THE EFFICACY OF TRADITIONAL DYES: OSOGBO DYE AS A CASE STUDY

CHAPTER ONE

INTRODUCTION

1.1 BACKGROUND TO THE STUDY

        Art is self expression, which could be done through various means. Whenever art is mentioned what comes to ones mind is creativity, this implies that an artist is one who is creative and innovative in nature. In this project work the researcher will expose and critically talk on natural dyes, Osogbo dyes and the efficacy of natural dyes using Osogbo dyed fabrics as a case study.

HISTORY OF OSOGBO

        One of the most accepted history of Osogbo can be traced to 1670 A.D.  History has it that a famous hunter called Olutimilehin, who hails from 1 Pole-omu not far from Ibokun,  came across a local dam while he was  hunting in a place called Gborimin, around Oke-Baale area (part of present-day Osogbo). Due to the water scarcity facing his community, he went around to see if the dam will be capable of sustaining his people. Olutimilehin was sad because the dam could not sustain his community. In his further quest he found a stream called Okrokro, and he traced its source to River Osun (part of present-day Osogbo). Olutimilehin went back to his community and informed the king, Larooye Gbadewolu of his findings. The king and his subjects later moved to settle at the flood plain and built his first palace later known as Ile-Osun. Overtime Larooye and his subjects engaged themselves in farming activities in their new found land. History has it that one day, as they were clearing the bush for cultivation they incidentally fell a tree, damaging the indigenous industry of the spirit world. A voice was heard from the river saying   “Oso-Igbo Pele O, Ose-Igbo ro ar O (meaning Oso-Igbo we commiserate with you). later Larooye got to know the name of the spirit queen as Oso-Igbo. Oso-Igbo widely believed to be the goddess of River Osun. This is why the Osun goddess was, and is still regarded as the spiritual Mother of Oba Larooye and all the succeeding Ataoja (King of Osogbo). History also has it that Larooye and his subjects moved to the upper terrace in the plain which they later called OKE Ohuatoto at the present day Osun Groove. As King Larooye’s Community population grew the groove and their already flourishing market was abandoned as they moved to Ode-Osogbo after the usual Ifa divination. The abandoned market centre and the Iledi Ohuntoto are today important historical monuments in the Osun grooves. At the Ode-Osogbo, Larooye built his new palace and called it Idi-Osun while Olutimilehin built a shrine known as  idi-ogun.

        At Osogbo Larooye ruled as the first king with the title ‘Ataoja’.  Osogbo kings are given the title Ataoja although some kings did not attain the Ataoja title. Osogbo which is now the headquarters of Osun State was created in 1991 and it is located in the south central part of Yoruba land. One major thing that makes Osogbo stand out is the shrine and the sacred grooves which attract millions of tourists to the town every year.

Osun is the personification of the Yoruba water of life. The groove has a spiritual mother who is referred to as Iya-Osun the river goddess. Chief MRS. SUZANNE WENGER a tourists from Austrian who lived   in Osogbo since 1950 was the current Iya-Osun of the shrine. Until  her death having her Yoruba name as ADUNNI OLORISA.

1.2 STATEMENT OF THE PROBLEM

        In everything we do in life, we come across some difficulties and to every problem, there must be a solution. In carrying out this research work, it was       Observed that Osogbo dyes last longer on fabrics than the Normal circular dyes. The researcher therefore carried out a comparative study involving the osogbo dyes and the normal dyes.

1.3   OBJECTIVE OF THE STUDY

The Objective of the study are

1. To in identify the osogbo dyes

2. To identify other dyes

3. To carry out a practical dyeing of fabric using both dyes to determine differences in efficacy

1.4 SIGNIFICANCE OF THE STUDY

1. To create an enlightenment on the effectiveness of Osogbo dyes.

2.     To introduce the need for formal and purposeful knowledge about the use of traditional dyes (Osogbo).

3.     To enable people to appreciate traditionally dyed fabrics and its aesthetic values.

1.5   SCOPE OF THE STUDY

        This research is about the efficacy of Osogbo  Traditional dyes in order to enlighten and educate the general public on how to use these dyes

1.6   LIMITATION OF THE STUDY

        These are some of the limitations the researcher encountered as at the time of carrying out this research.

The non availability of water during the process of working in the Department of Fine and Applied Arts Ambrose Alli University, Ekpoma, Edo State.

1.7 LIMITATION OF STUDY

-       Inability to compare Traditional dyes and Osogbo dyes

-       Problem of getting quality dyes here in Edo State. The researcher had to travel down to Osogbo, in Osun State to get good and quality dyes.

-       Inability to get good fabric (cloth) of 100%

1.8   DEFINITION OF TERMS

1.     Dye: It is a coloured substance that has an affinity to the substrate to which it is being applied. The dye is generally applied in an aqueous solution and requires a mordant to improve the fastness of the dye on the fiber.

2.     Ihram Purple: This is also known as royal purple, imperial purple or imperial dye, It is a purple-red natural dye, which is a secretion produced by certain species of predatory sea snails in the family of muricidae, a type of rock snail by the name murex. This dye was possibly first used by the ancient Phoenicians as early as 1600 B.

3.     Indigo dye: This is an Organic Compound with a distinctive blue colour.  Historically, indigo is a natural dye extracted from plants, and this process is important economically because blue dyes were once rare.    

    4. Resist dyeing: This is a term used by textile designers. It is a process whereby some areas of a fabric are either tied or blocked [covered] with wax in order to prevent dye from penetrate such areas. This automatically means that such areas will retain the original colour of the fabric after the dyed fabric has been removed from the dye stuff.

ABSTRACT:          CHAPTER ONE:          CHAPTER TWO:

CHAPTER THREE:          CHAPTER FOUR:          CHAPTER FIVE:          REFERENCES:

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