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A Journey Into The World Of Nigerian Art

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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 practice 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 practiced 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 crystallizing 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 represents 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 geometricized. 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 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 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 guid 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 origins 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 center 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 inversion 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 neighboring 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 form the rich cultural motifs, Nigerian art scene has become more individualized, detribalized and universal with little common traditional traits still noticeable in the corpus of works addressed today as contemporary Nigerian Art.
Globalization 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 wrote this piece for Affinity Art Gallery

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Youths’ Role In NationBuilding

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Nation building is a dynamic process involving all segments of the locality, including the often-overlooked and undermined youth population. Youths represent a vast and often untapped resource for immediate and long-term community development efforts. They also provide an invaluable resource for the progress of any society as well as its development. As youths are brought into and connected with national issues and programmes (they have often times been ignored/excluded), they can participate actively and contribute to decision-making at multiple levels.
As youths are engaged in more sustained positive relationships with adults, other youths and national development programmes, apart from realising that they are valued citizens of their nations, such collaborations and participation may lead to skill enhancement, empowerments and confidence-building traits, which will help prepare them for active interest and involvement in nation-building (even in future).
The total population of those between the ages of 15 and 34 was about 30 million in the 1991 census, equivalent to one of every three Nigerians. It was projected that by the year 2000, the total population of this category of young person’s would be about 38 million (National Youth Policy, 2001). In 2006, a nation-wide population and housing census was conducted to update the records. It indicated that the youth profile in the Nigerian population has tremendously improved to 53 million (NPC, 2006).
Apart from the issue of numerical strength, global trend is towards emphasising the primacy of youth in the developmental process, with deliberate efforts by national governments to create conditions that will encourage youth to utilise their energies and resourcefulness for growth and sustainable development of their nations. It was in the light of this development that the Nigerian Youth Organisations in their memorandum to the last National Political Reform Conference maintained that:
“Nigerian youth must have a voice and must be given a greater say to contribute in the way he is governed and allowed to play greater role in leadership and governance so that at all times, he is properly equipped to assume the mantle of leadership which inevitably must come someday. (National Political Reform Conference 2005:15).
However, the prevailing conditions in much of the developing nations, especially Nigeria, have seriously extenuated the potentials of the youth as agents of social change. These challenges range from the economic and social to the cultural. The treacherous triangle of poverty, illiteracy and unemployment in which the bulk of Nigerian youths are currently trapped, has severally challenged their sensibility and has in the long run given rise to what sociologists term as attitudes of fatalism, resignation and acceptance of the situation (Heralambos, 2001). The persistence of these social problems has created an environment where youth are cheaply available for manipulation by self-seeking politicians. Poverty, illiteracy and unemployment are interrelated conditions that generate human needs and therefore constitute a state of deprivation.
As the youth continue to remain in this state, there is pent-up emotions and untapped energies. They provide cheap labour to execute the design of political gladiators and ethnic champions. In an apparent indictment of the Nigerian politicians, Togbolo (2006) observed, “they take advantage of the poverty-stricken nature of the country to exploit the people; politicians are fond of using the youth restive nature as a political strategy to have their way.”
According to Gribble (2010), “more than half of the world’s population under the age of 25 (between ages 15 and 24) are in greatest need of empowerment, those who are younger will quickly come of age and share these same needs. This segment of the population (15 to 24) is expected to continue growing faster than other segments for at least 20 more years” (Gribble, 2010). With the swelling wave of young people, access, empowerment and their engagement in nation-building becomes critical if they are to contribute effectively.
Uhunmwuangbo and Oghator (2013) suggested two (2) major motivations which have brought the converge of youth (young persons) into the policy agenda of national governments, thus fascinate and prioritised youth inclusion to the building process of any nation. According to them, the first is the global process of democratisation, beginning in Southern Europe, extending to Latin America, Asia and Africa, and more recently to Eastern Europe (Almond, 2004).
The second is the phenomenon of globalisation that has seriously challenged the capacity of nation-state to govern and which, according to Heady, et al, embodied a transformation of the spatial organisation of social relations and transaction (Heady, 1979). The combined effects of these global trends have confronted and dismantled authoritarian regimes in a decisive way, and at the same time rekindled the spirit of civil society in the political process (Suleiman, 2006).
The youth as an important component of the civil society is in the process of self rediscovery in an era characterised by the intense movement of the social forces of democratisation and globalisation. As they interact with other actors in the social system, the youth express their interest and needs, they relate with relevant political institutions and political processes to articulate their views and promote shared interest (Suleiman, 2006).
The role of education positioning and providing youth with access to effective engagement in national development which is a way of incorporating them in the decision-making process of the nation’s governance, nation-building activities where they are welcomed, with accurate and comprehensive information which will empower them to make healthy decisions.
There is no how the untapped capacities in youth can be tapped and utilised with an all-inclusive, participatory and synergy approach; thus, a suggestive dimension for involving the youth in nation-building. Youth participation, according to Cornwall (2010), refers to the involvement of youth in responsible, challenging action that meets genuine needs, with opportunities for planning and/or decision-making affecting others in an activity whose impact or consequence is extended to others. i.e outside or beyond the youth participants themselves. Rajani (1999) notes that, “it is only through participation that youth develop skills, build competencies, form aspirations, gain confidence and attain valuable resources.” This shows that youth participation therefore is a product and strategy of sustainable human development.
Youth comprise nearly 30 per cent of the world’s population. These large members of young people are an opportunity; an investment to their country. Youth participation in nation-building programmes/activities therefore is to: Strengthen young people’s abilities to meet their own subsistence needs; prevent and reduce vulnerabilities to economic, political and socially unstable environemnts; promote owership and sustainability of change interventions; help gain entry into target communites and build up trust and social cpaital.
Nigeria with over 140 million people and over fifty percent of youths cannot afford to lock out the youths if they must compete politically, technologically and scientifically in order to align itself with the sustainable development in Africa in particular and the developed world in general. Nigeria can build a strong and viable nation if and only if there is an existence of common values, beliefs, attitudes, effective leadership and a will to live together as a nation. Such transformations must allow every group (especially the youth population) to participate in the economic, political and the social spheres of the nation.
The following recommendations are discernibly based on the foregoing: Youth should be given the opportunity to develop their capacities thrugh balanced education and exposure. Skills acquisition and entrepreneurship will help reduce idleness among youths and keep them from being involved in crime and other activities that are counterproductive in nation-building. Youths should be made relevant and involved in leadership at different levels of government. We must moderate our demands on our youths and as well condition their behavior in line with our cultural values.
The youth of today must not fail this nation.
Concluded

Immanmuel Rohi
Rohi is a member of the Nigerian Youth Volunteers, Rivers State.

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‘How You Go Forward Is Your Responsibility’ 

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What happened to you was not fair. You were merely a collateral damage on someone else’s war path, an innocent bystander, who got wrecked out of proximity.
We are all hurt by life, some of us from egregious wrongdoings, others by unprocessed pain and sidelined emotions. No matter the source, we are all handed a play of cards, and sometimes, they are not a winning hand.
Yet what we cannot forget is that even when we are not at fault, healing in the aftermath will always fall on us and instead of being burdened by this, we can actually learn to see it as a rare gift.
Healing is our responsibility because, if it is not an unfair circumstance it becomes an unlived life.
Healing is our responsibility because unprocessed pain gets transferred to everyone around us, and we are not going to allow what someone else did to us to become what we do to those we love.
Healing is our responsibility because we have this one life, this single shot to do something important.
Healing is our responsibility because if we want our lives to be different, sitting and waiting for someone else to make them so, will not actually change them. It will only make us dependent and bitter.
Healing is our responsibility because we have the power to heal ourselves, even if we have previously been led to believe we do not.
Healing is our responsibility because we are uncomfortable, and discomfort almost always signals a place in life in which we are slated to rise up and transform.
Healing is our responsibility because every great person you deeply admire began with every odd against them, and learned their inner power which had no match for the worst of what life could offer.
Healing is our responsibility because “healing” is actually not returning to how and who we were before, it is becoming someone we have never been, someone stronger, someone wiser, someone kinder.
When we heal, we step into the people we have always wanted to be. We also are not only able to metabolise the pain, we are able to effect real change in our lives, in our families, and in our communities. We are able to pursue our dreams more freely. We are able to handle whatever life throws at us, because we are self-efficient and assured. We are more willing to dare, risk, and dream of broader horizons, ones we never thought we would reach.
The thing is that when someone else does something wrong and it affects us, we often sit around waiting for them to take the pain away, as though they could come along and undo what has been done.
We fail to realise that in that hurt, we had the most important lessons of our lives and the fertile breeding ground upon which we can start to build everything we really want.
We are not meant to get through life unscathed.
We are not meant to get to the finish line unscarred, clean and bored.
Life hurts us all in different ways, but it is how we respond and who we become that determine whether a trauma becomes a tragedy, or the beginning of the story of how the victim became the hero.
Culled from January Nelson.

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COVID-19 In Babies And Children: Symptoms, Prevention

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With the re-occurring traits of COVID – 19 in Nigeria, it is important that parents and gurdians take extra care of their children.  Reports from Nigerian Centre for Disease Control (NCDC) has it that,as from 16th to18th July, 2022, 478 new cases were confirmed and two deaths recorded.
A paediatrician and infectious disease expert, Dr Aaron Milstone at the Johns Hopkins Children Centre, has advised that it is important for parents and children to take every possible safety precautions and understand all risks and symptoms related to COVID – 19.
Dr Milstone talked about COVID – 19 symptoms in children, how to keep babies and children safe,the risk infected children may lose to others and an overview of Multi system Inflammatory Syndrome in Children  (MIS – C), an unknown but serious condition that may be related to the exposure of the virus.
He added that coronavirus variants, including the very contagious omicron variant has continued to spread, particularly in areas with low rates of community COVID – 19 vaccination among populations such as children under 5, who cannot yet be vaccinated.
According to him, “For children too young to be vaccinated, and adults who have not received Coronavirus vaccines,it is important to follow proven COVID -19 precautions such as mask wearing when in public,indoor places to reduce the chance of becoming infected with the coronavirus. “Indoor activities are riskier than outdoor activities, but risk can be reduced by masking, distancing, hand washing and improved ventilation. Parents and caregivers should understand that children infected with the coronavirus can develop complications requiring hospitalisation and can transmit the virus to others,” Milstone said.
He noted that, in rare cases,children infected with the coronavirus  can develop a serious lung infection and become sick with COVID – 19 and deaths have occurred. That is why it is important to take precautions and prevent infection in children as well as adults.
“According to U. S. Centres for Disease Control and Prevention  (CDC), it appears that women infected with coronavirus can in rare cases pass the disease to their babies. Adding that, infants can also become infected shortly after being born,and most newsborns who test positive for the coronavirus have mild symptoms or none at all and recover, but serious cases have occured.
Pregnant women should take extra precautions,including talking to their doctors about getting a COVID – 19 vaccine to avoid the coronavirus.
Milstone also noted that,there is no evidence that the virus causing COVID – 19 is present in breastmilk but because there is a possibility of spreading COVID – 19 during breastfeeding through respiratory droplets,it is very important for pregnant women to follow safety guidelines.
“Generally, COVID – 19 symptoms in children and babies are milder than those in adults and some infected children may not have any signs of being sick at all; the symptoms include cough,shortness of breath or difficulty in breathing, muscle or body aches,sore throat, loss of smell or taste, diarrhea, headache, new fatigue, nausea or vomiting and congestion or running nose . Fever and cough are common COVID – 19 symptoms in both adults and children, shortness of breath is more likely to be seen in adults . However, serious illness in children with COVID -19 is possible and parents should stay alert if their child is diagnosed with or shows signs of the disease”, Milstone said.

By: Ibinabo Ogolo

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