or at the entrance of a compound. The figure is seated on a traditional three-tiered Igbo stool and wears anklets, bracelets, and thick coils of waist beads, all indicators of her high status and wealth. Samuel P. Avery Endowment and Edward E. Ayer Endowment in memory of Charles L. Hutchinson Size: 73.7 × 45.7 × 33 cm (29 × 18 × 13 in.) Medium: Terracotta and iron

https://www.artic.edu/artworks/180969/

[aic-african]

Female Figure (Ntkekpe), Igbo, 1925, Art Institute of Chicago: Arts of Africa

Among the Igbo, women are typically responsible for making pottery and other ceramic sculpture. Terracotta figures like this example would have been part of a shrine or placed in a domestic garden or at the entrance of a compound. The figure is seated on a traditional three-tiered Igbo stool and wears anklets, bracelets, and thick coils of waist beads, all indicators of her high status and wealth. Samuel P. Avery Endowment and Edward E. Ayer Endowment in memory of Charles L. Hutchinson Size: 73.7 × 45.7 × 33 cm (29 × 18 × 13 in.) Medium: Terracotta and iron

https://www.artic.edu/artworks/180969/

[aic-african]

Female Figure (Ntkekpe), Igbo, 1925, Art Institute of Chicago: Arts of Africa

Among the Igbo, women are typically responsible for making pottery and other ceramic sculpture. Terracotta figures like this example would have been part of a shrine or placed in a domestic garden or at the entrance of a compound. The figure is seated on a traditional three-tiered Igbo stool and wears anklets, bracelets, and thick coils of waist beads, all indicators of her high status and wealth. Samuel P. Avery Endowment and Edward E. Ayer Endowment in memory of Charles L. Hutchinson Size: 73.7 × 45.7 × 33 cm (29 × 18 × 13 in.) Medium: Terracotta and iron

https://www.artic.edu/artworks/180969/

[aic-african]

Female Figure (Ntkekpe), Igbo, 1925, Art Institute of Chicago: Arts of Africa

Among the Igbo, women are typically responsible for making pottery and other ceramic sculpture. Terracotta figures like this example would have been part of a shrine or placed in a domestic garden or at the entrance of a compound. The figure is seated on a traditional three-tiered Igbo stool and wears anklets, bracelets, and thick coils of waist beads, all indicators of her high status and wealth. Samuel P. Avery Endowment and Edward E. Ayer Endowment in memory of Charles L. Hutchinson Size: 73.7 × 45.7 × 33 cm (29 × 18 × 13 in.) Medium: Terracotta and iron

https://www.artic.edu/artworks/180969/