Nation
Nigerian Arts, Expression Of Diverse Culture, Tradition And Religion
Arts, according to Merriam Webster Dictionary, means “something that is created with imagination and skill that is beautiful or that expresses important ideas or feelings”. It could also mean methods and skills used for painting, sculpting, drawing etc.
The Oxford Advanced Learner’s Dictionary defines arts as “The use of imagination to express idea or feelings particularly in drawing or sculpture”.
While Njoku Moses of Affinity Art Gallery notes that the story of Art could be simply put as the story of civilisation and evolution of man. Most of the materials and clues employed by ethnographers and anthropologists in constructing the story of the early man are largely based on the artistic objects and instruments left behind by the early man.
In the pre-colonial era almost all over the 250 ethnic groups and languages that make up the entity named Nigeria by the British colonial masters, practised one form of art or the other. Like in most African countries including Nigeria, arts is inseparable from their religion. Arts is seen as the agency through which their religion is given expression.
Prior to the coming of the colonial masters, Nigeria was a melting pot of artistic explorations, Nigerians used their art to interpret their world as they see it as well as concretise saw their cosmological views on life and esoteric ideas. They employed art in the various cultural celebrations and ceremonies because of the pantheist nature of the traditional religion.
The early Nigerian society, produced a large collection of ancestral images and gods, spirit entities, natural elements and, forces such as wind, fire and water and land were given recognition as possessing spiritual authority and required reverence. They therefore made art object to represent the essence and attributes of these supposed forces. This they did with the hope of subduing or at least appeasing them 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.
A close study of the traditional art in Nigeria shows that most of the artifacts and cultural pieces produced by the different cultural group are largely grouped within the boundaries of these mediums, stones, Terracotta, woods, Bronze, paintings and crafts.
These include: Esie And Ikom Stone Sculpture.
Though Esie is a predominantly Yoruba community, the origin and the identity of the makers of the stone sculptures have remained in obscurity, crystallising into different mythological stories by the community.
It has however been established that the Esie stone sculpture is a composition of about a thousand soup 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 ethic groups surrounding the area. The Esie stone works are also recognised as the largest collection of stone carving in Africa. The 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 those of humans and are highly geometricalised measuring between 2 to 6ft. The appearance of beards in all figures clearly shows that most of them are males, scientific researches on this works dates them to around 200 AD
Terracotta Culture
In Nigeria, almost every cultural group possesses one form of terracotta art or the other. 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 following are the stylistic characters of Nok Art, complicated coiffure high geometricism with cylindrical heads, perforated eyes, nose, mouth and ears, semi circular and triangular eyes and lids etc.
Aside from the Nok culture, Ife Terracotta works are another notable ancient traditional art, emanating from south western Nigeria, dating as far back as 12-15 centuries AD. Ife Art is located at the heart of Yoruba ancestry
Wood Carvings
Scholars have also established that Nigeria possesses the largest collection of sculptural works in sub Saharan Africa; most of the artwork are on wood and are applied to different uses. 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 rain forest region of Africa. Therefore almost all cultural groups in Nigeria possess one form of wood carving tradition with notable styles and characteristics to them
Ancestral Figures
Most ethnic groups in Nigeria have a tradition of carving ancestral figures. In Yoruba land, they have the 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.
In the Igbos of the South Eastern Nigeria, one of the most popular and ancestral figures come in the form of Ikenga wood carving. 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 Igbo’s such as Edo who call it Ikengaobo and the Igala who call it Okega.
Doors And 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 were developed around it. It was through this important 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 artists 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 Tradition
The Igbo Ukwu bronze tradition is unarguably one of the most celebrated contributions of the Igbo race to African artistic and technological heritage. The origins and the technology and knowledge as displayed by the complicated and intrinsic design employed by Igbo Ukwu bronze finding still baffle 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 AD.
The ancient city of Ife is widely acclaimed by the Yoruba as the birthplace or the ancestral home of the Yoruba people. Many of the Ife ancient Ife artifacts today have been traced to the dynasty of the Ife King, Oba Obalufo 11, who is highly regarded as patron of the arts. One notable characteristics of the Ife art is the emphasises on the size of the head as being the centre of knowledge, symbol of Ego and destiny etc.
The Ife artists therefore do not observe the rules of proportion in producing their figures but rather usually are made a little larger than the rest of the body. Another notable characteristic of Ife art is in the use of small holes to indicate beards and hairline of masks and faces and the presence of prominent scarification lines running vertically across the whole face.
The Ife’s 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. They also produce art works that please the Oba. Great efforts were put into their production to achieve striking naturalism which 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 famous for the great attention to details, mastery of craftsmanship and dexterity with which they were executed. The inventiveness of Benin civilisation and art were first brought to western public view through the infamous punitive British invasion of the kingdom in 1897 which saw a great number of Benin artifacts carried away by the British soldiers as booties.
The ancient Benin like their Yoruba counterpart 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 during their royal regalia.
Contemporary Nigerian Art
Following the dawn of independence in Nigeria, artistic foraging has continued to flourish, leading to the flowering of a multiplicity of the contemporary styles in art production. Though the acquisition of formal western education, Nigerian art scene has become individualised, detribalised and universal with little common traditional traits, still noticeable in the corpus of works addressed today as contemporary Nigerian Arts Globalisation influences and current sociocultural and political issues have contributed to a proliferation of styles and techniques.
The Minister of Marine and Blue Economy, Adegboyega Oyetola, has reaffirmed the Federal Government’s commitment to enhancing the safety of the seafaring profession and upgrading maritime institutions to international standards.
Speaking at the 2025 World Seafarers’ Day celebration in Port Harcourt on Wednesday, organised by NIMASA, with the theme, “My Harassment-Free Ship.
He said that this year’s theme “speaks to our collective duty to make every ship a safe and respectful workplace noting that harassment and bullying have no place in our maritime industry.
The Minister further emphasised the importance of continuous training and retraining to ensure seafarers remain competitive and employable.
Also speaking, the Minister of Labour and Employment, Muhammadu Maigari, emphasised that seafarers are the backbone of international trade, facilitating the smooth transportation of goods and services across the globe.
He stressed the need to eliminate all forms of violence, harassment, and bullying against seafarers.
In his welcome address, the Director-General of NIMASA, Dr. Dayo Mobereola, emphasised the need for the maritime community to prioritise the welfare, safety of seafarers and maintain zero tolerance for harassment.
According to the DG, “Today provides opportunity for the Maritime Community to honor seafarers globally for their immense contribution to both domestic and international trade, powering the blue economy and connecting nations across oceans”.
He said that this year’s theme was particularly apt, as it was a call to action to “ensure that our seafarers feel safe, are valued and protected while at sea because the ship is not just their place of work; it is their temporary home. It must therefore reflect the highest standards of dignity and professionalism fostering zero tolerance for harassment”.
He declared that NIMASA must continue to play its part in ensuring that Nigeria contributes effectively to regulations affecting seafarers, as Nigeria remains the highest contributor of seafarers in Africa. “Our men and women sail on vessels in our domestic waters and also globally. This will continue to grow through the Nigerian Seafarers Development Program (NSDP) and the effort of our Maritime Training Institutions.
‘At the recently concluded 113th session of the International Labour Conference held in Geneva, seven (7) amendments to the MLC 2006 code addressing a broad range of issues affecting seafarers, including the recognition of seafarers as key workers, improved protection against ship board violence and harassment, enhanced access to shore leave and repatriation and updated medical and occupational safety standards were approved by an overwhelming majority.
These seven (7) amendments reflect collective global effort to align maritime Labour standards with the evolving landscape of global shipping.
I, therefore, call on shipowners, operators and crewing agencies to begin to review their operational manuals to align with these amendments ahead of the expected entry into force in December 2027. Our seafarers must be able to report grievances without fear of retaliation, while also ensuring protection against vexations or malicious complaints.
He added that NIMASA will play its role by establishing clear policies and procedures for preventing and addressing harassment on Nigerian-flagged vessels, ensuring confidential reporting channels for incidents of harassment and that reports are thoroughly investigated and addressed.
“Today is a clear reminder to us all – government, employers, unions, shipowners, and civil society- that seafarers should not be left alone in their struggles. They look up to us to help them foster a culture of zero tolerance on ships to protect their dignity”, he stated.
He also assured that under his leadership, NIMASA will ensure compliance with regulatory requirements, particularly the renewal of entries into force by ship owners, operators, and relevant agencies come December 2027.
Stakeholders drawn across the four local government areas of Ogoniland in Rivers State, have expressed delight over the excellent performance of the Project Coordinator of the Hydrocarbon Pollution Remediation Project (HYPREP), Prof Nenibarini Zabbey within the past two years, describing him as a true patriot, who has been showing leadership in delivering service to the people.
The stakeholders, who gave the indication in their separate goodwill messages during the mid-term stakeholders engagement and scorecard presentation organised by HYPREP in Port Harcourt, scored the Project Coordinator high on the Ogoni cleanup and the overall implementation of the recommendations of the UNEP Report on Ogoniland.
The President of KAGOTE and Board member of the Ogoni Trust Fund, Hon Emma Deeyah, particularly commended Zabbey for turning around the fortunes of the Ogoni people, as they are now having value for the money earmarked for the cleanup project, describing the Project Coordinator as “one of our best.”
He noted that Zabbey has done well on the saddle, working very hard, being an administrator and leader with listening ears, striving assiduously to meet the yearnings and expectations of the people.
He said the Ogoni cleanup is a journey that has just begun, stressing that he was happy that the Project Coordinator is not on the saddle to amass wealth but to deliver and achieve results, and appealed to the Ogoni people to continue to give him their support.
On his part, member representing Gokana/Khana Federal Constituency in the National Assembly and Chairman of the House of Representatives Committee on Host Communities, Rt Hon Dumnamene Dekor, said HYPREP under the watch of Zabbey is working with renewed vigour, and thanked the Project Coordinator for driving the Ogoni cleanup project with passion.
He noted that the funds dedicated and earmarked for the project are running out, disclosing that he was working on an Executive Bill, to facilitate the work of HYPREP.
While stressing the need for the people to take full responsibility of all the projects sited in their communities, Dekor regretted that some beneficiaries had sold the starter packs presented to them by HYPREP, while the water facility provided in his Bierra community has been vandalised.
The King of Tai Kingdom, King Samuel Nnee, said HYPREP under Zabbey as Project Coordinator has been delivering on its mandate, describing him as a square peg in a square hole, who has given hope to the Ogoni people.
The monarch urged the Ogoni people to give the Project Coordinator the necessary support.
The Paramount Ruler of Barako Community and member of the Governing Council of the University of Port Harcourt, Mene Kadilo Kabari, said Zabbey has always demonstrated that he is a true patriot by carrying along Ogoni people from all strata of the society, describing him as a performing Project Coordinator.
He noted that the bane of HYPREP before now had been the conflict between the Project Coordinator and the Minister of Environment, saying, under Zabbey, Ogoni people can now see what unity of purpose can achieve.
He expressed delight that the water facility which was the first commissioned by HYPREP in his community is functioning optimally following the solar-powered system installed by the Project.
The King of Eleme Kingdom, King(Dr) Philip Osaro Obelle thanked HYPREP’s management team for all that it is doing in Ogoniland, stressing that the Project was built on the graves, bellies and blood of Ogoni sons and daughters who lost their lives during the Ogoni struggle.
He, therefore, advised HYPREP “not to deviate from the expectations of our heroes but to do those things that would benefit Ogoni people for the betterment of Ogoniland.”
Former Nigerian Ambassador to Netherlands, Hon Oji Ngofa said HYPREP has been like the government of Ogoniland, and harped on the sustainability of all the projects.
According to him, Zabbey has been giving HYPREP a human face.
Former Vice Chancellor of the Rivers State University, Prof Barineme Fakae applauded Zabbey for the construction of the Centre of Excellence for Environmental Restoration, and stressed the need for the implementation of the recommendations of its technical committee which recently submitted its report.
According to him, if the project succeeds, Ogoni people are going to succeed.
Chief Priscillia Vikue, on her part, thanked Zabbey for his outstanding performance, saying, the women of Ogoni are very happy with what he is doing in Ogoniland.
While scoring the Project Coordinator highly on his performance, she said the women are happy because Zabbey knows what he is doing with HYPREP.
“You went to school.You did not cut corners.You are a square peg in a square hole.You have engaged women and the youths. We have seen what you have done. And we give you A1”, she said, and challenged Zabbey to see how more women would participate in the project and also how to sustain it.
In his remarks, the Project Coordinator, Prof Nenibarini Zabbey said the mid-term engagement is important because “it allows us to present tangible evidence of progress in the Ogoni cleanup effort, reinforce accountability, deepen transparency, and most importantly, enables HYPREP to interact directly with the communities and stakeholders who are the heartbeat of this project.”
He noted that the scorecard presentation is designed to show what HYPREP has achieved across key thematic areas, what challenges it is currently grappling with, and what the road ahead looks like, saying, “it is a moment for stocktaking and for re-affirming our shared commitment to the success of the Ogoni cleanup project”.
According to him, HYPREP has recorded commendable progress in the implementation of its core mandates in line with UNEP recommendations and the directives in the official gazette establishing HYPREP.
Donatus Ebi
The South-South representative of the Tertiary Education Trust Fund (TETFund) Board, Rt. Hon. Aboh Uduyok, has concluded his one-day official visit to Captain Elechi Amadi Polytechnic in Rumuola, Rivers State, with the unveiling of the Mass Communication Department classroom building. The project was executed under the 2021 TETFund intervention project.
During the unveiling of the project, Tuesday in Port Harcourt, Rt. Hon. Uduyok commended President Bola Ahmed Tinubu for his commitment to the educational sector and praised the polytechnic’s management for utilising TETFund resources judiciously.
He noted that the quality of ongoing projects met approved specifications, and expressed satisfaction with the institution’s progress.
The TETFund representative stated that his visit was aimed at familiarising himself with beneficiary schools, assess fund utilization, and identify challenges.
He assured the school management that he would convey their requests for constructing engineering works and hostel accommodations to the board and notify them of any approval.
Rt. Hon. Uduyok explained that the TETFund Board is not initiating new projects this year, except where necessary, due to presidential directives. However, he commended the institution for the commendable quality of both completed and ongoing projects.
In his welcome address, the Rector of Captain Elechi Amadi Polytechnic, Dr. Moses S. Neebee, thanked the TETFund representative for visiting, and highlighted the institution’s successes and challenges. He requested support for hostel accommodations and engineering works, emphasising that a higher institution without hostels is akin to a glorified secondary school.
Dr. Neebee while briefing the visitor on the institution’s progress, noted that it currently runs 21 National Diploma programme and five Higher National Diploma courses. He disclosed that the school accessed the 2021 TETFund release in full but faced challenges with the 2023 fund due to harsh economic conditions and bid process delays, which increased project costs. The Rector pleaded for assistance in securing additional funds for the 2023 intervention release.
Akujobi Amadi
