Arts/Literary
A Journey Into The World Of Nigerian Art
The story of the beginning of the creative foraging in art in Nigeria is never much different from what is obtainable in various parts of the inhabited world.
The story of art could be simply put as the story of civilization and evolution of man. Most of the materials and clues employed by ethnographers and anthropologists in reconstructing the story of the early man are largely based on the artistic objects and instruments left behind by the early man.
Therefore, to study the art of the political entity known as Nigeria today, one must seek first to keep abreast of the peoples that make up Nigeria and their cultural origins prior to the coming of British colonialism which signaled the beginning of the formal historic recording of the heterogeneous people that was later brought under one umbrella called Nigeria mostly for the purpose of effective governance by the British imperialists.
Consequently, since Nigeria today is more of a political sovereign entity rather than a singular culturally uniform group of people, it is important to study the arts of the different people that were brought together to answer Nigeria, since the country is made up of over 250 ethnic groups and languages.
Art in Pre-Colonial Nigeria
Almost all the ethnic people that make up Nigeria practise one form of art or the other. Like in most African societies, to the early Nigerians, art is inseparable from their religion. Art is seen as the agency through which their religion is given expression; it carries the essence of their religion.
Therefore, prior to the coming of the colonial masters, Nigeria was a melting pot of artistic explorations, since they practised their traditional religion to the fullest and without hindrance. The early Nigerians used their art to interpret their world as they saw it, as well as using it to concretize their cosmological views on life and esoteric ideas. They employed art in the various cultural celebrations and ceremonies and special commemorations because of the Pantheist nature of the traditional religion.
The early Nigerian society produced a large collection of ancestral images and gods while spirit entities, natural forces and elements such as wind, fire, water and land were given recognition as possessing spiritual authority and required reverence. They, therefore, made art objects to represent the essence and attributes of these supposed forces. This they did with hope of subduing or at least appeasing them and in some cases, harness this power and by so doing be able to bring them under some sort of control or form some kind of pact with them. This practice is not far different from the magical meanings adduced to the cave paintings discovered in Lascaux, France.
Therefore, for the purpose of this article, it will be best to stick to a selected number of artistic media generally used by the major artistic flashpoints in the country. Fortunately, these flashpoints also represent in no particular order, the major cultural groups with the most extant collection of traditional works of art.
A close study of the traditional art in Nigeria shows that most of the artifacts and cultural pieces produced by the different cultural groups are largely grouped within the boundaries of these mediums: stones, terracotta, woods, bronze, paintings and crafts.
Esie and Ikom Stone Sculptures:
Though Esie is a predominantly Yoruba community, the origin and identity of the makers of the stone sculptures have remained in obscurity crystallising into different mythological stories by the community. Therefore, in a bid to unravel the mystery behind their identity, ethnographers, anthropologists and archeologists have made concerted efforts in different directions in order to explain the works. The findings of many researchers have, however, established the following facts; the Esie stone sculpture is a composition of about a thousand soap stone sculptures depicting both human and zoomorphic features. The human figures represent people engaged in various human daily activities. The stone sculptures represent a cosmopolitan collection of different cultures with features such as sophisticated hair styles, dresses, tribal marks, necklaces and bracelets with multiple cultural traits that connect them with different ethnic groups surrounding the area.
The Esie stone works are also recognised as the largest collection of stone carving in Africa.
Ikom monoliths of Cross River State represent the second yet known largest collection of a handful stone sculptures. The stone works are found in an area inhabited by the Ekoi people along the bank of Cross River. The Ikom figures are generally that of humans and are highly geometricised. Measuring between 2 to 6 ft, the appearance of beards in all the figures clearly shows that most of them are males. Scientific researches on this works date them to around 200AD.
Terracotta Culture
In Nigeria, almost every cultural group possesses one form of terracotta art or the other. In fact, most parts of Nigeria have one form of sculptural tradition or another especially around the southern part of the country. Nevertheless, the picture starts changing as one gradually moves towards the Northern part of the country. The Nok culture is dated to have flourished between the years 2000BC and 300AD, making it the oldest form of traditional art not just in Nigeria but West Africa.
The followings are the stylistic characters of Nok Art: complicated coiffure, high geometricism with cylindrical heads, perforated eyes, nose, mouths and ears, semi-circular and triangular eyes and lids and so on.
Asides from the Nok culture, the Ife-Terracotta works are another notable ancient traditional art emanating from South Western Nigeria. Dating as far back as 12-15 century A.D. Ife art is located at the heart of Yoruba ancestry.
Wood Carvings
Scholars have for long established that Nigeria possesses the largest collection of sculptural works in sub-Saharan Africa. Most of these art works are done in wood and are applied to different uses. Also, this was possible due to the diversity in cultural abundance and most importantly as a result of the surplus abundance of timber made possible by the country‘s location within the tropical rainforest region of Africa. Therefore, almost all cultural groups in Nigeria possess one form of wood carving tradition with notable styles and characteristics particular to them.
Ancestral Figures
Most ethnic groups in Nigeria have a tradition of carving ancestral figures. In Yoruba land, they have Ibeji figures. These figures are done to celebrate the birth or death of twins in Yoruba tradition. It is backed by the people’s belief that twins are powerful spirits who are capable of bringing wealth to their families or misfortune to those who do not honour them.
To the Igbos of the South-Eastern Nigeria, one of the most popular and significant ancestral figures come in the form of Ikenga wood carvings. Ikenga is usually used to denote the power of a man’s right hand and his accomplishments. It is represented usually by a figure holding different things such as horns and swords. This practice of Ikenga carving has penetrated other cultures around the Igbos, such as the Edo who call it Ikengaobo and the Igala who call it Okega.
Doors & Wooden Posts
The Yorubas have a rich tradition of carved wooden posts and carved chip doors. This style of carving was so highly developed that guild of carvers and artists was developed around it. It was through this informal system of traditional art society education that gave birth to 20th century artists like the famous Olowo of Ise who many scholars have acclaimed as the most important Yoruba artist of the 20th century because of his virtuosity and dexterity in the niche of carved wooden doors and house posts.
Similarly, the Igbos also have a developed system of wood carving of doors and house posts. In the past, the houses of highly placed individuals and the affluent were embellished with these works. In fact, it was used to identify the extent of wealth and social importance of individuals. The Awka guild of carvers was found in Anambra State.
Igbo-Ukwu, Ife and Benin Bronze Traditions
The Igbo-Ukwu bronze tradition is, unarguably, one of the most celebrated contributions of the Igbo race to African artistic and technological heritage. The origin of the technology and knowledge of metal working as displayed by the complicated and intricate designs employed in Igbo-Ukwu bronze findings still baffles scholars till date. The Igbo-Ukwu art heritage is reputed to be the oldest bronze sculpture tradition in Sub-Saharan Africa, dated to about 9th century A.D.
The ancient city of Ife is widely acclaimed by the Yorubas as the birth place or the ancestral home of the Yoruba people. Many of the ancient Ife artefacts today have been traced to the dynasty of the Ife King, Oba Obalufon II who is highly regarded as patron of the arts. One notable characteristic of the Ife art is the emphasis on the size of the head as being the centre of knowledge, symbol of ego and destiny and so on. The Ife artists therefore do not observe the rules of proportion in producing their figures but rather the heads usually are made a little larger than the rest of the body; sometimes in the ratio of 1:4.
Another notable characteristic of the Ife art is in the use of small holes to indicate beards and hairlines of the masks and faces, and the presence of prominent scarification lines running vertically across the whole face.
The Ifes were also adept in their mastery of copper and its alloys and they produced a handful of works using the material. They also produced terracotta works. Because the Ifes strived to produce art works that pleased the Obas, great effort was put into their production to achieve striking naturalism. This naturalism is one of the most notable attributes of the Ife copper heads which have their facial features well articulated to true representation of the individuals depicted.
Of all the bronze casting traditions found in Nigeria, Benin ranks as the most popular, known world over. They are most famous for the great attention to details, masterly craftsmanship and dexterity with which they were executed. The inventiveness of the Benin civilization and art was first brought to Western public view following the infamous punitive British invasion of the kingdom in the year 1897, which saw a great number of Benin artefacts carted away by the British soldiers as war booties.
The ancient Benin people, like their Yoruba counterparts placed great importance on the head as a chief part of the body; they therefore believe that the head is imbued with spiritual energy (ehi) deposited by the creator; Osanobua and his eldest son, Olokun. This is probably the reason why the Benins have a massive repertoire of bronze heads of their Obas donning their royal regalia.
The art of the Benin people, like most Nigerian cultures, is not without the influence of neighbouring tribes. Consequently, the Benins trace their bronze casting origin to the great Yoruba town of Ife, from where a man came and taught them different bronze casting techniques. Also, the Benin art was influenced by the naturalistic style of the Ifes.
Contemporary Nigerian Art
Following the dawn of independence in Nigeria, artistic foraging has continued to flourish, leading to the flowering of a multiplicity of contemporary styles in art production. Through the acquisition of formal Western art education, and drawing inspirations from the rich cultural motifs, Nigerian art scene has become more individualised, detribalised and universal with little common traditional traits still noticeable in the corpus of works addressed today as contemporary Nigerian Art.
Globalisation influences and current socio-cultural and political issues have contributed to a proliferation of styles and techniques. Nevertheless, the state of contemporary art in Nigeria is in a continuous flux and remains ever vibrant, opening up more vistas for artistic expression in a world resplendent with multiplicity of media and styles.
By: Moses Njoku
Njoku is of the Affinity Art Gallery, Lagos.
Social/Kiddies
Children And Basics Of Family
It is the idea of God that family should exit. Children form part of the family. God loves family so much that Jesus was born into the family of Joseph.
Everyone’s family is good and important. Children should not look down on their family whether they are rich or poor.
Children should respect and honour their family and foster love among their siblings. They should work together and make peace in the family. They should always stand in the gap. It is good for family members to carry all along since everyone may not be doing well.
The Christianity that children learn is practised in family. Faith-based organisations do a great job in moulding children’s character. Those are the behaviours that children exhibit towards siblings in family.
Every child born in a family is there for a purpose. A baby born into a family is supplying something. It may be joy, wealth and so on. Everyone is important in a family.
Adolescents who have graduated from school but may not be contributing financially can do one or two things at home. You can engage in preparing meals at home while parents are away for a job or business. Contributing in house chores will go a long way to relieve parents of stress after a day’s job.
What do you contribute to your family, especially during holidays both in nuclear and extended family?
The family you were born is constant but friends are temporary. You can decide not to continue in friendship but you cannot cut off your family. No matter how bad you think your family is and you decide to leave home, you must surely return. Your friends can harbour you for a while.
The child’s first identity comes from the family. What the child learns first comes from the family.
Family is the centre of love and care. People have started playing down on marriage because of neglect on basics of family. Marriage starts today and and the next few months, it is threatened. Respect for family plays a crucial role in marriage.
No child grows without parental control and influence. If a child refuses to grow without taking instructions from parents, he may grow up being wild. There are consequences when children do not obey their parents. There are those who want to be rebellious against their parents. They should know that their length of days are tied to their parents.
Your bioligical parents know you more than every other person. There is the wisdom and knowledge your parents have that you do not so it is proper to listen to them before choosing carriers both in academics and job. A young man or woman can choose who to get married to, but a greater role in the choice of who to marry and the marriage proper comes from the parents.
They know what is best for you. No matter how modern trends will influence you and prove it wrong, parent is the key. No one can love you more than your parents because they are your blood.
A lot of parents have been traumatised due to the fact that children they nurtured and trained turned their back on them at older age. Children should not abandon their parents for any reason.
As you grow up, situations may arise in marriage when you decide it is over with your spouse, but no matter the level of provocation with your parents, they will not despise you. Parents will also play a role in that regard. Problem arises in every family but how it is handled matters a lot.
Some children honour their mentors more than their parents. Although there are parents who shy away from their responsibilities. It is important that parents take full responsibility of their children. You cannot bring a child to the planet earth and refuse to perform roles as a parent. But parents may not quantify what they spent from childhood to adolescence. That is a blessing children cannot get from another person.
There are people who have attributed their failure in life to the fact that their parents, especially mothers are witchcraft. It is wrong to feel that your mother is instrumental to your failure in life. The only way to success is hardwork.
Let money not determine the level of love for your parents. Wherever a child goes, family is constant.
Eunice Choko-Kayode
Social/Kiddies
Who Should Name A Child?
Naturally, when a child is born, it is the role of the father and mother to decide a suitable name for the child. The husband and wife normally discuss and suggest the English or vernacular name of the baby.
But sometimes, when a baby comes into a family, grandparents hearts are usually filled with joy to the extent that they want to answer present, by giving their own names not minding the fact that the biological parents have given theirs.
This happens mostly when the marriage is an inter-tribal one. It also happens even in intra-tribal marriage. Grandparents want equal representation as far as naming a child is concerned. They also have special names as a result of circumstances surrounding the birth of the child.
This is still happening till date.
A lot of people have viewed this in different ways but there is nothing wrong about it. The most important thing is that the child bears as many names as he or she can. But one thing is certain, the child must bear one name in school.
Should circumstance determine a child’s name?
Women who are more emotional are always eager to name their children considering the circumstances surrounding the child’s conception and arrival.
The issue of grandparents naming a child comes up mostly when it is the first of the family.
In naming children by some parents in the olden days, they named their children according to the days in the week in which they were born, like Sunday, Monday, Friday and so on.
You may be shocked to hear that whether a child is given 10 names by parents or grandparents, when he or she grows up, will decide to change. There are several cases where some persons decided to change especially when they feel that the names given by their parents and grandparents do not give them joy. If they are not doing well in life, they may claim that their misfortune is caused by the name their parents.
Social/Kiddies
Children’s Performance Can Make Or Mar Them
Competition among children in schools be it primary, (kindergarten) and secondary come in different forms. It can be Mathematics , debate, quiz, spelling bee,competition, from organisations like Cowbell, multi-national companies, faith-based organisations among others.
They are organised mostly for selected intelligent ones, the best among their peers to represent a class, school or group. Prizes are normally set aside for the best as well as consolation prizes for runners-up at the end of each session.
The question is, are children willing to accept defeat when they fail? As parents, guardians, can you encourage your children or wards to accept defeat instead of shouting and comparing them with others who may be performing better either in schools or outside.
Some parents may be blaming their children for not doing well in competitions. They will like to tell their children if others who may perform better have ten heads. Those group of parents blame their children for every failure.
For your children to do better in competition, the parents too must have emotional intelligence. When you continue to blame your children for failure, how intelligent are you?
Some parents always want their children to be in the 1st position and unhappy whenever they secure 2nd position. There were instances where children smashed their trophies because they never got the position they wanted to get and their parents supported them.
Children should be able to accept it whether they win or not. They should be encouraged for every performance. Discourage the issue of “shame, shame, shame, shame”.
A parent says she always tells her children to win even if they will fail. Always give them the mentality that they can win. Children should be given the impression that they can win prizes and laurels in every competition.
Parents should not isolate their children from others in the neighbourhood. Allow them to play with others. Don’t threaten your children that you may not pay their schools fees if they fail. Comparing them with others may encourage or discourage them.
Coming first or getting award as a first class student from the university sometimes does not mean that the person is the best. And if the child does not merit any award in the lower classes, does not mean that he can not merit first class also.
It should be noted that coming first in academic competition may not really mean that the competitor will be the best at work place or business.
Accepting defeat is a way to move higher. Even if a child who competed with others did not come first, there are consolation prizes for runners-up. When you advise the child to accept defeat, you are encouraging her to win in next competition.
Remember all children cannot be on the same knowledge level Their learning abilities defer.
Eunice Choko-Kayode