UNIVERSITY OF JOS FINE AND APPLIED ARTS JOURNAL
Textile Pedagogy and Skill Development: Empowering Entrepreneurship in Nigerian Art Institutions
This research examines the role of textile education in fostering entrepreneurial skills within Nigerian art institutions. This research utilises a convergent parallel mixed-methods approach, informed by Experiential Learning Theory and Human Capital Theory, involving 250 participants from universities, polytechnics, and colleges of education. Data were collected through structured questionnaires and semi-structured interviews. The findings indicate that textile instruction is predominantly practical and technically proficient, equipping students with employable skills such as batik, screen printing, and digital textile design. The integration of entrepreneurship remains inconsistent and often theoretical, due to outdated facilities, insufficient mentorship, and inadequate funding. Participants recognised their exposure to entrepreneurial concepts; however, deficiencies persist in business planning, branding, and industry connections. The research identifies potential areas for reform, including updated curricula, the incorporation of digital platforms, alumni mentorship initiatives, and enhanced collaborations with industry. The findings highlight the necessity for a holistic, context-sensitive educational framework that integrates creative skill development with business-focused training. Improving entrepreneurship education in textiles can better prepare graduates to contribute to Nigeria's creative economy and help reduce youth unemployment. The study provides actionable recommendations for education policy, curriculum development, and sustainable cultural enterprise. Keywords: , , , ,
Revitalizing Nigeria’s Local Industries Through Artisanal Crafts and Vocational Training
Artisanal crafts and vocational training hold significant potential to transform Nigeria’s local industries and safeguard its cultural heritage by merging modern techniques with traditional practices. These initiatives not only foster innovation but also drive economic growth and community development. This paper explores the critical role of artisanal crafts and vocational training in revitalizing Nigeria's local industries. Artisanal crafts, deeply embedded in Nigeria's cultural heritage, include blacksmithing, textiles, pottery, woodcarving, metalwork, and other traditional arts. These crafts transcend mere artistic expression, forming an essential part of the social, economic, and spiritual fabric of Nigerian communities. This paper examines how vocational education programmes enhance artisans' techniques and entrepreneurial capabilities, thereby contributing to local and national economies. By integrating modern methods with traditional vocational practices, these programmes preserve cultural heritage while promoting innovation and self-sufficiency. The study underscores the importance of local industries in creating jobs, fostering community growth, and maintaining cultural traditions. It advocates increased support and development of vocational training in artisanal crafts to bolster Nigeria's economic and cultural landscape. There must be a concerted effort to expand and modernize vocational training facilities nationwide; it is crucial to update training curricula to blend modern skills with traditional techniques.
Evaluation Of Knowledge Of Effluent Treatment Techniques Among Textile Dyes (Local Industry) In Itoku, Abeokuta South Local Government In Ogun State
The textile industry positively affects economic development worldwide. China is the largest exporter of all types of textiles, followed by the European Union, India, and the USA (Ghaly et al., 2014). However, one of the problems associated with Textile factories is the unacceptable Effluents, especially dyes, which are difficult to degrade. In this study, a local industry will be considered: Itoku in Abeokuta South Local Government, Ogun State. The simple size is the total number of registered dyers in Itoku: 150 members. A standard questionnaire was used to obtain data from respondents. Moreover, analysed using mean, frequency, percentage, standard deviation.55.5 percent male filled the questionnaire, 63.6% are single, 50.1% are Islam, 67.3% have secondary school certificate,97% are into full time, 80%own a production site, 100% are aware of the danger caused by Textile Effluent,78% are aware of the health problems associated with effluent, 90% are aware of serious damage to floral (plant),86.4% agree that gloves does not play the role of poisonous prevention for my skin, 17.3% agree that effluent cause premature deliverii, 26.4% agree that effluent cause feeling of suffocation, 30.0% agree that effluent cause serious sneezing. The main objective of the study is to evaluate treatment techniques for textile dyes in Itoku, Abeokuta South.
Perception Of Contemporary Adire Producers On The Use Of Prestige fabrics For Production In Itoku, Abeokuta, Nigeria
The use of prestige fabrics in Adire (tie-dye) production represents a significant shift in a traditionally cotton-based craft. Yet, the perception and adoption of this trend among producers remain underexplored. This study investigates the perception of contemporary Adire producers regarding the use of prestige fabrics in Itoku, Abeokuta, Nigeria, a key center for Adire production. The objectives were to determine the socio-demographic characteristics of producers, assess their knowledge of prestige fabrics, and identify the challenges they face in using these materials. A survey was conducted with 100 Adire producers in Itoku market using structured questionnaires. Descriptive statistics, including frequencies and percentages, were used for data analysis. Results showed that the majority of respondents were married females aged 41–50 years, with 89% having formal education. While 92% agreed that prestige fabrics could be used for Adire, and 81% had used them, only 64% reported that these fabrics were commonly used. Key challenges identified included high cost (62% agreed), limited availability (only 26% agreed fabrics were easily accessible), and small-scale production quantities. The study concludes that although producers are aware of prestige fabrics, their adoption is constrained by economic factors, material availability, and a lack of specialized technical knowledge regarding dye-fabric compatibility. It is recommended that governmental and nongovernmental organizations provide targeted training programs to enhance producers' skills in working with diverse fabric types and to improve access to these materials, thereby supporting the sustainability and competitiveness of handmade Adire.
Politics Of Representation And The Paradigm Shift Of Identity In Contemporary African Art Praxis
This article examines the political and institutional dynamics shaping contemporary African and African Diaspora artistic praxis. It reconceptualizes politics as a field of symbolic power that structures visibility, legitimacy, and value within global art discourse. Drawing on postcolonial theory and cultural studies, the study explores how colonial visual regimes historically framed African artists through ethnographic and essentialist narratives that obscured individual agency. Although formal colonial rule has ended, structural asymmetries persist in museums, biennials, and the international art market, where African artists are frequently mediated through discourses of authenticity and difference. However, contemporary African and Diaspora artists actively negotiate these conditions through aesthetic innovation, strategic self-representation, and institutional critique. The article argues that African artistic production is neither peripheral nor derivative but central to global modernity. By reframing identity as historically constructed and representation as politically charged, the study positions contemporary African art as transformative within international cultural discourse.
Odyssey to the Limcaf Legacy Exhibition: the Life in My City Art Festival - Limcaf Jos Regional Exhibition Paradigm
This paper examines the evolution, structure, and cultural significance of the Life in My City Art Festival (LIMCAF) with particular focus on the Jos Regional Exhibition as a curatorial paradigm for contemporary Nigerian visual culture. Founded in 2007, LIMCAF has emerged as Nigeria’s longest-running youth-centred visual arts initiative, fostering artistic development, decentralising exhibition practice, and promoting national cultural dialogue through regional and national platforms. Using historical analysis, curatorial review, participant narratives, and exhibition documentation, the study explores how the Jos regional model contributes to mentorship, artistic visibility, and community engagement within the broader LIMCAF legacy framework. The paper traces the Festival’s thematic evolution, organisational processes, exhibition mounting strategies, jury procedures, catalogue production, and retrospective participant experiences. Particular attention is given to the transformative impact of regional exhibitions in nurturing emerging artists, exemplified by Paul ChibuikeEmenike’s emergence as the 2024 overall winner with The Eighth Wonder. The study further interrogates the educational and socio-cultural dimensions of LIMCAF, situating it within global discourses on exhibition-making, aesthetic education, and decentralised cultural production. While acknowledging operational challenges relating to logistics and participant welfare, the paper argues that LIMCAF remains a vital platform for artistic innovation, social reflection, and youth empowerment in Nigeria. Ultimately, the Jos Regional Exhibition demonstrates how regional art initiatives can generate nationally significant artistic narratives and sustain enduring cultural legacies within contemporary African art practice.
Innovative Art and Sustainable Practice: Harnessing Technology for Economic Advancement
The rapid digitization of the creative economy has created both opportunities and sustainability challenges within contemporary artistic practice. However, limited scholarly attention has been given to how technological innovation can simultaneously enhance artistic production, environmental responsibility, and economic advancement. This study examines the intersection of innovative art, sustainable practice, and technological integration using a qualitative, theory-driven analytical approach anchored in the Triple Bottom Line Theory and Creative Economy Theory. Through critical analysis of digital art platforms, blockchainbased art markets, AI-assisted production, and eco-conscious material practices, the study finds that technology expands global market access, reduces material waste, and enables new income models such as NFTs and virtual exhibitions. Nevertheless, issues of accessibility, digital divide, and copyright ethics remain significant constraints. The study recommends policy support for digital literacy, affordable technological access, and regulatory frameworks for AI-generated art to ensure inclusive and sustainable growth in the creative sector.
Exploring Cloth as Medium and Metaphor in Nigerian Art Ecology and Scholarship
Cloth has evolved over time from a mere utilitarian material into a critical visual language capable of generating multiple meanings. This paper examines the dynamic role of cloth as both medium and metaphor within the Nigerian art ecology, revealing how artists employ it to communicate identity, cultural memory, and socio-political commentary. Using a qualitative, descriptive, and interpretative methodology, the study engages the tools of iconography, semiotics, and ekphrasis to analyse selected works of contemporary Nigerian artists such as El Anatsui, Nike Okundaye, Peju Alatise, Peju Layiwola, Ozioma Onuzulike, and Eva Obodo from the Yemisi Shyllon Museum of Art. Findings indicate that these artists reconfigure traditional textile forms into conceptual vehicles that bridge indigenous knowledge systems and modern artistic expression. Through this process, cloth transcends its material function to become a site of metaphor and meaning-making, reflecting issues of gender, identity, memory, and sustainability. The paper contributes to scholarship in Nigerian and African art history by expanding the understanding of how cloth operates as a semiotic and aesthetic framework that shapes contemporary artistic discourse and ecological thinking. Keywords: , , , , , , .
Sekombi Dance: Cultural Heritage, Economic Significance, And Comparative Analysis With Tiv And Cuban Dance Traditions
The Ekombi dance, which is a vital cultural expression by the Efik Ibibio people, is an important aspect in the preservation of heritage while at the same time promoting the value of art and economics. The study focuses on the historical background, complex dance steps, and aesthetic value, which is depicted by colorful illustrations. The study is compared with Tiv dance in Nigeria and Cuban dance, which shows unique and common cultural expressions in terms of dance, thus showing the importance of dance in cultural identity and social cohesion. The study is important in showing the economic value of the Ekombi dance, mainly in terms of tourism and related activities. The study is important to anthropologists, cultural historians, policymakers, economists, and others interested in cultural heritage and economics, while to artists, performers, and teachers, it is a motivational aspect in promoting cultural dialogue and protecting intangible cultural heritage.
A Practice-Based Study of Cracks as Visual Metaphor for Conceptualising Segregation in Painting
This practice-based research investigates cracks as a visual metaphor for conceptualising ethnic and religious segregation in painting. Grounded in conceptual art and executed through extensive studio exploration, the study addresses a gap in the literature where cracks remain underexplored as symbolic devices for articulating social division in the Nigerian context. Employing qualitative, practice-based methods, the research progressed through five phases: representational exploration, linear exploration, mixed media exploration, mirror exploration, and site-specific installation. Data were collected through direct observation of wall cracks at Ahmadu Bello University, Zaria, supplemented by a contextual review and material experimentation with acrylic, fabrics, ropes, and shattered mirrors. Findings demonstrate that crack patterns function as a dynamic visual syntax for segregation,random flowing lines signifying violence, meandering lines denoting eroded trust, and crazing patterns representing systemic complexity. Mixed media and mirror works shifted the metaphor from representation to embodied experience, implicating viewers in fractured self-reflection. The final site-specific installation translated division into navigable space, making segregation tangible. The study concludes that cracks offer a rigorous, evolving visual language for interrogating social rupture, bridging abstract socio-political themes and tangible artistic expression. It contributes a methodological framework for artists engaging with themes of division, while affirming painting’s capacity to provoke critical dialogue on coexistence in fragmented societies.
Duke Asidere's Cluster of Lines as a Body of reading in Hermeneutical Aesthetics
An artist-philosopher aims to make art objects a medium of thought, as recognised in traditional philosophical texts, and Duke Adsiere’s drawing could serve as a strong platform for such discourse. Drawing is oftenmisunderstood and undervalued by many non-artists, who tend to see it as a means to an end rather than a standalone art form. This paper investigates Duke Adsiere's drawing culture, which functions as a foundation for hermeneutic dialectics. It seeks to understand this drawing culture as a form of value, akin to a philosophical text or image-text, which we refer to here as the cluster lines of hermeneutic reading—this reading is a philosophical approach to modernism within the contemporary Nigerian art scene. The artist’s drawing technique is deeply rooted in his personal interpretation of natural phenomena, reflecting his understanding of his socio-cultural environment and Nigeria's broader political context. His meditative approach does not diminish the aesthetic value of his highly skilled work. Keywords: , , , ,
Abstract transformation of selected kitchenstill life objects Using the fluid technique: thepoetic impact
Still life painting, also known as still life, has been explored by artists from the time of its origin in the fifteenth century to date; however,it is considered an art form of low intellectual value and a mere object of aesthetics. The scanty documented records on this age-long genre of painting in Nigerian Art can attest to this. Therefore,the need to diversify its scope, to advance knowledge in art scholarship, inspired this research. This research focused on the abstract transformation of the representational still life of kitchen objects using the fluid colouring technique. An additional attempt was made to extend the scope of still life painting through poetry. In this regard, thoughts evoked by selected kitchen objects in their representational and transformed states were translated into poetry. Related literature was reviewed, with greater emphasis on 'Related Artworks'. Being qualitative research, the practice- based methodology was adopted. Practical processes adopted in achieving the aim and objectives of the study, as well as the products of those processes, were x-rayed. Conclusively, the study highlighted its findings, offered suggestions for future art scholarship and established its contributions to knowledge.
Artificial Intelligence-Generated Art and its Implications in the Creative Process
The application of artificial intelligence (AI) in the art field has significantly transformed artistic expression. This paper examines the interaction between human creativity and machine intelligence, exploring its impact on the creative process and its implications for the art community. The rise of AI-generated Art raises questions about authorship, creativity, and ethics. This challenges the traditional beliefs about Art. To better understand how AI affects creative processes, this paper addresses issues regarding the nature of Art and the human role in its creation. It provides a theoretical view of AI's impact on the art world. The study methodology comprised an extensive review of the existing literature as well as a qualitative analysis of case studies and examples of AI-generated Art. The study findings show that AI technologies promote collaboration between artists and machines, promoting innovation and exploration. The study shows the implications of AI technologies in boosting creativity by automating repetitive tasks, enhancing efficiency, and increasing audience engagement. These implications require a balanced strategy that integrates the human creativity process with AI capabilities. Ultimately, the study demonstrates the transformative potential of AI in artistic inquiry to reshape the future of creativity, prompting a re-evaluation of what constitutes Art in the digital age. Keywords: , , , ,
Doodling and Art: The Subconscious Communication of the Mind
Doodle emanates from a subjective thought; it is a means of self-expression, a connotation that springs up from the heart. It is an alliance between the mind and the body. Doodling is executed consciously or unconsciously, it either originates from a negative pattern such as anxiety, self-esteem, bereavement, fears, emotional trauma and agony. This instigates a depiction expressed from an individual's emotions and the state of mind, as well as their thinking. The act of doodling reveals thought. Communication abounds in the mind, which is inherent and subjective. It is one’s communication with the soul, as a way to ease the mind of accumulated thoughts and cognitive clutter, seeking a means to resolve them through counselling. Psychologically, doodling speaks the mind of a learner as a psychological conscience, leading to an awareness of the ideal and evoking the client-centred theory of John Eliot, which allows a client to explore subjective thought. If we could make a mark that in itself expressed anger or joy, then an abstract set of marks should be able to convey emotions just like the notes in music. Doodling is indeed considered a form of Art which can also be interpreted from a Psychological perspective. Both doodling and art can be incredibly fulfilling and rewarding activities, each with its own benefits. They can help to develop creativity, boost self-esteem, and provide a way to communicate ideas, solutions or feelings. The paper explores doodling as an expressive medium through which the mind externalises emotions, memories and cognitive processes that may not be easily articulated through language.
Development of Contextualised and Customised Interactive Multimedia Application Programme (I-Map) Slide Alphabet Wheels Books to Enhance Pre-Primary Pupils’ Alphabet Teaching and Learning in Nigerian Schools
This study explores and describes a new paradigm of innovative intervention in book design and production aimed at fostering child-centred instruction and intrinsic motivation for effective learning performance by pre-primary pupils. It addressed the problems militating against effective teaching and learning of letters of the alphabet. It inquires on the right visuals to be used through contextualization as well as the outlook of the visuals and the letters to arose interest and sustain attention span to enhance pre-primary pupils’ effective alphabet learning in Nigerian schools. Eight (8) prospective teachers were selected randomly and used as a study group to collect opinions utilizing a three (3) point Likert scale format: A=Agree, U=Undecided and D=Disagree. The participants’ overall impressions of the developed material assessment and the product's overall effect were overwhelming. This reveals that it is relevant to its aim. Despite the positive and enthusiastic comments from the teachers the study recommended a further assessment of the developed Contextualized and Customized Interactive Multimedia Application Program (i-MAP) Slide Alphabet Wheels Book quality in enhancing self-motivation, effective learning and retention using pre-primary pupils. This is to help consolidate the grounds for inhibiting the transferability of the findings beyond the immediate context of the study area and adopt the book for use in Nigerian preprimary schools to foster the much-needed intrinsic motivation, and child-centered learning methods desired today for our breakthrough in pre-primary education.
Interpreting Selected Landscape Paintings Through Context
This paper examines the role of context in interpreting selected landscape paintings and argues that artworks gain deeper meaning when viewed within their historical, social, political, and cultural environments. Art does not exist in isolation; it reflects and responds to the circumstances surrounding its production. Drawing on established perspectives in art historical discourse, this paper analyses three landscape paintings: Starry Night by Vincent van Gogh, The Hay Wain by John Constable, and Allegory of the Mining Ponds by Jacob Enemona Onoja. Through contextual interpretation, the paper shows that Van Gogh’s painting reflects his emotional and psychological struggles during his stay in an asylum in France. Constable’s work presents a nostalgic vision of rural England during the Industrial Revolution and responds to socio-economic change. Onoja’s landscape addresses environmental degradation and human tragedy resulting from mining activities on the Jos Plateau. By examining these works within their respective contexts, the study demonstrates that landscape paintings function not only as representations of nature but also as visual documents of personal experience and societal transformation. Contextual analysis, therefore, remains essential for a comprehensive understanding of landscape art.
The Concept of Neo-Baroque as a Contemporary Contraption in Traditional Patterns of Durbar Paintings of John Oyedemi
The patterns in Durbar festivals are the subject of inexhaustible artistic investigation by artists in Nigeria. The visual documentation of every section of Durbar elicits a nostalgic feel of certain familiar designs found in other climes. The practices of doing by artists in this domain lead to the discovery of patterns that motivate the imagination of artistic expedition through time to create theatrical impressions on canvas. The inspiration for this study was derived from art practices and adventures into Neo-Baroque culture, which is seen as a contemporary contraption for more than two decades in the handling of subject matter by the artist. This visual experience creates fascinating inspirational images through the use of varied colour schemes. The aim is to achieve compositions that imitate colours and symbols of Durbar to make configurations of the subject. Also, to ensure each study portends an array of colour juxtaposition forming clusters of splendor inherent in Durbar. To realize this, the colours used were restricted to the primaries of Red, Blue and yellow, and the neutrals of black and white in analyzing patterns to create desirable effects. This paper concludes that the consequences of paintings from the theme ‘Durbar’ would stimulate more artistic exploration because of their numerous intrinsic possibilities.
UNIVERSITY OF JOS FINE AND APPLIED ARTS JOURNAL (UJFAAJ) University of Jos Fine and Applied Arts Journal (UJFAAJ) is a peer-reviewed Journal. The journal helps to spread visual arts research findings and reports from the studio, theoretical and empirical works in the field in order to advance the knowledge base of practice led and practice based studies. The Journal is peer-reviewed and published twice in a year and welcomes contributions from academics, art connoisseurs, critics, and art Entrepreneurs.
DELINEATING THE JOS BURNT MARKET IN COLOURS.
This paper aims to explore the vibrant history, significance, and aftermath of the Jos Burnt Market, focusing on the role that colours play in its delineation. The Jos Burnt Market, located in Jos, Plateau State, Nigeria, has been a central hub of commerce and cultural exchange for many years. Tragically, it suffered a devastating fire in February 2002, leading to its devastation and degeneration. Throughout this paper, we will delve into the historical context, cultural significance, and the role of colours in marking the resilience and revival of the Jos Burnt Market.
A SYNTHESIS OF GBAGYI FEMALE FORMS AND THEIR SYMBOLS IN SCULPTURE Authors
The Gbagyi people over the years have developed and sustained an enduring culture where the women carry the load on their shoulders; this has drawn the attention of various artists showing that the female forms remain an interesting theme for exploration in sculpture. Therefore, the problem of this study is the synthesis of Gbagyi female forms and their symbols in sculpture. Three objectives that led to the studio explorations were captured in this study. The first objective was to produce different representational postures of Gbagyi female forms in three-dimensional form, secondly; to create stylised sculptures of Gbagyi female forms and lastly, to synthesise the Gbagyi female forms and their symbols in sculpture. This study is justified because it has incorporated the Gbagyi traditional female forms with their material culture into abstract sculpture. The end of this study will give a new perspective to the Gbagyi female forms in abstract sculpture and will visually document the Gbagyi female forms and their cultural symbols in three dimensions as an act to further buttress the existing relationship between sculpture and culture. This research is rooted in the concept of “Natural Synthesis” fussing two or more forms, components, symbols and concepts into one piece. To the knowledge of the researcher, there is a gap in an attempt to synthesise Gbagyi female forms and their symbols into abstract sculpture while there appears to have been no attempt by sculptors to synthesise these forms in sculpture and documented.
SYNAESTHESIA ART: INTERPRETING FELA ANIKULAPO KUTI’S AFROBEAT MUSIC AS A VISUAL COMMENTARY IN PAINTING.
Music-centred visual art interpretation, otherwise known as synaesthesia art, remains largely a territory rarely charted. This contemporary art practice lends credence to the interface of music and visual art as forms of interpretation connecting cognitive centres, such that the sense of hearing arouses the sense of sight. In context Fela Anikulapo Kuti‘s Afrobeat music experience and interpretation, into paintings, mirrors existential issues, exploring artistic conceptual creative style and content. The paper explores cross-modal correspondences derivative of perception, connecting music and visual art referred to as synaesthesia in art. The idea of Fela’s Afrobeat music serves as a trigger for inducing conceptual creation aligns with conceptual art practice in developing an emergent creative process. A review of literature analyses antecedent music-centred explorations by Kandinsky (1866-1944), Klee (1879-1940), Albers (1888-1976), and McCracken (b-1990) among others, comparatively assessing disparate process-based styles, forms, and content. Visual art creative strategy adapts Jung‘s four-fold cognitive functions. Jung’s cognitive function is an observation process connecting archetypes of sensation, feeling, intuition, and thinking as channels for creativity. A question contributing to objectives includes: How would Triptych forms adaptation conceptualise Fela Anikulapo Kuti’s Sorrow Tears and Blood song? What potential forms can evolve from fabric colour tesserae forms interpretation of Suffering and smiling songs? How can spiral installation string tesserae forms allegory conceptualise rhythm and movement of forms in Yellow Fever song interpretation? This Paper recommends that further contemporary art exploration of disparate forms of music genre, and adaptation of Jung’s cognitive function as a strategic process of creative unfoldment. Development of mobile installation art forms. The study findings contribute to knowledge of novel art forms. It promotes the idea of Music and visual art connection, Triptych form and Mobile installation string tesserae. Spiral fabric tesserae forms. Validation of Jung’s four-fold cognitive function as creative strategy.
THE RATIONALE FOR USING FLUID RENDITION IN STUDYING WATERMELON PAINTING. Authors
This paper explores the artistic investigation of the watermelon fruit in painting within studio settings. It probes into the logic behind studio research methodologies, particularly in categorizing paintings based on their unique attributes. The paper critiques the arbitrary expressions and terminology often used by studio researchers, highlighting the importance of reason in categorization. Specifically, it aims to justify the use of fluid rendition in depicting the watermelon fruit in painting. Employing a qualitative approach, the paper examines paintings that embody elements of fluidity, analysing studio results inspired by the fluid characteristics of the watermelon. Examples such as “Race of Destiny” “Entangled,” “Paradox” and “Secret Battle” are discussed in the context of contemporary human experiences.
EXCHANGE OF TRIBAL ATTIRES AMONG NIGERIANS: A TOOL FOR ETHNIC COHESION AND ECONOMIC DEVELOPMENT
Nigerian civil war threw Nigeria into further disunity than was the situation before the crisis that led to the war. It is therefore necessary to garner measures that will stimulate ethnic cohesion in Nigeria today. This study proposes the integration of the exchange of indigenous garments of Nigeria’s ethnic groups amongst ethnic groups into Nigeria’s “National Friday Wear” programme. This is a situation, whereby, on every Friday, every Nigerian will dress to work in a Nigerian outfit that is not of his own ethnicity. For instance, the Hausa-Fulani people will dress in Igbo attire to their offices and terminate the dressing of themselves in Hausa-Fulani fashions. Likewise, the Igbo will dress in Hausa-Fulani gear to their places of work and discontinue kitting themselves in Igbo indigenous garment designs. The same becomes of Yoruba, Bini, Ijaw and other ethnic groups in Nigeria. This effort will encourage friendship amongst diverse ethnic groups. It will generate development in Nigeria’s indigenous textile and fashion design industries and boost in the sales of her indigenous textile and fashion design products. The post-civil war resolution, reunion, reconstruction and restoration of marginalised ethnic groups in Nigeria stand to be achieved if the proposals made here are given a trial. Data that informed this paper were gathered from books, book chapters, magazines, journal articles, newspapers, the internet, oral interviews and observations of the researcher. The method of data interpretation adopted in this study is descriptive as qualitative research methods of data collection and analysis were engaged.
TRADITIONAL AFRICAN BATIK DESIGN: AN ANALYSIS OF TECHNIQUES, SYMBOLISM AND CONTEMPORARY APPLICATION
African nations' ingenuity and rich cultural past are exemplified by traditional batik. This paper aims to provide analyses of traditional African batik design, emphasizing its use in modern contexts, symbolic meaning, and utility. African Batik design's lasting relevance and adaptability are examined through a thorough review of previous works and literature. Examining the usefulness of traditional batik in contemporary settings, especially in fashion, home décor, and social commentary, is one of the goals. The study's methodology includes case visual analysis and a literature survey. The results highlight African Batik's creative potential and cultural legacy, highlighting the Art form and its ability to connect the past and present.
ANIMATION-BASED LEARNING INSTRUCTIONS (ABLI) IN EARLY CHILDHOOD EDUCATION IN HIGHER INSTITUTIONS OF LEARNING IN NORTH-CENTRAL NIGERIA Authors
This study was on the appraisal of Animation for instructions in Early Childhood Education Programmes in higher institutions of learning in North-Central States of Plateau, Nasarawa and Kogi States of Nigeria. The objectives were to appraise the ABLI readiness that is to determine the level of staff knowledge in ABLI and identify the challenges to the effective deployment of ABLI in the study area. The study was carried out in the Early Childhood Education Departments of the higher institutions of learning in North-Central States of Plateau, Nasarawa and Kogi. The 250 questionnaires was administered to relevant teaching staff in ECE Departments, and a total of 219 were received and used in the analyses after putting off incomplete ones. The general response rate after data screening was 87.6 percent. Descriptive statistics based on mean ranking was used to determine the results. Research question 1 was on the level of animation facilities provided in the ECE Department, and the major level is Computer Equipment/Printers, while the least level was reported in Closed circuit television (CCTV) and Cable satellite facilities respectively. Question 2 was to determine the level of staff knowledge with ABLI. The results indicated the highest ranked as Computer Equipment/Printers, while the lowest are loud speakers/Amplifiers/Microphones, Editing/dubbing machines, Floodlights, Closed circuit televisions (CCTV) and Cable satellite facilities respectively. Question 3 was on the challenges encountered in deployment of ABLI. Inadequate animation facilities ranked high, lack of animation instructional applications, inadequate electricity supply, and lack of training among others ranked moderate. The findings show a high level of readiness in ABLI, high level of ABLI usage, very high level of staff knowledge of ABLI and a moderate level of challenges encountered in the deployment of ABLI in the ECE departments. Recommendations were made on how to enhance the deployment of animation facilities for effective teaching and learning.
THE IMPACT OF GLOBAL TURBULENCE ON VISUAL ARTS
The paper examined the impact of global turbulence era on visual arts. The major purpose is to re-examine the effects of COVID-19 pandemic on the visual artists, and the place of art during the pandemic era. The study is cross sectional in nature and was carried out using descriptive design to collect data from respondents and three respondents were used for the study. Data from both primary and secondary sources were collected using interviews and personal observation and later analysed and presented accordingly qualitative formats. This paper also reviewed the existing literature as obtained from academic research reports and online articles. The study however, concluded that the limitation of social activities led to the changes in the sales and exhibition of arts; mostly conducted via the internet, the art appreciation in exhibition. Activities found in art spaces or galleries also changed and there was a rapid growth in the use of digital communication technologies (social media) in publicizing art. The paper also concluded that the impact of the global turbulence experienced in 2020 affected so many sectors all over the world in which the visual art sector was not excluded. It suggested that artists should intensify use of social media platforms to promote the image of visual arts and sales of art products as well as intensify the use of improvised tools and materials as experienced during the pandemic era in 2020 to promote the use of locally made goods in favour of the nation’s economy as being currently solicited by the Federal Government of Nigeria.
EXPLORING THE NIGERIAN CREATIVE INDUSTRIES AS CATALYST FOR SUSTAINABLE DEVELOPMENT: CHALLENGES AND THE WAY FORWARD
The Nigerian creative industries have emerged as a powerful tool for sustainable development in recent years. These industries include sectors such as film, music, art, literature, fashion and design. They contribute significantly to the country's economy, job creation and cultural identity. This paper examines cultural and social impacts of creative industries in Nigeria. It discusses their role in generating employment, promoting cultural heritage, fostering innovation and facilitating social inclusion. However, it also highlights the challenges faced by the creative industries such as inadequate copyright protection, piracy, limited access to finance and lack of infrastructure. The paper provers with suggestions for addressing these challenges and outlines a way forward to harness the full potential of the Nigerian creative industries for sustainable development.
ENHANCING ART PRODUCTION THROUGH MODERN TECHNOLOGY: IMPLICATIONS FOR THE NIGERIAN ECONOMY
This study addresses the problem of inadequate skill acquisition among Nigerian undergraduates, stemming from insufficient monitoring and implementation of educational policies, as well as the lack of modern technologies, machines, and equipment in tertiary institution art studios. These deficiencies hinder effective knowledge transfer and practice, resulting in the production of underqualified graduates. The study opines that providing the necessary tools would greatly enhance teaching and learning, which will lead to quicker comprehension and proficiency in creating marketable and internationally recognized art products. Comparative analysis of educational environments in societies with and without modern technological resources revealed that access to up-to-date equipment produces highly skilled professional artists. These artists contribute significantly to the economy, as entrepreneurs in various organizations. The study concludes that implementing and monitoring appropriate policies in Nigeria could alleviate youth unemployment, which is a primary factor in societal insecurity. Modern technological advancements have led to significant innovations in various software and products, which visual artists are increasingly utilizing in their work. This study benefits policymakers, educational administrators, and stakeholders in the Nigerian educational sector by highlighting the importance of modern equipment and effective policy implementation to improve graduate quality, enhance economic growth, and reduce youth unemployment and insecurity.
AN ANALYSIS OF EXPLORATORY PAINTINGS WITH THE DAGI MOTIF
"Dagi is the Hausa word for "feline paw". It is a prominent motif and symbol in northern Nigeria. It is found on the decorated walls of Hausa palaces and homes.it is also found on decorative and utilitarian utensils. The focus of this study is narrowed to this motif which serves as a medium for personal expression for artists. However, this does not prevent it from serving other purposes. The study has already been carried out in postgraduate research, which identified the non-utilisation of the motif as a singular focus of painters. The objectives are to; explore the rich artistic qualities of the Dagi motif, appreciate the artistic forms peculiar to the Dagi motif, transform the Dagi motif forms into compositional purposes in painting, and make the research a source material for further reference in artistic work. The objective of exploring the motif is at this moment focused on through a qualitative analysis of selected paintings. This exploration sets the tone for further paintings creating the transformative stage. The term "exploration" involves a search for artistic ideas for further work in the studio. Notably, Dagi has equivalents in other parts of the world.
AESTHETIC CODING KEYBOARD CHRONICLES: AN ARTISTIC ODYSSEY FROM JOS PLATEAU TO THE GLOBAL STAGE