Welcome to Scribd, the world's digital library. Read, publish, and share books and documents. See more
Standard view
Full view
of .
Look up keyword
Like this
0 of .
Results for:
No results containing your search query
P. 1


Ratings: (0)|Views: 56|Likes:
Published by Ronnald Wanzusi

More info:

Categories:Topics, Art & Design
Published by: Ronnald Wanzusi on Dec 29, 2010
Copyright:Attribution Non-commercial


Read on Scribd mobile: iPhone, iPad and Android.
download as TXT, PDF, TXT or read online from Scribd
See more
See less





MAKERERE UNIVERSITYMARGARET TROWELL SCHOOL OF INDUSTRIAL FINE ARTTHE INFLUENCE OF CONTEMPORARY FASHION DESIGN ON THE VIBRANCY OF TRADITIONAL CEREMONIAL DRESS CULTURE OF URBAN DWELLERS.BYWANZUSI RONNALDA RESEARCH PROPOSAL SUBMITTED IN PARTIAL FULFILMENTOF THE REQUIREMENTS OF A BACHELOR’S DEGREE IN INDUSTRIAL FINE ARTAUGUST 2010Definitions of operational termsKhanga-------------- A khanga is a brightly colored piece of cloth that many East African women wear. Many wear khangas over their skirts while working in the fields to keep the dust of their skirts. Khangas are also worn as head wraps.Shuka--------------- A sash (decorative length of cloth) worn in parts of Africa.Kitenge ------------ A printed Fabric originating from West AfricaAgbada ------------- Agbada is the Yoruba name for a type of flowing wide sleeved robe, usually decorated with embroidery, which is worn throughout much of Nigeria by important men, such as kings and chiefs, and on ceremonial occasions likeweddings and funeralsKikoyi -------------- A piece of woven cloth from different threads of cotton yearn to provide the different patterns worn inside a GomasiKofia --------------- Swahili word for a capOmutanda--------- Title for Buganda’s KingOmwogezi--------- SpeakerKitambala--------- A matching colorful sash that accompanies a Gomesi as a BeltVibrancy-------------In this study, vibrancy between the two dress cultures will be defined as the heightened use of or intensified case of presence ofcolor, elaborate fashion and extreme variations of the value including relatedmaterials that render an exhibition of the culture / traditional dress qualitiesand immediately felt or recognized. In other words, fashion in relation to style becomes immediately felt and thus prominent, in the presence of other immediate things.
CHAPTER ONEINTRODUCTION1.0 BackgroundThe Baganda in Uganda have their traditional wear – the Kanzu (tunic) for men andGomasi (flowing gown) for women – which are mainly used for ceremonies such as theKwanjula (introduction ) and Embaga (wedding) .In Buganda, women
s decency was valued highly. This decency was portrayed in many forms including dressing, which reflected mannerism. As part of the continuedquest for decency, the early tribesmen with efforts from missionaries in Bugandacame up with the idea of a Gomesi/Busuuti.Initially the Gomesi/Busuuti was made of bark cloth and since then it has evolved from time to time due to the emergence of contemporary fashion which brought in different materials, colors and styles. The history of the Gomesi can be traced back as far as 1940’s when it was adapted as the dress for boarding schools in Uganda, starting with Gayaza. Gayaza, as we know was founded by Christian missionaries ‘…to train girls especially the daughters of chiefs in those skills that wouldmake them better wives’.According to www.ugpulse.com, initially, the ladies of the school donned the basic Kiganda ladies’ attire of the day: a sheet of cotton cloth wrapped around the breasts and tied to the waist with a smaller strip of cloth. This left much of the torso exposed and there were often some accidents with that attire especiallywhen the ladies went to work in the school shambas . The missionary tutors foundthe exposure of the ladies’ torsos and breasts indecent and sought to craft a dress code that was a compromise of their own fashions and the bed sheet-like sashwith which the ‘natives’ draped themselvesBaganda women have now worn the Gomesi or busuuti for close to 100 years. The Gomesi, made of six metres of cloth, has sleeves made in a particular way. The Gomesi also has a fashionable belt or the kisibiro and is usually donned at traditional ceremonies.Traditional ceremonies in Buganda today are graced with vibrant ceremonial dressthat is very much a characteristic of contemporary fashion design rather than being absolutely functional. Such an analysis engrained in traditional dress culture shows the trends that contemporary fashion has revitalized traditional dressculture. The traditional ceremonial dress includes the accompaniments of dressculture like flowers, head dress and other decorations. Dress accompaniments ofthe traditional culture include those articles that are supplements of the ceremonial dress code. Short lived fashion events such as these ceremonies translateinto a bigger meaning while contemporary fashion introduces new elements in traditional ceremonial dress culture. The decorations, attires are all stage managedto make up a holistic exhibition of a traditional culture which is very much driven by the traditional cultural purpose but influenced by contemporary fashion.This is a clear example that traditional ceremonial dress code in Buganda todayclearly shows that there is a lot of material that would be interesting for a researcher who is interested in the effect of contemporary values of fashion
As contemporary fashion evolves, the Baganda traditional ceremonial trend has also tended to be swayed by the influence brought about by these new fashions. Thecolorfulness of ceremonies whether modern or traditional, is also a vital aspect at events today. In the past the color scheme was very much earthly like whichincluded the browns of the backcloth and red Kikoyi. A woman not dressed in a Gomesi at a social function or event was not considered decently dressed until the recent arrival of Bitengi and Agbada from West Africa that have increased thevibrancy of traditional ceremonial dress. Today the evolution of vibrant colors has brought out the nature of the ceremonies where a lot of contemporary fashions are present- showing the impact contemporary fashion is influencing the traditional ceremonial dress which would otherwise grace the ceremonies.Most researchers on contemporary fashion design have looked at it as a dress culture leading to changes in culture. Modifications on traditional ceremonial dress introduced changes that are evident in traditional ceremonies today and seen as losing appropriate fashion.Much of these studies do not entirely describe the issue of traditional dress culture benefiting from the contemporary fashion. Thus this study intends to focuson the influence of contemporary fashion on traditional ceremonial dress culture in urban dwellers in Buganda region from 1954 to date in order to describe fully how the traditional ceremonial dress evolves along with contemporary fashionand how the features in contemporary1.2 Statement of the problemContemporary fashion provides avenues for color, pomp and vibrancy to traditional ceremonial dress. However, much as there have been studies taken about contemporary fashion design in relation to traditional ceremonial dress culture, thesestudies fall short of describing the influence that contemporary fashion has onthe Baganda traditional ceremonial dress in terms of vibrancy.As a consequence we are unable to recognize the implication of the relationshipbetween contemporary fashion and traditional dress culture with in the indigenous dress culture. With regard to this, the researcher intends to undertake a study on the influence of contemporary fashion to the vibrancy of traditional ceremonial dress culture among the urban dwellers in Buganda. In this study, the youthwill constitute those people aged between 18 and 40 years.The study will thus take on the task of describing with the use of visual aids,the contributions of contemporary fashion to traditional dress culture.1.3 Purpose of the studyThe aim of the study will be to describe how contemporary fashion influences traditional ceremonial dress and how the traditional ceremonial dress has evolved in the face of contemporary fashion.The study will do so by describing the Baganda introduction ceremony as a caseof the interaction between contemporary fashion and tradition dress culture.1.4 Objectives of the study:1.4.1 General objective(i)To reveal the influence of contemporary fashion design to the vibrancy of traditional ceremonial dress culture in urban dwellers in Buganda.1.4.2Specific objectives(i)To find out the variant features in contemporary fashion being incorporated in the traditional ceremonial dress to enhance its vibrancy.(ii)To assess the context of application of contemporary fashion in traditio

You're Reading a Free Preview

/*********** DO NOT ALTER ANYTHING BELOW THIS LINE ! ************/ var s_code=s.t();if(s_code)document.write(s_code)//-->