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Nigerian Arts, Expression Of Diverse Culture, Tradition And Religion

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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.

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Nigeria Risks Drifting Without Strong Education Policies-Don

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  • Nigeria’s quest for national greatness may remain elusive if educational policies continue to suffer poor implementation, Prof Nathaniel Abraham has warned, declaring that education remains the strategic compass capable of steering the country toward sustainable growth and global competitiveness.
    The respected scholar made this assertion while delivering the 206th Inaugural Lecture of the University of Port Harcourt at its Abuja Centre of Excellence. His lecture, titled, “The Rudderless Ship and Its Major Rescuer,” employed a striking maritime metaphor to illustrate the state of the nation’s educational system and, by extension, its development trajectory.
    According to Prof. Abraham, the rudder, though a small and seemingly insignificant component located at the rear of a ship, determines the direction, stability, and safety of the entire vessel. Without it, even the most magnificent ship with powerful engines and sophisticated equipment will drift aimlessly and is at risk of wreckage. He likened this crucial component to educational policies in a nation’s governance structure, arguing that policies serve as the guiding mechanism that determines whether a country reaches its intended destination or wanders endlessly without direction.
    In his analysis, he noted that Nigeria possesses abundant human and natural resources and is not! lacking in intellectual capacity or policy formulation. However, he emphasised that the country’s recurring challenge lies in weak implementation, inconsistency, and a culture of cutting corners.
    He recalled that at independence in 1960, Nigeria stood shoulder to shoulder with several nations that are now classified among the world’s leading economies. The difference, he maintained, is not destiny or potential, but discipline and adherence to policy execution.
    “What made them move forward was discipline and the will to implement policies the way they were designed. For as long as we trivialise our educational policies, we will continue to drift. But the moment we commit to proper implementation, Nigeria is destined for greatness,” he stated.
    Prof. Abraham stressed that education remains the foundation upon which every other sector stands. He argued that a properly structured and effectively managed educational system produces competent manpower, ethical leadership, innovation, and national cohesion. Conversely, a poorly managed system weakens governance, slows economic growth, and undermines social stability.
    Delving into higher education administration, the Professor identified funding as a critical coordinate of effective university management. Drawing from his scholarly publications in international journals, he explained that adequate and well-managed funding directly impacts teaching quality, research output, infrastructure development, staff motivation, and global competitiveness of universities.
    He described the current funding situation in Nigerian universities as grossly inadequate, noting that without intentional and strategic financial investment, reforms may remain theoretical.
    “Funding is very poor. If we address it deliberately and commit to doing it right, the transformation will be evident,” he affirmed.
    Beyond funding, he called for collective responsibility in rebuilding the education sector, urging policymakers, administrators, lecturers, parents, and students to play active roles in restoring value and credibility to the system.
    He emphasised that education should not be seen as the exclusive concern of those currently within school walls, but as a national asset that shapes future generations and determines the country’s long-term prosperity.
    Respondents at the well-attended lecture described it as both diagnostic and prescriptive, noting that Prof. Abraham not only identified systemic weaknesses but also offered a roadmap for reform. Some participants expressed optimism that the insights presented could serve as a blueprint for policymakers if carefully studied and adopted.
    The event drew members of the academia, deans, the clergy, stakeholders, and guests from various sectors who commended the inaugural lecturer for what many described as a courageous and timely intervention in the national conversation on education.
    At the conclusion of the lecture, Prof. Abraham was flanked by deans and colleagues in recognition of his contribution to scholarship and public discourse.
    The 206th Inaugural Lecture once again highlighted the role of the University of Port Harcourt as a centre for intellectual engagement and policy advocacy. More importantly, it amplified a central message: without a functional “rudder” in the form of faithfully implemented educational policies, Nigeria’s journey toward development may remain uncertain. But with discipline, adequate funding, and unwavering commitment to policy execution, the nation can chart a new course toward enduring greatness.
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Ex-UNIPORT SUG Leaders Organise Symposium In Honour Of VC

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Former Students’ Union Government (SUG) leaders of the University of Port Harcourt, have organised a one-day symposium in honour of the institution’s outgoing Vice Chancellor, Prof Owunari Abraham Georgewill, as his tenure draws to a close.
The maiden symposium, with the theme, “Resolution: From Agitations to Negotiations,” was convened by five past presidents of the university’s SUG as a mark of appreciation for what they described as a student-friendly and peaceful administration under the 9th Vice Chancellor of the university.
The event, held recently at the University of Port Harcourt Centre of Excellence, Abuja Campus, attracted past and present student leaders, members of the academic community, and invited guests.
In his remarks, the current SUG President, Sen. Amaechi Walson Tonye, said the cordial relationship between the Vice Chancellor and the student body informed the decision to organise the symposium, noting that students were proud to associate with a Vice Chancellor who consistently listened to their concerns and prioritised dialogue in resolving issues.
He commended the past SUG leaders for taking the bold initiative to honour the Vice Chancellor, describing the gesture as a reflection of the mutual respect and understanding that characterised the administration.
Speaking in an interview, Prof. Georgewill expressed gratitude to God and the students for the recognition accorded him. He described the honour as deeply significant, recalling that from his first day in office, he pledged to work closely with students to foster peace and ensure uninterrupted academic activities.
According to him, the peaceful atmosphere enjoyed on campus over the past five years was a result of deliberate engagement and a shared commitment to negotiation rather than confrontation.
“For the five years of my administration, we did not experience student-related demonstrations, closure of the school, or management-student crises, which are common in many institutions.We are celebrating because we chose negotiation over agitation. That is the essence of today’s honour,” he said.
He urged Vice Chancellors and student union leaders across the country to prioritise dialogue in addressing grievances, stressing that negotiation remains the best pathway to stability and academic progress.
Prof. Georgewill added that he would like to be remembered for humble and humane leadership anchored on inclusiveness and constructive engagement. He attributed the stability and infrastructural development recorded during his tenure to the grace of God and the cooperation of stakeholders.
The symposium featured a keynote lecture delivered by Prof. Obari Gomba, presentation of awards to the Vice Chancellor and the Dean of Student Affairs, Prof. Wokoma Chima, as well as a drama performance and goodwill messages from former SUG presidents.
Among those who spoke were Comrade Ubabuike Gift; Comrade Dickson Senibo; Comrade Okpara Martins; and Comrade Harmony Lawrence, who initiated and coordinated the event alongside other past student leaders.
The event concluded with renewed calls for sustained collaboration between university management and students to preserve the culture of peace and dialogue at the institution.

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NCSU Hails Fubara Over 2025 New Telegraph Man Of The Year Award

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The Nigeria Civil Service Union (NCSU) has congratulated Rivers State Governor, Siminalayi Fubara, on his emergence as the 2025 Man of the Year for the New Telegraph newspaper, describing the honour as well deserved and a testament to a leadership style anchored on peace, development and the welfare of the people.
The award, which was presented in Lagos, recognises Governor Fubara’s stewardship amid political and economic challenges in the State.
In a statement personally signed by the Rivers State Chairman of the union, Comrade Chukwuka Richman Osumah, the NCSU said the recognition is a befitting reward for a focused and committed administration that consistently places the interests of the people and the State first.
Osumah noted that Governor Fubara has demonstrated in both words and actions that he is committed to peace, stability and measurable governance outcomes.
According to him, the administration has pursued people-centred policies aimed at improving public service delivery, strengthening institutions and promoting inclusive development across Rivers State.
He stated that the Man of the Year award represents a celebration of purposeful leadership, resilience, dedication and unwavering commitment to service.
The union leader further observed that the governor’s efforts to sustain governance in the face of political tensions have distinguished him as a calm and conciliatory figure in the national political landscape.
The NCSU pointed to ongoing investments in infrastructure, healthcare and education, as well as initiatives targeted at improving workers’ welfare and supporting vulnerable groups, as practical demonstrations of the administration’s priorities.
It said such interventions have contributed to stabilising the polity and reinforcing public confidence in governance.
Describing the award as a defining moment in Governor Fubara’s political career, Osumah said it marks an important milestone in the development trajectory of Rivers State and would serve as motivation for the governor to intensify efforts toward peace, good governance, economic growth and sustainable development.
“The award simply tells Governor Fubara to continue the good works of his administration, anchored on prioritising development of the state and the welfare of the people, particularly civil servants,” Osumah said.
The union also commended the Governor for dedicating the award to the Minister of the Federal Capital Territory, Nyesom Wike, describing the gesture as a bold move aimed at consolidating the gains of reconciliation and political stability in the State.
While expressing appreciation to the New Telegraph for recognising what it described as the governor’s leadership qualities, the NCSU urged Governor Fubara to view the honour as both recognition and renewed responsibility.
The union called on him to continue championing policies that promote peace and development, and to consider incorporating the interests of organised labour in the process of reconstituting his cabinet, noting that labour unions have played a significant role in maintaining stability within the State.

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