USING FABRIC: EXPLORING ULI AND NSIBIDI MOTIFS IN PRODUCTION OF A STANDING WARDROBE

CHAPTER ONE:

INTRODUCTION

A standing wardrobe also known as armoire or almirah is a standing closet used for storing cloths and some important properties. But in this project, the artist is emphasizing or focusing on the exploration of the Uli and Nsibidi motifs on a fabric in production of a standing wardrobe.

Uli and Nsibidi are traditional art forms from the Igbo and Efik cultures of Nigeria respectively, known for their intricate and symbolic designs.

Nsibidi is a symbols or proto-writing developed by the Ekpe secrete society that traversed the southeastern part of Nigeria, They are classified as pictograms, though there have been suggestions that some are logograms or syllabograms.

While Uli are the curvilinear traditional designs drawn by the Igbo people of southeastern Nigeria. These designs are generally abstracts, consisting of linear forms and geometric shapes, though there are some representational elements. Traditionally, these are either stained onto the body or painted onto the sides of buildings as murals.

Uli is generally not sacred, apart from those images painted on the walls of shrines and created in conjunction with some community rituals. In addition, Uli is not directly symbolic but instead focused on the creation of a visual impact and decorating the body of the patron or building in question.

The artist has decided to use screen printing method to transfer these motifs onto fabric, creating a unique and culturally rich piece of standing wardrobe.

1.1 Background of the Study

Due to western influence on African culture, some of the African motifs, pattern and styles have gone into extinction due to the disdain on African culture and traditions, which is also having an effect on the young generations and as a result of western influence on the African culture and its people’s way of life; in dressing, eating, organization in the homes, development in the society, politics, and above all our mannerism.

Nigeria is a country rich in cultural heritage, with diverse traditions and artistic expressions. Among the prominent art forms are the Uli and Nsibidi motifs, which were originated from the Igbo and Ejagham ethnic groups, respectively.

Uli is a traditional art form of the Igbo people, primarily used in southeastern Nigeria. Historically, Uli motifs were applied as body and wall paintings often associated with ceremonies and festivals. The motifs are known for their fluid, organic lines and abstract, geometric patterns. Uli art is traditionally created by women using natural dyes derived from plants, particularly the uli plant (Rothmannia whitfieldii).

Uli designs were traditionally used to decorate the human body, especially during special occasions such as weddings, initiations, and funerals. These designs were also applied to the walls of homes, shrines, and public buildings, serving both aesthetic and symbolic purposes. The motifs often carried specific meanings related to fertility, spirituality, and social status.

Nsibidi, on the other hand, is a system of symbols and ideographic writing used by the Ejagham people and related groups, often depicted in various media, including textiles, pottery, and sculptures.

Nsibidi symbols were traditionally used by secret societies, such as the Ekpe and Ngbe, to communicate and document important information. These symbols were inscribed on various surfaces, including pottery, calabashes, textiles, and walls. Nsibidi also played a role in education, storytelling, and ritual practices.

Today, Nsibidi motifs continue to inspire artists and designers. They are often incorporated into modern art, fashion, and design, serving as a source of cultural identity and heritage. The symbols are also studied for their linguistic and semiotic significance, contributing to the understanding of African writing systems.

In contemporary design, there is a growing interest in incorporating these traditional motifs into modern products to preserve and promote cultural heritage. This study explores the integration of Uli and Nsibidi motifs into fabric design for the production of a standing wardrobe, using the screen printing method. This approach not only highlights the aesthetic value of these motifs but also demonstrates their applicability in modern functional art.

Contemporary interiors wear designs from the western culture of pictures and images of animals, floral designs shape etc. The influence of western culture on the citizens has made the people to buy the idea of decorations in their homes in place of materials that was invoked.

The researcher has decided to include the Uli and Nsibidi motifs and patterns in the production of a standing wardrobe. The project focuses on the mutual creation of contemporary and traditional art to produce a good textile work that will show contemporary influence and cultural awareness of Uli and Nsibidi. Pattern stimulates a sense of participation because texture can be felt emotionally. Uli and Nsibidi designs shall replace the motifs of the western world which often appears as peacock, floral e.t.c and serve the same purpose as the formal. All this elements will be brought together to push further the frontiers of traditional and cultural awareness in Nigeria through textile designs. The means used in achieving this project is a technique known as Screen printing. Screen printing is a technique of fabric decoration that the researcher intends to use in creating patterns (motifs) on the fabric by exposing the pattern motifs on mesh.

1.2 Statement of the Problem

Influence of technology and internet facilities, designs and templates has weakened the creative designs of Nigerian cultural motifs and the artists of this generation/ designers are now been influenced by the designs from western. So the researcher intends to encourage cottage interior decorators in the decoration of interiors in our homes by using affordable indigenous.
Despite the rich cultural significance of Uli and Nsibidi motifs, their application in modern design, particularly in functional furniture, remains underexplored.
The lack of documentation and contemporary usage of these motifs in everyday objects limits their visibility and appreciation in a global context.

1.3 Research Question:

The study will center its findings on the following questions.

What are the innovative approaches of creating space in the home?
How can Uli and Nsibidi motifs be effectively incorporated into fabric design and production using screen printing techniques to create a culturally significant standing wardrobe?

1.4 Significance of the Study

This study holds significance in several areas:

Cultural Preservation: By integrating Uli and Nsibidi motifs into contemporary furniture design, the study aids in preserving these traditional art forms.

Cultural Promotion: The project enhances the visibility of Nigerian cultural motifs on a global stage, promoting a deeper appreciation of the country's rich heritage.

Design Innovation: It explores innovative applications of traditional motifs in modern design, potentially inspiring further research and creative projects.

Educational Value: The study serves as an educational resource for designers, artists, and researchers interested in cultural motifs and their applications.

1.5 Aim /Objectives of the Study

The primary aim of this study is to explore the integration of Uli and Nsibidi motifs in fabric design for a standing wardrobe using screen printing techniques.

Specific objectives include:

To investigate the historical and cultural significance of Uli and Nsibidi design.
To research and select appropriate Uli and Nsibidi motifs for fabric design.
To design and produce fabric incorporating these motifs through screen printing.
To construct a standing wardrobe utilizing the printed fabrics.
To document the process and challenges involved in the project, providing insights for future studies.
To evaluate the aesthetic and functional value of the final product.
Importantly, the knowledge of Nigerians about the Easthern (ibos) cultural heritage will be broaden especially the acts of Uli and Nsibidi motifs which are the bedrock of this research.

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