Research Journal of Financial Sustainability Reporting, Vol. 4, No. 1, Jan.-June, 2019 Department of Accountancy, Enugu State University of Science and Technology.

Re-Lunching Traditional Cloth for Cultural Entrepreneurship Sustainability in Nigeria (Case Study of Aso- Oke)

IBRAHIM, Mohammed Gaddafi, PhD

Department of Entrepreneurial Studies, Faculty of Management Sciences, National Open University of Nigeria, Abuja, Nigeria.

Abstract: The values of to man cannot be over emphasized. Since the existence of mankind these three: food, shelter and clothing have been important for the survival and convenience of mankind. The main purpose of this study is to determine whether re-lunching Aso-oke will promote culture in Nigeria and to critically examine the economic importance of traditional cloth woven. This research will be useful in bringing out the current status of this traditional art form, leading to other cultural modifications in the industry. A multi-method approach consisting of quantitative and qualitative survey methods was employed. For the research questions and corresponding hypothesis, a deductive research approach with a quasi-experimental research design was selected. It can therefore be adduced that the intervention of government may not yield the desired results if the necessary disaggregated analysis of the industry is not attempted as the industry is only nearly an octopus needing eagle eye, disaggregated and compact investigation for effective intervention efforts.

Keyword: Entrepreneurship, Cultural sustainability, Sustainable development.

1. Introduction The values of textiles to man cannot be over emphasized. Since the existence of mankind these three: food, shelter and clothing have been important for the survival and convenience of mankind. The study of according to Oguntona (1994) has enabled a greater understanding and appreciation of textile. We convert textiles into different dimensional structures in the name of fashion, as clothing “often proclaims the man and woman”.

Textiles is defined as or spun fibres made into and subsequently looped, or woven to make fabrics. Methods of textile production have continually evolved. The choices of textiles available have influenced how people carried their possessions, clothed themselves, and decorated their surroundings. Clothing is one of the basic needs of man and it has existed for as long as man himself. Ever since, there has been need for humans to cover themselves from harsh weather, and so on. It is not known when humans began wearing clothes. Anthropologists believe that animal skins and vegetation were adapted into coverings as protection from cold, heat and rain, especially as humans migrated to new climates; alternatively, covering may have been invented first for other purposes, such as magic, decoration, cult, or prestige, and later found to be practical as well.

This study intends to examine how traditional cloth weaving can be re-lunched into Nigeria cultural entrepreneurship. This is because, it had been observed that the traditional cloths that were always valued out are gradually fading out of existent with few or no body showing interest to revive it. Decorated fabrics like the tie –dye, wax resist () aso-oke, danshiki, campala etc have been over ridden by the western fabrics (cloth). Therefore, for sustainability, the study is looking at re-lunching this traditional wears by promoting it through cultural entrepreneurship laying emphasis on it modernization and it use of the clothes produced from the application of resist fabrics attractive to the young generation especially youths in Nigeria.

Statement of the Problem RJFSR, Vol. 4, No. 1, 2019 Ibrahim, Mohammed Gaddafi

Traditional fabrics have intricate features that make them unique or different from one another. Due to the influx of foreign imports, the traditionally made textile fabric is being relegated to the background in the industry. This research seeks to examine issues that cause the neglect of this traditional cloth, and how the cultural entrepreneurs can re-lunch it for the purpose of sustainability in Nigeria.

Objectives of the Study The study aim to achieve the following objectives; (i) To discuss cultural entrepreneurship (ii) To conduct a survey to determine whether re-lunching Aso-oke will promote culture in Nigeria (iii) To critically examine the economic importance of traditional cloth woven

Research Questions i. What is cultural entrepreneurship all about? ii. How can the re-lunching of Aso-oke promote Nigeria culture? iii. What is the economy importance of cloth woven?

2.0 Review of Related Literature 2.1 Conceptual Review Entrepreneurship The etymology of the word entrepreneurship lies in the French word „entreprendre‟ which means „to undertake‟. The French economist, Richard Cantillon is credited as the earliest to apply the term entrepreneurship to describe „risk bearing‟ business initiatives. As early as the 18th century, he highlighted the role of the entrepreneur in transforming the resources in an economy.

Kuratko and Hodgetts (1998), perceive entrepreneurship as “a dynamic process of creating incremental wealth by assuming major risk and providing value for some product or service which itself may not be new or unique, but requires that value must somehow be infused by the entrepreneur by securing and allocating the necessary skills and resources”.

Hagoort, G., (2007) defines Entrepreneurship as having creative ideas and to pursue them in a commercial way, with the purpose to make a profit. However, the profit alone is not the driver; it is the creativity and the possibility to build something, the self-fulfilment or being able to pursue your own creative interests. There is a mix between the entrepreneurial side and the creative side”.

2.1.1 Cultural Entrepreneurship In Nigeria Cultural entrepreneurship defines the act of identifying investment opportunities in any cultural or creative activities and taking advantage of them to generate wealth. As commercial ventures, the cultural industries offer countries greater security and economic stability because the rely more on an unlimited global resource- human creativity. The interesting thing to note here is that most of these cultural industries have existed from time immemorial, albeit as family or cult craft or trades which, in the traditional contexts were jealously guarded. Reporting the oral interviews conducted on the traditional Yoruba craft of making (textile ), Saheed (2013) noted that until recently, the business of adire textile was an exclusive family art passed from parents to their forebears. Tomori (2011) emphasizes that non-members “of the Jojolola family (the first family believed to produce adire in Egbaland) were not allowed to learn the adire business because it form an integral part of the family heritage”. The situation was not any different with other crafts and skills within the sector. This „closed circuiting‟ of certain creative specialties, arts and crafts limited their large-scale exploitation by entrepreneurs for a greater part of the pre-colonial period. The wealth generated from them, though it sustained some of the artisans then, was rather minimal compared to their potentials.

2.1.2 Cultural Industries in Nigeria RJFSR, Vol. 4, No. 1, 2019 Ibrahim, Mohammed Gaddafi

Nigeria has some of the richest and diversified collection of cultural industries, products and services. The country has a population of over 160 million made up of over 500 ethnic nationalities and an economy that accounts for over 70% of the GDP of West . Consequently, over 70% of the total volume of legal and illegal trade in cultural products in the West African regions originates from Nigeria. However, the Nigerian economic is unable to reap full benefits of the potentials of its cultural industries till date because the cultural sector operates in a largely disconnected, informal manner. Key players in the sector, often operate independently of each other, only occasionally synergizing their functions under the auspices of national festivals, carnivals and cultural expos.

The public institutions responsible for driving productive activities in the sector are often grossly underfunded and not appropriately staffed to effectively drive the various demands of the sector. Also, the regulatory environment is decrepit, oversight is poor and there exists a relatively harsh environment for most entrepreneurs to operate profitably. Furthermore, there is little or no information on the contributions of the sector to the state‟s economy to attract the sufficient interest of the private investors. From pre-colonial period, the cultural industries have continued to shape economic growth and provide sustenance for a large number of people across the various social and economic strata in Nigeria. Even in modern times, these industries continue to provide opportunities for investment, wealth creation and employment compared to other sectors.

2.1.3 Traditional Cloth Woven (Aso-Oke) It is indeed true that the only constant phenomenon in human history is change. More important however is the fact that changes never exist in a vacuum and usually constantly intermingle with that which predated it to produce a new category with definite element that will unmistakably suggest continuity. This is particularly the scenario when aso-oke is considered within appropriate and pragmatic frameworks. Different scholars have defined aso oke but it is taken to mean the Yoruba hand woven cloth on horizontal and vertical loom (Ojo, 2007). In this study, this definition is particularly found suitable as it sufficiently enmeshed the socio-cultural and historical nature of the artifact with its technological antecedents; very crucial elements in reference to existence especially for the purpose of this paper.

Most of the previous studies on aso-oke of southwestern Nigeria suffer identical fate of excessively fragmented analysis and were tainted with gender sentiments, obsoleteness and epochal disconnect (Asakitipi, 2007; Renne, 1997; Poynor, 1980; Bray, 1968; Clarke, 1938; Murray, 1936). Before colonial contact, traditional cloth weaving flourished in central and northern Yoruba land, especially in Owo, Ede, Ibadan, Ondo, Oyo, Ogbomoso, AdoEkiti and Iseyin towns. Thus, scholars of African textile technology (Afigbo and Okeke, 1985; and Ojo, 1966) agreed that prior to contact with „western culture‟, the traditional Nigerian communities had developed indigenous technology ecological conditions of ingenuity. The raw materials for traditional weaving were largely obtained from the local environment. According to Afigbo and Okeke, (1985), archaeological findings confirm that indigenous technology in carding, spinning, dyeing and weaving had been a product of the peoples‟ effort to exploit their environment to advantage. They assert further, through efficient use of vertical and horizontal looms, communities such as Ilorin, Iseyin, Oyo, Okenne, Kano, Nupe, Kabba, Abeokuta, Ijebu- Ode and some other parts of Igbo land were famous for the quality of their textile products, which was able to satisfy both domestic and foreign demands. The indigenous evolution of the material inputs into aso-oke was ultimately resonated in intangible socio cultural essentials. In different communities of Yoruba land and at different times, aso-oke has taken on significance far beyond source functional clothing and serving as money but to a large extent as medicine, as a link between generations, families, and societies and as a key to the construction of group and individual identities (Clark, 1972; Lamb and Holmes, 1980; Olutayo, 1991). Yoruba cloths can be divided into three major categories of cloths for prestige, rites and ceremonies and cloths worn for daily use (Eicher, 1976; Lamb and Holmes, 1980). It is appropriate therefore to look into the context within which asooke operates.

2.1.3 Production Process of Aso-Oke RJFSR, Vol. 4, No. 1, 2019 Ibrahim, Mohammed Gaddafi

In the traditional aso-oke industry of the Yorubas, the fundamental conviction of human society about the concept of work existed as all within the society and family partake in one degree or the other. The process begins with the planting of local (owu tutu). It takes three months for the cotton to reach harvesting stage when it becomes fully white. Inquiries revealed that harvesting was mostly done by the women and children and sold to those who process the seed cotton into threads or processed by themselves. Important in this finding however is that this role is merely for division of labour and complementarity to enhance optimal productivity and does not suggest gender segregation, mainstreaming or outright subjugation as usually inferred by previous studies. On the input material processing, investigation revealed that seed cotton was indigenously processed by hand. Getting the cotton prepared for weaving starts with the removal of seed cotton from the cotton seed. To remove the seeds, ginning usually involves placing cotton balls on a block of wood and rolling an iron rod over them. The pressure exerted on the moving cylindrical object pushes the seeds out of the cotton fibres.

After the seeds are removed, the fibres must be aligned and this process is called ginning. The ginning process as gathered during the study was done indigenously through a bow type device called Okure. The device is used to fluff the cotton and straighten the fibres. This process produces the fluffy product which is ready to be spun into thread. Spinning is mostly done traditionally, manually and very cumbersome. The spinner pulls and twists enough Aso-oke to secure it to a spindle. Though it was gathered that spinning can take two major forms, but in this case the spindle is weighted by a clay whorl. The spinner sets the spindle in motion, draws fibres into a thread and winds them on the spindle. This instrument is called akowu. Inquiries into the origin of this instrument was gathered and it was revealed to have come from a tribe called Ibariba over a very long time ago and then modified to suit their purpose. Finally, the thread gotten after spinning is wound into a skein called akate ekowu. When asked on how knowledge about cotton spinning was gained, interviews maintained such is gained through the family lineage as crafts are usually located within the family or compound (agbole) as it is customary among the Yorubas for every family to have a known handiwork/craftsmanship aside been farmers in most cases.

The dynamics of the modification being witnessed in the input material process (es) of the modern asooke is largely traceable to diffusion originally aided by colonialism as the primary agent of institutional change in the history of the nation as it altered fundamental liberty of cotton production and conversion process which serves as the root of the present widespread importation of yarn being used in the contemporary aso-oke industry.

2.1.4 Challenges Facing the Aso-Oke Industries are not new in their entirety (Renne, 1997) and most importantly a reflection of the overall challenges facing the nation‟s textile industry and other industries for that matter. It may be insightful to note therefore that aso-oke will surely survive the problems as always since it embodies beyond that which is seen to represent socio cultural and historical heritage and existence of a people with peculiar tradition that have seen greater adversities with proven records of triumph.

2.1.5 Potential and Perception of Developing the Traditional Cloth Weaving Industry for Cultural Sustainability This study measured the potentials of the aso-oke industry from the people‟s perspective. This approach was particularly adopted because of the new paradigm shift in efficacious development efforts delivery as it has been proved that the best analysis of a (and approach to a ) sustainable development challenge is best given by the groups directly affected as they are the experts in the issues that most affected them (Warrington, 2008: 19).The major perception of developing the industry as largely expressed by the majority of the respondents during the FGD session hinged on the encouragement of cotton production by the government. In the words of a farmer: In the past we had large cotton enough even for export. The land is still there for us to grow cotton for textile consumption and even for export They were of the views that if adequate attention is given to cotton production, thread making and dye making there will be generation of employment for all and sundry. They further RJFSR, Vol. 4, No. 1, 2019 Ibrahim, Mohammed Gaddafi expressed that hand spun thread and dyed ones indeed were cheaper to acquire when cotton was grown in the southwestern Nigeria in large quantity.

Expressing further concern on how to develop the industry to full capacity and to meet contemporary market challenges, a dyer opined that there could be a mix of materials that could be generated from the immediate environment and the imported ones. He expanded his opinion on those from the local environment as follows: during the colonial time, we were able to prepare khaki colour dye to provide uniform for court messengers and the ingredients are as follows…egbo idi, (root of idi tree), egbo ayin (root of ayin tree), ewe egun, ehin ire lasangba, locus bean tree, idaro (bits which fell when heated and hammered by blacksmiths. Yanko (palm kernel oil).

The range of products in the industry and the innovation observed and evident in the asooke industry bear witness to the potentials of satisfying local demands and export markets. One is bound to be amazed at the level of sophistication in terms of contemporary designs while still retaining its original postures. This reflects the potentials of environmental conditioning and ecological dependence of the textile industry. Thus, with the necessary technology transfer, if well annexed the idea of sustainable development and the vision of Nigeria been among the top 20 economy by the year 2020 (vision 2020 of the Federal Government of Nigeria) may be truly achievable.

2.1.6 Sustainability and Sustainable Development Sustainability‟ is a way of living that is capable of guaranteeing a continuity of life for all. It is a search for the common good; a way of living in its totality that makes possible the best conditions of life for everyone (without exception or any type of exclusion) at all times. It means living a balanced life today; a healthy way of living in which no one lives at the expense of anyone else; and a way of life lived by the whole society that considers the needs of future generations (See Motomura, www.amanakey.com.br). Kalam & Singh (2011) view sustainability along six dimensions, namely, economic, technological, social, environmental, value and learning sustainability. Economic Sustainability implies that the financial model of the development tool is sound and robust, and that development tools are tuned to the core competency of the region. Technological Sustainability implies that technology will be the driving force behind the development tool employed. Social sustainability reflects the belief that people are not necessarily customers, and that an enterprise should be a partner in the lives of the people, should work closely with the local community, and facilitate building capacity and living standards. Environmental sustainability, the relatively well known concept of sustainability encompasses in itself issues of reducing emissions; reducing water and soil pollution; protecting biodiversity; preserving natural resources; waste recycling; awareness of ecology in the community; and accountability on environment. Value sustainability implies that development should be accompanied by the creation of a value-based society, thereby helping reduce social conflict. Lastly, sustainability related to learning and adaptability refers to the availability of infrastructure, opportunity and incentives for continuous learning from each other, facilitating innovations.

Kalam & Singh (2011) view sustainability along six dimensions, namely, economic, technological, social, environmental, value and learning sustainability. Economic Sustainability implies that the financial model of the development tool is sound and robust, and that development tools are tuned to the core competency of the region. Technological Sustainability implies that technology will be the driving force behind the development tool employed. Social sustainability reflects the belief that people are not necessarily customers, and that an enterprise should be a partner in the lives of the people, should work closely with the local community, and facilitate building capacity and living standards. Environmental sustainability, the relatively well known concept of sustainability encompasses in itself issues of reducing emissions; reducing water and soil pollution; protecting biodiversity; preserving natural resources; waste recycling; awareness of ecology in the community; and accountability on environment. Value sustainability implies that development should be accompanied by the creation of a value-based society, thereby helping reduce social conflict. Lastly, sustainability related to learning RJFSR, Vol. 4, No. 1, 2019 Ibrahim, Mohammed Gaddafi and adaptability refers to the availability of infrastructure, opportunity and incentives for continuous learning from each other, facilitating innovations.

2.1.7 Sustainable Cultural Entrepreneurship A narrow interpretation of sustainable cultural entrepreneurship is to equate this to creation and marketing of traditionally or cultural friendly products and services by entrepreneurs, thereby adding value. Hannah (2017) views this as providing solutions to sustaining cultural practices or ecological innovations and products either by a start-up company or an established business. This emphasizes joint economic and ecological value creation, and can therefore be defined as eco-entrepreneurship or ecopreneurship. Essentially, the terms eco-preneurship, eco-entrepreneurship or environmental entrepreneurship are used synonymously meaning „innovative behaviour of single actors or organisations operating in the private business sector which see environmental and cultural aspects as a core objective and competitive advantage‟.

Several conceptually broader definitions of sustainable entrepreneurship bring in certain additional dimensions. For example, GP-Consult (2017) defines sustainable cultural entrepreneurship as continuing of culture promoting resources business that will improve economical value. This emphasizes additional goals of promoting sustainable cultural living and environmental improvement. An emphasis on cultural sustainability within entrepreneurship involves searching for opportunities for new innovative that will improve traditional products or services or new technologies or production processes that alleviate social or environmental conditions, make more efficient use of energy and natural resources, and harness new resources that are more abundant, cheaper to produce, and less harmful to society. The conclusion that cultural entrepreneurship exists in order to create social and cultural value rather than personal wealth.

Drivers for Re-Lunching Cultural Entrepreneurship The traditional literature on entrepreneurship requires entrepreneurs to challenge, in an effective way, the environment of their practices: entrepreneurship is about changing the conditions of production, challenging a status quo by taking individual risks for larger social impacts. However, this same literature also understands the entrepreneurial processes as being diverse and multi-faceted. As argued, the role of the entrepreneur is permeable historically, geographically and industry-specifically, and evolves based on the changing patterns of economic life, which is itself socially and culturally embedded. A similar conclusion can be drawn for cultural and creative entrepreneurs. Although this concept is still vaguely defined, a common ground among cultural and creative researchers is that this form of entrepreneurship concerns entrepreneurs involved in the cultural and creative industries. However, while recognizing that the “management of creative businesses requires specific skills in both the entrepreneurial and the artistic or cultural aspects of the business operations” (UNCTAD and UNDP, 2008 p.40), hence, traditional cloth weavers are primary analysis to sustain an aspect of Nigeria‟s cultural practices.

Cultural entrepreneurs are thus considered as the individuals who stand as intermediaries between demand and supply in the cultural economies, while deploying characteristically informed networking strategies. As such, they react according to their interpretations of their field of practice, while being self-reflective and offering mediation as well as translation of ideas and information (Pratt and Jeffcutt, 2009p. 268).

As stressed, the literature on re-lunching traditional cloth weaving for cultural entrepreneurship sustainability in Nigeria stands in clear contrast to the image of sustaining cultural practices and intentionally planned and dramatically awakening the gradually dying culture of the country. More also, re-lunching traditional cloths will help to identify good reliance on „local knowledge‟. These findings confirm the “need for entrepreneurs to be both immersed in the culture of the activity system but also, with the help of significant others, to have the opportunity to reflect both critically and individually on what they are doing” (Raffo et al., 2000 p.219).

RJFSR, Vol. 4, No. 1, 2019 Ibrahim, Mohammed Gaddafi

3. Methodology This section discusses in detail the methods utilized in order to answer the research questions. The analysis of relevant scientific studies dealing with the topic re-lunching traditional cloth weaving for sustaining cultural entrepreneurship in chapter two has shown that many studies suffered from methodological constraints. This dissertation hence aims to overcome these constrains and demonstrate improved methodology in comparison to previous studies.

Research Method Overview A multi-method approach consisting of quantitative and qualitative survey methods was employed. This approach was chosen to allow for a mix of interview research questions aiming either at testing hypotheses or exploring new insights into a relatively new field of research. For the 3 research questions and corresponding hypothesis, a deductive research approach with a quasi-experimental research design was selected. Data acquisition was conducted via structured interviewed questions with repeated measures over time and matched pairs.

1. ANALYSIS AND INTERPRETATION

S/N QUESTIONS SIMILAR SUMMARIZED DECISION RESPONSES 1. i. Are you an entrepreneur? Yes ii. For how long have you been a cultural entrepreneur? iii. What is your area of specialization?

2. What do you understand by the concept cultural entrepreneurship? 3. i. Do you think conduct a re-lunching Aso-oke as a traditional cloth weaving will promote culture and sustain cultural entrepreneurship in Nigeria? ii. What are the economy importance of traditional cloth woven?

INTERVIEW SECTION

RJFSR, Vol. 4, No. 1, 2019 Ibrahim, Mohammed Gaddafi

S/N QUESTIONS SIMILAR DECISION SUMMARIZED RESPONSES 1. i. Are you an entrepreneur? Yes 2-10 years ii. For how long have you been a Craft cultural entrepreneur? Art work Traditional attire iii. What is your area of specialization? beads

2. What do you understand by the concept 1. Cultural entrepreneur is Standard perception by cultural entrepreneurship? a craft work that brings considering individual about profit. difference. 2. Reviving our dead culture and bringing it to the market to sell. 3. Cultural entrepreneur-ship is a way of promoting the economic growth and development traditionally; this help to reduce the rate of unemployment. 3. i. Do you think conduct a re-lunching 1. Aso-oke is an Aso-oke as a traditional cloth economic traditional weaving will promote culture and attire that will sustain cultural entrepreneurship in pronounce Nigeria Nigeria? culture, so re-lunching it will be a great idea.

2. Cultural entrepreneurs are seen to be creative and innovative, so with new innovation, I see our traditional attire all over the world being appreciated.

3. Re-lunching traditional attire makes no difference to the Nigerian economy and I don’t see it sustaining the traditional entrepreneurship in Nigeria. 3. What are the economy importance of 1. It promotes the traditional cloth woven? Nigerian culture. 2. Reduces rate of unemployment by creating job for unemployed youths or graduates. 3. Promotes growth and development in the RJFSR, Vol. 4, No. 1, 2019 Ibrahim, Mohammed Gaddafi

S/N QUESTIONS SIMILAR DECISION SUMMARIZED RESPONSES country. 4. Promotes cultural diversity there by, sustain cultural development in the country.

The summarized responses of the respondents from the table above shows that Nigerians are looking forward to re-lunching traditional cloth weaving in the country, also judging from responses above, cultural entrepreneurship has also contributed greatly to the growth and development in the county and has also been see as an instrument to minimizing the rate of unemployment in the country. Most importantly, cultural diversity, innovations, creativity, cultural practices among others is promoted greatly in the country and outside the country.

5. Discussion of finding and Policy Implications In a scientific discourse, civilization is synonymous with culture; because the latter is the sum total efforts and achievements made by human beings to transform nature in order to make it better serving the need of the particular society in question (Darah, 1994). This perception recognizes indigenous knowledge, innovation from within, local needs, technology and ways as a system of organism which is dynamic and ever changing. Development, better still, popularly acceptable quality of lives and environmental influence, are people focused and the law of social and natural justice presupposes that indigenous people are to be considered in relation to their needs, level of organization and existence in history before changes, science and technological inclusive, are engineered. When such changes appear to be unavoidable due to local and global exigencies in a compellingly globalized world, local (national) governments must prioritize local dynamics as they are the determining variables upon which all efforts draw relevance.

In the case of Aso-oke, as the landscape of the industry and the society at large altered, it undoubtedly did not appear as negatively far reaching as it turned out to be. In fact, given the high level of authority traditional rulers had in the primordial Yoruba kingdoms, traditional rulers, who were often ignorant of the ulterior motive, were heavily relied on, through the Indirect Rule system, for effective colonial cotton and industry manipulation policies. The production of Aso-oke in traditional Yoruba society was/is effected through simple indigenous technology which was interdependent (among the other actors in the industry by forming a complex whole) and as well independent and developing at its own pace. International (global) exigencies, in the form of colonial incursions and interests in cotton, which is the principal raw material in the industry, the introduction of imported yarn and loom, in the name of making it up to date and standard is largely accountable for the present state of the industry, and more. Hence, in the global powerhouse, there are „drivers‟ and „passengers‟. It is better, therefore, for governments whose citizens would be directly affected by policies to also take the drivers‟ seat as their local population will bear the brunt of whatever consequences as it was/is the case in that of Structural Adjustment Programme (SAP) of the 1980s. As maintained ab- initio, it is not the position of this paper to sentimentally antagonize contemporary policy drive of innovative Science and Technology (S&T), rather, it is to proactively, pragmatically and empirically demonstrate through „recent‟ (recent because the effects are still being felt) national development experience of Nigeria the need for policy makers in „Developing‟ and „Transitional‟ economies to pay elaborate attention to unspoken and usually unnegotiated global political economic undercurrents of emerging issues to avert unforeseen repercussions. This study therefore, emphasizes the need to pay deserved attention to local extra scientific and technological dynamics even as innovative science and technology are being chorused in the global hegemony compounds.

5.2 Conclusion RJFSR, Vol. 4, No. 1, 2019 Ibrahim, Mohammed Gaddafi

This study has presented aso-oke in a compact manner in such a way that it gives an important view of its existence especially the way and manner the aso-oke responded to contemporary dynamics. The evidence presented her suggest that aso-oke is relatively simple in production and can be best categorized as small and medium scale enterprises as it require minimal capital and technology to produce and can consequently engage even the poor majority even with relatively simple skills. Although the industry has witnessed and still witnessing transformations, it is still subsisting. Possible explanation could be found in the responses from the field as it is easy to operate, still in use and has socio cultural embeddedness.

Recommendations As already shown in the process of analysis, wearing an aso-oke is more than wearing just a cloth but conveys class, status, religion, position, tradition, history, origin, and a people amongst others too numerous to mention. Understandably as already demonstrated, global political economy is affecting aso-oke in a new dimension, it however hold sway as it produces a new form and exist in the emerging definition of textile and fashion. As it subsists even in the face of contemporary challenges however, governments, international organizations, Aso- oke (Hand Woven Textiles) of Southwestern Nigeria a Compact Examination of a Resilient Artifact Governmental Organisations (NGOs) and other stakeholders must intervene to moderate and appropriate the changes and sustenance being experienced by addressing specific issues affecting the industry, as already raised in this study, due to its material and symbolic necessity. As the world races towards the achievement of the Millennium Development Goals (MDGs), even though global political economy suggests optimism (developments, 2008), poverty is still a reality in Nigeria and does not show any sign of abating as it stands above 70 percent (National Bureau of Statistics, 2006; Federal Ministry of Women Affairs and Social Development, 2007), unemployment is increasing (11.9 percent at present [ National Bureau of Statistics, 2006]) while the aged, for example, who are the masters in traditional industry operations are being challenged by social change amongst other critical issues too numerous to mention. The process of making aso-oke is relatively simple and labour intensive especially when compared with some of the contemporary industries. The starting capital and the operational techniques are equally simple and easy to acquire. As such, employment generation for the youth and even the elderly could be possible through aso-oke and consequently reduce rural urban migration, poverty and, particularly, poverty among the elderly who cannot cope with modern complex production process in the face of; reduced energy, insufficient economically viable children, disintegrating extended family networks and lack of social welfare to cater for them.

Beyond poverty eradication among the elderly, it could also be a way of enabling them contribute meaningfully to the development of the nation. At present, elders are mostly seen as grannies/“story tellers” and often only expected to narrate tales to the young ones without direct annexation of the developmental potentials. The elders could be engaged to train school children in the art and science of aso-oke to further protect and annex the future relevance of aso-oke. This could be a way of protecting indigenous technology often used in the making of the artifact therefore leading to the protection and development of local technology rather than technology transfer. As shown in this study, aso-oke is mostly located within the family system and perpetuated usually through informal education as the young ones are taught the art and science by the old. If the old are rendered irrelevant as they are forced out of business by the prevailing socioeconomic conditions, the transfer of knowledge necessary for the sustenance of the industry automatically becomes impossible and this is bound to be counter- productive for an element of culture like aso-oke.

Cases abound of cultural elements that have nearly been forced into extinction as they currently exists at the merging and often treated with disdain due to factors identical to those militating against aso-oke. Traditional divinity (the practitioner/priest is known as babalawo) and traditional herbal treatments (the practitioner is known as onisegun) are not popular and well accepted today especially among the youths and the elites and this precarious existence is traceable to the advent of Christianity especially Pentecostalism, and Islam, with the proliferation of alasalatus (socioreligious sects in Islam comparable to denominations) which portrays the RJFSR, Vol. 4, No. 1, 2019 Ibrahim, Mohammed Gaddafi babalawos and the oniseguns as „evil‟ even when their services appear needed in solving some contemporary problems. They (babalawos and diviners) are considered archaic, superstitious and irrelevant in the scheme of things as most are neglected in the rural areas only to be consulted when issues reached critical levels by the hypocritical urban dwellers. The attendant generational gaps created led to a situation whereby the knowledge and skill of divination and traditional herbal treatments were not replicated as most of the old practitioners who were experts in the „trade‟ died with their skills especially as most operated through oral and spiritual therapy and training with very little written in their accounts. The few written documents could not even operate efficiently without the unwritten knowledge which was left as such due to operational secrecy. Experiences and cursory observations have shown that lot of contemporary onisegun and the babalawo especially the young ones are largely adulterated and merely exist for economic survival as their therapies have been found to be very expensive and largely ineffective as they lack sufficient requisite training even in the face of challenging health problems. The overall textile industry in Nigeria is currently in crises. Average Capacity Utilization Rates has fallen from 79.7 percent in 1976 to all time low of 48.0 percent in 2005 (Central Bank of Nigeria, 2005). Factors of ten adduced for this abysmal situation include; smuggling of imported textiles especially the popular second hand (tokunbo) clothes, lack of operating capital and high interest rates, poor infrastructure (especially power supply), and government insensitiveness amongst others identical to those facing aso-oke.

In addressing this problem, the Federal Government of Nigeria has approved various measures that directly targets specific issues. The latest of such policies is the approval N70 billion naira (US$59.8 million) loan to textile firms in the country (The Guardian, January 15th, 2008) to boost confidence in the industry and enhance operating capital (a major constraint to optimal efficiency according to the policy framework).Of significance however is that criticisms and suspicion are already trailing the policies as they not yielding desired results while corruption charges are affecting the disbursement of the textile loan. It can therefore be adduced that the intervention of government may not yield the desired results if the necessary disaggregated analysis of the industry is not attempted as the industry is only nearly an octopus needing eagle eye, disaggregated and compact investigation for effective intervention efforts. Aso-oke therefore presents a case study, in a way, for the stakeholders and if the issues raised in this study are well explored, it may illuminate the path out of the present quagmire in the textile industry and better appreciation of the aso-oke.

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