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

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 knowledge, ways of knowing and world views equally.

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

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 systems are indices of creative motives of the artists.

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

Culturally Inspired Design Education: A Nigerian Case Study 87

considered the culture of the people in terms of concept, forms, motifs, shapes and the local

The introduction of industrial design education in Nigeria was to make easy the application of design methodologies and techniques on craft products which needed to be taken beyond the borders of Nigeria. It was conceived as a program that could move the production processes in craft to a higher pedestal in terms of finess and mass production without losing

The training of industrial designers in Nigeria is often based on a foundation of fine arts and crafts and individuals in the field are expected to be well grounded in basic craft processes,

The role of industrial design in Nigeria could be better appreciated when one considers the persistent high level of youth unemployment. Those who have gone through the program have been considered for appointments in various segments of the economy and have been contributing to national development. The program has made it possible for youths to acquire skills in all aspects of art, crafts and design. With the knowledge acquired, many became self-reliant by setting up design and production studios to provide goods and services for the communities in textiles, ceramics, graphics, jewelries, etc. Industrial design has been responding to local needs using local materials, strengthening cultural identity, fostering market access and providing the foundation needed for productive jobs in small

An analysis of how much impact industrial design and designers is perhaps very significant, though it was claimed that such impact have been circumvented by inability to consolidate various efforts (Ogunduyile, 2007). In 1997, a national conference was organized by the Department of Industrial Design, Federal University of Technology Akure. It was well attended by artists, designers, engineers and architects who presented many thought provoking papers which gave birth to the first indigenous Nigerian Journal of Industrial

The conference created an impetus for subsequent emergence of a group of designers in the year 2000 to convene a meeting at the Department of Creative Arts, University of Port-Harcourt, Nigeria. The conference generated a proceeding in form of a book titled *Design History in Nigeria,* edited by J. T. Agberia and was sponsored by the National Gallery of Art, Nigeria. It was highlighted that the conference created the expected awareness and was on record that the developmental trends of design principles and practice were put in their historical perspectives (Agberia, 2002). This gathering also led to the formation of a national body which could probably develop the strength and muster the political will to regulate

Another meeting was also convened in Ibadan at the Demas Nwoko Center to further create awareness on industrial design at the instance of one of the Nigerian foremost designers and architects in the country in persons of Demas Nwoko and John Agberia. The meeting gave birth to the formation of Association of African Industrial Designers, which was expected to give leadership and direction to design education. The first inaugural meeting of the association was held in Benin in 2001 with the aim of providing opportunity for articulating the place of industrial design in Nigeria and the entire African continent while working towards generating awareness within the discipline. Nwoko apart from breeding new ground in theater design and season of wood including its use for furniture and interior design, the quintessential qualities of his building at Ibadan combined earth (mud) with saw

the practice of industrial design in Nigeria particularly and in Africa generally.

methods required in the production of goods and services.

high quality execution and decoration of products.

significantly its Nigerian identity.

and medium scale production.

Design and Technology (JINDEST).

mass produced objects and materials such as fabrics, ceramic wares, graphic works, interior decoration and metal smiting, encourage patronage from local and international consumers.

Fig. 1. "The Northern Knot". A symbol of unity in diversity among the Northern States of Nigeria

Fig. 2. An Ancient Ife figurine bronze head. An index of the cultural heritage of the Yoruba people in Southwestern Nigeria. Source: http://www.africanart.org

#### **3.1 National questions on Culturally Inspired Design Education**

Nigeria has a rich cultural heritage which was enhanced by its arts and crafts culture. Traditionally, the art and crafts as practiced by the people has been providing the foundation for technological growth. The Nigerian craftsmen provided the various functional and aesthetically pleasing implements in household items, furniture, metal working, farm tools, brass casting, leather works, textiles and a lot more. Design is seen to have an important role in upgrading and development of craft products.

With the increase in population, more exposures to foreign influences, education and products from manufacturing industries, the production from the craftsmen could no longer meet with demands of the people. The concept of mass production brought by industrialization was more than what the craftsmen could comprehend as they now found it difficult to compete with cheap factory products.

Culturally inspired education in Nigeria has engendered the training and education which provide adequate attention to the growth of indigenous technology. The craftsmen

mass produced objects and materials such as fabrics, ceramic wares, graphic works, interior decoration and metal smiting, encourage patronage from local and international consumers.

Fig. 1. "The Northern Knot". A symbol of unity in diversity among the Northern States of

Fig. 2. An Ancient Ife figurine bronze head. An index of the cultural heritage of the Yoruba

Nigeria has a rich cultural heritage which was enhanced by its arts and crafts culture. Traditionally, the art and crafts as practiced by the people has been providing the foundation for technological growth. The Nigerian craftsmen provided the various functional and aesthetically pleasing implements in household items, furniture, metal working, farm tools, brass casting, leather works, textiles and a lot more. Design is seen to

With the increase in population, more exposures to foreign influences, education and products from manufacturing industries, the production from the craftsmen could no longer meet with demands of the people. The concept of mass production brought by industrialization was more than what the craftsmen could comprehend as they now found it

Culturally inspired education in Nigeria has engendered the training and education which provide adequate attention to the growth of indigenous technology. The craftsmen

people in Southwestern Nigeria. Source: http://www.africanart.org

**3.1 National questions on Culturally Inspired Design Education** 

have an important role in upgrading and development of craft products.

difficult to compete with cheap factory products.

Nigeria

considered the culture of the people in terms of concept, forms, motifs, shapes and the local methods required in the production of goods and services.

The introduction of industrial design education in Nigeria was to make easy the application of design methodologies and techniques on craft products which needed to be taken beyond the borders of Nigeria. It was conceived as a program that could move the production processes in craft to a higher pedestal in terms of finess and mass production without losing significantly its Nigerian identity.

The training of industrial designers in Nigeria is often based on a foundation of fine arts and crafts and individuals in the field are expected to be well grounded in basic craft processes, high quality execution and decoration of products.

The role of industrial design in Nigeria could be better appreciated when one considers the persistent high level of youth unemployment. Those who have gone through the program have been considered for appointments in various segments of the economy and have been contributing to national development. The program has made it possible for youths to acquire skills in all aspects of art, crafts and design. With the knowledge acquired, many became self-reliant by setting up design and production studios to provide goods and services for the communities in textiles, ceramics, graphics, jewelries, etc. Industrial design has been responding to local needs using local materials, strengthening cultural identity, fostering market access and providing the foundation needed for productive jobs in small and medium scale production.

An analysis of how much impact industrial design and designers is perhaps very significant, though it was claimed that such impact have been circumvented by inability to consolidate various efforts (Ogunduyile, 2007). In 1997, a national conference was organized by the Department of Industrial Design, Federal University of Technology Akure. It was well attended by artists, designers, engineers and architects who presented many thought provoking papers which gave birth to the first indigenous Nigerian Journal of Industrial Design and Technology (JINDEST).

The conference created an impetus for subsequent emergence of a group of designers in the year 2000 to convene a meeting at the Department of Creative Arts, University of Port-Harcourt, Nigeria. The conference generated a proceeding in form of a book titled *Design History in Nigeria,* edited by J. T. Agberia and was sponsored by the National Gallery of Art, Nigeria. It was highlighted that the conference created the expected awareness and was on record that the developmental trends of design principles and practice were put in their historical perspectives (Agberia, 2002). This gathering also led to the formation of a national body which could probably develop the strength and muster the political will to regulate the practice of industrial design in Nigeria particularly and in Africa generally.

Another meeting was also convened in Ibadan at the Demas Nwoko Center to further create awareness on industrial design at the instance of one of the Nigerian foremost designers and architects in the country in persons of Demas Nwoko and John Agberia. The meeting gave birth to the formation of Association of African Industrial Designers, which was expected to give leadership and direction to design education. The first inaugural meeting of the association was held in Benin in 2001 with the aim of providing opportunity for articulating the place of industrial design in Nigeria and the entire African continent while working towards generating awareness within the discipline. Nwoko apart from breeding new ground in theater design and season of wood including its use for furniture and interior design, the quintessential qualities of his building at Ibadan combined earth (mud) with saw

Culturally Inspired Design Education: A Nigerian Case Study 89

that describes a major phase in the Fulani nomad's life of Nigeria. The seasonal experience during the harmattan period (dry season) of Northern Nigeria, forces the nomads to migrate to the Southern part of the country where they find pasture for their herds. This transient nature has created an avenue for a wide view of his world which has been influential to their way of life. Figure 4 *Mai Nono 1* (the milk maid) is a scene that depicts the plurality of the Fulani woman's personality in playing economic, social and domestic roles. *Mai Nono 2* in Figure 5 depicts an elderly Fulani women engaged in the hawking of dairy products derived from their herds. All these works are the printer's medium of communication towards enlightening the Fulani tribes of Nigeria in relations to improvements in their socio-

Printmaking using wood as media was also explored by Oladumiye Bankole, a Graphic Designer and educator (Fig. 6-7). Figure 6 portrays the role of the king's trumpeter at heralding information within a kingdom while figure 7 shows a vital role of decision makers "the Elders" in the traditional society. These works emphasize the significance of communication and synergetic role for the running of a socio-political society. Other research effort had been vested into use of graphics design in establishing relationship between the use of advertisement and consumers urge to purchase products in Lagos State (Kayode, 2010). It was established that languages of local expression used on outdoor billboard affects the urge to purchase products. The use of native language to target audience on outdoor bill board campaign in Lagos State was also advocated for. Ogunduyile Sunday, a textile designer and design educator has worked on a number of textile projects which incorporated African motifs and symbols. (Fig. 8) "Opon Ibile" shows traditional panel consisting motifs derived from cultural items used by the people, while the "Osupa" (Fig. 7) depicts the concept of the moon. Chief Monica Nike Okundaiye is a celebrated textile artist who is in love with "indigo", a traditional material used for dyeing fabrics. She is based in Osogbo, Osun state, Nigeria and have trained many students and apprentices both in Nigeria and abroad especially in Italy (Fig. 10). Her mentoring and art classes offered hope and new livelihood for many young ladies and women. Her lessons in artistic enterprise are wonderful illustrations about how Nigerian creative industry is making positive impact on the country. There are also recent interface of design education in ceramics with science, technology, and engineering such as Exploitation and Adaptation of Bio Gas to Ceramic Kiln by Yusuf Sadiq Otaru; study of the Qualities Of Alkaleri Kaolin In Fired Ceramics by A. D. Umar; Utilization Of Local Raw Materials for the Reproduction of Dense Alumino-Silicate Refractive Bricks for Furnace Using Semi-Dry Processing Techniques by Umar Sullayman and Production of High Fired Porcelain Bodies and Glazes by I. B. Kashim (Umar, 2010). Figures 12 and 13 are ceramic pieces made by O. S. Adelabu and J. O. Ohimai respectively with reflections of cultural symbolism. All of these are reflections of Culturally Inspired Design in Nigeria. Local industrial products in recent times have incorporated culturally inspired designs to replace foreign concepts. Book illustrations with cultural inclinations are done by graphic designers for local publishing

Culturally inspired design education goes beyond the adoption of cultural events and traditional skills into the creative and cultural art curriculum in Nigerian schools. The objective of culturally inspired design education is to promote students awareness about their culture. The institutional recognition and validation of its societal culture helps students to be conscious of their cultural endowment and to appreciate the

educational, economic and domestic life.

outfits like the Academic Press based in Lagos, Nigeria.

dust which ultimately became recognized and accepted by architects including governments.

The forth national conference was also convened by the Culture and Creative Art Forum (CCAF) in November 2006 at the Federal University of Technology Akure to address the role of design in a dynamic society. The confab discussed the role of Art, Design and Technology in the 21st century with such sub-themes as: *Artists and the Challenges of Industrial Technology; Arts and Design* and *Nigerian Environment* and *Art and Design as Creative Enterprise*. The objective of CCAF that year was to provide opportunity for critical discourse on matters and issues that borders on development of Art, Design, Culture and Technology especially in Africa.

The formation of art movements which advanced various forms of art concepts devoid of imperial influence since independence have significantly repositioned the contemporary efforts of younger generation of designers. The Culturally Inspired Design Education (CIDE) effort engendered by cultural concepts with sustainable development initiative for social and economic revival is a welcome development in line with the advocacy of the New Partnership for African Development (NEPAD).
