Kwara Express Media sits down with Muhammed Abdulrasheed Abiodun, a professional Aso-Oke weaver with deep roots in the rich cultural heritage of Ilorin. Abdulrasheed’s journey in the art of weaving reflects his passion for preserving tradition while embracing innovation. In this interview, he shares insights into his personal background, the challenges and benefits of his craft, and the impact of technology on the traditional Aso-Oke industry.
Can we meet you?
Brief Introduction of yourself
I’m Muhammed Abdulrasheed Abiodun, from Alaro Compound, opposite Kankatu Market in Okelele, Ilorin. I’m a professional and highly skilled Aso-Oke weaver with years of experience, proudly continuing my family’s legacy in the art of weaving. Aso-Oke weaving is more than just a craft to me; it’s a tradition I hold dear, and I’ve dedicated myself to preserving this age-old art while introducing innovative practices to sustain its relevance in modern times.
What is your educational background?
I’m a graduate of the University of Ilorin, where I studied Human Anatomy. My educational journey began at Al-Huda Nursery and Primary School. I then attended Ansarul Islam Secondary School for my Junior Secondary studies and completed my Senior Secondary education at Okelele Secondary School.
When did you start weaving, and was it a skill passed down from family or learned elsewhere?
Weaving is in my blood; I often say I started weaving in my mother’s womb. It’s a family heritage, something I learned directly from my father and older brothers. Weaving has always been part of our household, and growing up, I was immersed in it. My knowledge and skills were naturally cultivated from a young age, making it feel innate, as though the rhythm of the loom is embedded in my being.
What inspires you, especially as Aso-Oke has become a global brand despite being a local product?
What inspires me the most is seeing Nigerians living abroad seeking my services. It gives me a sense of pride that our traditional fabric has crossed borders and gained global recognition. I also view Aso-Oke just like other fabrics, such as silk or cotton, in the sense that it’s a wearable art. Its elegance, vibrant colors, and versatility in design make it comparable to any global textile brand.
Can technology be helpful, and how tech-enabled is Aso-Oke weaving today?
Yes, technology can definitely help in various ways. For instance, in the production of yarn, which is a key material in weaving, technology can streamline the process. Also, certain tools can be introduced to make weaving faster and more efficient without losing the traditional essence of the craft. While we still rely heavily on manual techniques, there’s room for technological advancements to enhance productivity without compromising quality.
Tell us about the grant you received and the organizers behind it.
The grant is a one-time development grant from an American organization called WARP. It’s a project-based grant aimed at supporting the development of traditional crafts. WARP’s initiative is to help artisans like myself who are working to preserve indigenous art forms while also innovating them for contemporary relevance.
What challenges have you faced in the Aso-Oke weaving industry?
There are a few significant challenges we face. One of the main ones is the scarcity of certain colors, which affects the variety we can offer to customers. Inflation has also been a major issue, making raw materials more expensive and reducing productivity. Another challenge is the influx of inferior quality Aso-Oke in the market, which makes it harder for customers to differentiate between authentic, high-quality pieces and cheaper imitations.
What benefits has Aso-Oke weaving brought to your life?
The benefits are countless. In simple terms, Aso-Oke is my source of livelihood. It’s how I support my family and build my career. Beyond financial benefits, it has given me access to a worthy network of people, both locally and internationally. I’ve had the privilege of connecting with clients, cultural advocates, and other artisans who appreciate the art form.
Do you believe the government is supportive of the Aso-Oke industry?
To be frank, I would say NO. The government has not been as supportive as we would hope. Artisans like myself face numerous challenges, and more support from the government in terms of grants, training, and promotion would go a long way in preserving this industry.
Most people believe that Aso-Oke weaving doesn’t require formal education. What are your thoughts on this?
On the surface, one might agree that Aso-Oke weaving doesn’t require formal education because it is traditionally learned through practice. However, I strongly believe that incorporating formal education into any craft or sector is invaluable. It enhances understanding, helps with innovation, and allows for better management and expansion. So, anyone who thinks formal education isn’t necessary should reconsider. It’s not just about weaving; it’s about growing a sustainable business and legacy.
Conclusion
In this insightful conversation, Muhammed Abdulrasheed Abiodun exemplifies the spirit of tradition and innovation. His dedication to the art of Aso-Oke weaving serves as an inspiration to many, not just within Ilorin but across the world, as he continues to weave the threads of culture, creativity, and progress into each piece. As Aso-Oke evolves, we can only imagine what the future holds for this deeply rooted and globally recognized art form.
