**Culturally Inspired Design Education: A Nigerian Case Study**

Isah B. Kashim, Sunday R. Ogunduyile and Oluwafemi S. Adelabu *Department of Industrial Design, Federal University of Technology, Akure Nigeria* 

## **1. Introduction**

80 Industrial Design – New Frontiers

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Among the countries in Africa, Nigeria took a prominent position when it comes to cultural heritage and creative arts which are manifested in her diverse crafts. The products from these indigenous crafts have sufficiently served the economic needs of the people in the local communities. Since the pre-colonial era, various members of distinct ethnic groups engage in a lot of traditional craft practices in addition to the agrarian occupational engagements. The diversities in the creation of these arts and crafts were used to create strong force that drives the socio-cultural life and economy of the people. These unique artistic traditions thrived within families and guilds of skilled craftsmen in various communities as practiced in the areas of wood carving at Awka, Nupe, Benin; Blacksmithing at Biron, Akwa; Pottery at Dikwa, Abuja, Ilorin, Ipetumodu, Afikpo, Isan-Ekiti, Erusu Akoko and Zaria; Brass smithing and Beadworks at Bida; Bronze casting and sculpture at Ife and Benin; Leather works at Oyo and Kano; Cloth weaving at Ilorin, Iseyin, Okene, Ibadan, Ondo; Cloth dyeing at Oshogbo, Abeokuta, Oyo, Ibadan, Ede, Sokoto, Zaria, Bida and Kano; Mat weaving at Ogotun-Ekiti, Ipetu-Ijesa, Ipoti-Ekiti, Ikeji-Ile, Erin-Ijesa, Efon-Alaye, Ikorodu and Aramoko-Ekiti to mention but few.

Retrospectively, the Yoruba began creating magnificent sculptures in terra cotta between 12th and 14th century. Bronze figures were also made during the 14th and 15th century. The scientific mode of creation started with reproductions in the *cire perdue* loss wax method of bronze casting. The pottery apart from serving as object of storage and cooking was also made in honour of Yoruba deity. Leather works and bead making in Yoruba land are used to decorate crowns won by kings, and other articles such as hats and bags while leathers are pierced together to form designs such as royal leather cushions. The blacksmiths are responsible for the fabrication of tools like hoes, axes, knives, chains and hammers for professional and domestic usage. Calabash are carved and used for storage of foods, drinks and musical rattles. Textile weaving and dyeing with embellishment of colourful patterns and motifs satisfied the local clothing needs. These art works across cultures inculcated a lot of iconographic and mythological delineations that expressed their cultural identity, social values, history and beliefs. The origin of arts and craft is a story within the traditional society and was in response to social change which draws its strength from artists' thoughts, inspirations, speculations, observations, experiences, visions, dreams, culture, environment, myths, fantasies, imaginations and nature (Ahuwan, 1993; Sheba, 1993). The exemplary

Culturally Inspired Design Education: A Nigerian Case Study 83

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

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:

technical and economic activities of the Nigerian society;

economic and aesthetic solutions of the Nigerian society; and

the past monopoly of foreign designs adopted from India and Europe.

a. provision of professional education to designers who could solve complex industrial

b. Development of students understanding and awareness of the social, cultural, physical,

c. Development of students ability to provide appropriate solutions to technological,

d. Involvement of universities in the process of exploiting designs and production problems in national industries generally. These universities were given the mandate to review their curricula in line with National University Commissions (NUC) from time

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,

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

other nations have taken advantage of.

problems;

to time.

ceramics, graphics and textile designs.

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 needs of the society.

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.
