**2. Industrial design: Contextual definitions**

Design is a common term used in many endeavors, such as textile design, graphic design, engineering design, architectural design and all processes of purposeful visual creations which are coordinated together to make a meaningful whole (Ogunduyile, 2007). According to the International Council of Society of Industrial Design (ICSID)

"Design is a creative activity which aim is to establish the multi-faceted quality of objects, processes, services and their systems in whole lifecycles. Therefore, design is the central factor of innovative humanization of technology and the crucial factors of cultural and economic exchange ".

Industrial design historically to date has to do with product design for mass production- an art of imaginative development of manufactured products and product system, which satisfy physical needs. It is the art and science concerned with the conception and creation of machine made products and materials. It is also a creative activity of man which has to do with overall quality and usefulness of a product rather than improving its appearance alone (Dike, 2003; Pulos, 1978).

Wikinfo, an internet encyclopedia defined at a broader level that industrial design is an applied art which considered aesthetic, usability of designed product as paramount with such details as colour, texture and ergonomics. This is viewed from choice of materials presentation to final consumers, that is, it has a focus on concepts, products and process.

In the United Kingdom, "industrial design" implies design with considerable engineering and technology awareness alongside human factors which is a "total design approach".

Based on the brief definitions above, it is obvious that industrial design embraces the production of prototypes with adequate consideration for aesthetic appearance, function and industrial processes.

Prof. S.A. Adetoro informs that the concept of industrial design as a course of study in Nigerian higher institutions was first muted in 1977 when it was strongly felt that products from the applied arts programmes lacked the knowledge of mass production techniques. He was of the view that the concept of industrial design that was based on the peoples' culture would be more appropriate. The new Universities of Technology which emerged subsequently adopted the nomenclature and tailored their curriculum towards meeting the expectations in the various industries.

An attempt was made to classify industrial design practice in Nigeria; to be situated under the applied art programme which is craft based (Ogunduyile, 2007). However, it was noted that applied arts as being practiced in Nigeria is devoid of industrial processes and

creative qualities and skills of the craftsmen were put together effectively in the production of highly functional objects that exhibit exceptional aesthetic aura which satisfied the daily

Culture has been noted to be the totality of all the knowledge and values shared by a society. Hence, this paper fully acknowledged the significance of a Culturally Inspired Design Education as the world transforms from a monolithic culture to one with diversity. This paper essentially captures the evolutionary trends and contemporary issues related to Industrial Design education and practices in Nigeria in relation to its current cultural content. It therefore attempts to examine the effects of home breed Industrial Design education as its affects current graduate performances and professional practices in Nigeria.

Design is a common term used in many endeavors, such as textile design, graphic design, engineering design, architectural design and all processes of purposeful visual creations which are coordinated together to make a meaningful whole (Ogunduyile, 2007). According

"Design is a creative activity which aim is to establish the multi-faceted quality of objects, processes, services and their systems in whole lifecycles. Therefore, design is the central factor of innovative humanization of technology and the crucial factors of cultural and

Industrial design historically to date has to do with product design for mass production- an art of imaginative development of manufactured products and product system, which satisfy physical needs. It is the art and science concerned with the conception and creation of machine made products and materials. It is also a creative activity of man which has to do with overall quality and usefulness of a product rather than improving its appearance alone

Wikinfo, an internet encyclopedia defined at a broader level that industrial design is an applied art which considered aesthetic, usability of designed product as paramount with such details as colour, texture and ergonomics. This is viewed from choice of materials presentation to final consumers, that is, it has a focus on concepts, products and process. In the United Kingdom, "industrial design" implies design with considerable engineering and technology awareness alongside human factors which is a "total design approach". Based on the brief definitions above, it is obvious that industrial design embraces the production of prototypes with adequate consideration for aesthetic appearance, function

Prof. S.A. Adetoro informs that the concept of industrial design as a course of study in Nigerian higher institutions was first muted in 1977 when it was strongly felt that products from the applied arts programmes lacked the knowledge of mass production techniques. He was of the view that the concept of industrial design that was based on the peoples' culture would be more appropriate. The new Universities of Technology which emerged subsequently adopted the nomenclature and tailored their curriculum towards meeting the

An attempt was made to classify industrial design practice in Nigeria; to be situated under the applied art programme which is craft based (Ogunduyile, 2007). However, it was noted that applied arts as being practiced in Nigeria is devoid of industrial processes and

needs of the society.

economic exchange ".

(Dike, 2003; Pulos, 1978).

and industrial processes.

expectations in the various industries.

**2. Industrial design: Contextual definitions** 

to the International Council of Society of Industrial Design (ICSID)

necessary facilities. He further observed that the concept and roles of industrial design were not understood for four decades after its introduction into the Nigerian educational system. Therefore, this lack of understanding has impacted negatively on the role of industrial design in industry, business, economic planning strategies and global market place which other nations have taken advantage of.

The carving out of Industrial Design from Department of Fine Arts, Ahmadu Bello University in 1977 was in an attempt to respond to the work demand and challenges from university graduates whose job opportunities were increasingly becoming narrowed down as a result of intense social and economic change being witness at that time (Akinbogun, 2004; Ogunduyile & Akinbogun, 2006). There was a sudden boom experienced from oil revenue in Nigeria and this led to the emergence of new industries that needed to create fresh and creative products. The increase in population which requires faster methods of production in graphic outfits, textiles and ceramics industries encouraged the carving out of the programme. Considering the lofty idea of the programme, more industrial design institutions had since been established. These include the Federal Universities of Technology located at Yola, Bauchi, Akure and Ogbomosho. The National Universities Commission provided the baseline curriculum which dwelt among others on the:


There have been no clear lines of demarcation between the fine arts courses and that of industrial design. Fine art products are often identified for their decorative and sensuous values. However, when the aesthetics values that are inherent in artistic objects are extended to handcrafted utilitarian materials such as textiles, pottery, metal and jewelry, they are classified as applied art. These arts draw their inspirations from various social, religious and cultural settings of the people (Babalola, 1994). If these objects must undergo a process of regular mass production under a quality controlled manufacturing or industrial process, it is referred to as industrial design. All of these can be in engineering, electronics, woodwork, ceramics, graphics and textile designs.

The graduate of industrial design education in Nigeria had contributed immensely to national development in the areas of employment generation, teaching and research, and industrial development. Since government cannot generate employment for every youth, the practical skill acquired through the industrial design training had enabled the youth to create self-employment in pottery entrepreneurship, photography, handcrafted textiles, printmaking, printing technology, and importantly film production as demonstrated by Nigerian *Nollywood* where industrial designers assist at creating costume make-up, special effects and animation*.* The graphic artists have contributed to book illustration with indigenous theme that embodies values from local cultural contents. The textiles designers also strives to inculcate culturally inspired motifs into locally produced fabrics, which break the past monopoly of foreign designs adopted from India and Europe.

Culturally Inspired Design Education: A Nigerian Case Study 85

Onabrakpeya were among the disciples who encouraged and inspired the younger ones in this direction (Oloidi, 1995). Bruce was able to embrace the use of indigenous design in his printmaking. He established a workshop in Agbara Ottor where young talents are trained on regular basis in material exploration. Between 1900 and 1977, all aspects of visual arts were classified under fine and applied arts. The fine arts were considered mostly from their decoration potentials while the applied phase catered for craft aspects which were often

**3. Conceptual clarification of Cultural Inspired Design Education (CIDE) in** 

knowledge, ways of knowing and world views equally.

systems are indices of creative motives of the artists.

Assembly of Alaska Native Educators (1998) defines a Culture-based education as an education which reflects, validates and promotes the values, world views, and languages of the community's cultures. Culture may be defined as people's tradition, history, values and language that make up the culture of a group and which contribute to their identity. Culturally inspired design education can be said to be an education that honour all forms of

Culturally inspired designs are expressed in Nigerian context from deep conceptualization of subject matter as well as its ultimate functions. The conceptualization embraces the spiritual and social characters the design accommodates. They are usually embodied in different media with elaborate expressions of designs that are associated with where they are meant to serve culturally. This is exemplified in wood carvings of pillar post made for

Culturally inspired design education in Nigeria involves the formation and generation of indigenous patterns and motifs in the design of art works and utilitarian objects. The foci of the industrial design curricula in general education and training of design students and apprentices centered on the actualization of "local content" in all creative materials. Apart from providing professional education to designers who could solve industrial problems, students and designers are involved in creating a highly culturally rooted motifs and symbols that are eventually translated to prototypes and objects. For instance the cultural symbols and motifs synonymous with Hausas of Northern Nigeria are at sharp variance with those found on objects produced by artists in the Southwestern and Eastern Nigeria. A recurring cultural symbol often found in the artistic works of the Northern Nigeria consist of the "Northern knot" motifs (crisscrossed elliptical knots) which signify the bonds of political unity envisioned for Northern Nigeria (Fig. 1), while the Yoruba motifs of Southwestern Nigeria reflect traditional beliefs situated in cultural festivals. The Northern knot symbolizes unity in diversity and is elaborately expressed in the palace art of Northern Nigeria. This have been used as design element in Nigerian currency and as crest on edifices jointly owned by 19 Northern States. The royal palaces in Nigeria are usually attributed with cultural art and symbols which form an important aspect of communicating power and royal splendor. The use of masks, beads, fly whisks and other paraphernalia of worship

It cannot be gainsaid then that the inculcation of the knowledge of the culturally inspired design processes described above in the training of industrial design students is another requirement in the Nigerian curriculum of industrial design programmes. It is to be noted as well that the application of the knowledge of culturally based designs on industrial and

the palaces, shrines or town halls which depict folklores and mythological concepts.

handmade.

**Nigeria** 

#### **2.1 Historical perspective**

The first attempt to introduce fine arts into the Nigerian educational curricula was in 1897 at the Hope Waddel Training Institute, Calabar (Wangboje, 1969). This institution was established by Free Church Mission in 1895. Before then, Aina Onabolu (1882-1963), a man considered to be the father of Nigerian art, had set the foundation for modern art training in the early 20th century. Aina Onabolu, a London and Paris trained artist, noted that the black people had great potentials and ability to express themselves freely in drawing and paintings. Based on this conviction that art could reach its peak in Nigeria if properly handled, persuaded the colonial government to appoint Kenneth Murray in 1902 to further assist the country to strengthen art training and practice. He advocated that art training should be based on African culture and 'not art for art sake' as was the practice in Europe.

Formal institutionalized training in art started at Yaba Technical Institute later referred to as Yaba College of Technology in 1952. Art as a course of study also started at Nigerian College of Arts, Science and Technology (NCAST) Ibadan, the same year but after two years the programme was transferred to Nigeria College of Arts, Science and Technology, Zaria, Kaduna State now Ahmadu Bello University, Zaria. The formal visual art teaching complemented the existing local art and craft centres such as that of Father Kelvin Carols in Oye Ekiti in Ondo State in the 1940s where extensive experiments in weaving, leatherworks, bead making and wood carving with indigenous craftsmanship took place. All of these works were utilized by Catholic Missions in Yoruba land. This avenue provided adequate opportunities for the training of many local artists such as Lamidi Fakeye, a prominent wood carver in Nigeria.

Ulli Beier inspired the commencement of the Oshogbo Art School in 1963. The main aim was to develop untrained artists. The center's major focus was training artists that could work on local cultures, folklores and narratives with production that fuses cultural traditions with modern practices. Prominent participants in the art school were Jimoh Buraimoh, Taiwo Olaniyi, Mariana Oyelami, Asiru Olatunde and the prominent textile artist Nike Davies Okundaiye. Nike Okundaiye worked under Susanne Wenger at the Oshogbo Art School where Yoruba folklores in form of dreams and nightmares were fully explored.

Formal art institutions were growing in leaps and bonds. The Zaria Students Art Society was formed between 1957 and 1961. The group was made up of creative students who formulated a principle for themselves in resuscitating best of Nigerians traditional culture and harmonizing it with best practices in the world. The following members personified this *Zarianism* spirit: Yusuf Grillo, Simeon Olaosebikan, Uche Okeke, Bruce Onakbrakpeya, Demas Nwoko, Osiloka Osadebe, Okechukwu Odita, Felix Ekeada, Ogbonnaya Nwagbara and Ikpowosa Omogie. The Ori Olokun Cultural center was established at University of Ife, now Obafemi Awolowo University in 1968 with emphasis on Yoruba folklore, the river goddess and spiritual analysis.

The foundation of art training and practices was laid in the 1900s. A substantial development and growth were recorded between 1900 and 1938 when a number of artists with traditional art background began to make their impact felt in the formal setting. Between 1930 and 1970 was a period that witnessed a type of unprecedented transformation and quest for identity and promotion by the emerging artists. Formal art institutions during this period began to produce individuals and art movements which sought to embrace traditional themes into their works. The exploration and fusion of traditional values into their artworks became paramount. It was inferred that Ben Enwonwu and Bruce

The first attempt to introduce fine arts into the Nigerian educational curricula was in 1897 at the Hope Waddel Training Institute, Calabar (Wangboje, 1969). This institution was established by Free Church Mission in 1895. Before then, Aina Onabolu (1882-1963), a man considered to be the father of Nigerian art, had set the foundation for modern art training in the early 20th century. Aina Onabolu, a London and Paris trained artist, noted that the black people had great potentials and ability to express themselves freely in drawing and paintings. Based on this conviction that art could reach its peak in Nigeria if properly handled, persuaded the colonial government to appoint Kenneth Murray in 1902 to further assist the country to strengthen art training and practice. He advocated that art training should be based on African culture and 'not art for art sake' as was the practice in Europe. Formal institutionalized training in art started at Yaba Technical Institute later referred to as Yaba College of Technology in 1952. Art as a course of study also started at Nigerian College of Arts, Science and Technology (NCAST) Ibadan, the same year but after two years the programme was transferred to Nigeria College of Arts, Science and Technology, Zaria, Kaduna State now Ahmadu Bello University, Zaria. The formal visual art teaching complemented the existing local art and craft centres such as that of Father Kelvin Carols in Oye Ekiti in Ondo State in the 1940s where extensive experiments in weaving, leatherworks, bead making and wood carving with indigenous craftsmanship took place. All of these works were utilized by Catholic Missions in Yoruba land. This avenue provided adequate opportunities for the training of many local artists such as Lamidi Fakeye, a prominent

Ulli Beier inspired the commencement of the Oshogbo Art School in 1963. The main aim was to develop untrained artists. The center's major focus was training artists that could work on local cultures, folklores and narratives with production that fuses cultural traditions with modern practices. Prominent participants in the art school were Jimoh Buraimoh, Taiwo Olaniyi, Mariana Oyelami, Asiru Olatunde and the prominent textile artist Nike Davies Okundaiye. Nike Okundaiye worked under Susanne Wenger at the Oshogbo Art School

Formal art institutions were growing in leaps and bonds. The Zaria Students Art Society was formed between 1957 and 1961. The group was made up of creative students who formulated a principle for themselves in resuscitating best of Nigerians traditional culture and harmonizing it with best practices in the world. The following members personified this *Zarianism* spirit: Yusuf Grillo, Simeon Olaosebikan, Uche Okeke, Bruce Onakbrakpeya, Demas Nwoko, Osiloka Osadebe, Okechukwu Odita, Felix Ekeada, Ogbonnaya Nwagbara and Ikpowosa Omogie. The Ori Olokun Cultural center was established at University of Ife, now Obafemi Awolowo University in 1968 with emphasis on Yoruba folklore, the river

The foundation of art training and practices was laid in the 1900s. A substantial development and growth were recorded between 1900 and 1938 when a number of artists with traditional art background began to make their impact felt in the formal setting. Between 1930 and 1970 was a period that witnessed a type of unprecedented transformation and quest for identity and promotion by the emerging artists. Formal art institutions during this period began to produce individuals and art movements which sought to embrace traditional themes into their works. The exploration and fusion of traditional values into their artworks became paramount. It was inferred that Ben Enwonwu and Bruce

where Yoruba folklores in form of dreams and nightmares were fully explored.

**2.1 Historical perspective** 

wood carver in Nigeria.

goddess and spiritual analysis.

Onabrakpeya were among the disciples who encouraged and inspired the younger ones in this direction (Oloidi, 1995). Bruce was able to embrace the use of indigenous design in his printmaking. He established a workshop in Agbara Ottor where young talents are trained on regular basis in material exploration. Between 1900 and 1977, all aspects of visual arts were classified under fine and applied arts. The fine arts were considered mostly from their decoration potentials while the applied phase catered for craft aspects which were often handmade.
