




































CHAPTER  3: 
 

BATIKED FABRICS FOR INTERIOR WALL HANGINGS 

AS A MEANS OF DOCUMENTING AND SHOWCASING 

IGBO TRADITIONAL MOTIF 

 

Contributed by 

Ogobuchi Otuu and Pius Ntagu 

 

 

INTRODUCTION 

Means and methods of wall decoration change over time and 

according to locality. It is common knowledge that in the past, Uli 

mural paintings which were paintings of uli symbols on walls of 

mud houses both inside and mostly outside with the use of uli dyes 

which served as beautification, recognition and also as a method of 

preserving the symbols (Ikwuemesi, 2015).  

Moreover, modern wall hanging using fabric is not entirely 

new but with the traditional symbols, it makes the fabric have 

unique value even as we convert them to wall hangings.  Recently, 

no one wants symbols to be drawn on his or her body but these 

symbols can be incorporated into the materials we use daily to 

make the materials unique items of value even in the foreign market 

(Nicholas, 1981). 

Textile materials are what we use in our day-to-day 

activities, the clothes we wear, the cushions we sit on, curtains in 

our houses and even some decorations are made of textile 

materials. Our traditional motifs being incorporated in these textile 

materials is very important especially now that foreign motifs 

dominate our textile materials when they are traditional ones to fit. 

The influence of modern culture is gradually wiping away 



Ogobuchi Otuu and Pius Ntagu 

42 

 

traditional symbols and there will soon be nothing left to remember 

if we do nothing about it. 

Fabric is one of the first things to consider for interior decoration. 

According to Farooq and Mohammad (2021), “fabric is one of the 

core elements in interior design’. One cannot decorate the inside of 

any house without the use of fabric as it is used for curtains, wall 

hangings, chairs, bedspread etcetera. Fabric therefore permeates 

every aspect of human life and can never be overused because of 

its characteristics of durability, light weight, softness, re-washable 

and drapery.  

Uli wall decoration was indeed applied directly on olden 

mud houses but time brings about change and change itself begets 

change, so even with the new development of houses with 

concretes, people still long for wall decoration and beautification. 

The longing creates opportunities for different ideas and 

explorations and the use of fabric designed with Uli for wall 

decorations. 

This study is about documenting Uli on fabric to be used as 

wall hangings with the use of Batik in other to showcase the Igbo 

traditional symbols. It utilises qualitative research method and 

involves studio experimentation which will reveal how the 

researcher was able to develop the finished product. 

 

Purpose of study 

To develop different methods through which Uli designs can be 

explored on fabric with the use of Batik and also ascertain if the 

fabric can be appropriate for interior wall hangings. 

 

Research Questions 

In what ways can Uli be explored on fabric using Batik? How can 

Batiked fabrics be appropriated to serve as wall hangings? 

 

 

 



Batiked Fabrics for Interior Wall Hangings as a means of … 

43 

 

Literature Review 

Uri or Uri as called by some areas in Igbo, due to dialect variations 

is not just a name of a symbol but is termed to anything that has to 

do with the symbol including the tree that produces the hue. It is 

also the name of a traditional mural painted by Igbo women with 

mostly animal motifs, geometry and sometimes stars, sun and 

moon with four simple colours; white, yellow, reddish brown and 

black. Uli design comes in different patterns; zigzag, round, 

concentric circles, dots and so on.  Ikwuemesi (2016) said that Uli 

is the Igbo name for the indigo dye obtained from several species 

of plants and used to draw cosmetically on the human body. Uli is 

been used by the women of the Eastern part of Nigeria but the 

origin of uli or how the Igbo women came about the symbols is not 

clearly stated.   

Ikwuemesi (2016) described Uli as the Igbo name for 

Indigo dye obtained from several species of plants. He further 

explained how the berries of these plants are extracted and ground 

for the dye to be pressed out of the marsh.  

Uli is a tree, a seed, a pattern and motifs and most 

importantly, an art. It is an art that involves a combination of 

experience and skillfulness. This may be why Nwafor (2019) 

pointed out that the traditional uli painters worked directly without 

sketches or any form of prototype. The strokes are already 

embedded in the painter’s fingers. According to her, Uli involves 

the use of painting or drawing stick /knife (mmanwauli), dipped in 

a liquid uli juice, which is then used to draw or paint on mud walls 

(usually shrine walls) or the body. 

Uli is a creative activity mainly for beautification, though 

also associated with spirituality as it is believed that the art was 

bestowed to the women folk by the Ala(Earth goddess). Onwuakpa 

(2016) saw that by looking at some of these designs, one can easily 

deduce some of the images and their derivation such as the animals, 

the leaves, the oji and isioji but other motifs cannot be easily 

deduced. Uli designs communicate ideas vital to the Igbo 



Ogobuchi Otuu and Pius Ntagu 

44 

 

cosmology. The motifs were created from life experience and 

generally, the images reference the traditional Igbo life. (Nwafor, 

2019). Uli may seem easy to draw but the art requires proper study 

for one to be recognized as an Uli artist. “Uli artists or “Omenka” 

(a name given to any skilful person) are mostly elderly women who 

got their training right from childhood either by watching their 

mothers, relatives or other uli artists’ artwork” (Onwuakpa, 2016).  

Sandra (2010) observed that the renewed interest in uli recognized 

the inventiveness and skill of the traditional Igbo woman as an 

“artist”. Traditionally, uli body drawing or painting is a real boost 

to a woman’s ego because it gives satisfaction and confidence to 

any woman decorated with it. Uli as a body decoration turned the 

body into a living sculpture and object of beauty and certainly, one 

of the finest Igbo body arts. Uli is appreciated by all as it touches 

both the spiritual, artistic and cultural life of Igbo (Onwuakpa, 

2016).   

Smith (2010) noted that the imposition of Western and 

European values on Igbo cultural practices suppressed Uli as an art 

form and on that note, I agree with Ikwuemesi (2016) who stated 

that the heritage of the Igbo cannot be fully discussed without the 

look at the almost extinct uli body and wall painting practised by 

women. Though Uli body decoration is no longer popular among 

Igbo women; this is associated with the fact that most women wear 

clothes that cover most parts of the body which acted as a platform 

on which uli designs were traditionally displayed. 

 

Batik 

Batik is a resist method that uses wax as a resist agent to hinder dye 

penetration. In batik, wax is melted and applied with the use of 

stamps or foam to detail out designs needed on the fabric so that 

when dyed, the waxed areas will resist the dye penetration thereby 

revealing the designs. Samsuddin (2020) defines batik primarily as 

a cloth decorated by drawing lines in wax to protect part of the 

undyed cloth from colouring in the dye bath, he further said that 



Batiked Fabrics for Interior Wall Hangings as a means of … 

45 

 

batik motifs and their products have high potential to sustain 

themselves in a global market as it has a special place in the world 

of ‘oriental textile’. Wardani (2014) described batik as a piece of 

cloth that is made traditionally with certain decorative ‘motifs’ of 

batik. This is still pointing out the fact that batik is not just about 

the wax resist but also about the motif to certain people. According 

to Tajul and Harozila (2021), Batik making is a method of creating 

beautiful textile material or cloth involving the use of candles and 

colouring materials based on natural or synthetic colours. Batik is 

also a resist dyeing method that requires wax for resistance which 

is why it is often referred to as wax resist method. While tie-dye 

uses ropes to resist dye from penetrating the fabric, wax resist as 

the name sounds involves the use of wax (paraffin or beeswax) to 

resist dye penetration. The wax is melted and applied on fabric with 

the use of tjanting, foam, brush, clamp etc., to resist dye from 

penetrating thereby creating the designs. The idea or concept 

behind batik is that any part of the fabric that the wax touches even 

if it is by mistake, those particular areas will not absorb colour 

when dipped in a dye bath because the wax will not allow the dye 

to penetrate those areas except if the dyer intentionally or 

unintentionally cracks the wax during dyeing to achieve more 

designs. Because of this, Batik requires dexterity and carefulness 

in planning, waxing and dyeing the fabric. After colouring the 

fabric, the wax is usually removed with the use of boiling water 

and that is when the clearer version of the designed and dyed fabric 

will be revealed. According to Ramli (2021),   in creating batik, 

several traditional techniques can be used such as canting, metal 

block, wood block, screen and lately, dedicated computer software 

to create digital batik products, while It is said that Batik originated 

from Java, Indonesia that most of the best Batiks in the world are 

still made there and that Indonesian batik predates written records. 

According to Wardani (2014), the art of batik in Indonesia has a 

unique aesthetic and various decorative motifs. Its application can 



Ogobuchi Otuu and Pius Ntagu 

46 

 

be found in the decoration of temples which become inspiration for 

the development of decorative motifs in clothing material.  

 

Wall hangings 

The art of textile hanging is considered one of the richest and most 

sophisticated Arts in the fine arts sector.  (Ibrahim and Mahmoud, 

2018) .Radwan, Regab and Tawab (2020) termed textile wall 

hanging an ‘era mirror’. Ibrahim and Mahmoud (2018) also noted 

that wall hanging is one of the oldest and most famous applied arts 

which has high aesthetic and artistic values. For instance, it helps 

in completing the interior architectural design. A wall hanging or 

wall decoration throw or throw rug as termed by Parmar and Malik 

(2018) can give your living area a great new look without any 

hassle. It is an important means of adding aesthetic value to public 

buildings and houses. Besides, it is used in covering wide areas of 

empty walls (Ibrahim and Mahmoud, 2018). Wall hangings can fit 

in any area of your house. Equally important, most wall hangings 

are made with interesting colours which can easily align with the 

colours in any room. In a similar view, Parmar and Malik (2018) 

stated that the colour combinations and the patterns used in wall 

hangings almost fit any decoration and style. Ibrahim and 

Mahmoud (2018) pointed out that textile hanging designs were 

always considered the reflection of its era and its culture and artistic 

fields. Hangings do not differ in their aims from wall graphics but 

it is more different and accurate compared to the graphic as it needs 

skills in the implementation stage. (Ibrahim and Mahmoud, 2018). 

In an earlier study by Faheem and Ibrahim (2017), they expressed 

their views on wall hangings as follows: 

The wall hanging is one of the important effective 

elements in interior design because it has a 

significant effect in enriching and integrating interior 

emptiness in terms of aesthetics and function. It gives 

an aesthetic touch resulting in achieving several 



Batiked Fabrics for Interior Wall Hangings as a means of … 

47 

 

functional purposes as providing privacy, concealing 

a part of the light and emphasizing the impression 

and identity of the place 

Parmar and Malik (2018). states that Wool, cotton, polyester and 

chenille are the primary materials used to make our wall 

decoration. They also noted that wool is the most used because of 

its inherent qualities. 

Theoretical framework 

The theory adopted for this study was Imitation theory. It was first 

proposed by Jean-Gabriel Tarde (1843-1904).  This theory was 

reached from the sociological side through phenomena of crowds, 

fads, crazes, crime and fashion, while James Mark Baldwin (1861-

1934) independently proposed and arrived at his conclusions from 

the side of individual psychology, studying the mental 

development of children. They both argue that the unity of society 

is dependent on imitation, both on its functional and structural 

sides. Apesteguia et al (2004) argue that imitation plays a large role 

in adults’ learning behaviour and everyone who watches children 

grow will attest that imitation is a great source of learning. Baldwin 

(1895) termed the repetition of actions of one person by another 

under the influence of suggestion offered “the key to social 

mystery”. To him, all activities of men in the society, regardless of 

how simple or complicated it is including the creation of science 

and art, are relatively outcomes of the process of imitation. 

(Ellwood, 1909) 

Albert Bandura in his social learning theory emphasized the 

importance of observing, modelling and imitating the attitudes, 

behaviours and emotional reactions of others (Mcleod, 2023). 

Imitation enjoys the status of a powerful explanatory concept in a 

majority of theories of social development. It is considered a 

powerful and efficient mechanism for ensuring that the child will 

develop patterns of behaviour consonant with the prevailing 

cultural pattern (Kuhn, 1973). 



Ogobuchi Otuu and Pius Ntagu 

48 

 

  Tarde (1900) believes that what forms social life is the 

effect of the suggestion-imitation process which starts from one 

creature possessing a single idea or act which is passed unto one of 

its neighbours, then to another and so on. New ideas spread via 

imitation, those that resemble existing norms being more readily 

imitated. He proposed three laws of imitation: (1) the law of close 

contact; (2) the law of imitation of superiors by inferiors; and (3) 

the law of insertion (where new behaviours either reinforce or 

replace customary ones (Juillion, 2020). Professor Baldwin in his 

child’s study argues that the prime and method of a child’s learning 

is by imitative absorption of the actions, thoughts, expressions of 

other persons and that all his absorption from immediate associates 

is through his tendency to imitate. “Society grows by imitative 

generalization of thoughts of individuals” (Ellwood, 1990). 

While Pluto thought that Art is pure imitation and therefore 

deceptive, Aristotle argues that it is not just the act of copying but 

of imagination. Pluto further argues that since learning and 

admiring are pleasurable, imitating works of art or poetry is also 

pleasurable.  Ellwood (1990) argues that the intellectual and moral 

development of individuals is by imitating the actions and attitudes 

of those they look up to and as such societal change is a continued 

imitation of thoughts of some individuals, a leader or a genius. 

Apesteguia et al (2004) argue that who one imitates is more 

important than how one imitates. They observed that imitation is 

more pronounced when subjects observe others with whom they 

directly compete rather than others who have the same role but play 

in different groups. The instinct of imitation is implanted in a being 

since childhood which is how they learn to speak and walk by 

imitating adults.  

Life is built on imitation and most of the individuals, 

communities and even nations grow by striving to imitate one 

another. This project talks about using batik and tie dye methods to 

design Igbo motifs on fabrics to be used as wall hangings. without 

imitation, there is nothing about the project that will hold; I had to 



Batiked Fabrics for Interior Wall Hangings as a means of … 

49 

 

imitate someone who had dyed before to learn how to colour 

fabrics, had to imitate someone who has waxed before to be able to 

get to the stage I am with batik and most importantly “Uli” motifs 

are built on imitation. None knows the first woman who came up 

with the idea of Uli but other women kept imitating it until men 

joined in and as such, the knowledge keeps transgressing. 

One of the major criticisms as regards imitation is that we 

make conscious choices to determine who we imitate and as such 

do not just imitate anyone. We mostly imitate those who we 

consider to be superior and imitate our enemies or inferiors only 

when it is advantageous. Another critic on imitation points out that 

it is impossible to understand how the “instinct to imitate” has 

come to dominate the whole process of human society, and alone 

to constitute the method of all personal and social growth. Society 

is not just built on one instinct (the tendency to imitate) but is also 

as a function of many other instinctive impulses. Therefore all 

social organization is physiological rather than psychological as the 

theory claims. While imitation generalizes the idea of imitating 

progress, critics argue that natural selection plays a major role 

rather than imitation. 

 

Production stage 

Studio Experimentation 

The first stage was the generation of design ideas through the 

studied Uli motif 

Materials and equipment used include but are not limited to VAT 

dyes, Sodium hydroxide(Caustic soda), Sodium hydrosulphite, 

Dharma fibre reactive dyes, Sodium carbonate (Soda ash), Urea, 

Foam, Plastic containers, Pens, pencils, chalks, Stove, Waxing 

surface, Candle wax, Rope, Gloves, Dye bath, Nose mask, Waxing 

pot, water, Cotton fabric. 



Ogobuchi Otuu and Pius Ntagu 

50 

 

 
Fig 1: preliminary sketches to guide the designs 

Source:OgobuchiOtuu(2023) 

 

Method of studio production 

1. The first thing done was to de-size the fabric by washing off 

the chemicals used during the production. 

2. When the fabric dries off, you plan your design on the fabric 

according to how you want the outcome to look. 

3. The next stage is to wax the fabric following your plan, you 

wax the fabric by applying melted wax on the fabric with the 

help of foam. 



Batiked Fabrics for Interior Wall Hangings as a means of … 

51 

 

4. You carefully dye the fabric so as not to distort the waxed area. 

You can do this by applying dye directly or by dying it in the 

dye bath depending on the kind of dye you are using and the 

design you wish to achieve. 

5. When the dyed fabric is set, you de-wax and rinse the fabric, if 

dried, it is ready to be used for the interior and you have to 

decide what exactly you want to use it for. 

6. You can mount it on a frame to be hung with a frame or sew 

and pipe it to be hung directly. 

 

 
Plate 1: De-sizing a plain fabric. Source: OgobuchiOtuu (2023) 

 

 



Ogobuchi Otuu and Pius Ntagu 

52 

 

 
 

Plate 2: Waxed fabrics. Source: OgobuchiOtuu (2023) 

 

 
 

Plate 3: Dying of fabrics. Source: OgobuchiOtuu (2023) 



Batiked Fabrics for Interior Wall Hangings as a means of … 

53 

 

 

 
 

Plate 4: Outcome after rinsing. Source: OgobuchiOtuu (2023) 

 

 

 
Plate 5: Sewn fabrics to be hung directly. Source: OgobuchiOtuu (2023) 

 



Ogobuchi Otuu and Pius Ntagu 

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Plate 6: Fabrics mounted on frames. Source: OgobuchiOtuu (2023) 

 

Presentation and Discussion 

There are so many Uli motifs out there but this study utilized a 

combination of few of these motifs. All the finished works from 

this study were done with the combination of these few selected 

Uli motifs. Though one may see different images being intertwined 

and intermixed in the outcome, all the images are the combination 

of agwoloagwo, Isi-oji, okara Isi-oji, ije-agwo, okirikiri, kpum 

kpum and akwukwo used as desired by the researcher. 

 

 

 



Batiked Fabrics for Interior Wall Hangings as a means of … 

55 

 

 

 
 

Plate 7: OtuuOgobuchi (2023) “Face it” Batik on  

assembled fabrics 60cm x 45cm 

 

This work was achieved by cutting the fabric in pieces, waxing and 

dyeing them differently before assembling them again to form a 

whole. Each piece reassembled has its unique colour even as they 

were joined to form a whole. At the end, it was piped with a black 

fabric which served as the background. This work was embedded 

with Uli designs which replicates from the centre. It combines 

different Uli motifs intertwined to form a whole. From the top is 

Isi-oji with leaves right below it. under the leaves is another Isi-oji 

that meets with the curve that introduces the agwoloagwo facing 

each other.  The agwoloagwo here is used to portray The 

interconnectedness of all things in the universe, including 

individuals, communities, and nature which is why the leaves and 

Isi-oji were incorporated in it. we are all connected in one way or 

another and we will keep missing out until we face this obvious 

ideology. 



Ogobuchi Otuu and Pius Ntagu 

56 

 

 

 
Plate 8: OtuuOgobuchi (2023) “The waves of life” Batik fabric mounted on a 

frame. 50cm x 41cm 

 

This particular work was achieved by waxing the fabric directly, 

applying the first colour at some point then completing the waxing 

before finally dying it. It features combinations of Uli motifs 

ranging from agwoloagwo, isi-oji, okala isi-oji, ije agwo, okirikiri, 

kpum kpum and onwa which form different levels of circles in 

different colours, the waves and the dots that flow with it, the spiral 

and the dots that flows with it etc.  These motifs were combined to 

portray different kinds of movements and transgressions, The work 

utilized only two colours, yellow and black which are two of the 

original colours used for Uli wall paintings. 

 



Batiked Fabrics for Interior Wall Hangings as a means of … 

57 

 

 
 
Plate 9: Otuu Ogobuchi (2023) “choice” Batik fabric mounted on frame 

as a sequence. (The wings 44cm x 38cm)(the centre 91cm x 36cm) 

 

This particular work is a sequence art. It is an art that involves the 

combination of three different frames, two medium sizes and the 

large one at the centre. Though the work generally depicts a soaring 

bird, a careful look at the detailing will unveil the Uli motifs used 

in designing the art and though it utilized three different frames, it 

was meant to align to create a single image. A clearer look will 

unveil the combination of Isi-oji, kpum kpum, okirikiri, okara Isi 

oji, agwoloagwo, and ije agwo. Each of the frames can be hung in 

isolation as an abstract work and the frames can be hung upside 

down to depict a bird soaring downwards, the bird can also face 

sideways depending on the arrangement, and the smaller frames by 

the sides can also change directions. This work can be arranged in 

so many different ways to mean different things. 

 



Ogobuchi Otuu and Pius Ntagu 

58 

 

 
Plate 10: OtuuOgobuchi (2023) ‘giving back” Batik on assembled 

fabric 65cm x 27cm 

 

This is yet another work designed by disjoining the fabric at the 

earlier stage and this was created with the use of two Uli motifs, 

‘agwolagwo’ and ‘okara isi oji’. It combines four different colours, 

blue which introduces the first okara Isi oji that landed on the 

yellow, the yellow receives then form a large spiral(agwoloagwo) 

that extends to form the twin spiral on purple which also shares 

okara isi oji with yellow and also with lemon. The spirals even 

though they flowed from different colours, meet in the centre to 

form a whole. Each of the colours was dyed individually and joined 

to align, then piped with a black fabric to highlight the design. 

 

Summary  

The essence of this project was to create more means of displaying 

Uli motifs on fabric by using it for wall hanging as a decoration for 

interiors in other to portray and popularize these motifs. During the 

research, it was observed that the youths of the present-day 

dispensation have little or no knowledge of the existence of these 

motifs even as artists continue to use them in their works. It was 

also observed that using fabrics for wall hangings in Nigeria creates 



Batiked Fabrics for Interior Wall Hangings as a means of … 

59 

 

opportunities for question since the use of fabric is not common in 

Nigeria. Using these as wall hangings in built environments will 

enable the public to absorb the fullest possible awareness and 

knowledge of these motifs and also imbibe the idea of using fabrics 

for wall hangings. There is so much fabric can do in homestay other 

than just curtains and bedspread, yet just few people know about 

the use of fabrics for wall hangings and even the few recognize 

mostly works that are on frames. This research birthed new ways 

of exploring Batik on fabric to be used as wall hangings not 

particularly on frames. 

 
 

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