CHAPTER ONE

1.0 INTRODUCTION
1.1 BACKGROUND TO THE STUDY
Arts and Crafts are another Nigerian industrial cluster project. The benefit of Arts and Crafts is
not quite derived from the present National Development Plan. Rather, emphasis on development
is geared more to the exploitation of the crude oil and other mineral resources. The folk art of
Nigeria has a long and rich tradition behind it. Its international popularity today can be seen from
the enormous number of hobby and Crafts departments, shops and stores springing up
everywhere (Verlag, 2017). Arts and Crafts are traditional art of Nigeria that has meaning and
relevance to the society. Crafts have subject content that both the productive and appreciative
aspects are important. It reflects the industrial state of a nation (NERC 2013). In a world of
change and continuity, there are bound to be challenges in attempt to industrialize an economy.
Governments focus attention on industrialization not only to provide employment opportunities
for their citizens but also to diversify the economy. In Nigeria, apart from the abundant
agricultural resources, mineral potentials, the country is endowed with a lot of Arts and Crafts
resources which when fully tapped and managed properly will provide job opportunities to the
teeming masses (Information Department, 2016). Government industrial policy aims at
promoting small-scale industries including those connected with the processing and utilization of
agricultural products. The processing industrial projects underscore the need for foreign
assistance in view of the lack of trained indigenous manpower and technical know-how. Thus,
Government could attract overseas business concerns to invest in a country using local resources
and labour thus providing the indigenes opportunities to acquire technical and managerial skills.
In consequence therefore, one of the most pressing needs of the African continent today is
industrialization which gives room for the development of individual skills. Manual dexterity is
an essential ingredient for technological accomplishment and practical crafts can help to
overcome many problems in the technical field. It is a matter of recognizing that every person is
a creative artist in his own right and of helping him to acquire entrepreneurial skill that will
enhance the economic development of a country. The situation in contemporary Nigerian
economy is not exactly this. The benefits of Arts and Crafts are not quite derived from the
present National Development Plan (Irivwieri 2014). This is because emphasis at development is
geared more to the exploitation of the "black gold" and other mineral resources. It is on this
backdrop that this study seeks to highlight the potentialities of Arts and Crafts as wealth creation
medium which government can explore through industrialization to enhance foreign exchange
reserve.
1.2 STATEMENT OF THE RESEARCH PROBLEM

Arts and Crafts are the result of man's desire to improve upon the world by utilizing nature's
benevolence. Nature has made everything tangible and intangible available for man's use and
development. The tangible things include: trees, grasses, gravel, granite etc. while the intangible
is the idea. As such, Arts and Crafts could serve as springboard for sustainable development and
industrialization in a given economy for there seems to be a conscious non-awareness of the
value, potentials and significance of Crafts in normal everyday life. This is evidenced from
people's purchase pattern and positive attitude towards machine-made products more than man-
made objects in spite of their high standard of workmanship and their durability. Although local
craft is widely practice among the residence of Hadejia Town, however, it is individual and
overall contributions to the socio economics development have not been documented.
Furthermore, the trade is gradually being neglected both by practitioners and the community
because of the increasing relevance of imported products of similar important.

Furthermore, the community of Hadejia Town mostly youth are neglecting the inherited
occupations of their fore fathers which make most of them to became unemployed because they
depend on modern implement which is inadequate and unaffordable virtually to most of the
members of the community.

Consequently, there is a need to study the contributions of these local craft industries with a view
to showing how it affect the socio economic development of people in order to reinvigorate the
skills and encourage younger people to embrace it as a trade.

1.3 RESEARCH QUESTIONS

I. What is the relationship between the activity of local craft industry and standard of living
of the people in the study area?
II. What are the factors that cause the local craft industry to decline in the study area?
 III. How do local craft contribute on the economic development of the people in the study
area?

1.4 AIMS AND OBJECTIVES OF THE STUDY

The aims of this research are to assess the socio economic benefit of local craft industry in
Hadejia town. These aims will be achieved through the following objectives.

I. To identify the relationship between local craft activities and socio-economic status of the
people in the study area
II. To examine the relative factors that is responsible for the declining importance of local
craft industry in the area.
III. To identify the contribution local craft industry to the quality of live and community
growth economically.

1.5 SCOPE OF THE STUDY

The scope of the study were confined to Hadejia LGA and delimited Hadejia town targeting
respondents from different local craft industries including blacksmithing, weaving, dying and
pottery. Hence, the study is going to look at the assessment of local craft industries on the socio-
economic status of people in Hadejia local government area, jigawa state.

1.6 JUSTIFICATION OF THE STUDY

Long ago, people have difference perception on local craft industries while some consider it as
one of the source of income to the local people especially those are living in the rural areas and
others look local craft industries as factors that lead to the increase in national income of the
country in general. This research will be restricted to socio economics benefit of local craft
industries in Hadejia.

1.7 DESCRIPTION OF STUDY AREA

1.7.1 Geographical location and Extent

Hadejia emirates (previously known as Biram) is one of the local government in northeastern
part of Jigawa state, It’s located between latitude 12 013` to 13060 N and longitude 90 22 E and its
situated at an elevation of a 359 meters above sea level. Hadejia is currently the largest and most
important commercial and agricultural town in Jigawa state, the city itself as of 2006 has a
population of 105,628 inhabitants (NPC 2006. It shared boundary with kirikasamma local
government from the east, Mallam madori local government in the north, and Auyo Local
government in the west. Hadejia emirates consist of eleven (11) political wards namely: Atafi,
Dubantu, Gagulmari, Kasuwar kofa, kasuwar kuda, Matsaro, Majema, Rumfa, Sabon garu,
Yankoliand yayari.

Figure 1.Map of Jigawa state showing study area.

1.7.2 Geology and Relief

Generally, the town is underlain by sediment of low chad formation that undergone weathering
and give rise to fairly deep soil which is often concealed by sand dunes with no surface outcrops.
The sand dunes formed over the impervious clays of the chad formation for the main source of
water in the dry season. The soils are generally sandy at the top and compact at depth with often
hardpan. The Area consists of marine and terrestrial sedimentary rocks, largely unfolded and
unconsolidated. The marine ingression during cretaceous age linked the Niger-Benue Trough to
the chad basin. It was during this period that the marine sediments were deposited. And as the
Ocean receded leaving behind a Mega Chad whose shores extended to Maiduguri and Marked
today by the Bama Ridge, terrestrial sediments were deposited over the marine ones by in-
flowing rivers. The relief is generally undulating, and Surface outcrops are absent in the areas
covered by sedimentary rocks of the chad formation and the relief usually below 400 meters
above sea level. Undulating of fossils, dunes and due ridges are separated depressions which
contain water during the rainy season. But shallow valleys are characteristics of the crystalline
rock areas, where there is river beds are usually age rocks, the valley formation hardly exist.

1.7.3 Climate

The present climate of Kano region is the Tropical wet and dry type, coded as Aw according to
Koppen’s classification, although climatic changes are believed to have occurred in the past. The
climate characteristics in Hadejia as a whole are typical of West African savannah. Temperature
in the region is generally high throughout the year. In Kano (Hadejia Inclusive) there are
seasonal changes, indicating a gradual increase from January to April where maximum value
reaches as high as 43°C (Ibrahim, 2011). There are three main seasons based on temperature
element. A cool and dry season: It lasts from November to February. During which the mean
monthly temperature is between 21 and 23°C with diurnal range of 12-14⁰C. The Hamattan
winds prevail at this period. The period is followed by a hot and dry season which lasts from
March to mid-May. The mean monthly temperature during this period is in excess of 300C and
the daily range is up to 20°C. This is followed by the wet season which is warm, with mean
monthly temperatures about 26⁰C and a diurnal range of about 10°C, rising to 13°C in
September (Olofin, 2008). The mean annual rainfall is about 800 mm. Great temporal variation
occurs in the amount of rainfall received and no two consecutive years record the same amount.
The annual rainfall value received is about 800mm especially toward the vicinity of desert.
According to Sanni and Okhimamhe (2010), the annual rainfall values are inconsistent from one
year to another. For instance 1999, 2004, 2010, 2012 witnessed highest annual values in both
temperature and rainfall i.e. above normal. These resulted to frequent extreme weather hazards
dominantly flood and global warming. The metropolis temperature is higher than that of the rural
surrounding by about 9°C. However, the length of hydrological growing season has decreased
from an average of about 120 +/- 5days to about100 +/- 5days in the region. The climate of the
area is strongly influenced by the tropical maritime air mass and the tropical continental air mass
like in most part of West Africa. The tropical maritime air mass which originates from the
southern high pressure belt is humid in nature and is attended with on-shore south-western winds
off and the Gulf of Guinea.

1.7.4 Soil and Vegetation

Generally, the matured soils occupy the plains and the immature ones are found on hill slopes,
foot slopes and valley-bottoms. The influence of topography and wind-drift materials from the
desert is what shapes the aggregate of the soil structure in Kano Region, although, the matured
soils are latosols of ferruginous type (Olofin, 1987). The lower course contains more of loamy
sand than heavy or light loamy soils which presents the proportion of soil types on the lower
course of 13 sampling sites in the Kano Region. The clayey soils are inadequately developed
even in the lower terrace where alluvial soils predominate, except on some patches of land and
on the floodplain where vertisols are the main soil type.

The clayey soils are dark in color, crack in dry season to give polygonal pattern but are massive
and jointed in structured when wetted. The natural vegetation is a mixture of Sudan, Savannah
and Sahel thorn shrubs species, sparsely distributed over the entire area, with variation in density
from place to place due to human imprint. The Sudan Savannah trees are composed of variety of
species hardly taller than 20 m ranging from baobab to different types of acacias, for example
Acacia Albida spp, Acacia Nitotica spp, and Acacia Seyal spp. Most of these trees adapt to
drought conditions through long tap roots, leathery leaves, and tiny leaves. With the exception of
Acacia Al bida which retain their green leaves throughout the year, the other trees shed their
leaves during the dry season.
1.7.6 Population and Settlement

The socio-cultural situation in town is mostly homogenous and populated mostly by

Hausa/Fulani, and other tribes that are insignificant. Generally, the populaces are Muslims
believers. According to 2006 National Population, Hadejia local government has 105,628 people
inhabitant in the year 2006. And the current statistic is estimated at about 450, 241 inhabitants,
with a total of 52yrs life expectancy. Hadejia is one of the fastest growing Local governments in
the whole of Jigawa state. The present, the estimated population of Hadejia is over 450, 000
people. The growth rate of 2.9 % has been recorded, with persistent high level of fertility
accompanied by declining mortality rate in the region. The rate of the natural population increase
has risen from an estimated 2.51 % per annum in 1960's to about 3.3 % per annum in 1980's and
4.5 % currently. The figure is relatively even between males and females with about 51% males
and 49 % female. Population in the region is influenced by three major factors: birth, death and
migration. Natural increase in populations was influenced by the balance between birth and death
rate. The growth rate of 2.9% per annum has been recorded, with the persistently high level of
fertility accompanied by high level of mortality in Hadejia local government area. The high rate
of natural population increase has risen from an estimated 2.51 per annum in the1960’s to about
2.9 currently (Mustapha and Yakudima in Olofin et al. 2008).The influx of immigrants in to the
region may have brought about changes in settlement patterns. The coming of the British
colonists greatly modified the settlement pattern by bringing in western pattern. The pattern of
settlement may also be determined by social and economic factors. Two broad classes of
settlement were recognized in the region: they are rural and urban settlements. Rural type of
settlements has formed an important position in the overall settlement pattern of many parts of
the world especially Africa The dominant pattern of rural type of settlement includes,
isolated/disperse settlement, nucleated villages, and planned rural settlement (Harris, 1995).
Hadejia has a history of urban development. The magnitude and spread of urbanization differs
across the Town.

1.7.5 Human Economic activities

The Hadejia Nguru wetland plays a vital role in the regional economy of northern Nigeria. This
made most of the populace to engage in agricultural activities, the fact that there is available
fertile land and sufficient water resources. Recent attempt have been made to value the
production of most of the major sub system of the Hadejia Jama’are floodplain, holding irrigated
farming, flood and rainfed agriculture fisheries and livestock. The Hadejia-Nguru Wetlands play
a major role in the regional economy of northern Nigeria. About 90% of the 4.3 million people
of Jigawa State are predominantly engaged in Agriculture, making the sector the major source of
livelihoods,1 food security and poverty reduction. In Jigawa, the State Economic Empowerment
Development Strategy (SEEDS1) and the Comprehensive Development Framework (CDF) have
been the leading policies of Governments since 2006. These policy strategies consist in the
provision of pre-harvest and post-harvest support with respect to storage; processing and
marketing of Agricultural produce covering both food crops and industrial crops. Also the
strategies include rural development components that target the provision of rural infrastructure
for sustainable rural livelihood.

1.8. CONCEPTUAL FRAME WORK AND LITERATURE REVIEW

1.8.1 DEFINITIONN OF CRAFT INDUSTRIES

There are many debates concerning craft such as, heather there is different between craft and art
or if the world craft should be uses as all to describe handmade objects. Par harps one of the
main problems in development this industry lays in its diversity and broad definition. Craft
covers media, materials and functions ringing from glass textile ceramic and jewelry. Industrial
appliance and every utility object; I lives in galleries and museums on sidewalks, at trade fairs
and outside airports. Crafts are embrace the so called higher realms of art and culture through its
production and of traditional and contemporary artifacts, yet it also penetrates the arena of mass
production, intersecting at all point where art and business usually meet (CIGS 1998)

“craft as means of livelihood through the production of broad range of useful or decorative
items, crafts lend itself to production in an informal environment (eg. The home) making it
particularly suitable as means of income generation for large sectors of the population.

Chelladurai (2007) saw local craft as the products made completely by hand or with the help of
simple tools.
It is obvious that much of the tension around defining ‘craft’ is a result of the diverse range of
products commonly referred to as ‘craft’ this problem of definition is an international
phenomenon.

In 2007, the united nation conference on trade and development attempted to regularize tariff
classification by stating that “a product should be regard as handmade or hand craft if the
essential character the product is derived from the handmade aspect of its production” (morris,
2003). For the purpose of this, research, the definition provided by the ACYAG document is
adopted.

1.8.2 TRADITIONAL ARTS

Traditional Crafts are of two types: (i) Utility Crafts which provide the essential items such as
clothing, farm implements, utensils, furniture, and materials for house construction. (ii) Art
Crafts such as wood carving, fancy leather ware, jewellery and other decorative. While utility
crafts are largely full-time occupation of particular groups or families such as carpenters,
blacksmiths, boat makers, basket weavers, tinkers etc, the Art Crafts are often part - time
occupation.

Cottage industry is a small scale industry comprising service sectors of repairs and maintenance
of vehicles, production of implements and tools etc. Craft skill is acquired through formal
training or at another craftsman's workshop. Crafts embraces skills involved with the following:
batik, bookbinding, calligraphy, candles, castings, ceramics, clothes, clothing embroidery,
enamel, mosaic work, pressed flowers, furniture, fur and skins, glass, engraving glass and stained
glass. Others are horn products, jewellery and silver smithing, knitwear, leather, metal work,
models and miniatures, musical instruments, paper sculpture, plaques, painting on paper, stone
work, tapestry, macramé, textiles, textile kits, toys and dolls, weaving, wood and many others.

Cottage industry is carried out in the home by members of the household as part-time or full-
time occupation and its products are generally of the essential consumer type such as hand-
woven cloth, handloom carpets and pottery (Aig-Imoukhuede, 1988). Handicrafts are also
produced in the cottage or home as part-time activities utilizing implements and hand tools and
are characterized by the lack of machinery with motive power, by high artistry and skills of
manipulation by employment limited to members of the household or a particular artisan
community.

1.8.3 GENRE OF CRAFTWORKS AS POTENTIALS FOR INDUSTRILISATION

Craft articles possess artistic qualities which enhance their attraction and market value. The local
craftsmanship includes cloth weaving, matmaking, pottery, basketry, utility carving, smithery,
jewellery etc. These are briefly discussed as follows:

Pottery: It involves moulding or hand building of clay objects like utensils, animals and other-
shapes. Where possible they are decorated, fired and glazed. Pottery is another occupation
dominated by women. Clay is obtained from river banks. It is mixed with water and kneaded
sufficiently to enable the potter mould whatever objects is required. The moulded object is
allowed to dry in the sun for three or more days. It is then sprinkled with water and scraped to
become smooth. It is dried in the sun again before being finally baked over an open fire. The
potters produce a wide variety of earthenware including cooking pots bowls, mugs and the
traditional Ukoko pipes with a six-foot long bamboo mouth-piece (Information Dept, 1971).
With the acquisition of kiln and varieties of glaze and potter's wheel, a cottage pottery industry,
which will be self-sustaining, can take off. This pottery art is peculiar to the states in the Niger
Delta area of Nigeria such as Osun, Ondo, Delta, Bayelsa, Rivers, Imo, Ebonyi amongst others.

Weaving: This embraces a whole galmut of crafts such as making of clothes, baskets, hats, fans,
carpet, rug, bags, chairs, mats and other items peculiar to almost all the states in the six geo-
political zones in Nigeria particularly those in the core North and South-south. The materials for
production of these articles are derived from raffia fibers, grass, palm fronds and canes among
others. For instance; clothes are hand-woven and highly dominated by the women folk who
employ the same technique. Weaving is done on a simple loom installed in a corner of the room.
The looms usually consist of two wooden poles, each about six feet long planted on the floor,
side by side with each other in a slanting position and at a distance of about three feet apart. Two
other poles are tied across the standing ones. The first about eighteen inches from the ground and
the other about four feet away from the first. This constitutes the basic framework. The yarn is
produced by ginning raw cotton on a special type of bow. A mass of cotton is placed over the
bow and as the string is pulled in a speedy manner at rapid intervals, the seeds are wrenched
from the cotton wool. With a wooden spindle consisting of a long spin and a knob at the base,
the wool is spun into a yarn or thread. Lengthy coils of thread are fixed on to the loom and
swung round the cross poles to form the base fabric. They are held in required positions by
carved sticks, designed for the purpose. Weaving is carried out with the help of a wooden shuttle
with two pointed ends. The shuttle is used to shoot the yarn across the warp or fabric to form a
weft or web. Patterns are affected by the use of large needles. Coloured threads are obtained
from camwood and kolanuts. Generally, the clothes are thick and rather coarse in texture, but
lighter and smoother ones are also made. The finished clothes are used for dresses and home
furnishing such as door and window blind, bedding, table covers, theater stage background,
curtains, architectural theatrical designs (costume, mask, stage scenery, models and set puppets)
among others. Mats are thick and coarse fabric made from the fronds of the raffia palm or the
soft tender and glossy kind made from rushes. Plaiting is done mostly on the floor where the
mat-maker squats and on the top when certain decorative patterns are to be plaited. Some mats
are used as bedding, some as table mats and others as wall mats. Mat-making is traditionally a
woman's occupation. Fans are produced by mat-makers from rushes, while the gorgeous chiefs
fan with woolen frills and leather embroidery is made by special craftsmen. Embroidery on plain
cloth or other materials with yarn of cotton or silk can also be produced. Baskets are made
extensively in the riverine areas. The basic raw materials are obtained from palm fronds and
canes. Products include fishing baskets, farmers' wicker baskets, shopping and waste-paper
baskets and cane-chairs.

Carving: This is another craft which involves making of patterns on calabashes, wood, slab of
clay and cement. Objects produced include wooden ash-trays, stools, chests, walking sticks,
candle holders, canoe paddle, ebony rings, ear-rings and carved iroko paneled doors. This is
extensively produced in some of the Northern and Southern states such as Sokoto, Kano,
Kaduna, Edo, Delta Osun, Ondo among others.

Blacksmithing: This work provides farmers with cutlasses, housewives with articles such as
kitchen knives and hair-pins, wrought iron gates and window grills. There are gold smiths and
silver smiths- who make trinkets, rings and exotic silver jewellery incorporating Nigerian
amethyst and other stones. This is prevalent in the South-eastern states such as Anambra, Enugu,
Imo, Ebonyi among others. Leather works: This is another veritable occupation particularly in
the northern part of the country where most of the people are engaged in livestock, cattle, goat,
and donkey rearing trade amongst other animals. Decoration of leather by printing and sewing on
patterns, bags, footwear, wallets, belts, pouffes, dresses, etc. The states where this is
predominantly practice include Sokoto, Kano, Kaduna, Borno, Gombe and Taraba.

Graphic Arts: Graphic Arts are concerned with the problems of preparing and organizing visual
symbols for the communication of ideas and information and satisfying the needs of the
advertising industries (Sheridan College, 1983). Diverse creative graphic art works can readily
be established from a very humble beginning with little cost, which in no distant period, create
further jobs for the teeming population. Crafts workshops and art studios where some hand and
machine crafted articles are produced and sold could be set up. In this area, is book-binding
which entails the making of prints into book cover and folders, cutting paper and cloth prints to
make jackets and the binding of old and new books. As part of environmental design with wall
decorations, walls are decorated with mosaics, beads, collage, broken pottery, reliefs, stained
glass, etc. Graphic Arts is commercial art which span through all the metropolitan cities in
Nigeria such as Lagos, Port -Harcourt, Warri, Enugu, Kaduna Kano Abuja among others. During
the industrial revolution in Britain, greater considerations were given to both the aesthetic and
technological aspects of industrial products. This is a clear demonstration of the strong
relationship of Arts and Crafts and Industrial design (Adetoro, 1987).

1.8.4 DEVELOPMENT IN CONTEMPORARY ARTS AND CRAFTS PRACTICES

According to Jowitt (1933) many Africans learn to look down upon native arts and crafts which
they erroneously despise as belonging to a past which they are too anxious to disown. His
contemporary Ruskin, was of the view that the practice of art if undertaken in the right spirit
would improve mankind and he emphasized that if Art is practiced for the sole object of
increasing profits, it would have a contrary effect and based his methods on examination of
nature or study of those parts of nature which lend themselves to this process. This doctrine of
Ruskin was applied with a more coherent social theory by William Morris and his followers,
Walter Crane, who with other members of the Arts and Crafts movement tried to regenerate the
notion by a method of art training which placed great emphasis upon the study of manual Crafts.
Contemporary Arts and Crafts have been influenced by Western Arts. Formally, Crafts were
taught by Craftsmen to their sons, daughters, domestic slaves and bondmen (people who gave
their services in lieu of interest on money owed by them), hence Crafts became linked to certain
compounds. Nowadays, apprentices may be recruited from the sons and daughters of friends and
customers who admire the quality of the craftsman's work and see that he is prospering. An
apprentice starts by running errands, performing domestic task in the workshop and observing
the craftsman at work. Then, he undertakes the simpler crafts processes going on to more
complicated processes as he becomes more proficient. The relative sponsoring the apprentices
training pays a fee to the craftsman and when the apprentice has become expert in the craft, he
celebrates his "freedom" at a ceremony, where gifts of food, drink and money are presented to
the person who trained him, who now offer prayers for his success and other paraphernalia to
enable him start up his workshop. The colonial experience had profound effects on Nigerian
society some good and some bad. The greatest harm was the undermining of the confidence of
the people in their own culture and institutions (Oyelola, 1981). It became a mark of prestige to
dress in European style and to acquire possessions which came from overseas. This taste for
foreign goods hard led to led to a decline in many of the crafts practiced in Nigeria but ironically
many Europeans working there, appreciate indigenous craft objects, using some items in their
homes and buying others as presents for friends and relatives. Other factors such as the change
to a money economy and the emphasis placed on modern technology have adversely affected the
growth and development of crafts in Nigeria. John Kenneth Galbraith - a one-time president of
the American Academy of Arts and letters, as reported by Aig-Imoukhuede (1988) declared that
"… let no one minimize the service that the arts render to established industry. In the years since
the world war, there has been no economic miracle quite like that of Italy …" The Italian success
derives from the Italian artistic tradition. Italian products over the widest range are superior not
in durability, low cost but in engineering excellence. They are better in design. Italian design and
the consequent industrial success are the result of centuries of recognition of including massive
subsidy to the arts. The trans-Saharan and trans-Atlantic trades depended largely on crafts
exports which represented the highest level of existing technology of the time and after
agriculture, contributed not less than forty percent of the economy. The grafting of import on
local skills and techniques, established shoe factories manned by shoemakers from Zinder and
Katsina at the foot of Dala Hills and factories by Arabs from Ghadames at Gingan - Alfindiki
where they made lantami shoes for the Emirs of the Western Sudan, some of which were
exported to Tripoli. Silk embroidered slippers were exported from those centers to Sokoto,
Gwandu, Nupe and Adamawa for use of the upper class and turkudi cloth for turbans was
exported from Kano as part of the trans-Saharan trade. The quality of Nigerian leather craft was
already known to Europe where products from the Sokoto red goat were christened Moroccan
leather because of its last port of exportation from Africa into Europe. These sources of national
income have survived as cottage and small scale industries and their resilience is demonstrated
by the inevitable presence of craft items at agricultural shows and trade fairs. The guilds still
exist in Bida, Sokoto, Oyo, Benin City and other towns and states but without a deliberate
government policy for their effective re-integration into the mainstream of national economic
planning.A survey taken of the local textiles industries, in the country that is, hand woven cloth,
dyed cloth (including tie-dye) embroidery (shoes, cap, gowns, blouses etc) shows that the annual
turnover is over two billion naira. Textiles are better developed than other areas of crafts which
need proper organization to re-orient their producers. There is need therefore to extend the
security of employment to these areas, enhanced and re-establish the self-reliance and self-
sufficiency in order to create more job opportunities at the grassroots and a wider distribution of
the fruits of development. For instance, Sweden, despite its reputation for hi-technology, actively
promotes crafts and design as a necessary linkage to the industrial process and the Swedish
society of crafts and design provides support for activities ranging from craft to industrial design.
This point is made for the Nigerian government to understand that Arts and Crafts are a valuable
medium that will bring sustainable development in the country. This is evidenced from the input
it has made in other developing economies.

1.8.5 BENEFITS OF CRAFTWORKS AND PRACTICES

Handicrafts offer the satisfaction of working on the whole production of an article. Persons who
work on an assembly line usually work with only one or several parts. They miss the pleasure of
planning and making an object from the beginning to the end. Handicrafts also offer relief from
monotony and uniformity of mass production. People often turn to Handicrafts for enjoyment
and recreation. Handicrafts also serve as occupational therapy. Many Hospital patients as well as
the blind and permanently bedridden, take part in handicraft programmes. A patient who tools
leather or weaves belt, rugs or Handbags, often is too busy to think about his illness. Special
organizations train these people on various crafts and help them to sell the articles they make. In
this way, patients and handicapped people can earn income. Craftworks give scope for the
development of manual dexterity. The training of the human eye to see correctly and to
appreciate things according to their values goes together with the development of skills in
craftsmanship.

1.8.6 PROBLEMS ASSOCIATED WITH CRAFT INDUSTRIES

According to (CIGS 1998) the following are some of the problems association with craft
industries.

Stable cost structure due to old production techniques

Due to the intensive manual labor involved in the industry, there are no economics of scale.
Hence, the cost of production does not go down with time or scale. However, there can be
economies of experience that allows for faster production, through these are minimal and capped
by the artisan`s ability given the human nature of the labour.

Excessive intermediation

Intermediation is one of the biggest challenges faced by the local artesian and craftsman. In most
cases, the rural craftsman works alone, sells the goods to local dealers, not knowing their price in
the “outside” market and having tittle bargaining power. The dealers, who know the market
value of the products and the production cost, are stable to pay as little as possible to the craft
man and sell/export the goods for as much as they can. As such,

Lack of organization

The craftsmen work generally alone and produce the goods as additional sources of income,
since they cannot live. The main factors that prevent the organization of artisans in communities
and for cooperatives are the individual. Home base and substance nature of the craft and the skill
differences among artisan is that lead to an adverse selection process whereby the pooling of
every body`s crafted goods is not necessarily in the interest of the best craftsmen (unless it was
well established by rather sophisticated mechanisms of sale revenues distribution).

Lack of branding awareness

The local artisans and even organized cooperatives of the artisans are often scheduled from the
concepts of brands creation and awareness for their products. This lack of knowledge prevent
from obtaining a premium price for the product are sold as un-differential goods even if they
have high quality. It also makes more difficult to access the markets.

Risk to compromise product quality (mass production)

With the increase demand of traditional goods on the worlds markets, the craft men at some
point may be tempted to move to mass production. Either this, the craft men could be
compromising on quality as handcraft drive their quality from being hand made.

1.8.2 LITERATURE REVIEW

In tourism business development, Richards (1999), cited in Rogerson and Rogerson (2011)
observes that “culture, crafts and tourism are rapidly becoming inseparable partners; local crafts
are important elements of culture and people travel to see and experience other cultures,
traditions and ways of living”. As noted by Timothy (2005), crafts often represent an important
element in the shopping activities undertaken by tourists.

Okonkwo and Oguamanam (2013) studied the traditional crafts of Etim Ekpo people in Akwa
Ibom State which include carving of mask and drums, making of mortar, building of canoe and
figurine production. These traditional crafts, they argued, have contributed and still contribute
immensely to the economic well-being of the people by way of purchasing or renting of carved
objects.

Okonkwo and Oguamanam (2013) believe that proper harnessing of the traditional crafts can
spearhead cultural tourism development in Etim Ekpo; however, they identified certain issues
which have to be addressed. These include poor government attitude towards promoting and
encouraging the production of local crafts, lack of incentives, grants, seminars and workshops to
encourage and facilitate the production of traditional crafts, lack of preservation and
conservation measures for carved items, and the adverse influence of Christianity whereby many
view indigenous crafts with religious values as fetish. Another key issue raised elsewhere in the
literature is the need to create adequate marketing outlets for folk crafts. Indeed, Redzuan and
Aref (2011) remark that craft producers are confronted by various marketing challenges
which make it hard to attain market size in terms of product quality and bulk production.

According to the United Nations World Tourism Organization (2008), core issues for handicraft
enterprise development are the existence of small and insecure markets as a result of low rural
incomes, seasonality, poor access to external markets and severe competition among producers.
For the reason that tourists always seek to purchase items considered ‘typical’ or ‘authentic’
cultural products of destination area, indigenous crafts must have recourse to tourism as one of
the major ways of resolving these issues. This raises the need for strategic alliance between
tourism and craft.

In a study by UNESCO it was found that “handicraft production in developing countries now
depends in large part on the demand generated by the tourism industry and by the business
activities of intermediaries” (Richard 2007). In Morocco, for instance, it was averred that the
craft sector garnered as much as 54% of tourists’ total daily expenditure (Berriane 1999). The
aforementioned confirms that tourism is a key avenue of reviving and sustaining traditional
crafts. Thus, as Lacher and Nepal (2010 in Rogerson and Rogerson 2011) have duly argued, a
promising area for policy intervention may enhance craft producers’ access to markets is that of
strengthening the linkages between craft makers and tourism value chain (Ashley 2006, Lacher
and Nepal 2010).
 CHAPTER TWO

2.0 RESEARCH METHODOLOGY

The data for this research was obtain from different sources including primary and secondary
data sources

TYPES OF DATA

2.1 PRIMARY DATA SOURCE

The primary data source for this study includes questionnaire administration and direct
observations where applicable.

2.2 SECONDARY DATA SOURCE

The secondary data source involves documented record, related journals and publications,
textbooks, and other previous related literature from internet.

2.3 METHODS OF DATA COLLECTION

The method of data collection for this study includes pre-field and post field method.

2.3.0 PRE-FIELD METHOD

2.3.1 RECONNAISANCE SURVEY

Reconnaissance survey was conducted in order to be acquainted with the study area, and
obtained visual information about the location of the local craft Industries and other geographic
features such as landforms, drainage and vegetation.

2.3.2 SAMPLING FRAME

In Hadejia town, the sum of four (4) local crafts was recognized including makera quarters,
majema, masaka, matoya. 150 questionnaires was design and administered to the local craft
industries within the study area.
2.3.3 SAMPLING TECHNIQUE AND SIZE

The sampling techniques adopted in this research is purposive sampling, were purposively
selected to represent the whole. The respondents were drawn at random within these selected
areas; makera, makera quarters, masaka, majema, matoya.

2.3.4 FIELD METHOD

QUESTIONNAIRE ADMINISTRATION

A questionnaire was designed and subjected to supervision by the relevant personal and made to
standard from distribution to the respondents in local craft industries in order to supply answer to
for the socio economics benefit of local craft industries.

2.3.5 DIRECT OBSERVATION

Data regarding the location and type of of the industries was observed during the field work
through direct observation and pictures were captured for further discussions.

2.4 METHOD OF DATA ANALYSIS

The data collected was subjected to analysis using Descriptive statistics e.g. mean, percentage,
pie-chart, bar chart and histogram to present the result
 CHAPTER THREE

Data Presentation, Analysis, and Discussion

3.1 Introduction

This chapter encompasses presentation of data as well as result of the analysis and discussion.

The study wasas conducted at Hadejia town.

TABLE 1: TYPES OF INDUSTRY

FREQUENCY PERCENT VALID CUMMICATE

PERCENT PERCNT
WEAVING 20 14.18 14.18 14.18

POTTERY 40 16.76 16.76 30.94

DYEING 40 16.76 16.76 47.70

B/SMITH 50 52.30 52.30

TOTAL 150 100.0 100.0 100.0

Further investigation of the craft revels that black smiting is the dominant industry in the area in
that about 52.30% of industries are all black smiths while about 16.76% are pottery. 14.18% of
industries are weaving and 16.76% are dyeing industries as expected, this result indicate that
black smiths industry is more widely distributed in the area then any others. This may be due to
the fact that their products are highly demanded since the area is located a rural part of the state
were most of the inhabitants are subsistence agriculturalist.

TABLE 2: GENDER OF THE OWNERS

 FREQUENCY PERCENT VALID CUMMULATIVE
PERCENT PERCENT
VALID MALE 105 70 70 70

FEMALE
45 30 30 100.0
TOTAL
150 100.0 100.0

Most of the industries are owned and run by male as can be seen from table 3. That is 105% of
the respondents are male while 45% are female. This result indicate that male dominate the
industries and this has relation with the fact that in northern part of Nigeria, female participation
in economic activities is very low, this could be attributed to their affiliation to Islamic religion
which restricted open interaction of women with men.

TABLE 3: AGE OF THE OWNER OF INDUSTRY

S/N RANGE OF AGE TOTAL PERCENT

1. 15 – 20 20 13.33
2. 25 – 30 30 20.0
3. 35 – 40 70 46.66
4. 40 above 30 20.0
TOTAL 150 100.0

Result in table 3 above shows that the ages of the respondents vary significantly as the working
classes which range from 15 – 40 are higher with 105%. 40 and above are old and in the
retirement age.

TABLE 4: EDUCATION QUALIFICATION

FREQUENCY PERCENT PERCENT/V CUM/PERCENT

PRIMARY 30 20 20 20
 SECONDARY 80 53.33 53.33 73.33

TERTIARY 20 13.33 13.33 86.66

ARABIC 20 13.33 13.33 100.0

TOTAL 150 100.0 100.0
Regarding the respondents educational qualification. Table 4 shows that 20% of the owner of the
industry have only primary certificate, about 53.33% attended secondary school while 13.33%
attended tertiary education also 13.33% attended Arabic education.

This shows that respondents have low level of western education which was attributed to
many factors such as economic e.g. financial in capabilities social e.g. conservatism and I don’t
care attitude, political e.g. lack of tertiary institution at the expense of the respondents, difficulty
in getting admission etc.

The result also reveals that the possibilities for expansion or adoption of modern technology in
to the industries that will allow for the excel of the industries will be very difficult since there is
low level of western education so any kind of modern idea that comes their way they will do
away with it.

TABLE 5: YEARS OF ESTABLISHMENT OF THE INDUSTRIES

S/N RANGE OF PERIOD TOTAL PERCENTAGE

1 15 – 20 20 13.33

2 25 – 30 30 20.0

3 35 – 40 70 46.66

4 40 above 30 20.0
TOTAL 150 100.0
Result in table 5 above show that the age the respondents vary significantly as the working class
which ranges from 15 – 40 are higher in number with percent 105% and all ranges from 45 and
above while a percent of 20% 40 and above are old and therefore less productive compared to
the working class.

TABLE 6: PEOPLE WORKING IN THE WORK – SHOP

INDUSTRIES NUMBER OF FREQUENCY PERCENTAGE

PEOPLE
2–4 3 60
4–4 1 20
WEAVING 8 – 10 1 30
10 and above 0
Total 5 100.0
2–4 2 33.33
4–8 2 16.66
POTTERY 8 – 10 1 16.66
10 to above 1 100.0
Total 6 33.33
2–4 2 50.0
DYEYING 4–8 3 16.66
8 – 10 1 16.66
10 to above 0
Total 6 100.0
2–4 9 42.86
BLACK SMITH 4–8 5 23.81
10 – 10 4 19
10 to above 3 14.29
Total 21 100.0
Table 6 shows the number of workers and the result in revels that the highest number of workers
that weaving industries employed are 8 – 10 and 2 – 4 the least. Pottery industries unlike
weaving industries requires large number of people of up to above 10 one industries out of the
total (4) industries while the least number of workers employed ranges between 4- 8.With regard
to dyeing, no industry that employed more than 10 persons. The industries that requires higher
number of workers is the black smith industries about three (3) industries employed more than
10 persons. In a nutshell, the craft industries operate at family or household level that is why the
number of people involved are not many as in most cases less than 10 persons are involved.

TABLE 7: PLACE OF TRAINING WORKERS

FREQUENCY PERCENT VALID CUM/PERCENT

PERCENT
Valid in the workshop 100 66.66 66.66 66.66
somewhere out of the
workshop of field 50 33.33 33.33 100.0

150 100.0 100.0

Table 7 shows the place of training of workers in craft industries. From the table above 66.66%
acquired their training from within the industries while 33.33% acquired their skills before they
were employed. This result indicates that majority of the workers got training in their work place
because the workers are mainly employed directly from the family. Who acquired their skills at
younger age.
TABLE 8: DURATION OF TRAINING

INDUSTRIES RANGE OF MONTH FREQ PERCENTAGE

DYEING 1-4 4 66.67
4-8 2 33.33
8-12 0 -
12 and above 0 -
Total 6 100
WEAVING 1-4 1 20
4-8 3 60
8-12 91 20
12 and above 0 -
Total 5 100
POTTERY 1-4 1 16.67
4-8 3 50
8-12 2 33.33
12 and above 0 -
Total 36 100
BLACK SMITH 1-4 3 14.29
4-8 3 14.29
8-12 6 28.57
12 and above 9 42.85
Total 21 100
Result in table 8 revels that about 66.66% of the respondents spent a range of 1 – 4 month in
dyeing industries to acquire the required skill. The remaining 33.33% of the respondents spent a
range of 4 – 8 month in dyeing industries. The duration of training in weaving industries differs
20% of the respondents spent a range of 1- 4 month while about 60%spend the range of 4-8 moth
of training. 20% of the respondents spent a range of 8-12 month. This result show that in the
pottery industries about 16.67% of the respondent receive training of 1-4 month; 50% receives a
training of 4-8 month, while 33.33% of the respondents receives a training of 18-12 month.
Blacksmith industries have 14.29% of the respondents with a training duration of 1-4 month.
14.29 receive a training of 4-8 month while 28.97% receives training of 8-12 months. 42.85% of
respondents spent more than 12 month of training from the result, it is clear that duration of
training vary among the industries and this may be attributed to the level of skill needed by the
industries. For example, to be a black smith it requires lot of skill than deciding to be a weaver.

TABLE 9: Relationship of trainee with owners

FREQ PERCENT VALID CUMULATIVE

PERCENT PERCENT
Valid relative 100 66.66 66.66 66.66
brothers 10 6.66 6.66 73.32
neighbors friend 10 6.66 6.66 79.98
total 30 20 20 100.0
150 100.0 100.0

Workers do not pay for their training and the reasons of that difference from one craft
industry to another is shown in table 9. The table, show that 66.66% do not pay for the
training they acquired because they are relatives (children, in-law, etc.) to the owners of
the industries; about 20% escapes the payment because they are friends or neighbors to
the owners. Another 6.66% do not pay because they are neighbors to the industries or to
the owners while 20% are either relatives and/or friends. It is important to note that there
is no outside labour. The above result reveals that trainees do not pay for the skills learnt
because of their relations to the owner’s trainers are on apprenticeship.
 TABLE 4
80

70

60

50

40

30

20

10

0
Arabic tertiary secondry primary

According to the above diagram explain that those that have the Arabic qualification and tertiary
education is 20% and those that have secondary certificate with 80% having the highest percent
and those that have primary certificate is 30% with second rank of the percentage. Finally those
that have the SSCE certificate are greater than that of Arabic, tertiary and primary.
 TABLE 7
120

100

80

60

40

20

0
Outside Inside

The above diagram shows that in place of training the workers, the people that get the training
outside the industries 50 and those that get the training inside the industries is 100, this show that
they get training within the industry more than those that are inside the industry, this allows
people to get well train and different experience and skills within the industry.

TABLE 2
120

100

80

60

40

20

0
MALE FEMALE
In the above diagram explain that the male having is having the highest frequency up to 105%
percent (70) according to the bar chart and unlike female having the (50) which is 30%.

This shows that the number of respond in male is greater than the number of female respondent.

TABLE 1
60

50

40

30

20

10

WAEVING PORTERRY DYIENG B/SMITH

The above chart with blue color inside the bar, (weaving) indicate 20% which is lowest rate in
the bar chart while pottery with black color inside the bar chart having 40% which is middle
class in the bar chart followed by dyeing having the same percentage which is 40% while the last
is blacksmith which is having the highest percentage which is 50%.
 TABLE 9A

0 20 40 60 80 100 120

FRIEND NEIGHBORS BROTHER RELATIVE

The above chart shows that the relative having the highest percentage, i.e relative is greater than
the brothers, neighbors and friends but the number of respondent in friends is greater than that of
brothers and neighbors. All this shows that the relative have more relation with trainee compared
to others.
 TABLE 9B
120

100

80

60

40

20

RELATIVE BROTHER NEIGHBOR FRIEND

50000-above

40000-50000

20000-30000 Series1
Series2

10000-20000

level of income

0 10 20 30 40 50 60

The above chart shows the economic status of the respondents and it reveals that, respondents
who earned 50000-above has the highest percentage(53%) followed respondents earning 40000-
50000(42%). This indicated that local craft industries contributed significantly to the economic
status of the respondents.
 CHAPTER FOUR

4.0 Summary, Conclusion and Recommendation

4.1 Introduction

The chapter seeks to summarize the main finding of the research and offer recommendation.

4.2 Summary

The research has shown that local craft industries are unevenly distributed in the study area.
Metal work industries are the dominant in the area and are widely distributed because of high
demand of their products. Dyeing industries are developed and located in few areas because of
less demand of their by-products and high cost of production.

4.3 Conclusion

From the finding of the research we may conclude that the distribution of the local craft work in
the area has to do with resource and market availability or raw materials for the final
product.Pottery are located near river site due to available of vary e.g. Matoya, Garko quarters
e.t.c Dyeing industries are poorly developed in areas of Magama Hudu quarters e.t.c.

Due to marke availabilityt and high cost of resources (chemicals). Black smithing is almost
everywhere due to high demand of its product. Weaving industry has to do with inheritanceand
take place in areas of Baderi, Masaka, Kasuwar Kofa quaters e.t.c.

4.4 Recommendations

Many people in the study area get their means of livelihood through local craft industries,
therefore government should improve the area with infrastructures e.g

1. electricity and good roads for the owners of the industry to have easy accessibility for
transporting their products from production area to market.
2. soft loans should be given to the owners of the industries to embark into full term
production.

3. market need to be provided for final products.

4. it is important for government to try and change the perception of traditional crafts as
national culture and heritage.
5. teaching traditional crafts in schools as vocational education as it is a crucial step in
ensuring the knowledge spill-over to future generation.
6. seminar and workshops should be organized to the local operators on issues related to
improvement of production and new innovation to promote production.

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