The Innovative Designs Healing Jos

Wakrot Chinshaka, an award-winning Nigerian designer based in London has disclosed purpose behind his newly launched project titled ‘More Love Less War.’

According to Chinshaka, the project celebrates the intersection of tradition and modernity. By utilizing rich colours and symbols from his hometown, Jos, he aims to promote peace in a city that has been marred by years of violence.

A recent graduate from the University of the Arts, London-Central Saint Martins, where he studied MA in Industrial Design, Wakrot was born and raised in Jos, Plateau State, amid the ethno-religious conflicts that have plagued the region for over two decades.

According to Chinshaka, his personal experiences have fuelled his passion for using art and design to address social, cultural, and ethnic issues in Nigeria and across Africa.

“Historically, Jos was known as the ‘Home of Peace and Tourism,’ attracting visitors with its temperate climate and cultural heritage.

“However, its reputation has suffered due to recurrent ethno-religious violence rooted in colonial history. The conflicts in Jos are deeply connected to the tin mining activities of the 19th century, which brought diverse ethnic groups to the city.

“This migration laid the foundation for today’s tensions between the majority Christian indigenous tribes (Anaguta, Berom, and Afizere) and the minority Muslim Hausa/Fulani settlers.

“The ongoing struggle for land ownership and political representation has exacerbated these tensions, compounded by Nigeria’s complex federal structure and colonial-era policies,” Chinshaka explained.

He hinted that his ‘More Love Less War. ‘the project’ employs the unique fashion styles, colours, and cultural patterns of Jos’s ethnic and religious groups to create a unified design. This textile design, he said incorporates elements from both indigenous and settler tribes, symbolizing the entire city’s diverse ethnicity. The aim is to build a robust campaign to end the ethno-religious conflict in Jos.

Personal narratives from residents, including his own, highlight the trauma experienced by those living through these crises. He recalls carrying a knife to school as a child, influenced by the pervasive fear and mistrust among different communities, and narrowly escaping a car bomb explosion during his first year at university. These stories underscore the deep psychological scars left by the violence and the urgent need for healing initiatives.

The project, he said leverages radical participatory design, engaging community members from the outset. Workshops and art sessions brought together creatives from various ethnic backgrounds to collaborate on designing patterns that reflect a united Jos.

He noted that this inclusive process not only produced a meaningful textile design but also facilitated dialogue and understanding among participants.

He listed key insights from the project include “the importance of community involvement for successful peace-building. Engaging local communities ensures that solutions are grounded in their lived experiences and aspirations.

“The project also demonstrated that ethnic and religious differences can be assets rather than obstacles, enriching the final design and fostering shared ownership. Furthermore, emphasizing non-violent conflict resolution significantly increases the chances of sustainable peace.

“Non-violent resistance campaigns are nearly twice as likely to achieve success compared to violent counterparts, and countries adopting such strategies are more likely to remain stable democracies.”

Looking ahead, Chinshaka said the project plans to expand its efforts, advocating for peace through non-violent campaigns and continued community collaboration.

He said the newly designed fabric will be used to create garments for festivals, weddings, and everyday wear, serving as a constant reminder of the potential for unity in diversity. By integrating these symbolic textiles into daily life, the initiative aims to keep the message of peace and unity at the forefront of community consciousness.

Jos stands at a crossroads, where efforts to heal and unite through creative and non-violent means can set a powerful precedent for other conflict-affected regions.

By using fashion as a tool for advocacy, this project not only aims to mend the social fabric of Jos but also to inspire broader efforts towards peace and reconciliation in Nigeria and beyond.

The journey from crisis to unity is challenging, but with innovative and inclusive approaches like this, there is hope for a brighter, more harmonious future.