Photography and the Spectacle of ASO EBI in Lagos, 1960-2010

Released on by Okechukwu Charles Nwafor
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  • Photography and the Spectacle of ASO EBI in Lagos, 1960-2010 Book Detail

  • Author : Okechukwu Charles Nwafor
  • Release Date : 2011
  • Publisher :
  • Genre : Economics
  • Pages : 324
  • ISBN 13 :
  • File Size : 29,29 MB
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Photography and the Spectacle of ASO EBI in Lagos, 1960-2010 by Okechukwu Charles Nwafor PDF Summary

Book Description: This research charts the political and visual economies of aso ebi in urban Lagos from 1960 to 2010. Under political economy I address the politics of aso ebi dress in Lagos: the contestations surrounding the use of aso ebi among friends, family members, organizations, among other. Under visual economy I engage the role of photography and other visual cultural practices in the practice of aso ebi. From the 1960 aso ebi began to be redefined in line with the cultural and socio-economic changes that came with late global capitalism. Within aso ebi practice in the city of Lagos meanings of friendship, solidarity, camaraderie and wealth have undergone radical transformation as more people migrate to the city after Nigeria's independence. from the 1970s through the 1980s, individuals were compelled by the economic conditions to adopt new modes of aso ebi practice. For example new types of textile materials used for aso ebi expanded to include cheaper textiles imported from China and elsewhere. Instead of offering aso ebi free, individuals sold it to their friends and within such transactions, politics of exclusion and inclusion ensued. From the 1990 through the 2000s, the rise of digital photography and the emergence of radical printing technology ushered a new mode of fashioinig aso ebi. In the process, photography and fashion magazines became a means of negotiating sartorial elegance and cosmopolitan surrounding the use and meaning of aso ebi within these transformations in the city of Lagos. I argue that aso ebi has become a phenomenon that is created within the contingent spaces of the city of Lagos. I show that aso ebi is no longer a cultural practice of the Yoruba who were thought to have started it; rather it is a practice that has filtered into other ethnic groups in Nigeria and other West Africa sub regions.

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