Textile design and traditional cultural properties in Nigeria: A batik textile exploration

: The rapidity of moral degeneracy and bankruptcy in Nigeria and elsewhere is only symptomatic of the apparent fact that African cultures have been under serious threat, through the invectives of alien cultures through globalization. Efforts must therefore be made at arresting the drifting cultural values through the conservation and preservation of traditional cultural properties, such as traditional motifs and their cultural meanings. However, there have been scanty in-depth research to establish a possible nexus between textile design and preservation of motifs of cultural artefacts. This study examined the exploration of the utility of textile design as a veritable instrument in achieving the clarion call by Traditional Cultural Properties (TCP). In this study the Igbo oji isi ato and ududo motifs and their cultural significance were highlighted. The practice led research approach was adopted. The results showed that the batik textile design could be adopted in the preservation of traditional cultural properties in Nigeria. The oji isi ato and ududo batiks were specifically explored and found to be a veritable mechanism that could be leveraged upon in the preservation of symbols and motifs of traditional cultural properties. It is therefore recommended that scholars should explore more areas to achieve the conservation and preservation of motifs of cultural artefacts and traditional cultural properties to arrest the drift in moral values among the youth

generate discussions as to the utility of such designs and from there, explanations could be made with respect to the moral values underpinning the utility of such motifs and symbols in the particular clime.
Fortunately, for about two decades, emphasis has been laid on the significance of preserving some cultural artifacts. For instance, in 1983, Americans took the lead in this regard, possibly to establish the requisite cultural nexus between their past and the present. The establishment of this nexus has become urgent and compelling, given the rapidity of cultural erosion and the degeneracy in moral values occasioned by the misplacement of the role of culture in national development. This call for the preservation, conservation and encouragement must therefore, not be limited to any country such as United States of America but should be extended across borders and disciplines. Contemporary erosion of cultural values in various climes has necessitated the globalization of the concept of TCP and the need for their conservation and preservation. In other words, there is further need to explore motifs and symbols of diverse traditional cultures other than those identified and recommended by certain countries.
Incidentally, Cyril-Egware (2016) rightly pointed out that fabrics or textiles could be leveraged upon both as instruments of cultural preservations and communications of cultural heritages. It implies that, motifs and symbols of traditional cultural properties (TCP) of Igbo of South Eastern Nigeria could be preserved through textile design. Scholars of different hues are therefore required to give traction to the call of Traditional Cultural Properties (TCP) to preserve the cultural heritages of any nation. This challenge and more therefore, constitutes the fulcrum around which this study on "Textile Design and Traditional Cultural Properties in Nigeria: a batik textile exploration" revolves. In the opinion of Cyril-Egware (2016), one could leverage on the versatility of textile art to serve as a mechanism for the preservation of cultural heritages in the form of clothes and souvenirs.
It has become imperative therefore, to take advantage of textile design of traditional Igbo motifs on fabric as not only a mechanism of achieving the demands of TCP in cultural preservation but as a vehicle for the preservation, promotion and reviving of Igbo traditional motifs and their rich cultural implications in cultural transmissions.
From the prism of sustainability and socio-economic development, Qin, Song and Tian (2019) argued that some contemporary products derived from cultural properties were being used in marketing the beauty of some cultural heritages. Such innovative products could be found in the works of Anyanwu (2022) on textile designs entitled "Adaptation of Traditional Igbo Motifs on Fabrics: A Batik Textile Exploration". Therefore, this study on textile design and TCP in Nigeria: a batik textile exploration, will not only unveil the culturally innovative products derivable from TCPs but will also reveal the utility of textile design in cultural preservations in Nigeria.
This study is therefore, geared towards reviving the fast-fading traditional motifs of Igbo cultural artefacts. In addition, the transmission of the moral lessons derivable from these Igbo symbols and motifs would serve as a mechanism of stability in the dilapidating Igbo cultural values and beliefs. This innovative batik fabric exploration will not only achieve the aforementioned objective but will also serve as a lynch pin in bridging this gap in knowledge in contemporary literature.
In order to achieve the objectives of this study, answers would be provided to the following research However, none of these studies verified the link between culturally designed textile productsthe batik fabric designs using cultural properties as instruments for cultural preservation in Nigeria. This current study is therefore geared towards filling this gap in knowledge.

The concept of Traditional Cultural Property (TCP)
Bulletin 38 defines Traditional Cultural Properties as historic properties whose significance derives from "the role that the property plays in a community's historically rooted beliefs, customs, and practices" (Lynne, 1993).
The Igbo nation in Nigeria, places much premium on her traditional kola nuts (oji isi ato), as well as other traditional motifs and symbols.
A "traditional cultural property" is a property, a place, that is eligible for inclusion on the National Register of Historic Places because of its association with cultural practices and beliefs that are (1) rooted in the history of a community, and (2) are important to maintaining the continuity of that community's traditional beliefs and practices (Lynne, 1993: 1).
When a given cultural property is qualified for acceptance in the national register of historic places due to its

Research methodology
The concept of "Natural Synthesis" propounded by Okeke (1996)  This study adopted the practice led studio approach.
The studio experimental batik fabric design for the preservation of Igbo traditional symbols and motifs for this study were analysed and described using the following as a guide: i. Inspiration for the production of the batik work.
ii. Title, structure, and composition of the design on fabric.
iii. Materials relatedness and method of production.
iv. Wax and dye application and concept in the production of batik fabric design.
v. The artistic implication in the production of the batik fabric design work.

vi. Cultural, historical, and philosophical interpretation of content
The development of thumbnail sketches was produced through reflections and close observation of photographs from our environment, events, and issues using pencil, ink, and pen as a medium to produce the sketches which guided the production of the textile design. Thumbnail sketches are initial sketch drawings used to develop the design. The development of thumbnail sketches helped in the conceptualization and production of the textile design in this research work. According to Mitchell (2017), sketches are visual exercises in problem-solving and provide the opportunity to experiment with new techniques and expressive possibilities. Mitchell adds that rough sketches can serve as an effective visual communication tool.
Therefore, in this study, Igbo traditional motifs were transferred on the fabric through the waxing method.
The waxed fabric was allowed to get hardened and then submerged in a dye bath for a specified period. The dyed fabrics were removed from the dye bath and allowed to oxidize for about 20 minutes. The fabrics were subsequently submerged in a pot of boiling water and stirred until the wax were melted out of the fabric. They were later rinsed and spread to dry. Finally, the designed fabrics were ironed with starch to make them have brisk look.
The concept of "Natural Synthesis" propounded by Okeke (1996)  Therefore, in this study, Igbo traditional motifs were transferred on the fabric through the waxing method.
The waxed fabric was allowed to get hardened and then submerged in a dye bath for a specified period. The dyed fabrics were removed from the dye bath and allowed to oxidize for about 20 minutes. The fabrics were subsequently submerged in a pot of boiling water and stirred until the wax were melted out of the fabric. They were later rinsed and spread to dry. Finally, the designed fabrics were ironed with starch to make them have brisk look.

Conclusion
Recent developments in the textile designs industry appear not to have factored in the need to leverage fabric designs to showcase the rich African cultural heritages. This current study therefore filled this gap in knowledge through the use of traditional motif designs on fabric as a billboard to advertise the rich Igbo cultural heritage in contemporary Nigeria. This study has shown that textile design could be leveraged upon as an instrument of cultural preservations across cultures in response to the call of traditional cultural properties.
It is therefore recommended that scholars should explore more areas to achieve the conservation and preservation of motifs of cultural artefacts and stem tide erosion cherished cultural values and bring back to rail the derailed train of moral sanctity among humanity. Efforts should be made by various agencies such as ministry of information and culture, museums and monuments to revive the positive aspects of Nigeria's nay Igbo culture to checkmate the afront of globalization and influence of internet of all things.