Back
 JTST  Vol.6 No.4 , November 2020
Festival Elements: A Source of Inspiration for Contemporary Fashionable Products
Abstract: Festivals are intrinsic aspects of the culture of a group of people and allow displaying interesting crafts and elements such as fabrics, symbols, folktales, and paraphernalia. The dynamism in the culture is vast but unexplored as inspiration for the creation of products. This created the need to explore the possibility of designing contemporary print and products from these crafts and elements from two festivals (Aboakyir and Gologo) using Adobe Photoshop in the design process. This phenomenon necessitated the consideration of this project which was undertaken by employing the design-based practice coupled with observation as an instrument. Elements related to the festivals were identified and using the design process, print designs were developed and further simulated on different products. This practice seeks to promote the cultural heritage of the people to a wider populace and the world at large. It is recommended that the Traditional Council should have a museum or gallery for keeping the artworks used in their festivals for archival purposes.
Cite this paper: Ayesu, S. , Osei, M. , Chichi, C. and Acquaye, R. (2020) Festival Elements: A Source of Inspiration for Contemporary Fashionable Products. Journal of Textile Science and Technology, 6, 200-217. doi: 10.4236/jtst.2020.64017.
References

[1]   Vigbedor, D., Gbadegbe, R.S., Adja-Koadade, M. and Agra, F. (2016) Ewe Proverbs—A Source of Imagery for Textile Designs. Arts and Design Studies, 46, 42-66.

[2]   Seidu, K.R. (2019) Exploring Liquefy Tools of CAD Software in Reinventing Cultural Elements for Innovative Textile Designs. Kwame Nkrumah University of Science and Technology, Kumasi.

[3]   Ayesu, M.S. (2015) Empirical Study of Akuapem Odwira Festival and Traditional State Symbols: A Means for Design and Production of Textile Regalia for Akuapem Paramount Chief. Kwame Nkrumah University of Science and Technology, Kumasi.

[4]   Asare, K.D., Howard, K.E. and Ibrahim, F.A. (2016) The Aesthetic and Philosophical Values of Asante Linguist Staff Symbols in Textile Design. International Journal of Innovative Research & Development, 5, 225-237.

[5]   Safo-Ankama, K. (2019) Adaptation of Indigenous Structural Textile Designs for Textile Prints: The Case of Selected Fugu Fabric Designs. Journal of African Arts & Culture, 3, 1-23.

[6]   Clement, F.A. (2011) A Seat Inspired by a Traditional Symbol from Ghana. Akershus University College, Lillestrøm.

[7]   Oduro-Awisi, K.A. (2013) Chieftaincy Disputes in Akuapem Traditional Area: A Search for Solution. Faculty of Social Sciences Department of Religious Studies, Kwame Nkrumah University of Science and Technology, Kumasi.

[8]   Hall, M. (2000) The Future of Tourism: A Personal Speculation. Tourism Recreation Research, 25, 85-95.
https://doi.org/10.1080/02508281.2000.11014902

[9]   Akintan, O.A. (2013) Traditional Religious Festivals and Modernity: A Case Study of Female-Oriented Cults Annual Festivals in Ijebuland of South Western Nigeria. International Journal of Social Science and Education, 3, 1035-1046.

[10]   Impraim-swanzy, E. (2015) Artistic Elements in the Festivals of the Effutus-Ghana, Faculty of Art, College of Art and Built Environment. Department of General Art Studies, Kwame Nkrumah University of Science and Technology, Kumasi.

[11]   Okpu, O. (2015) Costume and Body Adornment in Dance: A Case Study of Abame Festival in Igbide: Isoko Local Government Area of Delta State, Nigeria. International Journal of Arts, 5, 21-31.

[12]   Eze, C. and Akas, N. (2015) Costume and Make up, as a Tool for Cultural Interpretation: A Study of Egba Festival of the Kokori, Isoko Local Government Area of Delta State. Journal of Art and Design Studies, 36, 22-34.

[13]   Filippos, F., Ivonni, H. and Christos, K. (1995) Dance and Costume. From the Tradition Performance. Folklore, 23, 107-114.
http://www.folklore.ee/folklore/vol23/costume.pdf
http://doi.org/10.7592/FEJF2003.23.costume


[14]   Arku J. (2013) Fugu—The Tradition Goes on.
http://www.graphic.com.gh/features/features/fugu-the-tradition-goes-on.html

[15]   Gbadegbe, R.S and Mensah, C. (2013) The Role of Art Forms in the Celebration of Festivals: A Case Study of Asogli Yam Festival. Volta Region, Ghana. Arts and Design Studies, 12, 35-41.
http://www.iiste.org

[16]   Adjei, A.D., Sarfo, F. and Adongo, G. (2016) Analysis of the Art Forms Used as a Costume in the Gologo Festival of the People of Tongo in the Upper East Region of Ghana. Arts and Design Studies, 41, 28-34.

[17]   Adjei, A.D. and Sarfo, F. (2016) Significance of the Costume Used for the Dia War Dance by the Frafra People of the Upper East Region of Ghana. Journal of Culture, Society and Development, 24, 44-50.

[18]   Yu, H.-C. (2014) A Cross-Cultural Analysis of Symbolic Meanings of Colour. Chang Gung Journal of Humanities and Social Sciences, 7, 49-74.

[19]   Lamara, K. (2017) Psychological and Physiological Effects of Colour in Cross-Cultural and Business Communication. Grigol Robakidze University, Georgia.

[20]   Takyi, E.H. (2015) A Comparative Study of the Concept of Atonement in the Aboakyir Festival of the Effutu Tribe in Ghana and the Yom Kippur Festival of the Old Testament: Implications for Adventist Mission among the Effutu. Seventh-day Adventist Theological Seminary, Berrien Springs.

[21]   Kodzo, L. (2017) Kente Cloth: Everything You Need to Know about Kente. KENTECLOTH.NET, Virginia.

[22]   Nortey, S. (2009) The Hɔmɔwɔ Festival in Accra: Its Artistic Cultural Aspects. Kwame Nkrumah University of Science and Technology, Kumasi.

 
 
Top