ABSTRACT
The problem of this
study is that of the selection, documentation, explanation and preservation of
some of the traditional designs found on the artifacts of the Ham People of
Kaduna State and adapting them for contemporary use on fabric using Batik
Technique of fabric embellishment. The general objective of the study is to
select and adapt traditional designs on the artifacts of Ham People and adapt
them for use as motifs on contemporary batik resist fabric for embellishment,
thereby ensuring the sustainability of such motifs. The purposes of the study
are: to identify the traditional artifacts of the Ham people and the design
motifs on them and to extract some of these motifs and adapt them onto fabrics
using batik technique of textile decoration. The study adopts survey method for
data collection to obtain relevant information from the subjects in the sample
area as suggested by Adetoro (1997). Exploratory approach and product
development (R&D) was used for sourcing for designs on artifacts as
suggested by Itten (1997). Other parameters of investigation used in
exploratory methodology include population of the study, sampling, pilot study
and experiments for adaptation of designs to textile fabrics using resist
techniques. Three survey instruments were used in the study. The first one
which is a questionnaire (Appendix II) was used for pilot study and thesecond
one Appendix III (A) interview was used for collecting data of the fifty
traditional motifs. The third one (Appendix III B questionnaire) was used for
the assessment of the resist pieces of fabric produced from the modified
traditional design motifs extracted from the artifacts of the Ham People for
comparison with those produced within the recent period. This was done by
presenting the twenty five selected motifs to some randomly selected
respondents, comprising of Ham youths and adults based in Zaria. The
comparative assessment questionnaire is a five Likert scaled instrument. Based
on the analysis of the study, the following findings were made: 1.The
production of traditional artifacts of the Ham people is on the downward
trend.2. Ten different crafts are still being practiced by the Ham people
(mostly old people and only on request)3. The traditional artifacts of the Ham
people have symbolic motifs with traditional names and can be adapted on
textile fabrics, using the batik technique of fabric decoration.4. Cultural and environmental factors such as
festivals, annual cultural day celebrations, naming ceremonies, marriages,
burial, initiation rites and aesthetic values are guiding the use of the
traditional Ham design motifs.5. Vat dyes are quite suitable for the practical
adaptation of the Ham design motifs on fabrics and apparel using the batik
technique. The general conclusion is that although the production of artifacts
in Ham land is on the downward trend, it is still being practiced withsymbolic
motifs that are adaptable on fabrics using resist dying techniques.
CHAPTER ONE
Introduction
Culture is the way of life as well as a heritage that is
being passed from one generation to the other. Among the countries of Africa,
according to Kashim, (2011), “Nigeria has taken a prominent position when it
comes to cultural heritage and creative art which are manifested in her diverse
crafts”.The products of these indigenous craft have sufficiently served
economic needs of the people in the local communities. Since the pre-colonial
era, various members of distinct ethnic groups engage in a lot of traditional
craft practices in the agrarian occupational engagement. Nigerian culture is
very colourful especially when it comes to the textiles, it‟s a thing of pride
for Nigerians. This study therefore, was motivated through the observations of
the varioustraditional designs found on the artifacts of the Ham people of
Kaduna state. These designs could be very suitable as motifs in batik method of
fabric embellishment in textile design.
This study is concerned with artifacts, traditional designs
and motifs of the Ham people of Kaduna State. Ogunduyile, (2011) 0bserved that
art has been noted to be the totality of all knowledge and values shared by a
society. Creativity has been in existence right from the time of the ancient
man; he used what he could find in his surrounding to solve his problems.
Marvin and David, L. D wrote that human beings expressed themselves and told
their stories in pictures long before they could read and write. They further
explained that pictures on the walls of early cave dwellings are evidence of
the human compulsion to describe the world in both representational and
symbolic images.The Ham man is, therefore, not exempted in this storyof the
ancient man; he created and designed things with whatever he could find in his immediate
environment. Development and industrialization of a country revolves around the
modernization of the artifacts and crafts of the people. “The industrial
development in a country involves considerable artifacts and crafts that
develops in stages and which leads to a progressive growth” (Ajayi 2007).
The use of these traditional designs is
going a long way in saving the artifacts and crafts for the younger generation.
Brief Introduction to Kaduna State
Kaduna state is a state in the central Northern Nigeria, and
its capital is Kaduna. Established in 1912 by Lord Frederick Lugard, first as a
garrison town and then as the regional capital of the then Northern
protectorate, Kaduna soon attracted people of all races, religion and cultures.
Within two decades of its establishment, it grew from almost a virgin territory
of small scattered settlement of the indigenous population of mostly the
Gbagyi, to a town of over 30,000 people. This population comprise of the
British colonies, artisans and clerks from the southern protectorate as well as
laborers and traders from the Nupe, Hausa, Kanuris, Fulanis and other tribes in
the Northern protectorate. Kaduna derived its name from the river Kaduna which
gave the settlement its name; it was so called because it was crocodile
infested, „Kadduna‟ being the plural of “crocodile” in Hausa, (Haruna 2013).
The state has at the moment 23 local government areas and all
these 23 are all blessed with fertile land for farming of both food and cash
crops, it‟s also for irrigational farming (fadama farming). The state is also
blessed with several mineral resources like clay, gold, graphite and many
others, which has made the state a center for several small scale businesses
like pottery, textiles, poultry and many other petty trading. It is mostly
dominated by the Ham, Gbagyi, Adara, Gong, Atyap, Hausa and some other ethnic
communities, according to Dangel (2008). The Ham people occupy four local
Government Areas in Kaduna state and they are Jaba, Jema‟a, Kagarko and Kachia
Local Government Areas.
Brief Introduction to the Ham People
Statement of Problem
According to James (1997) the Ham people spread over an area
of about 307 square miles (sqm) in Kaduna state of Nigeria.Theorigin of Ham
include Nok, Kwoi, Zshiek( Kurmin Musa) Dung( Jaban Kogo) Chori, Fai , Ketere,
Sambang Gida, Sambang Daji,Wenyom and other Ham settlements in the southern
part of Kaduna State. Like many peoples of northern Nigeria, the Ham, who are
neither Hausa nor Fulani, have also adopted the Hausa language as part of their
lingua franca.The Hausa Language is the Language commonly spoken in the Northern
region of Nigeria.
The Hausa Language to a greater extent has diluted and
adulterated the native tongue (Hyam) of the Ham language often mutually
in-twined or used interchangeably among younger generation that did not grow up
with the native lingua franca hence the fading away of the Ham Language.
Civilization has affected the production of the Ham artifacts
negatively in the sense that the production of these artifacts that are
beautifully decorated with traditional designs has drastically reduced, thereby
leading to the loss of some historical information. The problem of the study
therefore is the lack of proper preservation and presentation of the Ham
artifacts and traditional designs that could serve as means of saving information
for the younger generation
In Nigeria, what is mostly known about traditional designs
and artifacts in art revolves around the Igbo, Yoruba and Hausa and little is
known about the minority ethnic groups who populate this country in their
millions. The presence of historical crafts activities around Ham people shows
that these skills can be utilized to modern day technology for if not adopted
now, with time the artifacts and crafts will face extinction. Most of these
artifacts and crafts were used for different purposes and it was observed that these
artifacts and crafts have been replaced with modern facilities which
appear to be more durable. Against the background, the researcher is therefore
set to investigate the existence of these antiquities and to provide solution
on how they can be used on modern fabric and apparel embellishment. The problem
of the study therefore is the lack of proper documentation and preservation of
the Ham artifacts, craft and traditional designs.
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 them.
Determine the various unique features of the Ham traditional
designs as motifs in textile design.
Select some of the artifacts and develop traditional motifs
for them as to find out whether they can be used for fabrics and apparel embellishment.
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
In this study research questions are opted for because they
provide findings and solutions to research problems. Some of the research
questions raised for this study are:
What are the unique features of the Ham traditional designs
found on the artifacts of the Ham people?
1. What are the various unique features of the Ham traditional
designs that can be used as motifs in textile design?
2. Can the traditional designs found on the artifacts of the Ham
people be adapted and applied on fabrics and apparels using batik methods?
3. Are there special meanings and functions attached to these
artifacts and traditional designs?
4. To what extent can the differences between the newly modified
motifs and the old traditional ones of the Ham people be determined?
The Ham people are a people with an interesting culture that
can be studied over and over again because of the beautiful way of life of the
Ham man. The researcher had studied most of the batik designed fabrics and
apparels in the markets and discovered that they are mostly embellished with
the designs and motifs of the Yoruba people of the southern part of Nigeria.
The various traditional designs of the Ham people, when inculcated and adapted
on the fabric, will give batik another look from the ones already in
circulation. Ala‟u (2006) in his study on the “Adaptation of the Traditional
Designs on crafts of Southern Kaduna as motifs for Textiles Resist Technique”,
talked on the crafts of some ethnic groups in the southern part of Kaduna state
and which Ham was inclusive. But in his study of the Ham crafts, he only
studied and talked on the Nok terracotta which is one of the major artifacts the
Ham people can be identified with. James (1997), in his book entitled „The Ham:
Its people, their political and cultural History‟, concentrated mainly on the
cultural history and origin of the Ham people, no serious attention was given
to their artifacts, crafts, designs and motifs. Looking at the study of Ala‟u
(2006), Fagg (1999), James (1997) and some other paper presentations by Gandu
(2013), it is obvious that much attention has not been given to the study of the artifacts and traditional designs of the Ham
people which, therefore, justifies this study.
Studies carried out shows that scholars like Fagg (1990) have
written on Nok culture, which is one major part of the Ham people, however most
of the documentations made by these scholars were on sculptures and none has
been made on the textiles of the people. In response to Fagg (1990) and Ala‟u
(2006), this study will concentrate on digging into the artifacts and
traditional designs of the Ham people. Most of these artifacts and traditional
designs are in the danger of extinction as the younger generation is not keen
on taking over from the older generation.
The significance and importance of this study therefore will
be talked about in the following sub topics, and aspects of life;Educational,
cultural, aesthetic, economical and technological
* Educationally, the study will provide a good
source of information, especially when there is limited number of literature on
the comprehensive study of the artifacts, crafts and traditional designs of the
Ham people. * Economically, this study will encourage people
to go into private practiceof textiles through the use of local resources,
skills, artifacts and traditional designs for the economical growth of the Ham
people, Kaduna state and the country as a whole. Industrial development in a
country involves considerable artisanal crafts firms in the early stages that
grew progressively innumber into large scale manufacturers over the years.
Ajayi, (2007). * Culturally, this study contributes to the
preservation of the cultural heritage of the Ham people, in the sense that most
of the information on cultural artifacts and traditional designs would be
documented and motifs adapted on fabrics. It will further develop the awareness and understanding of the
cultural activity of the Ham people. * Aesthetically, this study will provide the Ham
people beautifully designed fabrics and apparels that can be used as the
identity of the Ham people in social gatherings.Textile dyeing with
embellishment of colourful patternsand motifs will satisfy the local clothing needs.
There is the need to identify and preserve these traditional
designs, and their adaptation on fabric is one way of reserving and
representing them.The arts councils, museums and departments of culture are all
in the business of studying, preserving and promoting culture, and the new
policy on education emphatically stresses the significance of integrating our
cultural system, (Rhoda 2006). In line with Rhoda (2006) it can be said that
the culture can be disseminated to a larger public.This study, therefore, will
compliment the efforts of the culture departments and the art councils. The
study will also enlighten the public on the artifacts and traditional designs
of the Ham people, thereby rekindling the interest in the study of Ham arts and
culture. It is also anticipated that this work will provide fresh resources in
motifs with a view to improving or adding to the existing literature on fabric
embellishment in textiles. Similarly, Wangboje (1985), encouraged the conduct
of local research into local and traditional materials in order to meet the
challenges of the time and to produce products that are relevant to the needs,
taste and culture of the society. This study also responds to the call made by
Jamkur (1992) and Ala‟u (2006) for more research on the Nok culture and the
craft of the southern Kaduna people for adaptation to other textile methods of
production using pigments and dyes. Furthermore, it responds to Governments‟
incessant call for Nigerians to look inwards rather than outwards for their needs.
The fact that Nigerians are living in an era of democracy
with some economic hardship that is making the people patronize home made goods
makes this study relevant.
The home made goods which Nigerians now rush for include
textile products such as adire- eleko, okene, akwete and aso-oke (Alau 2006).
This recent development, therefore, makes this study not only justifiable and
imperative but also timely. Finally, in the present democratic dispensation and
the seemingly rising feelings of nationalism,cultural inclination with the
ardent desire for industrialization and economic emancipation, the significance
of the study in this direction cannot be underrated.
The scope of the study is delimited to two Local Government
Areas the Ham people are predominantly found, namely, Kachia and Jaba Local
Government Areas. Kachia Local Government Area has 23 districts and out of
which the Ham people occupy 9. In Jaba Local Government Area there are 16
districts all of which are occupied by the Ham people.These two Local
Government Areasare sample areas because most of the artifacts of the Ham
people are the same.
Furthermore, the study is delimited to the artifacts and
traditional designs that are found on household utensils, musical instruments
and ritual equipment of the Ham people. The study was alsolimited to batik
method of fabric embellishment only. Below are some Ham cultural artifacts and
crafts that were studied.
* Nik fang (The co-joined pot)
* Yok zar (The co-joined spoon)
* Hyep shi (Oil jar)
* Hki Nok (Nok terracotta)
* Biyes (Tray)
* Kponkpon (Basket)
Basic Assumptions
The following assumptions weremade for the study:
i. The Ham people have an established artifacts and traditional
designs that are on the way to total extinction
ii. The Ham people are a people with an interesting culture that
needs to be exploited and critically studied
iii. Representation of other Nigerian cultures should also be
reflected in fabrics and apparels embellished with batik method of resist technique
instead of focusing on some and ignoring the others.
iv. The researcher will gain access to most of the artifacts and
traditional designs of the Ham people.
Most of the respondents have adequate knowledge of these
artifacts and traditional designs
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