%0 Journal Article
%T Identification of Symbols Used as Motifs in <i>Toghu</i> Production, a Cultural Heritage of Grassland People in Cameroon
%A Bitoh Evodia Ndifor
%A Nkemaja Dydimus Efeze
%A Salihu Maiwada
%A Gwari Williams Bako
%A Saliu Ahmed Rafai
%J Art and Design Review
%P 160-177
%@ 2332-2004
%D 2023
%I Scientific Research Publishing
%R 10.4236/adr.2023.112013
%X The choice of symbol</span></span><span><span><span style=\"font-family:&quot;\">s</span></span></span><span><span><span style=\"font-family:&quot;\"> as </span></span></span><span><span><span style=\"font-family:&quot;\">a </span></span></span><span><span><span style=\"font-family:&quot;\">motif is very important and remains a powerful</span></span></span><span><span><span style=\"font-family:&quot;\"> tool to convey messages behind a design. This study aims to enlighten
designers, <span>scholars in the field of fine
arts, instructors of fashion clothing and textile,</span> <span>historians, vendors and consumers on the selection
criteria of various sym</span>bols embodied as motifs on the adorn <i>toghu</i> cloth. Through audience interview</span></span></span><span><span><span style=\"font-family:&quot;\">s</span></span></span><span><span><span style=\"font-family:&quot;\">,
exploration of archives, Internet sources and descriptive research method</span></span></span><span><span><span style=\"font-family:&quot;\">s</span></span></span><span><span><span style=\"font-family:&quot;\">, the
author</span></span></span><span><span><span style=\"font-family:&quot;\">s</span></span></span><span><span><span style=\"font-family:&quot;\"> ha</span></span></span><span><span><span style=\"font-family:&quot;\">ve</span></span></span><span><span><span style=\"font-family:&quot;\"> identified fifty symbols. The majority of the symbols used as motifs on <i>toghu</i> clothes were obtained in the
nation</span></span></span><span><span><span style=\"font-family:&quot;\">al</span></span></span><span><span><span style=\"font-family:&quot;\"> museums, while others were a collection from Ghana and Nigeria. Their
significance was determined to </span></span></span><span><span><span style=\"font-family:&quot;\">be </span></span></span><span><span><span style=\"font-family:&quot;\">not
limited to their aesthetics</span></span></span><span><span><span style=\"font-family:&quot;\">,</span></span></span><span><span><span style=\"font-family:&quot;\"> but also serv</span></span></span><span><span><span style=\"font-family:&quot;\">ed</span></span></span><span><span><span style=\"font-family:&quot;\"> as </span></span></span><span><span><span style=\"font-family:&quot;\">a </span></span></span><span><span><span style=\"font-family:&quot;\">tool of communication of traditional wisdom, unity of purpose, feelings,
distinguishing of per<span>sons, preservation of
cultural values in the society and cross-cultural ex</span>change amongst
ethnic groups and across the borders. Some of the
%K &lt
%K i&gt
%K Toghu&lt
%K /i&gt
%K Cloth
%K Cultural Heritage
%K Symbols
%K Significance
%K Motifs
%U http://www.scirp.org/journal/PaperInformation.aspx?PaperID=125286