The use of cloth goes beyond covering of the human body: clothes make symbolic statements, especially within the sociocultural context they are used. In Igbo-Ukwu in southeast Nigeria, a piece of cloth was one of several important archaeological finds that significantly helped in illuminating the cultural history of the area. Artistic and cultural traditions found in Ife, Benin, and Igbo-Ukwu, for example, reveal civilizations established prior to the arrival of European explorers, who often described Africa as a “dark continent” due to the absence of historical records or literary documentation. 

My study documents sociocultural narratives of clothes and costumes among the Mbula people of northeastern Nigeria. In particular, it divulges the connotations of clothes with regard to Mbula philosophies of life and the people’s sociocultural mien. In tandem with semiotics, the discourse hinges on the assertion that there are signs and symbols in every society that need to be studied and interpreted in order to make meaning. Beyond forms and motifs, my research also examines sociocultural nuances rooted in the usage of clothes and costumes. 

The Mbula people, for example, are noted for their reverence for virginity before marriage as well as the institution of marriage itself. Cloth is the first notable gift that a male suitor presents a woman as an expression of marital interest, and white cloth (Girpura Muro) is presented to her parents to request her hand in marriage. Hand-embroidered Tsangso mala manfela is purchased by the groom and worn by the bride on the wedding day. Gir Kiru, Gir gara bu, and Nlang ba meilu (earrings, bangles, and a necklace) are the bride’s “weapons of war,” symbolizing inner beauty and a winsome character—prerequisites for creating a good home. As proof of virginity, a white cloth stained with blood is presented with much dignity to the wife’s parents. Other special clothes are gifted to the wife and her mother, all related to virginity. A special type of skirt, Lar-Gir (Lah meaning house and Gir that thing), underscores the importance of modest dress among women. “The thing” indicates a woman’s nakedness, which should always be “housed.”

Among the Mbula people, the dead are buried in their ancestral village for easy fraternity with their forebears. Daura Mogulle, a handwoven, embroidered gown for men, is worn on a phantom corpse during a second burial, meant to celebrate the transition of a notable individual. While this typifies the status of the individual, it is also believed to be his attire when he enters the ancestral world. The effigy wears a red cap decorated with feathers and Guinea corn tassels, depicting the deceased as a royal personality, valiant hunter, and/or accomplished farmer. Friends and close associates also bring gifts of clothes, implying social covering in life and death.

Clothing accessories are equally significant in warriors’ dances. Notably, a traditional helmet woven from grass is decorated with feathers and cowrie shells or buttons. While feathers symbolize “stars” on the helmet of the “war general,” cowrie shells or buttons indicate the number of people he has killed. Zang tawa is a skirt woven from grasses and usually dyed navy blue or black as well as red and green, while part of the skirt remains the natural color of the dried grass. Black or navy blue is reminiscent of the dark days of war; red signals bloodshed; green reveals the fertility of the land; and the natural color expresses victory.

Porache and Mul tuwah are costumes woven from shrubs and palm leaves, respectively, showcasing the Mbula as an agrarian community. Ngila is made from the tail of a cow or horse, and usually held by women dancers. It alludes to animal husbandry and also represents the wealth of the woman’s husband. Krata is made of metal and usually worn on women’s ankles, making a rattling sound when dancing. It is greeted with ululation and bellows to announce the presence of women in the dancing arena.

The veracity of cloth, reflecting the philosophies and belief systems of the Mbula, attests to the potency of textiles in narrating the underlying sociocultural values of a people.

Federal College of Education, Yola
Leonard A. Lauder Visiting Senior Fellow, September–October 2024