EBIRA BEAUTIFUL WOMEN WEAVINGPOEM
EBIRA’S TAPESRY
Weaving in Ebiraland, a craft so fine,
A heritage passed down, a legacy divine.
From the dawn of time, the women's pride,
Weaving their way, with skill and stride.
In the comfort of their homes, they learned the art,
Passed down from mothers, a timeless part.
Young girls, their journey, they did embark,
Collecting cotton, removing buds, a task so stark.
Blending threads, winding with care,
Spools and sticks, a tapestry they prepare.
The weaving process, a masterful feat,
Fabric weaving, their trade, a family's heartbeat.
Upogoro, the land of the finest weavers,
Their products in demand, buyers' eager believers.
From Gombe to Kano, Lagos to Cotonou,
Ebira's woven treasures, a world-renowned rendezvous.
Weaving in Ebiraland, a legacy so true,
A pride that transcends, a timeless hue.
Modernity may come, but the art will remain,
Ebira's weaving, a treasure, a gift, a refrain
EBIRA’S TAPESTRY: A HERITAGE OF WEAVING, PRIDE, AND TOURISM POTENTIAL
The poem “Ebira’s Tapestry” beautifully illustrates the vibrant and time-honored weaving tradition of the Ebira people, particularly the women of the land. More than just a craft, weaving in Ebiraland is a cultural heritage, a generational legacy deeply embedded in the people’s identity. The poem paints a vivid picture of this unique art form, portraying it as both a symbol of pride and a means of livelihood.
Weaving in Ebiraland is not merely a domestic skill but a sacred tradition, passed from mothers to daughters over countless generations. It is said that to trace the origins of Ebira weaving is to trace the very roots of the Ebira people themselves. In the early days, there were no factory-made threads, instead, women prepared their own using soft cotton wool ("owu tutu"), which they processed by hand before the actual weaving began.
Every Ebira household once echoed with the rhythmic sounds of spinning, blending, and weaving, as women turned simple raw cotton into beautiful, durable fabrics. These fabrics were not only used for clothing but also carried ceremonial, symbolic, and social value.
Weaving was the heartbeat of the Ebira woman’s world. While men focused on farming and hunting, women found empowerment, economic independence, and artistic expression through weaving. Girls learned the trade from a young age, starting with cotton collection and preparation, and advancing to more complex weaving techniques. This apprenticeship model ensured the sustainability of the craft through generations.
The process from harvesting cotton, removing the seeds, hand-blending the fibers, and winding them on spools and bamboo sticks, to eventually weaving them into intricate fabrics is a testimony to the creativity, patience, and craftsmanship of the Ebira women.
Initially, a domestic activity, weaving evolved into a powerful economic enterprise. Ebira women used their craft not only to clothe their families but also to generate income, support their households, and gain financial independence. The art became a source of empowerment and pride.
Today, woven products from Ebiraland are in high demand across West Africa, with major markets in Gombe, Kano, Lagos, and Cotonou actively seeking Ebira textiles. This not only highlights the high quality of the fabric but also the enduring value of traditional craftsmanship in the face of modernity.
The town of Upogoro, often referred to as the "weaving capital" of Ebiraland, is renowned for producing some of the finest weavers and fabrics in the region. Its reputation for excellence has made it a hub of commerce and creativity, with products that reach far beyond the borders of Kogi State.
Upogoro’s prominence makes it a natural centerpiece for cultural tourism, offering visitors a firsthand experience of traditional weaving, from raw cotton to finished cloth, alongside cultural festivals, exhibitions, and artisan markets.
The tradition of Ebira weaving, especially as showcased in Upogoro, holds immense potential as a cultural tourism attraction. It offers:
1. Cultural immersion experiences for tourists interested in indigenous African textile arts.
2. Skill-based tourism, where visitors can learn the weaving process through workshops and demonstrations.
3. Heritage festivals centered around weaving, music, dance, and food, promoting local identity.
4. Craft markets where local weavers can sell directly to tourists, boosting local income and preserving the tradition.
5. By promoting Ebira weaving as a living art form and cultural attraction, Kogi State can position itself as a destination for cultural enrichment, economic development, and heritage preservation.
“Ebira’s Tapestry” is more than a poetic tribute; it is a cultural document, a call to action, and a beacon of economic opportunity. It reminds us that even in a fast-paced, modernizing world, there is timeless value in the hands that weave and in the stories those threads continue to tell.
By recognizing and investing in this heritage, Kogi State can not only preserve a vital part of its cultural identity but also transform it into a powerful engine for tourism, empowerment, and sustainable development.
Composed & Written by Joy Agamah
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