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... 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 ...
Context 2
... 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 ...
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... 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. ...
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Citations
... They are one of Africa's most important cultural groups, with a thriving economy based on agriculture, trade, and art. Woodcarving, sculpting, metalwork, textiles, and bead making are among their distinguishing and unique artistic traditions (Kashim et al., 2011). ...
... Given the growth of Western design alongside Western science and development, Western design is the conventional form of design that is formally taught in institutions of higher learning in Africa. These formal design methods often fail to capture the needs of the growing informal sector reality in African countries (Bowie and Cassim 2016;Kashim, Ogunduyile and Adelabu 2011). ...
... Using the example of Nigeria, Kashim and co-authors discuss how, due to lack of jobs in large industries, industrial design graduates in the country resort to self-employment in areas such as pottery, photography, textiles, and costume design for Nollywood films (Kashim, Ogunduyile and Adelabu 2011). Similarly, Costandius (2007) discusses how previous apartheid education has alienated black South African students from their own cultural knowledge. ...
The framing of design in sub-Saharan Africa is problematic due to Africa’s colonial past. This paper, therefore, constructs a broad perspective of the development of design in Africa, with the aim of challenging the dominance of Western design paradigms on the continent. By exploring the disparities between Western conventions and pre-colonial African design, the paper lays the groundwork for critiquing the current use of neoliberal design paradigms in postcolonial Africa. The paper argues that there is a need for decentering Western design in order to decolonize African design. To do this, there is need for a stronger appreciation of Africa’s sociocultural specificities. The paper contributes to that appreciation by discussing exemplary design from around the continent in order to articulate attributes of African design. Those attributes are aimed at promoting a stronger African design identity that can inform relevant solutions for African societies.
... Then the question may still arise: Why making a Nigerian-specific contribution, within a wider African context? Several scholars have on this score aptly argued that the ways of the Nigerian state symbolize fundamentally the general African debilitating tendencies (Adebanwi & Obadare, 2010;Sen, 2010;Smith, 2010;Kashim, Ogunduyile & Adelabu, 2011, Kinnan, Gordon, DeLong, Jaquish & McAllum, 2011Amao & Maiangwa, 2017). ...
The impact of music on politics in Africa has seemingly remained dominant. But the overall sway of the African political processes has also become bewildering. The panacea to the disconcerting results of these political procedures in Africa is the adequate levels of social mobilization, while music ostensibly mobilizes massively. This chapter thus examines the linkages among politics, music and social mobilization in Nigeria (the most populous African country). Framed on the hypothesis that the relationship among politics, music and social mobilization in Nigeria (Africa) is now downbeat and using the elite theoretical and the political economy frameworks of analyses, the authors study the intervening factors responsible for the observed gloom in what had amounted to progressive relationships among politics, music and social mobilization in Nigeria and the wider continent. The research setting is qualitative. The chapter delves into its premises through the historical and descriptive research methodologies and logical argumentation.
... In more theoretical research, Alpay (1997) investigates the question under the "Third world" and "Newly Industrialized Countries" classification. Sulfikar (2004) focused on "Asia Africa and Latin America" by encompassing the three continents within the "third world" categorisation and Kashim & al. (2011) addressed Africa through Design education in Nigeria. ...
If design management is worldwide institutionalized especially in developed economies, little is known about African design even though the continent is becoming an attractive economy thanks to his exponential growth and more political stability. Oriented toward one specific country: Morocco, this study through a questioning embedded in institutional theory brings an overview about design in a specific context. This research captures design management emergence in Morocco by spotting the light on the state of design institutionalization toward the creation of design value.
... Art is an expression of culture which reflects the totality of life of a people. The concept of architecture as a social art with strong root in the cultural aspirations of people has ensured that art has remained a vital force in cultural expression of which architecture is a prominent part (Oladele, 2009; Kashim, Ogunduyiile & Adelabu, 2011). Modern architecture and more appropriately, the international style, sought a universal language for architecture thereby playing down the cultural roots of architecture. ...
Vernacular architecture in Lagos, Nigeria crystallized from the fusion of traditional architecture and the Brazilian influence and is characterized by ornate walls, mouldings and motifs. The adoption of the international style architecture with its subsequent variants relegated the Brazilian influence to the background. However, through the eclectic approach currently being applied to architectural design, ornaments, mouldings and motifs are returning to the façade of many buildings in Lagos, Nigeria. This paper examines the resurgence of wall mouldings in contemporary Nigerian residential architecture using Lagos, Nigeria as a case study. The paper seeks to answer questions relating to types of materials and techniques used for the mouldings and motifs, as well as the craftsmanship associated with the work. Observations of on-going and completed buildings within selected medium- and low-density residential areas in Lagos. Content analysis was used to analyse the data. The results of the study shows that the mouldings, which often incorporated stone veneer finish include edge mouldings, mouldings around openings, horizontal and vertical wall mouldings, as well as eaves mouldings. The use of decorative columns is also evident. It was also found that architects’ involvement in the design of mouldings is limited. The implications of the above for façade composition by architects are emphasized.
The COVID-19 pandemic affected countless businesses and brought significant changes to the global economy, principally by changing the way people live and work, and leading to serious disruptions for many industries. With the implementation of lockdowns, social distancing measures, and the shift to remote work, graphic designers and other service providers had to adapt to new ways of working and serving clients. With widespread opinions from graphic designers, industry executives, and academics that the graphic design industry was impacted by COVID-19, this research paper examines the specific impact of the pandemic on the graphic design practice in Nigeria. The objectives were to identify any changes in the way work is done and the extent to which the demand for digital design services has been affected by the pandemic, and ultimately know if there is a need for creative adaptation to meet the changing needs of clients. The study employed a mixed-method approach that includes surveys and interviews with graphic designers in Nigeria. The findings suggest that the pandemic has led to a shift towards remote work and increased demand for digital design services. The study also highlights the importance of creative adaptation in meeting the changing needs of clients during the pandemic. The research concludes by proposing recommendations for graphic designers in Nigeria to adapt to the new normal.
JOURNAL OF AFRICAN STUDIES AND SUSTAINABLE DEVELOPMENT 6. 3
Aesthetic sensibility of contemporary Industrial Design in Nigeria educational system is being expressed as an artistic oriented act of applied art which considered aesthetic sensibility of design product. The study examined the Aesthetic Sensibility of Contemporary Industrial Design in Nigeria Education. The study was conducted using survey method and the study area was The Federal University of Technology, Akure environment. A sample size is selected from the population using an appropriate sampling technique. The findings of the study revealed that without paying adequate attention to aesthetic, a design cannot be appreciated.
The Hausa states were collection of independent city states situated in what became Northern Nigeria. The leadership of the Sokoto caliphate by Usman Dan Fodio led to conquering of the other Hausa states thereby creating a united centralized state with united set of people under the Muslim Fulani Empire. The Northern Nigeria was a British colony from 1900 as a result of 1885 Treaty of Berlin which broadly granted Northern Nigeria to Britain on the basis of their protectorate in Southern Nigeria. The Islamic influence in all the sphere of life of the majority of the people from Northern Nigeria have greatly influence their socio-economic activities with emphasis on how art, design and culture have interplay effectively. The need arose to evaluate the participatory developmental use of design that is broadly recognized and acceptable as universal visual and culture-oriented business conducted across all disciplines from multi-dimensional and multi-directional characters. This paper closely studied the design application from the Northern part of Nigeria with emphasis on culture and Development thesis generating such questions as: does certain cultural trait promote economic development, does economic development still exist in certain cultural trait and finally if culture and economic development anchored on design concepts are relatively autonomous. Conclusively responsibility of design symbols in the context of visual image producers as well as today market economy in cultural industries such as printing, multi-media, audio-visual, architecture, visual and perform art, sport, musical instruments advertising and cultural tourism were appraised. Keywords: Design, Symbols, Culture, Creative industries and Sustainable economy development.
Formal ceramics art education is becoming a fundamental requirement for professional practice in ceramics in Nigeria. Considering the ample resources available for ceramic practices in the country with a teeming population of over 140 million people, there is a promising future for the art, in spite of the effects of globalization and inter-cultural infiltrations. Despite the existing raw material potential, ceramic resources are still underutilized, while the ceramic art programme still cannot produce individuals who can function productively in a highly competitive ceramics market economy. An appraisal of the professional engagement of art and design graduates does not find the objectives of the programme in Nigerian tertiary institutions to be met. This article examines the current status of ceramic art education by identifying existent problems and inherent potentialities, as well as suggesting a way forward through repositioning art education in Nigeria.
