Adaptation of Ham Traditional Designs as Sources of Motifs for Fabric and Apparel Embellishment Using Batik
Chapter One
Aims and Objectives of the Study
The aim of this study is toexplore and preserve the Ham traditionaldesigns and motifs that can be seen on the artifactsas well as adapt them on fabrics. While the objectives of the study are:
- Study the Ham artifacts and the various unique features of the traditional designs found on
- Determine the various unique features of the Ham traditional designs as motifs in textile
- Select some of the artifacts and develop traditional motifs for them as to find out whether they can be used for fabrics and apparel
- To identify the meaning and functions attached to the various artifacts, crafts and traditional designs of the Ham people.
- Assess the relationship of the newly modified motifs and the old traditional ones that have been in existence in order to ascertain their differences
CHAPTER TWO
REVIEW OF RELATED LITERATURE
Introduction
In this chapter, the researcher reviews literature that are related to the study so as to identify the artifacts and some valuable symbols, adapts the symbols and develop meaningful motifs from these symbols that were obtained from the traditional designs of the Ham people. This is an attempt to preserve these artifacts, traditional designs and motifs so as to save them from total extinction, by reforming, representing and reproducing them on textile fabrics and apparels through batik method of resist technique in fabric embellishment. The review of this literature, therefore, will be focused on some selected topics according to aim and objectives of the study.Information collected from the review of the literature will be synthesized to identify and determine similarities and differences in the artifacts and traditional designs of the traditional period to the cotemporary, and to identify those designs that are most valued by the Ham people. This is to examine their values and how they can be represented on textile fabrics through the use of batik.
Artifacts are things that are man-made or given shape by the manipulations of man, and these could be weapons, pottery, tools or a work of art especially, an object of archeological interest found through excavation.
Oguntona (1997) defined design as “a deliberate well considered plan for creating something. There are identified elements of design which are guides for designers when they are working. The elements are lines, space, texture and color. These elements are not used inisolation from one another, but combined in useful and appropriate ways to produce interest.Chang (2007) stressed that these elements often work together, not separately.
Further emphasis can begiven when contrasting colors are introduced. Decorative design refers to decoration applied toa garment. It is not an integral part of the structure. Applied decoration may include varioustype of trims, as braids, embroidery, buttons that do not fasten, and tucked on bows. Unlessthis is properly related to structural design, the effect may be displeasing. Makanju (2002) also described design and craft as a development common to all human tradition. While Colchester (1993) and Labuz (1993) see design as both a process and product, which they further refer to as the practical artistic creation or execution of craft product. In his own view, further to the contributions, Heathcote (1976 and 1979) describe design as a purposeful plan that results to anything that can be seen or held or even walked into or something that is two or three dimensional.
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 creationswhich are coordinated together to make a meaningful whole (Ogunduyile, 2007). Accordingto 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 centralfactor of innovative humanization of technology and the crucial factors of cultural andeconomic exchange”.
With the various definitions of design, literatures were also reviewed for definitions of craft in whichJones (2011) describes craft as remembering that art is seen, felt and heard as well as understood, knowing that not all ideas start with words, thinking with hands as well as head. Also Greenlees (2006) sees craft as an intellectual and physical activity where the maker explores the infinite possibilities of materials and processes to produce unique objects. To see craft is to enter a world of wonderful things which can be challenging, beautiful, sometimes useful, tactile and extraordinary; and to understand and enjoy the energy and care which has gone into their making.
Furthermore, Dueden (1975) and Rishante (1998) refer to craft as the expression of the human creative talent, especially in visual form in aesthetic and utilitarian purpose.In his own view, Britton-Newell (2007) says, “I use the word craft as an umbrella term, not as the definition of a separate discipline. I find craft difficult when it has an„s‟ on the end; the crafts implies something clear cut, but it isn‟t”. When craft is involved with the making of something, be it a pot or a piece of writing, it usually means that the process of how and why it has been put together has been well considered, and generally I prefer it. Instead of using “that‟s cool” people could start saying “that‟s craft”! It is time to move beyond the limitations of terminologies that fragment and separate our appreciation of creative actions, and consider the “behaviors of making” that practitioners share. Craft, therefore,is the knowledge of a language and its expressive possibilities.
Human imagination can use craft to invent freely in the world of ideas, materials and forms. Thus are the worlds of design, art, textile, sculpture, engineering, science and architecture, all are born of craft.’ Design and craft are traditional technologies of cultural significance, (Canady (1980), Ted Smart (1994) and Tulloch (1997). Canady (1980) further states that design has existed right from the day the pre- historic man smeared his body with colored clay till this time when any other reading this cannot look away from them without setting their eyes on a design or product of design. Craft and design are influenced by environmental factors; therefore, a designer can decide to study the environment, get something and then stylize it to form a motif that can be called a design which is finally used to decorate a craft.
In Africa, craft-making was known to be a flourishing trade before the advent of colonialism and westernization, (Nkrumah 1971). In the Nigerian traditional societies, craftsmanship as reported by Dike and Oyelola (1988) manifested itself in terracotta and bronze of the ancient Nok, Ife arts and the famous Benin bronzes respectively. In the art of textiles, Africa has a lot of textile and some of them that are still in existence are:
CHAPTER THREE
RESEARCH DESIGN AND METHODOLOGY
Introduction
This chapter gives a descriptive analysis of the method and procedures used in the selection, collection and treatment of data for the study. This implies that, the study deals precisely with the research design according to the views of many scholars. The various factors that were involved in the study included the traditional designs of the Ham people, priority, socio cultural factor and preference for embellished fabrics. The dependent variables areculture and identity. The essence of using this approach is for the respect of the fact that the research is aimed at collecting data on a particular problem from selected correspondences, suggestions, opinions, attitudes or beliefs in an estimable dimension of a large population. Okeke (1985) and Osuala (1987) in Ala‟u (2006), states that the quality and success of research depends on the adequacy of research design, the investigators on the job, sample selection, the tabulations and reporting of the findings and the validity of the procedures employed. Similarly, Adetoro (1997) describes research design as the blue print of research “architecture” or “engineering”, he further stated that a well planned research design could be picked and replicated by any competent researcher. Afolabi (1993) supportes this approach; according to him, because the survey method enable the study of relatively large population that may not be located in the same place and could still produce same result through the sample.
The research dealt with the identification of the traditional and contemporary artifacts and traditional designs of the Ham people and these were used for exploratory adaptation of some of them on textile fabrics and apparels for functional purpose using batik technique. Resist technique involves dyeing of textile materials by applying resist substances on portions to repel the dye when it is immersed in a dye solution, Alau (2006). A reapplication of paste and re-dyeing of same textile materials, produce a batik material orfabric which has more than one colour. The technique is the same in both traditional and contemporary methods of resist technique, the only thing that differentiate the traditional and contemporary method are the type of materials, tools and equipment used. This type of research according to Adetoro (1997) is called products development, and it is commonly used in the education, environmental sciences, engineering, and pharmacy, and medicine, veterinary and general science. It consists of a cycle in which a conversion of a product is developed and field tested, (Alau 2000). This chapter was discussed under the following sub headings:
- Research methodology and design
- Pilot study(Motifs)
- Population of the stud
- Sample size of the design Motifs
- Resist materials / Equipment for Dyeing
CHAPTER FOUR
DATA PRESENTATION AND ANALYSIS
Introduction
The idea of the study was built within the history, culture, artifacts and traditional designs of the Ham people of the southern part of Kaduna State. It focused with special interest on the artifacts and traditional designs of the Ham people and also the possibility of adopting the artifacts and traditional designs practically on textiles fabrics using batik method of fabric embellishment.
CHAPTER FIVE
SUMMARY, CONCLUSION AND RECOMMENDATIONS
Summary
In essence, this chapter summarizes this documentary study, which comprises of the introduction to the study, review of some related literature, main objectives, procedures, methodology and analysis. Furthermore, the study is comprised of observations, conclusion and recommendations based on the findings of the study.
This study report is in five (5) chapters, where chapter one mainly deals with the background of the study. Chapter two (2) deals with the review of some literature, related to the study. Chapter three (3) went further to deal with the research design and methodology. In chapter four (4), presentation, analysis and discussions were dealt with and finally chapter five was confined to summary, discussions, conclusion and recommendations. The history and origin of the Ham people as well as justification of the study and objectives were also discussed as in the sub topics below:
- General objective
- Procedures
- Discussion
- Conclusion
- Recommendations
General Objective
The general objective of this study was to select some artifacts and traditional designs of the Ham people as design sources and adapt them on fabric using batik method of fabric embellishment. The general objectives of the study correlate with the problem of the study, which are the selection, exploration, documentation and preservation of the Ham artifacts and traditional designs for the younger generation. In addition, the problem of the study includes adapting the motifs and designs on textile fabrics using batik method of resist technique and was guided by research questions.
Procedures
The research instruments designed by the researcher for this study were questionnaire (for the assessment of the newly embellished fabrics) and scheduled interviews. This was done following the views unanimously advocated by Miller (1970) and Nwana (1981) as sited by Alau (2006), on the need for multiple instruments along with supervisor‟s inputs in research. The research proceeded with the study through production of sketches of the randomly selected artifacts and designs of the Ham people. The thirty (30) designs and motifs were identified as the population of the study, from which five (5) motifs were randomly selected and adapted on textile fabric.
Discussion
The artifacts and designs of the Ham people from which the symbolic motifs for this research were derived have functional uses. They are commonly used in the homes for household use, carrying and storing of farm produce and also for ritual purposes. Colors add meaning to fabrics thereby making the fabrics more appreciated by the people. Therefore, the economic, cultural, social and political importance of fabrics embellished for apparels and other functional uses and also, the role played by the motifs in designing and giving symbolic meaning cannot be over emphasized. In the world of fashion, resist fabrics been tremendous use in the day to day life of humans. They are used in apparel as dresses, gowns for women, flowing gown for men (agbada), and shirts and in furnishing as curtains, cushion covers, table cloths and throw pillow cases, just for example. Furthermore, resist fabrics are used in decorative arts to produce wall hangings, cultural representation and documentation. These factors were fundamental in the motivation of this study. Paraffin wax was used as the resist agent as well as vat dyes and their mordant. Paraffin wax was deliberately chosen as the choice of resist agent due to the abundance of studies in the area as well as the beautiful effects of paraffin wax on textile fabrics.
The process of adaptation of these artifacts and traditional designs on fabrics was very tedious and demanding, but the determination to achieve the objectives of the research and answer the research questions of the study was the persevering weapon of the research. The embellished fabrics were achieved through determination, endurance and patience. The only problem and challenge encountered in the cause of production is the accidental dots and areas with over heat of the molten wax, which caused smearing of the wax on fabric and resulting in absorption of dye.
Conclusion
Based on the analysis of the study, the following conclusions were made:
- In the comparative assessment it was discovered that the newly embellished fabrics were all accepted and appreciated among the Ham people. The fabrics embellished with the Nok terracotta were adjudged as the one with the most beautiful features that proudly represent the identity of the Ham
- All the fabrics embellished with the artifacts and traditional designs of the Ham people had a considerable level of acceptance among the Ham people in one varied degree or the other as none of the fabrics was rejected. Thus, it can be concluded that the extent to which the fabrics are accepted is directly related to its unique
Based on the findings above it can therefore be concluded that the study has contributed positively to the Department of Industrial Design through the provision of another source of motifs as well as documentation on the Ham Traditional designs.
Recommendations
Based on the analysis, discussions and findings on the adaptation of Ham artifacts and traditional design as design sources for apparel using batik method of fabric embellishment, the following are recommended:
- There is the need for preservation of artifacts, crafts and traditional designs of various cultures so that the younger generation would understand, appreciate and develop new exquisite skills. Therefore, it is recommended that studies should be made in other Nigerian
- Government agencies should work hand in hand with institutions like Universities and Colleges of education on the preservation of art works and designs in museums and Galleries for the people, both young and old to view and
- The University should provide the department of Industrial Design with a Gallery where all embellished fabrics and designed produce of the department will be exhibited and sold, which will be source of revenue for students, the department and the university as a
- Students of textile design should always concern themselves with traditional textiles so as to bring out their
- Textile Industries should work with textile researchers, provide and grants them research grants as well as support textile designers who use traditional motifs are design sources in the cause of their design and
REFERENCES
- Adetoro, S. A. (1990). Creation of Industrial Design Department in Nigeria: Ahmadu Bello Experience, In Creative Dialogue, D. Jegede (Ed.), Pole-Tobson, Lagos, Nigeria
- Adetoro, S.A. (2009) Reminiscence: Professor Sherifdeen Abayomi Adetoro at 70. Federal College of Education, Osiele, Abeokuta, Ogun State, Nigeria. Exihibition catalogue.
- Agberia, J. T. (2002). Design History in Nigeria: Critical Issues of Contemplation, In DesignHistory of Nigeria, J. T. Agberia, 1-12, National Gallery of Art Nigeria & Associationof African Industrial Designers, ISBN 978-33527-7-2, Abuja
- Ahuwan, A. M. (1993). Clay as a Creative Media: A Survey of the KimKim MusicalInstrument from South Kaduna, In: Diversity of Creativity in Nigeria, B. Campbell,R.I.Ibigbami, P.S.O. Aremu & Agbo Folarin, (Ed.), 143-152, Bols Creation, ISBN 978-32078-0-6
- Ahuwan, A. M. (1976): A. Vehicle for Collecting Data on Nigeria Crafts.Unpublished M.Sc.
- Thesis, University of Tennessee Knoxville USA PP 1-60.
- Akodu, A. (1985): Comparative Study of the Traditional and Contemporary, Arts of the Maguzawa of Kaduna and Kano States. Unpublished Ph.D. Art Education. Thesis, Dept of Fine Arts, ABU, Zaria PP 1-5.
- Alao, G. (2000). Culture – Aspect and development, Home Studies, Module D.N.E., p.14.
- Daily Times, Wed. Feb.
- Ala‟u, D. D. (2006) ‘Adaptation of Traditional Designs on craft of southern Kaduna as motifsFor Textiles Resist Tecnique’: Ahmadu Bello University, Zaria.
- Arlene, B. (2005). Traditional Crafts Create Connections: Adding Gezelligheid to Design in an Era of Globalisation. Dutch Design Publication
- Arney, S.(1987) Malaysian Batik, Creating New Tradition