This study is a critique of Aso Ebi in Owambe social uniform and social performance phenomena of the Yoruba culture of Nigeria in West Africa. The Aso Ebi phenomenon is a social uniform that is inextricable from the Owambe spectacle of the Yoruba culture, which, in itself, is a social performance. Aso Ebi is a fabric that is selected, made into garments and worn by groups of people who are related to one another in various ways such as family, friends or comrades. The uniforms are worn for social gatherings, especially celebrations, which are popularly called Owambe. These celebrations are very elaborate and loud, much like a grand spectacle put on to show wealth, unity and flamboyance. The research is the explanation of how the Aso Ebi and Owambe social uniforms manifest themselves and this manifestation is presented through a body of artworks. The artworks seek to expose the unseen actualities involved in participating in these social performances and issues of social survival within these cultural phenomena. The analysis addresses the impacts and influence of conformity in cooperative behaviour by an individual within his/her social identity and relationships. The main question this study addresses is whether the positive factors of unity, social order and expressive visual flamboyance of the social phenomena outweigh the negative impacts particularly on the individuals who participate in these social performances. This is done by acknowledging the experiences of the participating individuals in the conformity and transmission modes of these phenomena in this culture. The visual productions of the concepts in the research are achieved through performance, collages, photography and a sculptural installation. The significance of these emergent visual productions is that they shift the focus from the impression of the group to the conformity by the individual. This highlights the problems faced by the participating individuals in the pursuit and participation of this cultural phenomenon. / Department of Art History, Visual Arts and Musicology / M. A. (Visual Arts)

Thesis (MBA (Business Management))--University of Stellenbosch, 2009. / ENGLISH ABSTRACT: This report is an evaluation of the impact of the quotas imposed on clothing and textiles imported from China on the clothing and textile manufacturing industry in South Africa. On 28 August 2006 the Government of the Republic of South Africa and the Government of the People’s Republic of China concluded a memorandum in terms of which the export of certain tariff lines of the Chinese textile products to South Africa would be administered in accordance with the volumes specified in the memorandum for a period of two years. The fundamental objective of these import quotas was to provide South African clothing and textile firms the space in which to operate, with the aim of improving competitiveness in domestic and export markets in the long run. The Chinese market-share of South African global clothing imports has risen steadily to the mid-2006 level of just under 75 percent. It was claimed that because of the significant growth in imports from China between 63 000 to 67 000 jobs were lost in the domestic clothing and textile industry from March 2003 to September 2006. The effect of the imposition of the quotas is evaluated by comparing the state of the clothing and textile industry in South Africa prior to 2006, that is pre-quota imposition to the state of the industry up to two years after imposition of the quotas. Reference is made to employment in the clothing and textile industry in South Africa, the size of the industry in South Africa, the position of clothing retailers, labour costs and productivity, as well as the competitiveness of the local clothing and textile industry. The comparison shows that the import quotas did not solve the industry’s woes and that the trends prior to the imposition of the quotas continued. It further shows that the imposition of quotas had a detrimental effect on the welfare of consumers in the country. A change of tack for the industry’s policy makers and businesses is proposed. / AFRIKAANSE OPSOMMING: Die verslag is ‘n evaluering van die impak van kwotas ingestel op die invoer van klerasie en tekstiele vanuit China op die Suid Afrikaanse klerasie- en tekstiel-bedryf. Op 28 Augustus 2006 het die regerings van Suid-Afrika en China ‘n memorandum onderteken ingevolge waarvan die uitvoer van sekere Chinese tekstiel-tarieflyne na Suid-Afrika vir ‘n tydperk van twee jaar beperk sou word tot volumes gespesifiseer in die memorandum. Die doel van hierdie kwotas was om aan Suid Afrikaanse klerasie- en tekstiel-ondernemings die ruimte te skep om handel te dryf en sodoende hul mededingendheid in beide die plaaslike- en uitvoermarkte te verbeter. Die Chinese markaandeel van Suid-Afrikaanse klere-invoere het geleidelik gestyg tot net onder 75 persent in die middel van 2006. Arbeids-organisasies het aangevoer dat die aansienlike toename in invoere van China daartoe gelei het dat tussen 63 000 en 67 000 werksgeleenthede verlore gegaan het in die plaaslike klerasie- en tekstiel-bedryf vanaf Maart 2003 tot September 2006. Die effek van die kwota-instelling word geëvalueer deur die stand van die Suid-Afrikaanse klerasie- en tekstiel-bedryf voor 2006 - dit wil sê voor die instelling van die kwotas - te vergelyk met die stand van die bedryf vir ‘n tydperk van twee jaar ná die instelling van die kwotas. Verwysings word gemaak na die vlak van indiensneming in die Suid Afrikaanse klerasie- en tekstiel-bedryf, die grootte van die plaaslike bedryf, die posisie van klere-kleinhandelaars, arbeidskoste en produktiwiteit, asook die mededingendheid van die plaaslike bedryf. Die vergelyking toon dat die invoer-kwotas nie die bedryf verbeter het nie en dat tendense aanwesig voor die instelling van die kwotas steeds voortduur. Bowendien toon dit dat die instelling van die kwotas ‘n nadelige invloed gehad het op die welvaart van Suid-Afrikaanse verbuikers. ‘n Koersverandering vir die bedryf se beleidmakers en besighede word voorgestel.

This thesis presents teaching fundamentals of digital logic design and VLSI design for freshmen and even for high school students using e-textiles. This easily grabs attention of students as it is creative and interesting. Using e-textiles to project these concepts would be easily understood by students at young age. This involves stitching electronic circuits on a fabric using basic components like LEDs, push buttons and so on. The functioning of these circuits is programmed in Lilypad Arduino. By using this method, students get exposed to basic electronic concepts at early stage which eventually develops interest towards engineering field.

Certain disjunctions exist between the structure, courses, and practices of current textile curricula on the one hand, and the demands of students for entry into diverse creative professions and the demands of the creative industry for qualified new talents on the other. Thus, this research will explore the history, current issues, and emerging trends of academia and the creative professions as these shape the qualifications, aspirations, and expectations of students, academia, and the textile-related fields. The ultimate goal of this study is to comprehend the contemporary issues—social, economic, and cultural shifts—that may impact textile education within art and design colleges, and propose an efficient and engaging BFA (Bachelor of Fine Arts) textile curriculum suitable for the era of interdisciplinary education and the fourth industrial revolution. Since scholarly study of the effectiveness of art school curriculum is limited and little research has examined the challenges of BFA education, and in particular BFA textile education in the context of 21st century college education, the researcher begins with a survey of existing literature from adjacent fields, including higher education, sociology, business, marketing, apparel, and art education, in particular, adolescent artistic development. The existing literature also includes statistics from government, consulting firms, colleges ranking sites, and annual reports published by each school. This qualitative case study examines how stakeholders in BFA textile education—students, faculty, and professionals—from five selected art colleges in the U.S. perceive their educational experiences and post-college careers. The data were collected through 1) a review of existing literature pertaining to perspectives of general college education, creative industry, and current student generation, and 2) qualitative data gathered through initial surveys and verbal interviews, including two pilot studies. Stakeholder perspectives obtained through interviews are interpreted through the following theoretical frameworks: 1) the business perspective aiming at the success of all stakeholders; 2) the marketing perspective aiming at improving stakeholder satisfaction as a means of enhancing the operational efficiency of organizations; and 3) the educational perspective aiming to create effective teaching and engaging learning environments for the success of today's young creative talents. The researcher contends that the findings strongly suggest curricular and pedagogy change in accordance with societal changes and demands of the stakeholders—current student generation, creative industry, and academia—while at the same time informing the significant value of college education, BFA education, and textile education in the 21st century.