MST-Fine Art

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Akamba sculpture as a means of visual communication: its origins, development and functions
(2012-05-10) Muoko, Matthews
This inquiry investigates the origins, the use, the development and the rationale of sculpture among the traditional and the contemporary Akamba Societies. It further investigates those factors within the environment which influenced the artistic skills, competence and orientations for the total creation of the sculptural forms and designs. The study's main hypothesis is that sculpture was made, used and existed among the traditional Akamba societies before the first world war of 1914 to 1918, which many scholars refer to as the beginning of this art amongst the Akamba. Further hypothesis states that the demand for sculpture sprung from the Akamba Cultural needs and therefore the art was used as a means of cultural expression alongside dances, riddles, tales, songs and wise sayings. The study looks into the availability and choice of raw materials and the constructions of the various sculptural properties such as size, form, and topic. It further looks into the sculpture's functional characteristics and the possibilities for innovations. Some of the shortcomings of the previous studies are discussed and their contribution and setbacks assessed. The major difference between these early works and this inquiry is that while these early investigations tried to cover the Akamba arts in general this study confines itself to sculpture. Data collection procedures used are: (a) Oral interview. (b) Observations. (c) Drawings. (d) Photography. Fifty-one specimens of Akamba traditional sculpture are studied, described and used as illustration for this study. Problems arising from these proceedings are outlined and the ways employed to solve them stated. The main hypothesis is upheld and the evidence to support it presented using specimen photographs, drawings and data charts. Lastly, recommendations and measures to be taken by particular groups of people in order to improve the usage of the Akamba sculpting skills and products are outlined. These recommendations are based on observations and data implications. The inquiry stresses the adoption and integration of traditional and modern ideas and values in order to create a positive attitude in observers towards sculpture. Specifically this inquiry seeks to fulfill the following objectives: (a) To determine the extent to which sculpture was and is used by the Akamba with a view to suggesting effective use and practice of sculpting. (b) Explain the factors which hinder the effective use of this art. (c) Find out the main instructional value contained in sculpture. (d) To establish sculpture as a means of instruction/communication in educational institutions and public. (e) To recommend new strategies for the utilization of scupting skills.
Artistic changes in the development of the Catholic Church vestment in the archdiocese of Nairobi Kenya
(Kenyatta University, 2015-10) Ameleya, Habby
The rich history of the Catholic Church vestment in Kenya is likely to be lost if it is not documented as most faithful do not know the origins, changes or significance of the vestments. Thus, Christians may not appreciate the artwork in the vestments that symbolize the historical background of the Catholic Church. The general objective of this research was to identify and establish the symbolism of designs, colours, and form attached to the Kenyan Catholic church vestments from 1950 to date. The study adopted both quantitative and qualitative research approaches and employed a descriptive survey study research design to assess catholic vestments in Kenya. The target population of this study was 288 vestments of the Catholic Archdiocese of Nairobi. Simple random sample and purposive sampling methods were used to arrive at the representative sample. The data was collected through primary and secondary methods of data collection. The data was analyzed qualitatively by observation of the changes over the period according to themes derived from the objectives. The findings of this study showed that there have been changes in the vestment design over the period. These were changes in design, colour, form, and new methods of adorning the vestments. From this research the researcher proposes a further study to be done in other regions and on specific communities, and that the trained artists should partner with the vestment designers to maintain high quality design work on vestments.
Availability and utilisation of traditional material culture in fashion design
(Kenyatta University, 2015-01) Okeyo, Jacqueline A.; Orchardson-Mazrui, E.; Ombura, A.
The diverse cultures of many Kenyan communities may have not been explored adequately when it comes to the utilisation of traditional material culture for Fashion Design. This study sought to explore the availability and utilisation of material culture of some Kenyan communities as a source of inspiration in contemporary Fashion Design. The objectives of the study were to analyze material culture used by Fashion Designers in Nairobi, Kenya and also to identify the challenges facing the Kenyan Fashion Industry in relation to cultural significance. The study was anchored on two theories of fashion: ‘The Language of Cloths' by Lurie (2000) and ‘Power and Style' by Gaulme (2013). The first theory explains that clothing is a form of communication while the second explains the evolution of costume. The conceptual framework illustrates how Contemporary Fashion Design (Dependent Variable) can be inspired by Material Culture (Independent Variables) with the design being influenced by historical and contemporary influences (Intervening Variables). A descriptive research design based on an historical approach was used to provide both quantitative and qualitative data. The secondary data was sourced from The National Museums of Kenya, The National Archives and Institutional Libraries all based in Nairobi. Primary data was collected using questionnaires and face to face interviews. The secondary data gave historical information on the availability and utilisation of Kenyan material culture sourced from different Kenyan communities while primary data gave information on the utilisation of material culture on contemporary Kenyan Fashion. The target population was sourced using stratified and snowball sampling methods. The selected population consisted of College/University students, Formal and informally employed consumers and Fashion Shops/Houses that produce and sell culturally-inspired products. The primary data was analysed using descriptive statistics in three stages: data reduction, data display and conclusion drawing. The findings of this study indicate that material culture, as a source of inspiration, has not been adequately utilised in Kenyan Fashion Design due to a variety of reasons. Therefore the overall recommendation of this study is to sensitize both the Kenyan market and the Fashion Industry on the availability and utilisation of material culture as a source of inspiration for contemporary Kenyan Fashion Design and the Kenyan Fashion Design Industry in general
Creation of Fabric Collages Using Patterns Inspired by Selected Traditional Eastern African Hairstyles
(Kenyatta University, 2024-04) Ayallo, Zilper Adhiambo
The Western civilization has had a notably good and bad impact on African traditional society. As a result, most of Africa’s native culture has given way to European Culture. Africans have absorbed and exploited Western culture to the point where it is now almost part of their daily life. The detrimental consequences of Western civilization on African traditions can be seen in a variety of ways, most notably in traditional hairstyles, which are an important component of the culture. Many of the exquisite East African traditional hairstyles that are a part of the society’s identity are being acculturated, with Western or other foreign hairstyles. As a culture develops, there is always the need to preserve it. In light of this gap, this study created innovative patterns inspired by selected traditional Eastern African hairstyles, to produce fabric collages which serve as visual documentations as well as art forms. This study used an exploratory research design in exploring selected Eastern African hairstyles, to develop innovative patterns for fabric collages against variables like sketching, fabric techniques, the type of fabric and use of CAD Software’s. The aim of this study therefore is to preserve these selected traditional hairstyles through documentation using the fabric collages.
Creative use of leather for the production of selected articles for the enhancement of specific interior spaces in Kenya
(2012-02-10) Adhiambo, Benta G.
This is a report on procedures and processes that were applied in the production of leather articles for use the in enhancement of selected interior spaces as defined in the project proposal. The project focuses on techniques of leather decoration employed independently or in combination. It also focuses on research on other uses of leather and execution of the project. Most processes, techniques and materials used alongside leather to enhance its aesthetic value as a piece of art work or as a decorative upholster have been included in this report. Experiments carried out and discoveries made are also included. This report is divided in to the following sections: Introduction, which summarizes the content of report; definitions and brief explanations of technical terms; an explanation of the problem being solved by the project and means through which the problem has been solved. Factors that affected the entire project such as limitations of leather as the material in use have also been outlined as well as a brief historical overview of use of leather as an interior decoration material with reference to related literature and other sources of information. The discoveries of other uses of leather other than clothing have been outlined. Also included are processes through which the project passed, starting with preparation of designs from sources of inspiration to production of final leather pieces. It also gives presentation of final results and outcome in the form of drawings, photographs and the actual leather pieces and their stages of development. Conclusion and suggestions that potential /future artists, craftsmen and other interested groups could use to improve their knowledge and skill are part of this report
A descriptive analysis of the kilning techniques and types of day used by the traditional potters of Lyamagale village in Western province of Kenya, with view to suggesting improvements
(2012-06-04) Otenyo, Margaret M. N.
This study was concerned with finding out what causes pottery wastage in Lyamagale village, Western province of Kenya, when traditional techniques are employed. In an attempt to determine the specific cause (s) several tests were done. Ten clay samples were collected from different places within the province and analyzed. This was done in order to find out the chemical composition, physical properties and whether they were appropriate for potter making. The pottery-making processes from the collection of the clay to the firing and even selling of the ware, were observed and analyzed. This clay plus two other clays namely, a Nyeri and a Modified Nyeri clay used in the ceramics studio at Kenyatta University, were experimented with to find out whether the type of clay used, the building or kilning techniques or a combination of any of the techniques contributed to wastage. With this in mind, a total number of 240 experimental pots was moulded from the three clays. Two buildings techniques, the coil (hand built) method and throwing on the wheel (machine made) methods were employed. The pots were then fired by using four different kilning techniques namely the Bonfire, Sawdust, Gas and Raku methods. From each of the clays, 80 pots were moulded, 20 being fired in each of the four kilning techniques. Of these 20 pots, 10 were built by the coil method and the other 10 thrown on the wheel. The total number of pots therefore fired in each of the kilns was 60 (30 handbuilt and 30 machine made). The results of the chemical and physical analyses showed that the clays were basically similar in terms of elemental composition and that they were appropriate for pottery making, both in composition and in physical properties. The results of the firings which were analyzed by simple percentage showed that: (i) There is a difference in wastage between pots made from Lyamagale clay, the Nyeri and the Modified Nyeri clay; (ii) There is a difference in wastage between pots built by the coil method and those thrown on the wheel (iii) There is a difference in wastage between pots fired by the Bonfire, Sawdust, Gas and Raku Kilning techniques. In the case of the Lyamagale clay it was observed that the best combination was the coil method and the Bonfire firing which produced 0 percent wastage. The second best combination was the Gas and Raku methods which both had 10 percent wastage with equal wastage from both building techniques. The worst kilning technique was the Sawdust firing which produced 100 percent wastage. It was further observed with the Lyamagale clay that both the building techniques produced 30 percent wastage, suggesting that the kind of building technique employed does not contribute to wastage. The best combination in the Lyamagale clay is apparently the combination the traditional potters used: yet, unlike the results of the experiments, it produced 23.5% wastage. The wastage, it was assumed, occurred because of factors such as: (i) The time allowed for drying the raw ware was not sufficient. (ii) The method of drying the raw ware was not appropriate. (iii) The kiln construction and firing procedure were not appropriate. The researcher gave suggestions on ways of preventing wastage and possible kiln constructions that would not only retain heat but also attain a temperature high enough to vitrify the ware.
A descriptive analysis of the perception of images in selected posters by contemporary kenyans: a case study of Masaku district and Nairobi area
(1990) Miano, Kahare
The Problem Graphic communication in print media form that is available in Kenya sometimes is not sensitive to the perceptual abilities or aesthetic preferences of the public. It's importance in today's world can not be overstressed. The extent to which the Kenyan public is able to identify images in posters as well as gather information from same is often anybody's guess. Hence the need for regular analyses of the various poster designs that various institutions have been using. For this particular research, posters designed for the Ministry of Health, the United Nations body, selected consumer products and for purely decorative design were used to analyse the problem. Procedure The researcher selected fourteen posters that constituted as large a variety of designs as possible and an interview-schedule was designed. This was followed by the random selection of people from an urban and a rural environment. There were two hundred people from Nairobi area and two hundred from Kikima in Masaku District. They were categorised on the basis of five factors, namely, vi a. age-group; b. formal educational level; c. sex; d. occupation and e.' physical environment which the researcher considered an important factor that could easily be overlooked. Data gathered from the field sought to determine whether these factors had a significant bearing on the peoples' ability to correctly interpret information in the variety of posters. Findings The data gathered was analysed on the basis of four basic skills exhibited by the interviewee. a. Interviewee's ability to identify pictorial image. b. Interviewee's ability to read and understand text in English and Kiswahili. c. Interviewee's ability to see colours. J. Interviewee's ability to interpret posters correctly. For the first three skills, the influence of formal educational level was not significant. However, interpretation of the posters was very dependent on the interviewee's formal educational level and previous experience with visual material either formally or informally. Another interesting observation was that ability to identify pictorial image, colour and text did not always reduce uncertainty in the interviewee, as the researcher had expected. vii Conclusions The study has, indeed, thrown some light on the abilities of the Kenyan public to interpret information in posters. We can expect the public that has a formal education of secondary school level to interpret,correctly~information carried in posters that have non-representational images even if they are poorly des igned. For those interviewees without a secondary school education but who were able to interpret it, their past experience with visual material often made it possible for the message to get through. Since the majority of the Kenyan population do not have secondary school level education at present, graphic designers must make posters that use clearer and simpler imagery that uses less text if they are to reach them effectively
Design of Corporate Identity Materials of Kenyan Government State Departments Targeting Selected Consumer Groups
(Kenyatta University, 2024-07) Obura,Elizabeth Owano
The essence of branding a company, organization, or government entity is to gain recognition that helps the institution stand out from the rest of its competition. When institutions brand, they apply different strategies for example rebranding, retro branding, and co-branding. The choice on what strategy to apply depends on the target consumer group of the institution and the needs of the market. Literature also has it that, when branding, institutions should consider the needs and expectations of their consumers as consumers are made up of cohorts that express themselves differently. Brand equity only happens when a brand meets the expectations of a particular consumer cohorts. A pilot study done on fifty-four (54) Kenyan Government State Departments revealed that only 30% of the Departments had distinct corporate identities that target specific consumers. Further, out of the remaining 70%, only 44% used the Kenyan Government emblem as an identifier while a significant 26% did not use any identifier at all. These statistics were contrary to literature that suggests that to be able to captivate groups of people, institutions ought to create a link between the services they offer and the individual consumer cohort. Once this link is created, strong connection are created leading to the building of loyalty. Out of the findings of the pilot study, there was therefore a need to redesign corporate identities of the Kenyan Government State Departments to target specific consumer groups. The consumer groups purposively selected for this study were millennials and centennials. Exploratory research design was used to rebrand the corporate identity materials of selected Kenyan Government State Departments. A design process that lay an emphasis on elements and principles of design identified by the targeted consumer groups was applied. The redesigned corporate identities were then branded on selected publicity materials used by the State Departments under study. The results of the study showed that 88% of the state departments had definite primary and secondary functions, 12% of them had one main function. The primary functions from all of the State Departments under study were used to derive the design conepts for the design process. Of the two groups, it was found out that Centennials were a ‘rigid cohort’ who preferred the design elements used in artworks targeting them to remain as they expect and not to be re adjusted. It is envisaged that the redesigned corporate identities would build a brand equity between the deliverables of the state departments and the target consumer groups. In so doing, the targeted cohorts will be better informed of the functions of the selected Government State Departments and as a result, develop and sustain trust in their government thereby increasing citizen engagement.This study demonstrates and recommends the use of concept generation and the use of abstract experimentatioin in solving design problems; reemphasizing on the aspect of Design Thinking in the design process
Enhancing the visual identity of the physical image of Kenyatta University Campus
(2012-02-09) Shoko, Zainabu Imani
The idea behind this creative project was born of a lack of an evident and appropriate signage system within the Kenyatta University Campus. This in turn led to a lot of confusion especially to those visiting the campus, be they regular visitors or freshmen students. Following an extensive research and study period it was realised that the various sections within the university campus could be divided into seven main areas namely: Faculties; Departments; Hostels; Areas non-related to Kenyatta University faculty structure; Administration offices; Recreational Facilities; Road Signs. This distinctive division between the various sections enabled the researcher to develop a systematic and comprehensive signage system to accommodate these sections. Various key points were taken into consideration before selecting the designs for the signboards: • Their communicative ability in terms of clarity in typography, directive in pictography and identity in colour scheme; • Their appropriateness in terms of size and representation. The suggested material for the fabrication of the signboards had to be easily available locally and affordable. Metal was the only medium befitting the high quality demand, with an extensive life-span if properly prepared. At the same time, the use of good quality paint and a finish of clear lacquer to protect the undercoats and give the signboard a lasting sheen was to be employed.
Evaluation of Appearance Management Behaviour among Students in Institutions of Higher Learning in Meru County, Kenya
(Kenyatta University, 2021) Ngunu, Alice Njeri; Jacqueline Kisato; Isabella Waruinu Wandaka
Appearance management (AM) encompasses the sum total of attention and activities that are used by an individual to control how he/she presents the body to himself/herself and to others. Appearance management comprises clothing, good grooming, dieting, body building and use of cosmetics. Clothes and physical appearance are important in non-verbal communication. Some appearance management is usually performed as a routine and carrying them out cannot result in any harmful effects on health, while some AMB, can threaten health especially if they are carried out for long period of time, and could have long-lasting effects. The study set to investigate issues on AM among students in institutions of higher learning in Meru County. The study set out to explore how knowledgeable students were about AM, establish the importance of AM, and determine what guided the students in the process of AM. Further, the study sought to investigate whether there was any relationship between personality, gender, age, self-esteem, body image and AM of the students under study. The study sought to establish the effects of peer influence on AM and establish if students engaged in risky AMB. The study utilized a descriptive cross-sectional design. The sample consisted of 373 students from technical institutes and universities in Meru County. A questionnaire with open-ended, close-ended and five-point Likert scale questions was utilized in collection of data. Descriptive statistics, Pearson correlation analyses were conducted on the data. Majority of the study respondents agreed that financial constraints influenced both clothing preference (85.1%) and grooming activities (69.1%) whereas societal demands (61.7%) influenced only their preference for clothing. Respondents said AM is not how a person looks (80.9%) neither is it what a person wears (83.4%) nor other peoples‟ perception (94.9%) but it referred to actions and decisions on the way a person looks (62.6%). One in three students (36.0%) mainly bought clothes once in every three months. They felt they were not useless (62.3%), respected themselves (52.3%), neither did they think they were no good at all (59.4%) nor inclined to feelings of being failures (68.0%). They felt motivating (65.1%), efficient (64.6%), contented with themselves (61.7%), observant (64.3%), cautious (64.3%), curious (56.3%), thoughtful (60.6%), detailed (57.4%) and diplomatic (67.4%), highly sociable (59.1%), warm-hearted (53.1%) and confident (50.9%). Personality (r = 0.833, p <0.001), self-esteem (r = 0.689, p <0.001), peer influence (r = 0.764, p <0.001) and body image (r = 0.764, p <0.001) were positively associated with appearance management. In conclusion, personality, gender, age, self-esteem, peer influence, and body image were significantly associated with AMB. There is a need for students to live within their means in respect to appearance management activities.
Exploration of Coloured Plastic as an Art Material in Collage
(Kenyatta University, 2021) Esenerwa, Mudimbwa Patrick; Mwaura Ndekere
Upcoming artists in Nairobi face a difficult time in practicing and exploring new techniques that enhance their artistic skills. The cost of art materials is well outside their means, their inspiration is often misunderstood, and sources of social support are limited. In Nairobi, plastic litter is a major environmental and public health problem. The Kenyan Government (2017) banned all plastic bags used as secondary packages regardless of their thickness or color with effect from the 28th August 2017. While this is being implemented, there continues to be plastic usage in the city. This being the case recycling plastic is a good alternative for reducing harm to the environment. As the use of plastics increased over the years, the build-up of used ones is evident throughout the capital city and in spite of the ban, it has continued. There is a need for plastics re-use and recycling. Artists in Nairobi are recycling and using a number of different types of materials. However, the extent of plastic usage is still limited. In recognizing the amount of plastic available and the colors they would offer in a painting composition, this research aimed at exploring the gap in the usage of this artistic material in collage. Using a 4 scale Likert scale the collected samples of techniques and styles from artists in Nairobi appeared to show that they employed a relatively high use of Drawing, Painting and Multimedia Crafts techniques in their art work. Collage and Sculpture techniques were used at a relatively moderate level. Other techniques like pottery and weaving were used at a relatively low level. The Likert scale findings also showed that Nairobi artists employ a relatively high use of charcoal, mixed media, oil, paper, cotton, ink, acrylic/ plastic in their work. Wood is used at a relatively moderate level. Metal, glass and clay are used at a relatively low level. This research found out that 11 percent of the artists mostly explore the use of recycled plastics in their compositions, 25 percent recycle plastics and other materials in their work, while the last 53 percent may experiment the use of coloured plastics. The types of coloured plastics found appeared to show that PETE, HDPE and LDPE were mostly found in the area of the study. PVC plastic appeared to be relatively found while PS, PP and MISC plastic maybe found in the area of study. By creating environmental themed collage compositions using found coloured plastics this research therefore recommends the exploration of coloured plastic as an artistic medium and should be encouraged as it creates a new form of art and will help artists in accessing alternative materials for their compositions as well as help in cleaning the environment.
Exploration of Smoke as a Medium for Painting in the Depiction of Maasai Culture in Kajiado County, Kenya.
(Kenyatta University, 2021) Rupante, Tobiko; Kamau Wango
Fumage is a smoke painting technique that some artists used in the 1930s. Despite it being an old technique, it has proven less popular in the modern art arena. In contemporary times, very few painters are still exploring the media with different techniques that could be appealing to human eyes. Although this has been used and proven to be effective at the time in other countries like South Africa, U.S.A, Canada, and Britain, based on the researcher’s survey, it has not been exploited in the Kenyan art scene. Yet its technique and usage appear compatible and potentially useful for local artists, particularly because of its usage as local material. In light of the above gap, this study examined how smoke has been utilized by artists as a medium for painting both locally and internationally to find out the widespread use of the medium by artists as well as uncover existing knowledge regarding the technique. The study explored smoke as a medium for painting through practice by carrying out a total of 672 tests, where smoke produced by an oil lamp was exposed on various conventional and non-conventional painting surfaces of sizes 5cm by 5cm. The tests were grouped into five major categories based on the: physical characteristic of smoke produced by burning three selected hydrocarbons (turpentine, kerosene, and diesel), surfaces, techniques used, a combination of colour and smoke, and preservation methods, with each category assigned a code. The data yielded from each category was analyzed qualitatively and quantitatively and the conclusion was drawn. Some of the desirable test results were used in the application on a creative project where some tangible aspects of Maasai culture were identified, collected, and analyzed through sketching then projected through smoke painting. The resultant smoke paintings confirmed the practicality of the usage of smoke in the production of work of art or as a medium of artistic expression. The outcome of this study would benefit local artists who would wish to use the medium by utilizing information that was achieved in this study concerning the medium.
Exploration of Use of Flowers in the Creation of Paintings for Aesthetic Enhancement of Hospital Spaces in Nairobi City County
(Kenyatta University, 2016) Gitura, Mary Wamucii
This study aimed at exploring the use of flower paintings as a means of aesthetically enhancing interior spaces of public hospitals within Nairobi City County. The study was based on recent studies conducted in the United Kingdom and the United States of America where researchers found art to be an important aspect of hospital interior set ups because it helps to create a pleasant environment which can be conducive to healing. The study observed that there was a general lack of art in most public hospitals within Nairobi City County. The study therefore sought to create flower paintings which can be suitable for hospital spaces. This involved the creation of sketches derived from flowers commonly found in Nairobi City County. The sketches then led to the creation of oil and acrylic paintings of flowers on canvas. The study observed that introducing the natural beauty of the outdoors by way of flower paintings, into often depressing, drab and dreary hospital interiors can greatly help to create cheerful, friendly, warm, beautiful and less intimidating spaces for patients, staff, caregivers and other hospital users. Flower paintings displayed on hospital walls can help to create an aesthetically pleasing atmosphere which can be conducive to healing by reducing feelings of stress and anxiety. On the basis of the findings of this study and in view of the limited paintings found in public hospitals, the study recommended that as a means of aesthetically enhancing the interior environments, County Governments, through the Ministry of Health, should find ways of commissioning talented artists to create paintings depicting scenes of nature to be displayed in public hospital spaces such as reception areas, corridors and wards
Expoloration of selected Kenyan ethnic decorative designs and motifs, and the adaptation of these designs in the decoration of contemporary ceramic ware: a case study of the Coastal region
(2012-04-04) Kithu, Stephen Muindi
The focus of this study was to select coastal ethnic designs, adapt and apply them as decorations, on contemporary ceramic ware. These designs were collected from Nairobi and Mombasa. Forty four samples of ethnic designs were collected in the form of photographs. From the total number of samples collected, seventeen designs were found to be applicable. From these, eleven design combinations were developed and utilized. To enable the designs to stand out, stains and oxides were used. Stains were used at a percentage not exceeding 3% to the clay body while oxides were used at a percentage not exceeding 5%. In addition to these on glazes were also used. Three main decorative techniques were used in the application of the designs onto the ware. These were: i) Impression ii) Incision/Excision iii) Stencil. A part from these decorative techniques, other techniques were also utilized such as marbling, flow method, Neritage, painting and spraying. After application and firing, the ware was glazed using either opaque or transparent graze.
Formulation of Glazes Using Selected Available Natural Materials from Mukono and Jinja Districts, Uganda
(Kenyatta University, 2024-05) Ahami, Philemon
The researcher carried out a study on glaze formulation using selected natural materials collected from Mukono and Jinja districts. This was guided by geological mapping of Uganda. The topography of Uganda is made up of rolling hills, ridges, plains, and multiple drainage systems, all of which are rich in natural mineral resources. Amongst the mineral possessions are the massive sums of clay like kaolin and muscovite which was important for this study research. Although there has been development in the understanding of glaze formulation, the survey done on the three studios showed that there is a need for the researcher to conduct the study due to the imported glazes which have a direct effect on product pricing. The selected natural materials were collected and ground using the ball mill, transported to Kenyatta University ceramic studio. The chemical analysis was done using X-Ray Fluorescence to determine rock composition. The studio tests were first done at primary testing of 100% at a temperature of 1250ᵒC and the firing temperatures were split into two categories, low temperature (1200ᵒC) and high temperature (1250ᵒC). Additives were part of the progressive testing using the lining blend. The tests were done on the clay test bars, the second progressive test was 85% material collected and 15% additional material, and the final progressive test was 80% material collected and 20% additional material. The research significantly added knowledge in the field of ceramics in the area of formulating glazes using locally available natural materials that are affordable for the Ugandan local ceramic market and presumably the international market. Glaze properties like viscosity, surface tension, volatilization, fusibility, and reaction with the body clay were used to determine successful glazes using a psychometric observation scale. Successful glazes were applied to creative project work.
Glaze formulation using selected geological material from Lake Nakuru and Kiambu Counties, Kenya
(2016) Ayieng’a, Lillian Barongo
The use of glazes and glaze formulation has evolved over time and glaze styles have been developed with characteristics of certain world regions, out of the use of locally available materials. A pilot study conducted in three studios within Nairobi to assess the use of local glazes/formulations revealed that the studios did not use local glazes or formulations and that there was need for research on local glazes and formulations. Based on the above, this study was concerned with using locally available geological material from Nakuru and Kiambu Counties to formulate glazes to be used on ceramic ware for ceramic artists in Kenya. The study set out to collect data of 52 geological materials for formulation; 29 from Nakuru County and 23 from Kiambu County. These materials underwent a wet milling grinding process using a porcelain ball mill at Kenya Industrial Research and Development Institute (KIRDI). After which, they went through a studio testing process of low and high firing tests with temperatures, of 10500C and 12000C on small slabs of Nyeri clay and thereafter an elimination of 13 samples for formulation. The 13 samples underwent a qualitative and qualitative certified chemical analysis test using an Atomic Absorption Spectrometer (Spectr AA- 10) at the Ministry of Mining. The test results were used in formulating 145 glaze recipes by introducing additives that generated glaze compositions which gave both functional and aesthetic qualities for application on ceramic ware. The results of the majority of the glaze formulations affirmed their use on ceramic ware. To confirm that the findings would be of benefit to practicing ceramic artists, two clay samples of ceramic studios within Nairobi; Jacaranda Workshop and Wakenii Creations were also tested and they received the glazes well. The geological materials studied were therefore found to be suitable for glaze formulation and could be put to use by local ceramic artists. Further research should be done into the improvement and generation of more colour range and textural effects of glaze formulations for mass production in ceramic manufacturing.
Mise-en-Scene in Serial Drama Edutainment: A Case of Setting in Siri, a Locally produced Entertainment Education Serial Drama ln Kenya
(2014-03-03) Gitimu, Susan N.; Mugubi, J.; Otieno, Simon Peter
With the growth of entertainment education (E-E) serial dramas worldwide and the extensive evaluation research on their impacts on the audience, techniques employed during their production have received a short shrift in E-E research. One of the most noticeable techniques in a serial drama production is the mise-en-scene technique and this study examines the role of setting an element of mise-en-scene in a serial drama edutainment. In this study, it is argued that in the hands of skilled E-E producers, setting and objects placed on the set (Props) becomes a concrete vehicle for impacting on an E-E serial drama edutainment. By viewing setting both as an entity and a symbol as well, SIRI a locally produced serial drama in Kenya was studied with the objectives to; 1. Identify the functions of setting on the plot 2. Examine the relationship between setting and characterization and 3. Examine the contribution of setting in the realization of emerging themes. Systematic data gathering consisted of watching the drama to identify how the directors employed setting to effect on the plot, characterization and emerging themes. Bandura’s Social Cognitive Theory (SCT) which revolves around the process of learning directly related to the observation of models formed the theoretical basis for the study. Data obtained was examined and analyzed in line with the study objectives. The study found that setting is part of the material fabric of a serial drama edutainment. Enlivened by the actors presence, charged by the dialogue and quickened in the audience imagination setting and objects placed on the set take on a life of their own as they weave in and out of a dramas action impacting on an E-E serial dramas edutainment. The study also resulted in useful findings for film critics, producers and health communicators.
Production of paintings inspired by the fusion of selected Kenyan Maasai and Nigerian Fulani material culture
(Kenyatta University, 2016) Ahmed, Muktar Usman
This study produced paintings through hybridization of material culture from two selected African communities. Hybridization in art happens when material cultures from two or more communities combine to create new forms. Current contemporary African art has been reported to have European styles infused. This infusion has been criticized by scholars to lack portrayal of African identity. Scholars have also argued that authentic African paintings could be achieved when two or more African material cultures are hybridized. This study aimed at identifying Kenyan Maasai jewelry material culture and Nigerian Fulani textile material culture used in their rites of passage and which could be hybridized. After hybridization, new compositions of material culture were created. This new outcome was used in the production of paintings. The paintings incorporated the application element and principle of art and design, such as colour, shapes, rhythm, variety, emphasis, texture, line and geometric patterns inspired by the collected forms. The resultant paintings confirmed that hybridized designs of Maasai jewelry and Fulani textiles could be successfully used as a source of inspiration in the production of paintings. The results of this study should also enable African artists to develop their original paintings inspired by material culture from different African communities. This hybridized process will also promote cultural harmony between selected African communities.
Reproduction of Visual Materials for the Confucius Institutes in Kenya Using Fused Chinese Han and Kenyan Maasai Cultural Artifacts
(Kenyatta University, 2022) Shanpeng, Zheng; George Vikiru
This study reproduced the visual materials for the use at the Confucius Institutes in Kenya using fused Chinese Han and Kenyan Maasai cultural artifacts. Globalization has led to the necessity of teaching and learning of foreign languages in many institutions today as the world economy has become increasingly interdependent. Effective Foreign Language Learning (FLL) is paramount with nativazation enabling learners to comprehend and interpret the language being learnt better and more effectively. One type of nativization called cultural nativization happens when elements from the cultural artifacts of the language being learnt are fused with those from the learners’ language. A pilot study done on the visual materials at the Confucius Institutes in Kenya reported only 6.25% of graphic design applications at the Institutes had combined elements from both Chinese and Kenyan cultures. This insignificant percentage implied a less optimal learning of Chinese as a foreign language at the Institutes. This study therefore redesigned the visual materials at the Confucius Institutes in Kenya using cultural nativization and by applying polymorphism as a technique of fusion. Elements from six types of Chinese Han and Kenyan Maasai cultural artifacts were selected for the study. Six different methods of polymorphism were applied to the selected artifacts to develop new design compositions that were used in the reproduction of visual materials for the Confucius Institutes. It is expected that the reproduced materials would involve the students at the Institutes more and promote their interest in Chinese language better for effective learning of Chinese language that is taught at the Confucius Institutes.
Selected prominent people of Embu county of Kenya as a source of inspirations for protrait painting using rice as an exploratory material
(Kenyatta University, 2016) Ireri, Ignatius Njue

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