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ENTREPRENEURIAL SKILLS IN Abstract

ADIRE PRODUCTION AMONG Tie- is a craft that is YOUTH IN REVAMPING widely practiced in many parts of the world. As an UNEMPLOYMENT IN NIGERIA indigenous craft it could be used to forge local identity *AKINYELE, SAMUEL TAIWO in the form of code. is inextricably **AKINYELE, ESTHER FEYISAYO & connected to the economic *OBAOYE, DANIEL ABIODUN and social fabrics of the *Dept. of Entrepreneurial Studies, Federal Yoruba people. Apart from University of Agriculture, Abeokuta, Ogun State, its role in the socio-cultural Nigeria **Dept. of Business Administration, School milieu, it also serves of Postgraduate Studies, Crawford University important economic roles

Igbesa, Ogun State, Nigeria by providing the people with Introduction job opportunities, source of The Yoruba are a properly clothed people. income,among other Nudity is an abomination in their culture and is benefits. This study assessed synonymous with madness. They also lay entrepreneurial skills in emphasis on appropriateness of the dress for Adire among youth in the occasion for which it is worn. The Yoruba revamping unemployment label adire, which means “tied and dyed,” was in Nigeria. A study of Odeda first applied to -dyed cloth decorated with Local Government, resist patterns around the twentieth century. Abeokuta,Ogun State, With the introduction of a broader color Nigeria. Simple random palette of imported synthetic in the sampling technique was second half of the twentieth century, the label used to select 120 “adire” was expanded to include a variety of respondents from the Entrepreneurship & Science Management of Journal International hand-dyed using wax resist sample size. Primary data methods to produce patterned cloth in a were collected on the dazzling array of dye tints and hues (Wikipedia, relationship between 2008). The importance of cloth in the people‟s various techniques in the 1 production to attain high NIGHTINGALE ISSBN: 1839-2373

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roductivity, how education can bring about creativity, importance of p innovation on the productivity, effect of social issues like marriage on the sustainability of the industry with well- structured questionnaire. Data were analyzed using descriptive statistics(frequencies, percentages and means), Correlation and Regression. Results showed the mean age, marital status, year of

work experience, educational qualification, organization experience . ANOVA

showed the significant(p<0.05) relationship between social issues and sustainability. Correlation showed the significant (p<0.01) relationship between education and creativity with strong positive correlation coefficient(0.370). Correlation also showed the significant(p<0.01) relationship between innovation and product strong positive correlation coefficient of 0.380. In conclusion, the study shows the relevance of techniques, education, innovation and social issues on entrepreneurial skills on adire production among youth. The study also recommends that entrepreneurs should be aware of the effect of the application of modern techniques, creativity, product and sustainability of the industry in order to achieve breakeven in the market.

Keywords: Adire, Creativity, , Education, Fabrics, Local identity, Tie-

Dye

ife is expressed in a vibrant industry and the multifarious usage of cloth. Their uttermost appreciation is related to physical appearance, l character and of the individual. Consequently textile art tradition perhaps still remains the most decorative of all their artistic traditions. “The term aesthetic deals with the philosophy of the beautiful as well as with the standards of value in judging art and other aspects of human life and culture”. It is impossible to wear clothes without sending social signals. Every costume tells a story about the wearer- thus an adage among the Yoruba irinisi ni isonolojo meaning the way you are dressed is the way you will be addressed; appearance determines the degree of respect received. In a write up by Gurel in Gurel and Beeson, she identified four major theories of clothing. These are the

modesty/mosaic theory, the immodest theory, the protective and adornment International Journal of Management Science & Entrepreneurship & Science Management of Journal International theories. “The foundation of modesty theory comes from the Book of Genesis- the Bible (Genesis 3: 1-21). The theory is attributed to Moses hence the mosaic theory. This theory implies that costume originated because of an innate 2 sense of shame that led man to adopt a covering for his naked body. The proponents of immodest theory are James Laver and Lawrence Langner. NIGHTINGALE ISSBN: 1839-2373

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They believed that the main purpose of clothing is to stimulate sexual interest causing attention to parts of the body that were covered. The protection theory is on the use of clothing as a protective covering from cold weather and other environmental/ physical hazard such as protection from insects, thorns and psychological protection from evil eye while the fourth theory is for decoration or adornment. This could be in the form of body painting, tattooing, scarification and mutilation” (Gurel, 1979). They are known for the production of both Aso-Ofi, the woven prestige cloth and pattern-dyed cloth, Adire. Historically, Adire making was introduced into Abeokuta, a town founded in 1830 by, Egba settlers of Ibadan who returned to Abeokuta, after fleeing from the result of the nineteeth century civil wars. One of such early settlers was Balogun Coker Sowemimo. The remains of old dye pots at Sowemimo compound at Ita Baale, Olugbode, Ibadan attest to this. Though the original Egba dyers were quick enough to venture into the tradition, they were however not very good at the beginning of the twentieth century, but learnt quickly and by 1926, about 25% of the town‟s population was involved in Adire production, and by 1933, about 80% of the cloth tradein the town, was Adire. With importation of

different types of material, development of different techniques and technology of Adire production, Abeokuta currently takes the lead in Adire production, with wide varieties of Adire in Itoku market, and large number of the dyers, designers, and traders of Adire concentrated at Alake, Oke-Ona, Egba and Idomapa. Basically, three centres were renowned for flourishing Adire production in Abeokuta. These were Kenta, Ijemo, and Igbein quarters. While the Igbein centre is no longer vibrant, production at Ijemo quarters is on the average but the Kenta quarters still produce high volume of Adire. This may be due to its proximity to the popular Itoku market which is popular for retailers Adire and sellers of materials of Adire production. Also, vibrant contemporary Adire centres using synthetic dyes can be found in the proximity of this market.

STATEMENT OF THE PROBLEM Entrepreneurship & Science Management of Journal International There is a growing realization that the availability of resources and favourable government policies cannot guarantee rapid economic development of a nation. It is the entrepreneurial skill of the people that can transform the economy . Thus, the quantity and quality of entrepreneurs are both essential for 3 a country‟s transformation agenda. The entrepreneur‟s contribution to the

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total economic and social achievement, therefore, calls for initiating possible strategies for building the needed capacities and proper management policies for effective co-ordination of resources towards inculcating the spirit of independence, enterprise, innovation and nationalism. Batik business is a major source of income for people in Abeokuta because large number of

men and women are involved in the production. Despite this large number,

batik production has not gained ground in order to achieve higher margin for production. The practitioners‟ level of knowledge of colour combination is low which can be as a result of level of education. i.e the ability of the tie and dye practitioners to identify colours and also know the combination of colours. Effective colour combination is based on skilled acquired over time. Colour combination, material used and socio-cultural issues such as marriage can also improve production of Batik. Education is seen as an instrument required by entrepreneurs to acquire the necessary competencies through acquisition of relevant training and development. Education is essentially an instrument par excellence for national stability and development. Education is a dynamic process that changes with the needs and aspirations of the society. Education is the gradual process of acquiring knowledge or it is the knowledge acquired by learning and instruction which could be formal or informal. Education is said to be a process of updating the knowledge and skills of individuals for the purpose of making that individual useful to himself or herself and to the community. Education also determines the sustainability of the industry in the sense that, it dictates the easy flow of information about the adire products. Tie and dye producers tend not to involve their family members in the business, rather they send their wards to school with the aim of graduating and are on the job haunt, whereas the economy of the country has little or no space for the fresh graduate. These poise a great threat to the future the business. Therefore the essence of this study will look on the internal and external factors that can influence batik production in either positive or negative condition in order to yield greater profitability.

International Journal of Management Science & Entrepreneurship & Science Management of Journal International RESEARCH QUESTIONS In order to empirically address the challenges above, this study will provide solution to the following research questions: 4 (i) What is the entrepreneurial skill needed to attain a high productivity in the batik industry?

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(ii) What educational level and knowledge on colour combination must be acquired by batik producer? (iii) What are the prospects in the batik production business? (iv) What are the social issues related to tie and dye practitioners

LITERATURE REVIEW Entrepreneurial skills Entrepreneurial skill can be defined as the ability to create something new with value by devoting the necessary time and effort, assuming the accompanying financial, psychic and social risks, and receiving the resulting rewards of monetary and personal satisfaction and independence (Hisrich and Peters, 2002). Entrepreneurial skill is the ability to of an individual to exploit an idea and create an enterprise (Small or Big) not only for personal gain but also for social and developmental gain (Olagunju, 2004). Skills are multidimensional constructs; they comprise the cognitive knowledge and what is learnt; the affective, emotional expression and what is experienced; the behaviour, action at strategic, tactical and personal levels; and the context sectoral, occupational, job and task levelsIn line with Kuratko and Hodgetts,

Gürol and Atsan (2006) in their studies on university students in presents six characteristics of entrepreneurship that includes needs for achievement, locus of control, risk taking, tolerance for ambiguity, innovativeness, and self-confidence. Zimmerer . (2008) describes that an entrepreneur should, among others, desire of responsibility, prefer medium- risk, believe in his ability to succeed, desire to get immediate feedback, possess high level energy, be future oriented, have organizing skills, value achievements higher than money, possess high commitment, and display tolerance for ambiguity, flexibility, and tenacity.

DYES Dye is a substance that is added to textile materials to give them colour (Toyce 2003). Dyes are not just added to textile materials in an unplanned manner.

To start a dying process, the dye has to be fast, that is stay on the textile material Entrepreneurship & Science Management of Journal International to which it is applied (Clark, 2005), if not so, the dye would come out in the first wash of the material. Dyes appear in the different colors and sometimes, they are mixed to obtain the right shade (Oguntona, 2000). There is another problem to the use of dye; different require different dye stuffs to 5 produce the same color. Melo (2009) shares the opinion that natural dyes were

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used to colour fibres or to paint. Dyes are generally organic compounds that are soluble in solvent. Colour is obtained by using a chemical compound called chromophore or chromogen, (something that brings or creates colour). When used as textiles dye the chromosphere or chormogen must also be captured as strongly as possible into the fibre. This implies that it must be resistant to

washing. Epp (1995), assert that colourants for textiles include dye and

pigment; dyes are organic chemicals which selectively absorb chemicals and reflect wavelengths of light within the given spectrum. Dyes usually diffuse into the innermost of a fibre from water solution, unlike pigments which are water insoluble, microscopic-sized colour particles that are usually applied to the surface of a fibre with resin. Katz (2003), explained further that, dyes used for fabric such as , fleece and are complex organic molecules that comprise what is known as chromospheres group, they contain some conjugated alternating double and single bonds in parts of the particle. These particles can absorb certain wavelengths of visible light and reflect remaining light and, thus give a fabric colour.

Classification of Dyes According to Sackey (2002) dyes stuffs can generally be classified into the natural dyes and artificial dyes. The earliest classification was, according to alphabetical order or according to botanical names. Later it was classified on the basis of hue, chemical constitution and application. (Gulranjani and Gupta, 1992). : These are majorly from plant source such as, roots, berries, bark leaves and wood, fungi and lichens. This form of dyeing dates back to the Neolithic period. Throughout history, people have dyed their textile using common, locally available materials. Samanta and Konar (2011) asserts that shades produce by natural dye colorants are usually soft, lustrous and soothing to the human eye. However Akwaboa (1994), added that local dyes need ‟s to work well. Natural dyes are harmonious with each other, the unique qualities can make the colour vibrate or glow, they are sometimes less colourfast overtime than synthetic dyes, but their richness International Journal of Management Science & Entrepreneurship & Science Management of Journal International is always invigorating. (Duerr, 2011). Natural dyes fall into the following categories: I. Leaves and stems 6 II. Twigs and prunings III. Flower heads

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IV. Barks V. Roots VI. Outer skins, hulls and husks VII. Hardwoods and wood shavings Synthetic dye: The first made-made dye, was discovered by William theory

Perkin in 1856, the result of a failed attempt at the total synthesis of quinine. Many thousands of synthetic dyes have since been prepared. Synthetic dyes quickly replaced the traditional natural dyes.(Bucharian and Rita, 1990). Some of the well-known ancient dyes include, a red dye made from the roots of the tinctorum, , indigo from the leaves of Indigofera tinctoria, yellow from the stigmas of plant and dogwood, an extract of the pulp of the dogwood tree. Almost any organic material will produce a colour when boiled in a dye bath, but only certain plants will yield colour that act as a dye. Natural dyes derived from plants have recently gained economic advantage over synthetic dyes because of their non-toxic, non – carcinogenic and biodegradable nature (Bhuyan and Sailia, 2008; Samantha and Agurwal 2009). They are environmentally friendly, making them a priority for use in the textile industry (Bhuyan and Saik ia 2008; Das and Tiwari, 2005). Duerr

(2011), supports the fact that plant based dyes are ecologically friendly, alternatives to the synthetic dyes because they come from plants which are renewable from non-toxic resources, biodegradable and are best when applied to natural fibres, leather, , rugs, hair and paper. Below are the colours from onion skins and logwood respectively Plate 2.1: shades from onion skin. Plate 2.2: shades from logwood. Retrived from: Retrived from: (Technical_ Report_Natural_Dyes.pdf) (Technical Report Natural Dyes .pdf)

Types of Dye Acid Dyes: these are water soluble anionic dye that are applied to fibers such as silk, , and modified acrylic fibers using neutral to baths attachment. Basic bye: These are water soluble cationic dye that are mainly applied to

acrylic fibers, but find some use for wool and silk. Usually, is added is Entrepreneurship & Science Management of Journal International added to the dye bath to help the uptake of the dye coloration of paper. Vat Dyes: These are essentially insoluble in water and incapable of dying fibers directly. However, reduction in alkaline liquor produces the water soluble alkali metal salt of the dye, which in this Leuco forms, has an affinity for 7

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the , subsequent oxidation reforms the original insoluble dye. The color of is due to indigo, the original . Reactive dyes: The type of dye, utilizes a chromospheres attached to a substituent that is capable of directly reacting with the fiber substances. The covalent bonds that attach to natural fibers make them among

the most permanent of dyes. Other types of dyes include; mordant dyes, disperse

dye, Azoic dye.

Method of Dyeing Colors are applied to fabric by different methods of dying for different types of fiber and at different stages of the textile production process. Dyeing can be done during any stage in the process; textiles may be dyed as fiber, as , as fabric or as garment depending on the type of the fabric or garment being produced. These method include tie-dye, batik 9waxing), direct dyeing, stock dyeing, top dyeing, yarn dyeing, piece dyeing, solution pigmenting or dope dyeing and garment dyeing etc. (Rakhir 2006).

Dye Pattern Small Circles: for small circle, pinch about 2-3 inches of the fabric , insert marble piece and tie it with rubber band or string to hold secure. Many small circles can be made in a particular pattern over the fabric ( Onyeneje 2003) Spiral: Lay down the fabric over a flat surface, spiral patterns are created by gathering a small section, usually with a cloth or a kitchen fork, in the middle of the fabric and slowly rotating the pieces creating pleats of the fabric arranged in swirls around a center point. It is gathered into a flat round bundle and the different wedges of the circular bundle are dyed in different colors to create a greater spiral effect. Pleats: lay down the fabric and using both hands, pinch the fabric with thumb and forefinger placed at an inch or two apart, continue making pleats till the end of the fabric, tie fabric with rubber band ( Oguntona, 2003). TIE AND DIE: the process of tie and dye typically consists of folding, twisting pleating, or crumpling fabric or a garment and binding with string or rubber International Journal of Management Science & Entrepreneurship & Science Management of Journal International , followed by application of dye(s). The Adire was first produced in Jojola‟s compound of Kemta, Abeokuta by Chief Mrs. Miniya Jojolola Soetan, the second Iyalode (Head of Women) of Egba 8 land, and later passed the process to her children and onward to the future generations. Adire production was formerly known to be a family business

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passed from parents to their female children and their male children wives. The first Adire material was made with Teru (local white attire) and Elu (local Dye) made from elu leaf which is planted in the Saki area of Oyo state (Tomori, 2011).Traditional process used in the production is similar to those inherited from the older generation, which makes the art a routine entrepreneurship.

According to Yuyun (2007), the routine entrepreneurs are those who produce the same product using traditional processes similar to those existing in the market. As a distinctive textile type, adire first emerged in the city of Abeokuta, a center for cotton production, , and indigo-dyeing in the nineteenth century. The prototype was tie-dyed kijipa, a hand-woven cloth dyed with indigo for use as wrappers and covering cloths. Female specialists dyed yarns and cloth, and also refurbished faded clothing by re-dyeing the cloth with tie-dyed patterns. However, the 1960s marked a new period of innovation in handcrafted cloth production in Yoruba land. With the growing availability of chemical dyes from Europe, there was a revolution in color and techniques (Keyes- Adenaike, 1993), which attracted the Nigerian designers who adapted the designs to print high-quality cloth using imported color-fast dyes in colors other than indigo. New multicolored adire

utilized a simple technology and became a backyard industry so that the markets filled with the new adire. Hot wax or paraffin was substituted for the indigenous cassava paste as a resist agent, and designs were created by simple techniques including tie-dye, folding, crumpling, and randomly sprinkling or splashing the hot wax onto a cloth prior to dyeing. As demand grew and the new adire makers began to professionalize, a block printing technique to apply the hot wax developed and largely supplanted stenciling (Picton 1995, as cited by the Clothing and Fashion Encyclopedia, 2010). This continuous working on new ideas with new products and production processes has transformed the craft into innovative enterprises, which can be taught in institutions. According to Yuyun (2007) as cited in Saheed and Alofun (2010), the innovative entrepreneurs are referred to as educated entrepreneurs expected to be produced by higher institutions. Such institutions in Nigeria

include the Nike Centre for Art & Culture in Osogbo, Lagos and Abuja, where the Entrepreneurship & Science Management of Journal International art of indigo-dyed adire fabrics is taught as a means of inspiring Nigerian women (Okunaye, 2008).

9 Adire(Indigo dyed Cloth)

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Adire is the name given to indigo dyed cloths produced by Yoruba textile designers of the South Western Nigeria using a variety of resist dye techniques like batik, tie and dye which is an integral part of the Yoruba cultural textile craft. Just as the talking drum is significant to Yoruba music so adire expresses Yoruba traditional clothing and design. Adire is a resist method of patterning

fabric by withholding dyes from certain areas of the fabric. This leaves the

untied areas as a background for the design in the dyed area (or vice versa). The design among the Yoruba‟s of the South Western Nigeria has been perfected into their textile art form called “adire” literarily meaning “to take, to tie and dye”. It is categorized in to three different techniques which are: Adire Alabela (wax resist patterning “batik” using candle) Adire Eleko (paste resist patterning using starch or paste of flour) Adire Eleso (tie and dye using small pebbles of stone).

Adire Alabela “Batik” The word Batik by contemporary understanding and meaning is a resist method of applying a substance such as melted wax, paste of flour, corn, cassava, or rice to the surface of a fabric to form designs. The word is also derived from ambatik meaning a cloth with little dots, little means bit while dots means tik. Batik is an Indonesian word meaning “to write with wax”. When the applied substance is hardened on a textile surface, it resists dyes and when it is removed, the design of the reserved areas remains showing a light pattern against the background. As it is in Nigeria, it is also commonly used in , Japan, Indian, Indonesia, the near and middle east, part of North and West Africa. The resist methods both with tying or resist with waxing and pasting may have originated from Asia during the early Christian era. Batik production at Nike gallery involves different stages such as drawing practice using the sketch pads, transfer of design on to the fabric as either one colour or multi colour, free hand designs, figure cutting designs and pattern work. They are either in 1 colour, 2 colour, free hand design and, patterning figure cutting. Figure 2 and 3 shows such example by a student trainee.

International Journal of Management Science & Entrepreneurship & Science Management of Journal International Adire Eleko (Paste Resist Patterning) The qualifying term eleko (means the one with corn pap or cassava paste) indicates the type of resist used. This resist with corn pap differ from resist with. 10 Adire Alabela (melt wax) as the use of wax covers the portions of the cloth as it is repeatedly dipped in various colored dyes. The Adire Eleko method uses a

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paste made from cassava which is applied using chicken feather and stencil. The paste dissolvesf aster than wax. Since the cassava paste does not soak through the cloth like wax used in making batik, the reverse side is of stunning array of different shades of blue instead of coming out in solid dark indigo. The Nike center uses free hand painting and stenciling techniques which has the advantage of freedom of expression than some of the other resist methods used such as the tie-dye variations or the application of paste through stenciling. A lot of motifs are used and named with phrases related to Yoruba speeches and thoughts such as “Omolereaiye”-Children are the heritage of life, “Ori mi pe”-my head is sane, “Sanu mi Oluwa”-have mercy on me lord. Other designs of significance are Ibadan dun (Ibadan is sweet place to live). There are very many different traditional patterns convening exuberant expressions of life such as two calabash (Igbameji), maracas (Sekere),children are the pride of the world (Omolereaiye), fat lizard (Alangbaberekete), Lame Man‟s kneel (Orokunaro) ,Bat (Adan) cassava leaves (Ewe ege) Crown (Ade) the talking durum (Gangan), Muslim slate (Wala). Some of these designs borrow from nature are stylized representations of floral and fauna, everyday objects and abstract patterns are also used as fillers, to

banish or void or balance the squares while some bear writing phrases directly related to speeches are also used. Ojo (1993) expressed that adire eleko could be viewed also as partly religious and spiritual activity which was meant to colour the costume of obas, that is, the traditional chief, secret societies, and the masquerades.

The Process of making Adire Textile in Egbaland The process of making adire textile involves sourcing of the fabric, tying the fabric, dying, drying, „planking‟ and packing, before they are sewn into the gorgeous designs by the tailors. Each process has a body of skilled artisans committed to delivering the specific tasks. The first step is getting the piece of cloth which is dyed into the different designs. The design is at the discretion of the owners. A basic sketch is made on the fabric after the design has been

decided. In most cases, Guinea is a preferable material for the batik Entrepreneurship & Science Management of Journal International production. The guinea brocade material will be dipped inside cold water to remove the factory‟s thickness of the cloth. Wax is then prepared by putting a slate of candle in a large pot and putting on fire to melt (hot wax is flammable, so it is never heated directly over open flame). After melting, a wooden or foam 11 stamp (usually square shape), depending on the design, is then dipped into the

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melted candle wax and stamped on the guinea in horizontal or vertical form which brings out a desired pattern or design (Tomori, 2011). This is done as quickly as possible, because wax cools and dries rapidly on the applying device. Thereafter, the candle stamped guinea is then left to dry. After drying, the dye is prepared by first pouring hot water into a pot and caustic soda added in

the correct proportions. The mixture is stirred until it bubbles, and the dye of

choice is added and stirred. The dyes were initially extracted from grasses and leaves which were soaked for a number of days in order to extract the dye from it. However, with new innovation, a hydro sulphide and soda ash are used to make sure the dye is perfectly absorbed in the material. The waxed cloth is dipped or immersed into the mixture, making sure that all parts of the cloth are dyed. The excess dye is rinsed off and the cloth dried. The dyed cloth is then soaked for a period of about 30 minutes after which the cloth is taken to the rinsing place. The rinsing method involves putting the batik Kampala into a pot of boiling water to remove the candle wax from the cloth. Afterwhich the cloth is dried and starched.It is thereafter taken to the people referred to as local ironers who fold the batik Kampala with a log of wood over a wooden slab. This next important process after thedyed piece of materials has dried is what is termed „planking‟. Planking is done on a wooden platform by mostly men, who spend hours hitting the adire material with a piece of heavy wood, in a way it would achieve its appearance like a well-ironed fabrics. Appliqué: It is the word used to describe the process of adding further materials to already woven textile base .It can be simply put also as French word meaning to apply and a craft of stitching of multi coloured pieces of fabrics to a contrasting background while reverse appliqué is a process of adding further materials to an already woven textile base. Bonesteel (1985) defined appliqué as a decoration or ornament to a large surface which could be used as warm thick cover for bed made of cloth that is attractive. The making of reverse appliqué involve different stages such as making a draft of an intended design which could either be (figurative or abstracted) on paper (card board and brown papers) putting into consideration the basic principles of design. The stencil for the draft is made, transferred or traced on fabric with the unwanted part eliminated by International Journal of Management Science & Entrepreneurship & Science Management of Journal International blading off, the bladed fabric is then mounted on a textile base and held in place with pins and in the final stage the mounted materials are stitched to create a decorative effect also tiny running stitches can also be used. 12 Quilting and Patchwork: Quilting is a process of stitching together two layers of fabrics filled with some soft substances usually cotton to form a kind of textile

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sandwich. It has its origin from a Latin word “culcita” meaning stuffed mattress or cushion. The decoration and patterning however depend on the quilter because some prefers to work with imported fabrics while other prefers locally made fabric like tie and dye and batik. Patchwork is the joining of pieces or scraps of fabrics together to form desired patterns or the art of sewing textile fragment together to form larger clothes which does not overlap but are sown together along their common boarders. The top layer of the quilt is known as patch work while the whole material is known as quilt which includes the patch work, padding and the backing. Nike centre for art and culture specializes on most cases on the production of lap quilting of varying size.

Stitching The stitching resist consist of drawing up a thread sewn within the fabric, so that the created pattern could be drawn on the fabric with string or thread. When the stitching is pulled tight, the fabric puckers create folds. The thread is firmly tied so that it doesn‟t loose grip while in the dye bath.

RESEARCH METHODOLOGY

The study will be carried out in Odeda local government of Abeokuta, Ogun state, The investigation was conducted as descriptive surveys study using the primary dataBoth the qualitative and quantitative type of research was also employed for validity of results and findings.. The population of the study includes all micro/small- scale tie-dye/batik practitioners and consumers of tie-dye/batik fabrics. The estimated population in the study area is about 120. The sample size was chosen using a probability method of sampling whereby any tie-die practitioners is picked on the basis of having knowledge or understanding of the subject so as to ensure the validity of result of the research. Linear Regression, via Statistical Product of Service Solution (SPSS) version 23, was used to assess if there is a relationship and the extent of the relationship between the variables the cronbach's alpha test of reliability was conducted on the items of the questionnaires that were administered before its administration to intended respondents.

DATA ANALYSIS Entrepreneurship & Science Management of Journal International A total number of 92 well-structured questionnaires were distributed among the respondents, out of which eighty-eight (88) were filled and returned. Given this, it implies that approximately 95% of the administered questionnaires were retrieved. The tabular presentation of the questionnaire 13 analysis is given below

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Table .1 Analysis of Response rate Questionnaire Respondents Percent Returned 88 95.65 Not Returned 4 4.347

Total 92 100

Source: Field Survey, 2019

Analysis of personal data of respondents These research shows that 42 respondent were male while 46 female, representing 47.7% and 52.3% respectively. This means that the research study has most of its respondent be female (Byfield , 2002)., and that the male respondents also constitute an integral part of the study. This also conforms to the finding of Osunbitan et al., (2000) who reported the enterprise as a women dominated activity.The respondent of this research marital status in Odeda local government, Ogun state shows that 74 (84.1%) were single, 13 (14.8%) were married and 1 (1%) were fall under others. This means that the research study has most of its respondents being single.

The working experience of the respondent are shown that 66 (75%) were

between 1 – 5 years, 21 (23.5%) were between 6 – 10 years, 1 (1.1%) were between 11 - 15 years. This means that the research study has most of its respondents have been in the business between 1 – 5 years Age of respondents are shown that 20 people (22.7%) fall below 25 years, 63 people (71.6%) were between 26 – 45 years, 4 people(4.5%) were between 46 – 55 years, and 1 person (1.1%) was above 56 years of age. This means that the research study has most of its respondents between the ages of 26 – 45 years. This is supported by the work of Yekinni (2011), who found that the similar age group for active work force in Nigeria. Educational qualification of respondents are shown that 18 people (20.5%) were SSCE holders, 57 people (64.8%) were HND/B.Sc holders, 6 people (6.8%) were MSC/MBA holders and 7 people (8.0%) were others. This means that the research study has most of its

respondents are HND/ BSc holders. The respondents attended based on the International Journal of Management Science & Entrepreneurship & Science Management of Journal International organization scaling shows that 39 people (44.3%) were into micro scale production, 26 people (29.5%) were into small scale production, 19 people (21.6%) were into medium scale production, 4 people (4.5%) were into large 14 scale production. This means that the research study has more of its respondents

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are into micro scale production which may be due to low level of exposure and inability to adopt and afford modern production technologies .

Table 2 Socio- Economic Characteristics of the Respondents Examining the opinion of respondents that there is a special technique required in the production of adire. It shows that 2 (2.3%) strongly disagreed, 2 (2.3%) fairly agree, 27 (30.7%) agree and 57 (64.8%) of the respondents strongly agree. This implies majority of the respondents strongly agreed. Triplet, Kay and Lori (2015). Clarifying the opinion of respondents on whether there is a permanentway of dyeing. It shows that 7 (8.0%) strongly disagreed, 10 (11.4%) disagree, 3 (3.4%) fairly disagreed, 9 (10.2%) fairly agreed, 33 (37.5%) agreed and 26 (29.5%) strongly agreed. This implies majority of the respondents agreed.Examining the opinion of respondents whether there are different pattern in dying. It shows that 1 (1.1%) disagreed, 2 (2.3%) fairly disagreed, 24 (27.3%) agreed, 48 (47%) agree and 50 (49%) of the respondents strongly agree. This implies majority of the respondents strongly agreed. Many small circles can be made in a particular pattern over the fabric ( Onyeneje 2003).

Auditing the opinion of respondents on the cost of synthetic dye being less than the cost of natural dye. It shows that 4 (4.5%) strongly disagreed, 3 (3.4%) disagree, 2 (2.3%) fairly disagreed, 11 (12.5%) fairly agreed, 49 (55.7%) agreed, and 19 (21.6%) of the respondents strongly agree. This implies majority of the respondents agreed. Synthetic or artificial dyes are made by different chemical compositions, usually from coal tar sources. The first synthetic dye was obtained from an anime, a byproduct of coal tar. Synthetic dyes are sometimes referred to as commercial dyes and they are easier to use and less costly th an natural dyes. (Sackey, 2002). Examining the opinion of respondents whether warm water in needed in preparation of dye. It shows that 1 (1.1%) fairly disagreed, 6 (6.8%) fairly agreed, 36 (40.9%) agreed, and 45 (51.1%) of the respondents strongly agree. This implies majority of the respondents strongly agreed. Examining the opinion of respondents whether the products

are produced in large quantity shows that 3 (3.4%) strongly disagreed, 10 Entrepreneurship & Science Management of Journal International (11.4%) disagree, 8(9.1%) fairly disagreed, 12 (13.6%) fairly agreed, 39 (44.3%) and 16 (18.2%) of the respondents strongly agree. This implies majority of the respondents agreed Investigating on whether the practice of adire production is done among specialized family shows that 9 (10.2%) 15 disagreed, 3 (3.4%) fairly disagreed, 11 (12.5%) fairly agreed, 32 (36.4%)

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agree and 33 (37.5%) of the respondents strongly agree. This implies majority of the respondents strongly agreed. This is due to the fact that the practice is passed down from one generation to the other Clarifying the opinion of respondents whether the labour requirement of the industry is high. It shows that 3 (3.4%) strongly disagreed, 6 (6.8%)

disagree, 8 (9.1%) fairly disagreed, 16 (18.2%) fairly agreed, 30 (34.1%)

agreed and 25 (28.4%) of th e respondents strongly agree. This implies majority of the respondents agreed that high human labour is required for effectiveness. Examining the opinion of respondents whether the rate of production meets the expected demand of consumers. It shows that 4 (4.5%) strongly disagreed, 5 (5.7%) disagree, 2 (2.3%) fairly disagreed, 12 (13.6%) fairly agreed, 52 (59.1%) agreed, and 13(14.8%) of the respondents strongly agree. This implies majority of the respondents agreed.

TEST OF HYPOTHESIS Correlation and Linear Regression analysis was used to test the research hypotheses and analyze the dependent and independent variables.

Hypothesis 1: There are special techniques required in Adire production to attain high productivity. Table 3 Model Summary of effect of special techniques and entrepreneurial Productivity Correlations technique Productivity Techniueq Pearson Correlation 1 .343** Sig. (2-tailed) .001 N 88 88 Productivity Pearson Correlation 1

Sig. (2-tailed) .343** .

N 88 88 International Journal of Management Science & Entrepreneurship & Science Management of Journal International **. Correlation is significant at the 0.01 level (2-tailed). Source: field survey, 2019 a. Dependent Variable: Technique 16 b. Predictors: (Constant), Productivity

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Table above presents the output of the Pearson correlation matrix which shows the level of interrelationships among the study variables as regards Techniques and Productivity. From the study conducted, techniques is positively correlated with productivity with a strong positive correlation coefficient of 0.3.43 which is significant at 0.00<0.01. Based on the generated outcome, the above result implies that an increased level of Special Techniques lead to increased productivity. That is, since our R-value is positive with a significant value is less than 0.01, the decision would be to reject null hypothesis (Ho) and accept alternative hypothesis (H1). This means, there is a significant relationship between Techniques and Productivity.

Table 4 Model Summary of effect of Education and Creativity Correlations Education Creativity Education Pearson Correlation 1 .370** Sig. (2-tailed) .000 N 88 88 Creativity Pearson Correlation 1

Sig. (2-tailed) .370** . N 88 88 **. Correlation is significant at the 0.01 level (2-tailed). Source: field survey, 2019 a. Dependent Variable: Education b. Predictors: (Constant), Creativity

Table above presents the output of the Pearson correlation matrix which shows the level of interrelationships among the study variables as regards Education and Creativity. From the study conducted, education is positively correlated with creativity with a strong positive correlation coefficient of 0.370 which is significant at 0.00<0.01. Based on the generated outcome, the above result Entrepreneurship & Science Management of Journal International implies that an increased level of Education lead to increased Creativity. That is, since our R-value is positive with a significant value is less than 0.01, the decision would be to reject null hypothesis (Ho) and accept alternative hypothesis (H1). This means, there is a significant relationship between 17 Education and Creativity. NIGHTINGALE ISSBN: 1839-2373

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Table 5 Model Summary of effect of Innovation and Product Correlations Innovation Product Innovation Pearson Correlation 1 .380** Sig. (2-tailed) .000

N 88 88

Product Pearson Correlation 1

Sig. (2-tailed) .380** N 88 88 **. Correlation is significant at the 0.01 level (2-tailed). Source: field survey, 2019 a. Dependent Variable: Innovation b. Predictors: (Constant), Product Table above presents the output of the Pearson correlation matrix which shows the level of interrelationships among the study variables as regards Innovation and Product. From the study conducted, innovation is positively correlated with product with a strong positive correlation coefficient of 0.380 which is

significant at 0.00<0.01. Based on the generated outcome, the above result

implies that an increased level of innovation process lead to increased product. That is, since our R-value is positive with a significant value is less than 0.01, the decision would be to reject null hypothesis (Ho) and accept alternative hypothesis (H1). This means, there is a significant relationship between innovation and product.

Table 3d Model Summary of effect of Social issues and Sustainability Mod R R Square Adjusted R Square Std. Error of the el Estimate 1 .350a .123 .113. .55530 a. Predictors: (Constant), Sustainability Table 5a ANOVAa of Social Issues and Sustainability

International Journal of Management Science & Entrepreneurship & Science Management of Journal International Model Sum of Squares Df Mean Square F Sig. 1 Regression 3.714 1 3.714 12.045 .001b Residual 26.579 86 .308 Total 30.233 87 18 a. Dependent Variable: Social issues b. Predictors: (Constant), Sustainability

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The result from the model summary table revealed that the extent to which the variance, social issues can improve sustainability of the industry is 12.3% (R Square = 0.123) The ANOVA table shows the Fcal 12.045 at 0.01 significant level. The table shows that there is a significant relationship between Social Issues and Sustainability of the Batik industry located in the odeda local government, Abeokuta Ogun state

Table 5b Coefficients a of Social Issues and Sustainability Model Unstandardized Standardized T Sig. Coefficients Coefficients B Std. Error Beta 1 (Constant) 4.295 .237 18.13 .000 y4 .178 .051 .350 3.471 .001 a. Dependent Variable: Social Issues

The coefficient table above shows that the simple model that expresses how there is a significant relationship between Social Issues and Sustainability of

Batik industry in Odeda LGA, Abeokuta, Ogun State. The model is shown mathematically as follows: Y=a+bX where y is Sustainability and x is Social Issues, is a constant factor and b is the value of coefficient. From this table therefore, Sustainability= 4.295 + 0.178 Social Issues. Therefore, a unit increase in Social Issues will lead to 0.178 increases in Sustainability. The above result implies that there is a significant relationship between Social Issues and Sustainability in Batik industry in Odeda LGA, Ogun State i.e. since our P value (0.001) is less than 0.05. Thus, the decision would be to reject null hypothesis (Ho) and accept alternative hypothesis (H1), i.e. there is a significant relationship between Social Issues and Sustainability in Batik industry in Odeda LGA, Ogun State

Empirical Findings Entrepreneurship & Science Management of Journal International These findings were gotten from the data analyzed from the questionnaire and were backed up by past findings. Hypothesis 1: The pattering of tie-dye fabric was done in so many ways which include sewing, tying, knotting, folding, and pleating with stones, sticks, and 19 thread. These are done tightly to prevent the penetration of the dye ( Alan, 2003).

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Dye is a substance that is added to textile materials to give them colour (Toyce 2003). Dyes are not just added to textile materials in an unplanned manner. To start a dying process, the dye has to be fast, that is stay on the textile material to which it is applied (Clark, 2005), if not so, the dye would come out in the first wash of the material. Dyes appear in the different colors and sometimes, they are

mixed to obtain the right shade (Oguntona, 2000).

Hypothesis 2: Modern techniques are needed to involve in our local small scale industry, this will enable our product to yield good result by compete the global market place and achieve higher margins for product while yielding greater profitability (Linnerman and Santon, 1992) implementing on modern materials to our local small scale batik micro industry will make our production to be faster and level of unemployment in the state will also reduce through using division of labor. Thus, high level of education is required to be able to combine colour effectively. Hypothesis 3: Adire production was formerly known to be a family business passed from parents to their female children and their male children wives. The first Adire material was made with Teru (local white attire) and Elu (local Dye) made from elu leaf which isplanted in the Saki area of Oyo state (Tomori, 2011). Hypothesis 4: Curran and Blackburn (1993) that “motivation factors such as independence are significant entry to entrepreneurship”. Often times the practitioners pass their skill and knowledge to their children and apprentices who assist in the production and marketing of the cloths. Being born into the trade allows training to begin at early age and one could inherit or be associated with the business. Dyers children assist their mothers in all aspect of production and marketing until they leave the house or get married.

Conclusion Though many indigenous plants are used for dyeing by the Adire artists, the remains the most extensively used and the most popular among the Yoruba. it is a specialist female activity from a traditional female vocation to an all-comers vocation. The machine techniques and stencil Eleko were introduced in the 1930s in Abeokuta, with a small proportion of both International Journal of Management Science & Entrepreneurship & Science Management of Journal International techniques found in Ibadan, to save production time and increase output. New techniques and technology have also broadened the design scope and kept the art tradition dynamic among the Yoruba and have sustained many of the 20 traditions of Adire practice.

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Tie-dye/batik textile industries in Abeokuta operate as cottage/ micro-scale enterprises. Tie-dye /batik practitioners engage in productive ventures which contribute to economic growth. Tie-dye/ batik activities empower the practitioners economically and enable them to contribute to the local economy in job creation and social activities. Among the Yoruba, tie-dye/ batik craft is almost exclusively women‟s trade though there are few men in the trade. These women are creative and have the skills to produce beautiful fabrics of various colours. They have family based values and a lower propensity for risk. Being an inherited craft, the women have sustained the craft instilling an entrepreneurial culture in their children. This however gives the children opportunity to have work experience at a young age exposing them to entrepreneurial life style.

Recommendations Following the findings and conclusion, the study made the following recommendations: 1. Establishment of dyestuff industries (natural and synthetic dyes) in Abeokuta. This will give the practitioners easy access to dye ,

reduce overdependence on imported dyes and might lead to growth of the local economy. 2. Adequate, functional and durable infrastructural facilities would strengthen the economy and activities of tie-dye/batik industries. Consequently, contractors of infrastructural facilities who do not comply with technical specifications should face legal action because a lot of money is invested in these projects for the benefit of Nigerians and economic growth of the nation. 3. Government should encourage the use of made in Nigeria fabrics. Tie and dye/batik fabrics could be use for interior decorations in homes, offices, tourist centres, etc. This is similar to Indonesian strategy and would likely increase patronage of tie-dye/ batik fabrics and also sustain the cultural role of this sector of Nigerian economy

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