**4. The new paradigm**

This would be considered in term of contributions made so far by Culturally Inspired Industrial Design Education to national development through job creations, teaching at both formal and informal levels, highlighting various research efforts and individual contributions.

There are constant urge to create products and projects that enables self-expression, emotional connections and a more sustainable designs that have cultural meanings and encourage business patronage model which continue to attract enviable client list .Works were produced in highly innovative areas that includes pottery, textiles, printmaking, graphics, fashion design and photography. The Culturally Inspired Industrial Design Education in Nigeria has been adapted as a major agent of change. A few works of students and professionals are hereby reviewed.

Of interest in Nigeria are the ceramic cottage industry in Ushafa, Bwari and Dajo. The first two are situated at the Federal Capital Territory, Abuja while Dajo is located in Makurdi in Benue state. Ushafa and Bwari have Saidu and Stephen Myhr respectively as their chief potters. The two centers engage women potters who are good in the traditional method of production who made very relevant contribution by adopting contemporary method using rice husk ashes, granites, wood ashes, kaolin, and feldspar etcetera as their source of ceramic glazes which are applied on ceramics wares. Of significant impact is the knowledge passed to students from various tertiary institutions in Nigeria during Industrial Work Experience (SIWES) by the cottage ceramic industry. The opportunity gives the students the ability to mass produce and also give finishing touches using indigenous symbols and motifs as used by the local potters. Dajo pottery in Markurdi is known for modern production of ceramic pieces.

Extensive teaching and research work had been carried out on intaglio printmaking at the Federal University of Technology Akure, Nigeria (Etsename 2007). Some of the prints that were made with students are mass produced with such themes as the *African child*; the *Fulani Nomadic life;* and some other title that depicts special messages borrowed from everyday life and traditional folklores (Fig. 3, 4, & 5). Fig 3 '*the drifters'* visualizes a scenario

dust which ultimately became recognized and accepted by architects including

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

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

This would be considered in term of contributions made so far by Culturally Inspired Industrial Design Education to national development through job creations, teaching at both formal and informal levels, highlighting various research efforts and individual

There are constant urge to create products and projects that enables self-expression, emotional connections and a more sustainable designs that have cultural meanings and encourage business patronage model which continue to attract enviable client list .Works were produced in highly innovative areas that includes pottery, textiles, printmaking, graphics, fashion design and photography. The Culturally Inspired Industrial Design Education in Nigeria has been adapted as a major agent of change. A few works of students

Of interest in Nigeria are the ceramic cottage industry in Ushafa, Bwari and Dajo. The first two are situated at the Federal Capital Territory, Abuja while Dajo is located in Makurdi in Benue state. Ushafa and Bwari have Saidu and Stephen Myhr respectively as their chief potters. The two centers engage women potters who are good in the traditional method of production who made very relevant contribution by adopting contemporary method using rice husk ashes, granites, wood ashes, kaolin, and feldspar etcetera as their source of ceramic glazes which are applied on ceramics wares. Of significant impact is the knowledge passed to students from various tertiary institutions in Nigeria during Industrial Work Experience (SIWES) by the cottage ceramic industry. The opportunity gives the students the ability to mass produce and also give finishing touches using indigenous symbols and motifs as used by the local potters. Dajo pottery in Markurdi is known for modern production of ceramic

Extensive teaching and research work had been carried out on intaglio printmaking at the Federal University of Technology Akure, Nigeria (Etsename 2007). Some of the prints that were made with students are mass produced with such themes as the *African child*; the *Fulani Nomadic life;* and some other title that depicts special messages borrowed from everyday life and traditional folklores (Fig. 3, 4, & 5). Fig 3 '*the drifters'* visualizes a scenario

governments.

especially in Africa.

**4. The new paradigm** 

contributions.

pieces.

Partnership for African Development (NEPAD).

and professionals are hereby reviewed.

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 socioeducational, economic and domestic life.

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 outfits like the Academic Press based in Lagos, Nigeria.

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

Culturally Inspired Design Education: A Nigerian Case Study 91

Fig. 5. "Mai Nono 2". An Intaglio Plastographic Print (Etsename L. E., 2002)

Fig. 6. "The King's Trumpeter". Printmaking using wood (Oladumiye B., 1999)

accomplishments of their family, their community and their descendants. This helps in building a sense of dignity and nationalism.

Fig. 3. "The Drifters". PVC Relief Print (Etsename L. E., 2002)

Fig. 4. "Mai Nono 1". PVC Relief Print (Etsename L. E., 2002)

accomplishments of their family, their community and their descendants. This helps in

building a sense of dignity and nationalism.

Fig. 3. "The Drifters". PVC Relief Print (Etsename L. E., 2002)

Fig. 4. "Mai Nono 1". PVC Relief Print (Etsename L. E., 2002)

Fig. 5. "Mai Nono 2". An Intaglio Plastographic Print (Etsename L. E., 2002)

Fig. 6. "The King's Trumpeter". Printmaking using wood (Oladumiye B., 1999)

Culturally Inspired Design Education: A Nigerian Case Study 93

Fig. 10. Trainees at Nike Art Centre in Oshogbo, Osun State, Nigeria (2010)

Fig. 11. Traditional handcrafted Fabric Designs at Nike Art Center, Oshogbo, Nigeria (2010)

Fig. 7. "Council of Elders". Printmaking using wood (Oladumiye B., 1999)

Fig. 8. "Opon Ibile". Traditional Textile Designs with Batik (Ogunduyile S. R., 2010)

Fig. 9. "Osupa" Traditional Textile Designs with Tie Dye (Ogunduyile S. R., 2010)

Fig. 7. "Council of Elders". Printmaking using wood (Oladumiye B., 1999)

Fig. 8. "Opon Ibile". Traditional Textile Designs with Batik (Ogunduyile S. R., 2010)

Fig. 9. "Osupa" Traditional Textile Designs with Tie Dye (Ogunduyile S. R., 2010)

Fig. 10. Trainees at Nike Art Centre in Oshogbo, Osun State, Nigeria (2010)

Fig. 11. Traditional handcrafted Fabric Designs at Nike Art Center, Oshogbo, Nigeria (2010)

Culturally Inspired Design Education: A Nigerian Case Study 95

Craft in the context of globalization represent a balance between preservation of tradition and global awareness of the diversities of culture. The traditional handcraft in Nigeria is one of the sustainable options for producing objects and artifacts using natural and local materials. The introduction of formal training in industrial design has complemented the role of traditional craft production culture. The problems facing the development of

 The negative effects of colonialism when the indigenous craftsmen who would have provided the foundation for technology were relegated to the background. It is widely believed that the emergence of colonialism affected negatively the development of traditional creativity and craftsmanship in favour of Western culture. Western education was criticized for establishing schools with curricula that could not advance

 The negative attitudes of Nigerian society towards the choice of arts and design as a course of study and the preferential treatments given to those in science and technology by government over fine art. This problem of psyche have led to shortage of specialized teachers in schools to teach cultural and creative art subjects which are considered by many nations as one of the viable subjects capable of reducing poverty

 Inability of government to introduce appropriate design policies because of lack of understanding of the advantage of the programme. As a result the negative attitudes, appropriate organs of government were not put in place to articulate the manpower needs of the various industries. Hence, the setting of industrial design objectives did

 The relevance of art and design curricula to the world of work, attitudes of the business community and private organizations to industrial design are not in consonance with the expected roles of industrial design in the context of African value and culture. There is lack of competent teachers who are grounded in art and technical disciplines to propagate the significance of the development of cognitive, affective and psychomotor

 Design programmes in schools are under-funded and as such the advantages inherent in the programme are undermined at the expense of its usefulness to the students,

In order to achieve the objectives of Culturally Inspired Design Education for overall national development and sustainability at all levels of education, government, private

**6. Suggestions for improvement on Culturally Inspired Design Education** 

skills of the students through a culturally inspired education.

economy and government. (Ogunduyile, 2007)

not take into consideration the views of experts and stake holders in the field. Non commencement of viable art and design programme at the primary and secondary school levels. The inability to make the field attractive to teachers and learners did not favour the harnessing of a holistic creative endeavour necessary for cultural and entrepreneurial development. As it is, the role of art has been too overemphasized in our educational system as a medium of unity and instruction for all subjects among others, but it has not being given adequate time and attention for proper training of the subject matter. Synthesis of literature reviews indicate that many schools have no art subjects in their curricula and art teachers are not even available where it is taught (Ubangida2004;

and bringing about sustainability of social and economic development.

**5. The challenges of Cultural Inspired Design Education in Nigeria** 

culturally inspired design in Nigeria is classified under the following:

the course of traditional crafts and technology.

Barnabas 2005).

Fig. 12. A Wheel-Thrown Piece with Hausa Traditional Geometry Design. Bisque 15" high (Adelabu O. S, 2007)

Fig. 13. Hand-built ceramic mask. Glazed 12" high (Ohimai J. O., 2008)

Fig. 12. A Wheel-Thrown Piece with Hausa Traditional Geometry Design. Bisque 15" high

Fig. 13. Hand-built ceramic mask. Glazed 12" high (Ohimai J. O., 2008)

(Adelabu O. S, 2007)
