Academic literature on the topic 'Nigerian Art'
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Journal articles on the topic "Nigerian Art"
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Asogwa, Odoja, George C. Odoh, and Nneka S. Odoh. "Ola Oloidi in the Development of Modern Art History in Nigeria, 1980 – 2020." International Journal of Research and Scientific Innovation X, no. IV (2023): 70–77. http://dx.doi.org/10.51244/ijrsi.2023.10409.
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Employing historiography, this article traces the roles of the art historian, Ola Oloidi, in the origin and development of modern Nigerian art history. The study of art history in Nigeria before Oloidi’s intervention was akin to anthropology. In the mid-1980s, he presumably changed this trend. He originated what is today known as the history of modern Nigerian art and initiated strategies to reposition art historical studies in their correct perspective. He defended the cause of modern Nigerian art and art history through incisive and insightful texts buttressed with objective, constructive, and critical arguments. Thus, he left indelible footprints in the field of art historical studies in Nigeria. Ola Oloidi’s innovative and ground-breaking ideas about art and its reportage in Nigeria provide an inestimable fount of knowledge that other Nigerian art historians have drawn from to further advance historical discourses that deepen understanding of modern Nigerian art. He bequeathed the Art Historical Association of Nigeria (AHAN) to art historians to fight against anthropological dominance and the scientification of the art historical space.
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Ayodele, Otonye Bille. "Understanding The ISMS of Nigerian Post-Colonial Art Movements: An Ideological Path for Emerging Contemporary Art." International Journal of Research and Scientific Innovation X, no. IV (2023): 47–57. http://dx.doi.org/10.51244/ijrsi.2023.10407.
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Scholars of African art have advocated various methodologies for the study of African contemporary arts. These methodologies serve their purposes, however there is no particular most embracing and consensus approach so far. Since the millennium, the outcomes of African contemporary art actually defy any static approach. This paper proposes the ideologies and aesthetics of some post-colonial art movements in Nigeria and their impact on Nigerian contemporary art, as a methodological path to understanding the emerging contemporary arts of Nigeria. The art movements considered in this paper are Zarianism, Osogbo Art, Ulism, Onaism and Araism which are the most outstanding of Nigerian post-colonial art movements since independence in 1960. These art movements, through their ideologies, have largely shaped what is today considered as Nigerian Contemporary Art. This paper is a contribution to the ongoing dialogues on the identity of post-colonial Africa and the processes of de-colonization of African culture. Contemporary Nigerian art in this paper is the art from the 1990s till date. The paper is based on qualitative research and bibliographic surveys. The findings show that many contemporary Nigerian arts and artists are affiliated or linked with early post-colonial art movements. In conclusion, a successful inquiry and understanding of the formation and practice of the art movements hopefully will create a pathway in the prediction, identity, and understanding of recent works of art in Nigeria and Africa.
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Nnanna, Ndubuisi Nnanna, and Maja Tabea Jerrentrup. "Symbolic Representations: Social Media and Photography in Nigeria." Journal of Communication 3, no. 1 (September 1, 2022): 20–31. http://dx.doi.org/10.47941/jcomm.1015.
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The medium of “photography” has encompassed the world, but depending on the cultural context, it is characterized by different aesthetics that come with different associations and implications. Drawing on cultural anthropology and semiotic image analysis, this article contributes to research on cross-cultural aesthetics with a focus on Nigeria. Based on a sample of 100 Instagram posts with the hashtag #nigerianphotography, it explores how social conventions of art influence popular Nigerian photography and create a unique style: there is a strong focus on the staging of people, who are usually shown in front of simple backgrounds as full body shots. In addition, Nigerian photography places a clear emphasis on colour and heavy retouching. These aspects are seen as consistent with African art in general, which is often more concerned with conveying abstract concepts than authenticity. Thus, it can be stated that Nigerians appropriated photography in their own way, emphasizing the symbolic rather than the indexical function of photography. Nigerian popular photography can be understood as a continuation of classical African art rather than a break with its tradition.
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Akapng, Clement. "Contemporary Discourse and the Oblique Narrative of Avant-gardism in Twentieth-Century Nigerian Art." International Journal of Culture and Art Studies 4, no. 1 (April 28, 2020): 9–23. http://dx.doi.org/10.32734/ijcas.v4i1.3671.
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The history of Twentieth Century Nigerian art is characterized by ambiguities that impede understanding of the underlying modernist philosophies that inspired modern art from the 1900s. In the past five decades, scholars have framed the discourse of Contemporary Nigerian Art to analyze art created during that period in Africa starting with Nigeria in order to differentiate it from that of Europe and America. However, this quest for differentiation has led to a mono-narrative which only partially analyze modernist tendencies in modern Nigerian art, thus, reducing its impact locally and globally. Adopting Content Analysis and Modernism as methodologies, this research subjected literature on Twentieth Century Nigerian art to critical analysis to reveal its grey areas, as well as draw upon recent theories by Chika Okeke-Agulu, Sylvester Ogbechie, Olu Oguibe and Okwui Enwezor to articulate the occurrence of a unique Nigerian avant-gardism blurred by the widely acclaimed discourse of contemporary Nigerian art. Findings reveal that the current discourse unwittingly frames Twentieth Century Nigerian art as a time-lag reactionary mimesis of Euro-American modernism. This research contends that such narrative blocks strong evidences of avant-garde tendencies identified in the works of Aina Onabolu, Ben Enwonwu, Uche Okeke and others, which exhibited intellectual use of the subversive powers of art for institutional/societal interrogation. Drawing upon modernist theories as a compass for analyzing the works of the aforementioned, this paper concludes that rather than being a mundane product of contemporaneity, Twentieth Century Nigerian art was inspired by decolonization politics and constituted a culture-specific avant-gardism in which art was used to enforce change. Thus, a new modern art discourse is proposed that will reconstruct Twentieth Century Nigerian art as an expression of modernism parallel to Euro-American modernism.
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Beier, Ulli. "Nigerian Art Patrons." African Arts 21, no. 4 (August 1988): 82. http://dx.doi.org/10.2307/3336755.
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Bolaji, David. "Indigenization and Educative Implication of Otito Lo Ye Ka Se by Kayode Samuel." International Journal of Research and Review 10, no. 3 (March 15, 2023): 236–48. http://dx.doi.org/10.52403/ijrr.20230326.
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The advent of British colonialism gave rise to Western education, Christian religion, and art music in Nigeria. Consequently, since many Nigerians have embraced Western art music, there have been sustainable efforts to indigenize and promote Africanism in Nigerian art music. Part of these efforts owes much to a number of Nigerian ethnomusicologists and composers, one of whom indeed, is Kayode Samuel whose outstanding scholarship and advocacy of nationalism cannot be overemphasized. His creative composition, which involves the use of a pentatonic scale attributed to the African scale, stands as the backdrop of this study. Thus, this study examines the promotion of indigenization and the sociocultural educative lessons embedded in the understudied composition, Otito Lo Ye Ka Se. A textual analytical technique is adopted for the study to unravel how the composer captures the alteration of the lexical tone of the Yoruba language. The theoretical framework for this study is the indigenous standpoint theory stated by Coatest, S.K., and Trudgett 2002. Findings reveal that the Africanism of the under-study piece stands as a solid medium through which indigenization is captured in cross-examined composition. Also, the embedded sociocultural educative lessons in the composition show that telling lies is a destructive behaviour that negates the promotion of healthy living, and should not be promoted in any society. Keywords: Indigenization, Otito Lo ye Ka se, Creative application, Nigerian art music, and Kayode Samuel
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Ijisakin, Eyitayo Tolulope. "Of print and scholarship: deconstructing the literature on printmaking in contemporary Nigerian art." Global Journal of Arts, Humanities and Social Sciences 10, no. 9 (August 15, 2022): 44–59. http://dx.doi.org/10.37745/gjahss.2013/vol10n94459.
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Printmaking has long been in use, especially among indigenous art practitioners in Nigeria, it is also very popular among contemporary Nigerian artists who use it as a medium of aesthetic expression. The foundation for scholarship on printmaking was laid by notable scholars; however, writing from their cultural context, a sizable number of these scholars follow the perspectives that confined contemporary printmaking to the Western world and Asian countries. Considering the prolific production of printmaking in Nigeria, this study deconstructs the literature to understand the state of scholarship on printmaking, especially in contemporary Nigerian art. Data collected from published journal articles, books, exhibition catalogues, and Internet sources were subjected to critical analysis. The study concludes that printmaking in Nigeria is so unique that it would continue to attract the attention of art enthusiasts around the globe; hence, it deserves more attention from African art historical scholars.
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ODOH, GEORGE. "Transacting the Modern in the Works of Segun Aiyesan, a Self-Taught Nigerian Artist." Sprin Journal of Arts, Humanities and Social Sciences 2, no. 03 (March 25, 2023): 12–28. http://dx.doi.org/10.55559/sjahss.v2i03.92.
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Despite the embodied presence of self-taught art in Nigeria’s contemporary art space, the contributions made by self-taught artists in advancing the modernist landscape of contemporary art in Nigeria have remained largely understudied. Employing historiography and stylistic analyses, this article examines the modernist affirmations in the art of Segun Aiyesan, a self-taught Nigerian artist. It traces his artistic development as well as the various factors that influenced and shaped the modernist sensibilities evident in his art. Situating the discourse within the idiosyncrasies of Nigerian and Western art traditions, the study highlights how Aiyesan’s eclectic and experimental approach to art, in conjunction with the his effectual application of artistic talent and imagination, enabled him transact his own brand of modernism, and how its stylistic and aesthetic registers offer a deeper understanding ot the multifarious landscape of modern Nigerian art. Key attributes that frame Aiyesan’s art practice include the use of unconventional painting formats, multiple engagements of a particular subject matter using diverse compositional frameworks, and the continuous re-appraisal and re-invention of formal language. Thus, his art is very dynamic, expressive and constantly evolving.
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Bolaji, David. "Emurobome Idolor and the Discourse of Nigerian Art Music: A 60th Birthday Celebration." AFRREV IJAH: An International Journal of Arts and Humanities 9, no. 1 (April 28, 2020): 58–68. http://dx.doi.org/10.4314/ijah.v9i1.6.
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This article focused on some of the contributions of Emurobome Idolor in the Nigerian music studies. His scholarly contributions cut across different areas of Art Music including Ethnomusicology, Music Composition, Conducting, African Music and Music education in Nigeria. This article identifies and acknowledges the ideological concept of Idolor’s Philosophy towards excellence. Also, this article justified and abstracted some musical attributes that he portrayed as a scholar in Nigerian Art music. Empirical method of research was used for this study, through the holistic overview of some of his scholarly publications and two of his art music compositions titled “Glory Hallelujah and Nigeria’ Otoro So Owan. Through abstractive analysis of these creative works, younger art composers will learn and acquire divers’ compositional techniques that can be used and adopted in promoting African indigenous music.
Key Words: Hard Work, Philosophical Perspective, Art Music and African Music
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Timothy, Alexander Essien. "Discovering My Left Hand: Conducting Language Arts Research in Nigeria." LEARNing Landscapes 9, no. 2 (April 1, 2016): 513–33. http://dx.doi.org/10.36510/learnland.v9i2.790.
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Having been nurtured in the counting culture in Nigeria, my discovery of qualitative research methodology was as novel and subversive as using my left hand, which is considered a taboo in many Nigerian homes. This paper relates my initial attempt to deploy a qualitative methodology, especially art as a research tool, in investigating why Nigerian senior secondary school students and teachers hated Oral English. That study provided a canvas for the exhibition of art in my inquiry.
Dissertations / Theses on the topic "Nigerian Art"
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Anonyuo, Emeka G. "Nigerian Skokian art : a microanalysis of the realistic visual expression in contemporary Nigerian art /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488187763846333.
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Edidaha, Edidaha John Ukpong 1939. "CURRICULUM FOR NIGERIAN TEACHERS EDUCATION STUDENTS (ART)." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291944.
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This thesis defines and presents discipline-based art education curricula as defined by Greer 1983 for Nigerian Art Education Students. Current requirements in art education programs both in Nigeria and the United States are compared in order to more fully understand and develop this course of study. Attention is paid to the national goals and the inherent culture of Nigeria. An analysis of the curriculum of five colleges with discipline-based and education programs has been studied in order to determine a suitable outline of curricula for college teachers in Nigeria. It is concluded that Nigerian teachers, through this proposed program, will be exposed to the contemporary discipline-based approach to art education, and that Nigerian children taught by means of this approach will be able to gain a better understanding and appreciation of their artistically rich culture.
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Ifejika-Obukwelu, Kate Omuluzua. "Igbo pottery in Nigeria : issues of form, style and technique /." Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10939362.
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Akpang, Clement Emeka. "Nigerian modernism(s) 1900-1960 and the cultural ramifications of the found object in art." Thesis, University of Bedfordshire, 2016. http://hdl.handle.net/10547/621830.
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This thesis explored the phenomenon of Modernism in Twentieth Century Nigerian art and the cultural ramifications of the Found Object in European and African art. Adopting the analytical tools of postcolonial theory and Modernism, modern Nigerian art was subjected to stylistic, conceptual and contextual analysis. The avant-gardist context of the form was explored for two reasons; first in an attempt to distinguish the approaches of named artists and secondly, to address the Eurocentric exclusion of the ‘Other’ in Modernist discourse. The works of Nigerian modernists - Aina Onabolu, Ben Enwonwu and Uche Okeke whose practices flourished from 1900 - 1960, were interrogated and findings from detailed artists case studies proved that during the period of European Modernism, a parallel bifurcated Modernism (1900-1930 / 1930 -1960) occurred in Nigeria characterised by the interlacing of modern art with nationalist political advocacies to subvert colonialism, imperialism and European cultural imposition. This radical formulation of modern Nigerian art, constituted a unique parallel but distinct avant-gardism to Euro-American Modernism, thus proving that Modernism is a pluralistic phenomenon. To valorise the argument that Modernism had multiple avant-garde centres, this thesis analysed the variations in philosophies, ideologies and formalism of the works of Nigerian Modernists and contrasted them from Euro-American avant-gardes. The resultant cultural and contextual differences proved the plurality of Modernism not accounted for in Western art history. Furthermore, by adopting comparative analysis of the Found Object in European and African art, this thesis proved that, the appropriation of mundane objects in art differ from culture to culture, in context, philosophies and ramifications. This finding contributes to knowledge by addressing the ambiguity in Found Object art discourse and problematic attempts to subsume this genre into a mainstream framework. The uncovering/theorisation of this parallel bifurcated Nigerian Modernism, contributes to expanding understanding of Modernism as a pluralistic phenomenon thus, contributing to debates for the recognition of the different Modernisms which cultures outside Europe gave rise to. The recognition and situation of Nigerian avant-gardism and modernism and interpretation of the Found Object as being culturally specific will subsequently contribute to the reconstruction of modernist discourse and Nigerian/African art histories.
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Omojola, Olabode F. "Compositional style and African identity : a study of modern Nigerian art music." Thesis, University of Leicester, 1987. http://hdl.handle.net/2381/32755.
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The introduction of European culture and Christianity to Nigeria in the second half of the nineteenth century was to lead to changes in the socio-political, economic and religious features of Nigerian society. Since traditional, pre-colonial, Nigerian music was strongly tied to these features, the introduction of European culture and Christianity also had significant effects on Nigerian musical culture. One important result of the contact between European and Nigerian cultures is the growth of the European-derived idiom of written compositions conceived for presentation on a concert platform. In this thesis, such works which have been written by Nigerian composers (from 1940 onwards) are studied with a view to assessing how the composers have sought to meet the artistic demands of contemporary Nigeria by integrating European and Nigerian elements. The thesis provides discussions on historical developments in nineteenth century Nigeria, musical activities in the Church, and the characteristic features of Nigerian music. These discussions constitute the necessary historical, cultural and musical background to the study of the lives and works of six of the major composers of Modern Nigerian Art music in Chapters 5-11. The last chapter summarises the major findings of the study and assesses the problems and the prospects which the growth of this new idiom faces in Nigeria. The chapter identifies the need for a greater emphasis on the teaching of traditional Nigerian music in secondary and tertiary institutions as an important condition for the propagation and the appreciation of the works of modern Nigerian composers.
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Aiyeleye, Fadeke Olukemi 1956. "Preservice elementary teachers: A discipline-based approach to teaching art in Nigerian elementary schools." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/291945.
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This thesis defines and presents the development of a discipline-based art curriculum, for use of preservice teachers in Nigerian elementary schools. It includes a rationale for the discipline-based art approach, and a written plan as a basis for systematic and sequential art instruction, across grade levels one to six. It is important to study this particular area in order to fulfill the need for the improvement of Nigerian art education based on the writings of some selected Nigerian art educators, for example like Emeji (1976), Olorukooba (9185), Obanya (1978), Olaitan (1980), as discussed in Chapter III of this study. The SWRL elementary art program and Crizmac (Tribal design) have been used as models for developing a discipline-based art instruction as stated in Chapter III of this thesis. It is hoped that Nigerian elementary teachers and children, through this proposed art education program will be able to gain a better understanding and appreciation of their artistically rich culture.
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Ukpong, Onoyom Godfrey. "Contemporary southern Nigeria art in comparative perspective reassessment and analysis, 1935-2002 /." Diss., Online access via UMI:, 2006.
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Pruitt, Sharon Ivette. "Perspectives in the study of Nigerian Kuntu art : a traditionalist style in contemporary African visual expression /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487260859495397.
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Van, Rhyn Chris. "Towards a mapping of the marginal : readings of art songs by Nigerian, Ghanaian, Egyptian and South African composers." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85813.
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Thesis (PhD)--Stellenbosch University, 2013.ENGLISH ABSTRACT: African art music practices of western origin have oftentimes been excluded from general discourses on western art music practices. In this study, close readings of selected art songs by twentieth and twenty-first century Nigerian, Ghanaian, Egyptian and South African composers serve to ‘map’ this music through challenging existing general discourses on art music composition, and genre-specific discourses on art song composition in Africa. The readings also serve to create new discourses, including ones that promote African crossregional engagements. In the first part of this dissertation, the readings take place in the contexts of the selected countries. The second section presents pre-selected discourses and theories as points of departure. Chapter 2 proposes to question how the theory of African vocalism can be expanded, and how animist materialism could serve as an alternative context in which to read the composition of art music in Nigeria and Ghana. Chapter 3 aims to answer which strategies in anti-exotic self-representation have been followed in twentieth-century Egyptian art song. Chapter 4 asks how South African composers of art song have denoted ‘Africa’ in their works, and how these denotations relate to their oeuvres and general stylistic practices. Chapter 5 interrogates how composers have dealt with the requirements of tonal languages in their setting of texts in such languages to music. Chapter 6 probes possible interpretations of composers’ display of the ‘objects’ of cultural affiliation, positing expatriate African composers as diplomats. Chapter 7 asks what the contexts are in which to read specific examples of African intercultural art music, without which the analyst might make an inappropriate (perhaps unethical?) value judgement. The conclusion presents a comparison of trends and styles in African art song to those in certain western song traditions. A discussion on folk and popular song styles as art is followed by a consideration of African vocalism in the context of the dissertation as a whole. A continuation of an earlier discussion on the compositional denotation of ‘Africa’ leads to a consideration of the ‘duty to denote’ in the context of western modernity.
AFRIKAANSE OPSOMMING: Kunsmusiekpraktyke van westerse oorsprong in Afrika is gereeld van algemene diskoerse oor westerse kunsmusiekpraktyke uitgesluit. Stip-lesings van geselekteerde kunsliedere deur Nigeriese, Ghanese, Egiptiese en Suid-Afrikaanse komponiste dien in hierdie studie om die musiek op die ‘kaart te plaas’ deur in gesprek te tree met bestaande algemene diskoerse oor kunsmusiekkomposisie, asook genre-spesifieke diskoerse oor kunsliedkomposisie in Afrika. Die lesings dien ook om nuwe diskoerse te skep, insluitend diskoerse wat gesprekke óór die grense van verskillende streke in Afrika bevorder. Die lesings in die eerste helfde van die proefskrif vind plaas binne die kontekste van die geselekteerde lande. In die tweede deel word vooraf-geselekteerde diskoerse en teorieë as wegspringpunte gebruik. Hoofstuk 2 stel dit ten doel om te vra hoe die teorie van Afrikavokalisme (African vocalism) uitgebrei kan word, en hoe animistiese realisering (animist materialism) as alternatiewe konteks kan dien waarin die komposisie van kunsmusiek in Nigerië en Ghana gelees kan word. In Hoofstuk 3 word gepoog om uit te vind watter strategieë in anti-eksotiese self-uitbeelding gevolg is in twintigste-eeuse Egiptiese kunsliedkomposisie. Die doel van Hoofstuk 5 is om uit te vind hoe komponiste die vereistes van toontale in hul toonsettings van tekste in sulke tale hanteer het. Hoofstuk 6 ondersoek moontlike interpretasies van komponiste se aanbiedings van die ‘objekte’ van kultuuraffiliasie deur die postulering van geëmigreerde komponiste as diplomate. Hoofstuk 7 vra wat die kontekste is waarin spesifieke voorbeelde van interkulturele kunsmusiek uit Afrika gelees kan word, waarsonder die analis ‘n onvanpaste (dalk onetiese?) waardebeoordeling kan maak. Die slot bied ’n vergelyking van tendense en style in Afrika-kunsliedere met dié in sekere westerse liedtradisies aan. ’n Bespreking van volks- en populêre liedstyle as kuns word gevolg deur ’n oorweging van Afrika-vokalisme in die konteks van die proefskrif as geheel. ‘n Voortsetting van ’n vroeëre gesprek oor die komposisionele uitbeelding van ‘Afrika’ lei tot ‘n oorweging van die ‘plig om uit te beeld’ in die konteks van westerse moderniteit.
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James, Sule. "Tracing the Idea of African Vernacular-Rooted Art: A Critical Analysis of Selected Contemporary South African and Nigerian Artists (2007-2016)." Thesis, University of Pretoria, 2019. http://hdl.handle.net/2263/72462.
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In this study, I seek to explore how contemporary art created by Nigerian and South African artists can be described to be rooted in an African vernacular. To this end, I conducted a comparative analysis of the cultural imageries and symbolisms of four Nigerian and four South African artists. For each of the artists, five of their works produced between 2007 and 2016 were purposively sampled. Thus, the study investigates forty works within the ten year period. The comparative analysis focuses on visual hermeneutics theory and art historical methodologies (formal analysis). Accordingly, the analysis examines the artists’ personal influences, training, frames of reference, knowledge base and philosophy as well as the reception of their works.
Given the fact that most of the selected artists are excluded from mainstream art historical research because their works are said to be outside the normative contemporary art standards, this study establishes that the trend of their art is significant and should be researched. For that reason, the selected artists were included in this study so as to contribute a mainstream art historical discourse on their artworks. In the theoretical underpinning of this study, it is argued that although vernacular arts were produced in a historical African arts context, nevertheless the contemporary modes of cultural appropriations in artworks by the selected academically trained artists are not a continuation of the historical African. Therefore this study establishes that the adoption of the term African vernacular rooted in narrating contemporary African arts produced by Nigerian and South African artists is a rethink in the use of the old term in opening up a new discourse on engagement with cultural imageries and symbolisms. As a result, this research argues that their ideological trends in appropriating cultural imageries in arts are not a different form of contemporary African art. The significance of this research lies in the contribution of knowledge to the existing literature on global contemporary African art, and in initiating the exercise of documenting the visual culture of artists from both countries.
Although the study provides a wider insight into appropriations of cultural symbolism in the works of these artists, it shows that some of the artists focus their visual narratives on specific dominant vernacular tropes or cultural imageries and symbolism in narrating experiences from past and present occurrences in both countries. However, many of the dominant cultural symbolisms are basically depictions of either young black African children or compositions showing African men and women. However, they narrate different experiences and aspects of African socio-cultural life. Significantly, the depictions in the artworks of the contemporary artists demonstrate, in different heterogeneous ways, African identities through cultures, heritage, history, and identity. Furthermore, most of the African vernacular rooted arts discussed in this study reveal influences from environmental factors such as migration, homelessness, African humanism, socio-cultural ceremonies, cultural and racial unity, oppression, ritual murders, and family life.Thesis (PhD)--University of Pretoria, 2019.
Visual Arts
PhD
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Books on the topic "Nigerian Art"
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O, Hambolu M., Kola-George Ireti, and Shell Club (Port-Harcourt Nigeria), eds. Nigerian ancient art traditions. [Nigeria: s.n., 2004.
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Nelson, Helen. Nigerian art and culture. [Derby: Derbyshire College of Higher Education], 1986.
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editor, Dike P. Chike, Muku Abdullahi editor, and Ikpakronyi Simon O. editor, eds. National Gallery of Art, Nigeria: (encouraging book reading culture). Abuja: National Gallery of Art, 2019.
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Adepegba, Cornelius Oyeleke. Nigerian art: Its traditions and modern tendencies. Ibadan, Nigeria: Jodad Publishers, 1995.
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Okediji, Moyosore B. (Moyosore Benjamin), contributor, ed. The art of Nigerian women. New Albany, Ohio: Ben Bosah Books, 2017.
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Egonwa, Osa. Nigerian art: Introductory notes for colleges of education, polytechnics & universities. [Benin City, Nigeria]: Krison Publishers, 1988.
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PACA, Biennale (1995 Lagos Nigeria). Afrika heritage '95: Exhibition of African art, Didi Museum, Lagos : PACA Biennale. [Nigeria]: PACA, 1995.
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Ikpakronyi, Simon O. 1st National Gallery of Art National Children Art Exhibition. [Abuja, Nigeria]: National Gallery of Art, 2006.
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Chukueggu, Chinedu Chris. Contemporary Nigerian art and its classifications. Abraka, Delta State: Delsu Consult Pub. House in association with Virochy International Press, 1998.
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Nigeria) National Visual Art Competition (Nigeria) (3rd 2010 Lagos. 3rd National Visual Art Competition. [Abuja?]: National Gallery of Art, 2010.
Find full textBook chapters on the topic "Nigerian Art"
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Tunca, Daria. "Art is a Journey." In Stylistic Approaches to Nigerian Fiction, 100–121. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137264411_5.
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Casey, Conerly. "The Art of Suffering: Postcolonial (Mis)Apprehensions of Nigerian Art." In Suffering, Art, and Aesthetics, 121–49. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137426086_6.
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Odiboh, Freeborn Otunokpaiwo. "“Africanising” a modern art history curriculum in Nigerian universities." In Visual Redress in Africa from Indigenous and New Materialist Perspectives, 39–49. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003334156-6.
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Olatawura, M. O. "Training of the Non-Psychiatrists for Mental Health Care, the Nigerian Situation." In Psychiatry The State of the Art, 297–302. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4757-1853-9_46.
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Muhibudeen, Latifat, and Alhassan Haladu. "The Impact of Cashless Policy Tools on Money Circulating Outside Nigerian Banks." In State-of-the-Art Theories and Empirical Evidence, 227–38. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-6926-0_14.
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Ewing, Kamahra. "Nollywood in Rio: An Exploration of Brazilian Audience Perception of Nigerian Cinema." In Art, Creativity, and Politics in Africa and the Diaspora, 103–24. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91310-0_6.
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Ibrahim, Jimoh, Christoph Loch, and Kishore Sengupta. "Introduction: The Project Abandonment Problem." In How Megaprojects Are Damaging Nigeria and How to Fix It, 1–7. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-96474-0_1.
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AbstractWhile large project performance problems have been observed in many countries, the failure in Nigeria is greater because since 1960, two-thirds of very large projects did not just “fail” but were abandoned, leaving ruins behind. Nigeria has no systematic data on what has been spent, but the sums are clearly huge—the 38 projects alone that this investigation considers in detail represent a total budget of over $25B, almost equalling Nigeria’s total foreign debt ($27B) in 2017.Therefore, there needs to be an investigation: what are the causes of this situation, what are the specific reasons in the Nigerian context, and what might be done to remedy this? This introduction chapter outlines the approach of the investigation and summarizes what will be discussed in each chapter.
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Afolayan, Adeshina. "Auteuring Nollywood: Rethinking the Movie Director and the Idea of Creativity in the Nigerian Film Industry." In Art, Creativity, and Politics in Africa and the Diaspora, 83–102. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91310-0_5.
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Nwabara, Olaocha Nwadiuto. "Re-producing Self, Community, and ‘Naija’ in Nigerian Diaspora Films: Soul Sisters in the United States and Man on the Ground in South Africa." In Art, Creativity, and Politics in Africa and the Diaspora, 125–49. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91310-0_7.
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Morocco-Clarke, Ayodele. "Righting the Injustices Within the Nigerian Energy Industry." In Just Transitions, 163–70. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-46282-5_22.
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AbstractThe Niger-Delta of Nigeria is the predominant base for Nigeria’s thriving petroleum industry and provides the bulk of the country’s foreign earnings. Due to the relevance of the petroleum industry to the Nigerian economy, the Nigerian government, in a continuous show of weak political will, fails to adequately regulate the industry. The lax enforcement of laws and regulations has resulted in a situation in which there are numerous oil spills yearly, and the flaring of gas is routinely carried out. Consequently, the Niger-Delta region is one of the most polluted areas globally, and the people living within the region bear a disproportionate burden from petroleum production when compared to other areas in the country. On the other hand, the oil-producing areas of the Niger-Delta suffer from energy poverty generally. The thrust of this work is the application and practice of principles of energy justice to the inequitable burdens borne by the Niger-Delta region. This is done by utilising the recognition justice tenet of energy justice to ensure that the plight of those living within close proximity of exploration and production operations are recognised, addressed and injustices rectified.
Conference papers on the topic "Nigerian Art"
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Osasona, C. O. "Indigenous art and Nigerian contemporary residential architecture." In STREMAH 2007. Southampton, UK: WIT Press, 2007. http://dx.doi.org/10.2495/str070131.
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Brunner, Christoph, and Jonas Fritsch. "Human Energetics in an Era of Post-Humanism." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-46-full-brunner-et-al-human-energetics.
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French philosopher of technology Gilbert Simondon is undoubtedly one of the key figures when it comes to conceptualizing individuation across physical, mental and social strata. In this article, we develop a rather overlooked aspect of Simondon’s work, namely how his ontogenetic project also implies an idea of a “human science” based on a “human energetics,” which—maybe in spite of its name—is an inherently transhumanist project transducing across both disciplinary and experiential fields, with a particular emphasis on the role of technology. We present key concepts in Simondon’s work and relate them to lines of thinking on energies in the arts (Kahn) and post-colonialism (Wynter), exemplified through an analysis of Nigerian artist Otobong Nkanga’s video work “Remains of the Green Hill.” Our primary aim with the article is to continue a mobilization of Simondonian concepts and thinking for an experimental, transhumanist exploration in relation to its ethico-aesthetic and artistic potential.
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Li, Jun. "Nigerian Experience VS. Biafran Experience: the Politics of Experience in Chinua Achebe and Chimananda Adichie’s Novels." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.52.
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Oni, Babatunde. "Addressing the Socio-Economic Concerns of the Niger Delta Host Communities Through Local Content Policy; the Impact of Nigerias Local Participation Policy on Her Investment Climate." In SPE Nigeria Annual International Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/207210-ms.
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Abstract Objective and scope This paper aims to establish that proper resource management and governance within the Nigerian oil and gas industry, more specifically, her local participation policy, which focuses on adequately addressing the social and economic concerns of the host communities in oil producing regions of Nigeria, particularly in the Niger Delta, will ultimately lead to more secure and sustainable economic development and a more attractive investment climate for Nigeria. Methods Procedure, process This research study will employ an analytical approach, more specifically qualitative analysis, in analyzing the interplay between the various factors which have birthed low oil and gas productivity in the Niger delta region of Nigeria and how proper application of Nigeria's local participation policy can influence the circumstances and yield positive result. The research study will rely heavily on available literature and legislative enactments, as well as available case law on the issues concerned. The primary sources in the collection of materials for this paper will comprise of journals, books, and articles which address the relevant research questions guiding the scope of this paper. Results, Observation, conclusion Nigeria's local content policy, just like many other governmental policies in Nigeria, has been criticized as being vulnerable to corruption as a result of the manifest lack of transparency in the Nigerian oil and gas industry, and local content has already been labelled as a potential victim of capture as a result of this dearth in transparency. It is imperative that the broad discretionary powers granted to the local content monitoring board, and the minister of petroleum by the provisions of the Nigerian Oil and Gas Industry Content Development Act, be utilized in a manner devoid of parochial ethnic sentiments or political interest, in order for Nigeria to properly take advantage of the economic development benefits provided by the proper implementation of local content policy. The long term benefits of local content policy such as technology transfer, long term fiscal incentives, and the growth of local commerce and industry, will go a long way in setting Nigeria on a plain path to sustainable economic growth and better resource management. It is important that the Nigerian government play its role in driving local content policy by facilitating Nigerian enterprises to take active part in the local content programs, as well as keep tabs and monitor the effectiveness of local content policy in achieving its targets. New or additive information to the industry Proper implementation of Local Content policy in Nigeria will be beneficial, not just for the host communities but for the rest of the country, as well as for all investors in the Nigerian oil and gas industry, by providing thousands of employment opportunities for the locals, as well as providing a much needed technology transfer which will result in a structural transformation of not just the local manufacturing industries in Nigeria but the entire Nigerian oil and gas industry as well; thus addressing a major aspect of the social and economic concerns of the local people, and also giving Nigeria's economy a much needed boost towards achieving sustainable development in her natural resources sector.
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Ogodo, A. D. "Harnessing Science and Technology Research Results to Diversify the Nigerian Economy Through Science Governance Project Ogodometirics International (POI) WSSD +22 in Songhai-Delta, Amukpe-Sapele, Delta State, Nigeria." In 27th iSTEAMS-ACity-IEEE International Conference. Society for Multidisciplinary and Advanced Research Techniques - Creative Research Publishers, 2021. http://dx.doi.org/10.22624/aims/isteams-2021/v27p15.
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In this present Globalized World, Science and Technology is the benchmark on which national progress and development is measured. This scientific research work clearly reveals that no Nation can be competitive in the modern world without properly harnessing and developing its Science and Technology potentials. The research work shows that Nigeria’s current ranking in the world makes Nigerian Vision (NV) 20:2020 look bleak or totally impossible hence we extend the horizon of targeted socio-economic might to match the Global Sustainable Development Goal (SDG) 2030 to which many countries currently align. The research emphasizes that Central Intelligence Agency (CIA) World Fact book ranked Nigerian as the 41st on the list of development economies based on Gross Domestic Product (GDP) for 2007. For the same year, World Bank ranked Nigeria 40th on the Group Description of Knowledge Index. Nigeria ranked 66th among the Lagging Followers Group. On Global Competitiveness ranking, Nigeria ranked 95th. This research dwells extensively and specifically on the way forward (Science Governance) through Project Ogodometirics International (POI) WSSD +22 in Songhai-Delta, Amukpe-Sapele, Delta State, Nigeria by investing in Advanced Manufacturing Technologies (AMT) which made the Chinese to become the fourth growth zone along with the U.S, Japan and Germany. The research expresses the beliefs that though it took Britain 58 years to double its Per Capital Output, China has been doing it every 7 years in the last 2 decades by thinking and doing things differently. The research concludes that Science and Technology can diversify the Nation Economy through one strategy of Emerging Technologies Project Ogodometrics International (POI) WSSD +22 in Songhai-Delta, Amukpe-Sapele, Delta State, Nigeria. The research recommends that a Scientific/Technical Adviser under the Presidency is the only option for Nigeria using Science Governance of Project Ogodometrics International (POI) WSSD +22 in Songhai-Delta, Amukpe- Sapele, Delta State, Nigeria in order to facilitate the required synergy to realize the nexus between Science and the National economy to bring 154 International Standards Organization (ISO) Countries to Songhai-Delta, Amukpe- Sapele, Delta State, Nigeria to sign a MOU with the Nigerian Government via Final Investment Decision (FID) of Technology Transfer Agreement (TTA) of Ogodo Intellectual Property Rights (OIPR). Keywords: Science and Technology/National Economy/Science Governance (Presidency), Project Ogodometrics International (POI)/Ogodo Intellectual Property Rights (OIPR); International Standards Organization (ISO) Countries/Final Investment Decision (FID) /MOU)/ Songhai-Delta, Amukpe-Sapele, Delta State, Nigeria.
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Ichado, Solomon. "Propane Dehydrogenation Technology; A Viable Alternative to Meet Nigeria's Growing Propylene Demand." In SPE Nigeria Annual International Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/208237-ms.
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Abstract Global propylene demand increases year on year, conventional sources of propylene production like steam crackers, refinery fluid catalytic cracker (FCC) are unable to meet global demand for propylene and this has necessitated the use of "On-Purpose" sources for propylene production like propane dehydrogenation (PDH). The PDH and its impact in the propylene mix of the Nigerian petrochemical industry is what this work is centered on. The need for PDH technology in Nigeria stems from the reality that, Nigeria currently has no refinery with operational fluid catalytic cracker nor sufficient steam crackers to meet an estimated propylene demand gap of about 140 KTA (2016/2017) despite propylene production from a major player in Nigeria (at present, demand gap is expected to be more). This work involves analysis of Nigeria's petrochemical import and export, petrochemical market size, exposition to the PDH trendand technology focusing on UOP Oleflex technology (chemistry and operation/process flow) and how this technology can help close the current propylene demand gap in Nigeria especially as Nigeria enters its decade of gas. Petrochemical companies in Asia have been able to use this PDH technology to manufacture propylene thereby significantly closing the propylene demand gap, constructing the most PDH plants in the last 5 years in the process. This also can be replicated in Nigeria and aid in closing propylene demand gap, and with surplus, begin to export propylene to the West African market to generate revenue, improving GDP.
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Ebekozien, Andrew, and Clinton Aigbavboa. "Early Impact of COVID-19 on Private Sector Income Earners Homeownership Delivery in Nigerian Cities: Issues and Possible Solutions." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002354.
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Studies showed that the private sector positively influences the country’s economic growth. The Nigerian Government housing policies and programmes tailored towards homeownership may not have favoured the private sector. The COVID-19 crisis might have compounded the issue. There are scarce studies concerning private sector income earners’ (PSIE) homeownership in the COVID-19 era. Therefore, the paper investigated the perceived early negative impacts of COVID-19 on PSIE and proffered measures to improve homeownership across Nigerian cities. Given the unexplored dimension of the issue, a qualitative research method was employed via virtual interviews. Thirty semi-structured virtual interviews were conducted with knowledgeable participants across Nigeria. Each geo-political zone was represented, and saturation was achieved. The researchers collated the data and thematically analysed them. Findings show that housing policies and programmes are pro-public sector homeownership. Also, it reveals that the private sector businesses are worse hit by the COVID-19 pandemic. Findings will offer a rich insight into the influence of COVID-19 on PSIE and contribute towards informing key stakeholders, especially government, to revamp housing policies and programmes towards private sector homeownership in Nigeria’s cities.
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Folajimi, Yetunde. "The Big Data Workshop in Africa." In International Workshop on Social Impact of AI for Africa 2022. AIJR Publisher, 2024. http://dx.doi.org/10.21467/proceedings.157.4.
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Recent years have seen an increase in the amount of attention paid to the lack of diversity and shortage of data in the field of artificial intelligence and its influence on developing countries, particularly in Africa. This paper examines the burgeoning interest in big data within academic and business sectors, with a specific focus on Nigeria's standing in the African Big Data Readiness Index. Despite Nigeria's stature as a major African economy, it ranks 21st on the index, suggesting a notable discrepancy in big data adoption and proficiency. The study draws inspiration from a free, week-long course covering big data, design thinking, and women in technology, at University of Ibadan, Nigeria in July 2017. The paper provides an in-depth analysis of the event's organization, emphasizing the keen interest in big data and machine learning among Nigerian researchers. Methodologies for participant recruitment and event logistics are discussed, alongside the demographic analysis of attendees, which offers insight into gender and educational disparities in the field. The paper also highlights the event's diverse activities, from hands-on data analysis to discussions on women in technology. Results from participant surveys show unanimous satisfaction and a strong inclination towards big data tools and machine learning. The paper concludes by underscoring the vital role such educational initiatives play in enhancing big data understanding in Nigeria, while also calling attention to the need for increased female participation in AI sectors.
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Tume Koshima, Tosin. "Cultural Integraton for State Identity in Nasarawa State's Choreographic Approach to Nafest "Danceturgey"." In Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35912.
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This paper discusses the concept of “danceturgy” and its role in the National Festival of Arts and Culture (NAFEST) in Nigeria. NAFEST aims to promote national unity and identity through the performance of Nigerian cultural heritage. The guidelines for participation in the festival emphasize the reflection of cultural peculiarities and the use of authentic dance stories. The danceturgy at NAFEST involves stage and DVD presentations, with specific criteria for judging. The text highlights the creative process of the Nasarawa State Performing Troupe (NSPT) in developing their dance entry for NAFEST 2009, including the study of the festival syllabus, conception of the story idea, assembling choreographic devices, rehearsals, and the final performance. It is suggested that the NSPT choreographic approach be adopted and modified to suit NAFEST danceturgy.
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Idris-Idah, Kawu. "“Energy Poverty” as a Nigerian Problem, “Energy Mix” as a Solution." In Africa International Conference on Clean Energy and Energy Storage. Switzerland: Trans Tech Publications Ltd, 2024. http://dx.doi.org/10.4028/p-5lr1yj.
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This paper is aimed at minimizing the energy gaps concerning “energy poverty” and “energy mix”, with a specific focus on the Nigerian-centric context. Most existing research entailing “energy poverty” are localized according to regions. Nigeria lacks its own definition of energy poverty. The paper’s novelty is thus the attempt to define energy poverty from a Nigerian perspective, following a review of existing definitions. Such a paper would enable more effective energy policies, as a problem definition would be clearer and more streamlined. Beyond the definition is an obvious fact that “energy poverty” is a problem, and the paper therefore proposes the “energy mix” as a solution. The proposed energy is to contain different kinds of energy resources, with the advantages of each maximized and their disadvantages minimized. This articulate paper discusses such technologies (fossil fuels, nuclear and renewables) highlighting the benefits and disadvantages; herein lies the opportunity for Nigeria and alike. A Nigeria where more people are enlightened about “energy poverty” would invariably translate into a better fight against energy poverty.
Reports on the topic "Nigerian Art"
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Obado-Joel, Jennifer. The Challenge of State-Backed Internal Security in Nigeria: Considerations for Amotekun. RESOLVE Network, December 2020. http://dx.doi.org/10.37805/pn2020.9.ssa.
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Nigeria faces immense internal security challenges, including the Boko-Haram crisis in the northeast and violent farmer-herder conflicts in the southwest and north-central states. Across the Nigerian federation, pockets of violent clashes have sprung and escalated in new locales in the last decade. Community responses to these violent crises have been diverse and included the establishment of armed groups to supplement or act in parallel to the security efforts of the Nigerian state—in some cases with backing from federal or state governments. These local security assemblages, community-based armed groups (CBAGs), are on the one hand contributors to local order, and normative conceptions of peace and security. On the other hand, these groups are often a pernicious actor within the broader security landscape, undermining intercommunal peace and drivers of violence and human rights abuses. This Policy Note focuses on the characteristics, challenges, and opportunities of Amotekun, a recently formed CBAG in Southwest Nigeria. Drawing from the experiences of similar Nigerian groups, the Note details recommendations that may facilitate greater success and lessen poten al risk associated with Amotekun’s formation. These recommendations are aimed primarily at Nigerian government and civil society actors and describe areas where external support could potentially improve local capacity to conduct oversight of Amotekun and similar groups.
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Aromolaran, Adebayo, Milu Muyanga, Thomas Jayne, Abiodun E. Obayelu, Titus Awokuse, Omotoso O. Ogunmola, and Fadlullah O. Issa. Drivers of Market-Oriented Land Use Decisions Among Farm Households in Nigeria. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/apra.2020.012.
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In recent times, the Nigerian Government has devised strategies aimed at intensifying smallholder transformation for enhanced food security, employment creation and poverty reduction. However, despite these efforts, the process of agricultural commercialisation in Nigeria has not progressed as fast as expected. Consequently, this study examines agricultural commercialisation in Nigeria with the aim of establishing factors that are constraining commercialisation and identifying potential policy levers that can be used to fast-track the process
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van Walbeek, Corné, Adedeji Adeniran, and Iraoya Augustine. More on the Positive Fiscal and Health Effects of Increasing Tobacco Taxes in Nigeria. Institute of Development Studies, June 2021. http://dx.doi.org/10.19088/ictd.2021.010.
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Nigeria is faced with substantial economic and health burdens caused by tobacco smoking. The economic burden of smoking accounts for approximately 1.3 per cent of Nigeria's GDP. In terms of its health impact, 4.9 per cent of all deaths in 2019 were attributed to smokingrelated diseases. The thousands of Nigerians that die annually from tobacco-induced diseases are no longer able to contribute productively to the economy. Tobacco taxation is one very effective mechanism for reducing the burden of smoking. This paper measures and benchmarks the economic gains and the number of lives that could be saved through increased tobacco taxation in Nigeria. Should the government of Nigeria increase the excise tax to 240 Naira per pack (together with an ad valorem tax of 50 per cent of the CIF/ex-works price), our model predicts that, over 30 years, nearly 150,000 premature deaths could be avoided. This is in addition to the more than 150 per cent increase in government revenue that would also result. The model indicates that the larger the increase in the excise tax, the greater would be its fiscal and public health impact.
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Ogwuike, C. Obinna, and Emeka W. Nweke. School-Based Management Committees (SBMCs) and How to Study Them: A Methodological Review of a RISE Research Project. Research on Improving Systems of Education (RISE), April 2022. http://dx.doi.org/10.35489/bsg-rise-ri_2022/042.
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In this Insight Note, the authors provide a detailed explanation of our research strategy and the methodologies and tools we are using to assess the institutional norms and conditions that lead to effective SBMCs. The goal of the note is to show other researchers interested in Nigeria’s SBMCs the type of work we are doing, and exactly how our research team operates in rural Nigeria. The authors hope that this information will be useful to researchers interested in studying Nigeria’s SBMCs, or in the nuances of data collection in rural Nigeria generally.
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Ogwuike, Clinton Obinna, and Chimere Iheonu. Stakeholder Perspectives on Improving Educational Outcomes in Enugu State. Research on Improving Systems of Education (RISE), November 2021. http://dx.doi.org/10.35489/bsg-rise-ri_2021/034.
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Education remains crucial for socioeconomic development and is linked to improved quality of life. In Nigeria, basic education has remained poor and is characterised by unhealthy attributes, including low quality infrastructure and a lack of effective management of primary and secondary schools. Access to education is a massive issue—according to the United Nations, there are currently about 10.5 million out of school children in Nigeria, and 1 in every 5 of the world’s out-of-school-children lives in Nigeria despite the fact that primary education in Nigeria is free. A considerable divide exists between the northern and southern regions of Nigeria, with the southern region performing better across most education metrics. That said, many children in southern Nigeria also do not go to school. In Nigeria’s South West Zone, 2016 data from the Nigerian Federal Ministry of Education reveals that Lagos State has the highest number of out of school children with more than 560,000 children aged 6-11 not going to school. In the South South Zone, Rivers State has the highest number of out-of-school children; more than 900,000 children aged 6-11 are not able to access education in this state. In Enugu State in the South East Zone, there are more than 340,000 children who do not have access to schooling (2016 is the most recent year high-quality data is available—these numbers have likely increased due to the impacts of COVID-19). As part of its political economy research project, the RISE Nigeria team conducted surveys of education stakeholders in Enugu State including teachers, parents, school administrators, youth leaders, religious leaders, and others in December 2020. The team also visited 10 schools in Nkanu West Local Government Area (LGA), Nsukka LGA, and Udi LGA to speak to administrators and teachers, and assess conditions. It then held three RISE Education Summits, in which RISE team members facilitated dialogues between stakeholders and political leaders about improving education policies and outcomes in Enugu. These types of interactions are rare in Nigeria and have the potential to impact the education sector by increasing local demand for quality education and government accountability in providing it. Inputs from the surveys in the LGAs determined the education sector issues included in the agenda for the meeting, which political leaders were able to see in advance. The Summits culminated with the presentation of a social contract, which the team hopes will aid stakeholders in the education sector in monitoring the government’s progress on education priorities. This article draws on stakeholder surveys and conversations, insights from the Education Summits, school visits, and secondary data to provide an overview of educational challenges in Enugu State with a focus on basic education. It then seeks to highlight potential solutions to these problems based on local stakeholders’ insights from the surveys and the outcomes of the Education Summits.
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Kehinde Adesina, Thomas, Adeola Olajide, and Molatokunbo O. Olutayo. Cocoa Commercialisation in Nigeria: Issues and Prospects. Institute of Development Studies (IDS), January 2022. http://dx.doi.org/10.19088/apra.2022.001.
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Despite the setback in the Nigerian agricultural sector’s development and its declining cocoa production in recent years, the nation still has potential to regain its production capacities in the cocoa sub-sector. In fact, cocoa farmers included in the study, across their gender disaggregation, opined that cocoa farming still has a bright future in the study area if attendant challenges are promptly addressed, because the interest and drive to expand production still exists among farmers. Thus, this paper explores the issues and prospects around cocoa commercialisation in southwestern Nigeria.
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Freed, Danielle. K4D Bolstering International Recognition of Flooding Challenges in Nigeria. Institute of Development Studies, September 2022. http://dx.doi.org/10.19088/k4d.2022.160.
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The issue of flooding in Nigerian cities is relatively poorly documented, despite the significant economic damage and the loss of life it results in each year. The lack of a consistent set of data for informing policy and programming is a well-recognised challenge. Recognising the value of access to a reliable evidence base, colleagues at the Foreign, Commonwealth and Development Office (FCDO) Nigeria office collaborated with the K4D team in drafting a desk review that outlined a deeper understanding of the impact, risk factors and associated management and mitigation factors to urban flooding in Nigeria. Evidence indicates that the report has proved a successful instrument in both providing a foundation for evidence-based action, as well as serving as a tool in which to engage and inspire a wide range of stakeholders.
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Lucas, Brian. Urban Flood Risks, Impacts, and Management in Nigeria. Institute of Development Studies (IDS), January 2021. http://dx.doi.org/10.19088/k4d.2021.018.
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This summary reviews evidence on the urban flooding impact, risk factors, and management and mitigation measures in Lagos and other cities in Nigeria. Flooding is a common problem every year in many cities across Nigeria, but the impacts of flooding are poorly documented. There is no consistent set of statistics at a national or sub-national level that can be used to compare the impacts of flooding across cities, and reports that focus on particular flood events are often incomplete. The literature notes the principal factors contributing to flood risk including uncontrolled urban growth, inadequate and poorly-maintained drainage systems, solid waste management practices, weakness in institutional capacity and coordination, and warning systems and public awareness. The evidence base for flood impacts, risks, and mitigation efforts at the city level in Nigeria is limited, and much of the information available is low quality, inconsistent, or outdated. Many rely on surveys of city residents rather than objective empirical data, and some of these surveys appear to be poorly designed. A significant number of the academic publications available have been published in non-mainstream journals without the usual level of academic peer review. Recent information is scarce, and a significant amount of the available evidence dates from 2011 and 2012, which coincides with an episode of nationwide flooding that was among the worst in Nigeria’s history.
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Oyekan, Khalimath, Ayodotun Ayorinde, and Oreoluwa Adenuga. The Problem of Out-of-School Children in Nigeria. Research on Improving Systems of Education (RISE), March 2023. http://dx.doi.org/10.35489/bsg-rise-ri_2023/058.
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In 2015, all United Nations Member States adopted the 2030 Agenda for Sustainable Development which outlines a blueprint to address global challenges across a broad range of themes including poverty, health, education, inequality, climate change, environmental degradation, peace and justice. The Goal 4 of the 2030 Agenda for Sustainable Development, otherwise referred to as the United Nations Sustainable Development Goal 4, seeks to ensure inclusive and equitable quality education and promote lifelong learning opportunities for all. Unfortunately, an approximated 263 million children remain out of school around the world. This number includes children who never started formal schooling and children who started school but later dropped out (United Nations Educational, Scientific and Cultural Organization [UNESCO], 2016). Reducing the number of out-of-school children (OOSC) is a key priority for countries across Sub-Saharan Africa, including Nigeria. This is because more than half of children globally that have not enrolled in school live in Sub-Saharan Africa, and more than 85 percent of children in Sub-Saharan Africa are not learning the minimum (UNESCO Institute of Statistics, 2018). Moreover, education is a fundamental human right, a critical driver for economic advancement and a powerful tool for poverty reduction. Hence, no child of school age should be denied access to quality and equitable education, and an opportunity to acquire skills that guarantee future employability and long-term earning. In the Nigerian context, OOSC are prevalent in both rural and urban settings, but rural areas, and isolated or deprived areas in general, consistently show higher numbers of out-of-school children (World Bank, 2019). These children are spread across the country in varying proportions. This situation is of concern to the Federal Government of Nigeria as noted in the Nigeria Education Ministerial Plan (2018-2022) which outlines several strategies targeted at bringing children back to school. In spite of these strategies, the number of OOSC remains significantly high. This insight note aims to provide an overview of the most recent data on out-of-school children in Nigeria, including breakdowns by socioeconomic and other demographic indicators. This will be followed by suggestions of possible interventions, prime of which is the Accelerated Education Programme (AEP), and other interventions which could serve to strengthen the existing laid out strategies by the government in addressing the OOSC problem in Nigeria.
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Baur, Daniela. Social Protection in Nigeria: Analysing Capacities. Institute of Development Studies, May 2024. http://dx.doi.org/10.19088/basic.2024.005.
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This report describes findings of an analysis of capacities to deliver social protection in Nigeria. It focuses specifically on generating findings that will be useful to situations of protracted crisis, such as displacement due to conflict or climate shocks. The report draws on a three-dimensional Capacity Cube that differentiates between levels of capacity (individual, organisational, institutional), phases of capacity strengthening (building, applying, maintaining) and types of capacity (competency, capability, performance). Analysis of government and international actors’ statements about social protection and capacity strengthening suggest that the majority of investments in capacity are focused on building individual and organisational competencies. Other elements, such as maintaining capabilities and performance, are given far less attention. This leads to an imbalanced social protection system in which activities for building technical capacities are projectised while whole-of-government, cross-sectoral functional capabilities are neglected. Overall, the paper demonstrates that using the Capacity Cube renders visible the imbalances and the gaps in investments in social protection in Nigeria. The analysis is only a first step towards changing the way that we think about capacity in situations of protracted crisis. Investigating these gaps and missing elements will require more detailed research into actual implementation that goes beyond looking at project documents. It will be important, going forward, to understand more about how these capacities shift and change – as conflicts bubble up and become protracted, and create new challenges for the staff who deliver social assistance. Understanding which capacities become increasingly important in situations of protracted crisis, and how these can be protected, could provide pathways to a more effective and efficient social protection system in Nigeria, and beyond.