Academic literature on the topic 'Nigerian Art objects'
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Journal articles on the topic "Nigerian Art objects"
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Folorunso, Caleb A. "Globalization, Cultural Heritage Management and the Sustainable Development Goals in Sub-Saharan Africa: The Case of Nigeria." Heritage 4, no. 3 (August 11, 2021): 1703–15. http://dx.doi.org/10.3390/heritage4030094.
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This paper addresses the impacts of globalization on cultural heritage conservation in sub-Saharan Africa. The homogenization and commodification of Indigenous cultures as a result of globalization and it’s impacts on the devaluation of heritage sites and cultural properties is discussed within a Nigerian context. Additionally, the ongoing global demand for African art objects continues to fuel the looting and destruction of archaeological and historical sites, negatively impacting the well-being of local communities and their relationships to their cultural heritage. Global organizations and institutions such as UNESCO, the World Bank, and other institutions have been important stakeholders in the protection of cultural heritage worldwide. This paper assesses the efficacy of the policies and interventions implemented by these organizations and institutions within Africa and makes suggestions on how to advance the protection of African cultural heritage within the Sustainable Development Goals (SDGs). Furthermore, cultural heritage conservation is explored as a core element of community well-being and a tool with which African nations may achieve sustainable economic development.
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Balogun, Lekan. "Poetics of mnemonic strategy : the art of adaptation and the spirituality of being & things in Tunde Kelani’s Saworoide and The Narrow Path." Issue 1 1, no. 1 (June 12, 2018): 53–74. http://dx.doi.org/10.31920/2516-2713/2018/v1n1a4.
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This essay utilises two different but related concepts: “poetics and politics of literary memory” by Lars Eckstein and “adaptation” by Linda Hutcheon, to examine Yoruba narrative convention, characterisation and the “spirituality of Being and object(s)” in two films, Saworoide (1999) and The Narrow Path (2006), by the Nigerian filmmaker, Tunde Kelani, who has distinguished himself as one of the leading contemporary Nigerian and African cinema icons and storytellers. The essay argues that as one of the most significant voices in Nollywood, the history of film and cinema in Nigeria and beyond, Kelani has not only turned the adaptation of materials from page to screen into an art and a veritable source of history, he has also shown ways in which the process functions as the recollection of the fading glorious past of his race. In order to achieve its aim, the essay is divided into two parts: the first part examines the cultural and political considerations of memory and the aesthetics of adaptation in relation to Kelani’s body of works, and the second part discusses the two films by drawing from arguments that are developed in the first part.
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Bardi, Augustine Okola. "4. Kazeem Olojo: A Professional Painter and an Art Instructor Universal Studios of Art, Lagos, Nigeria." Review of Artistic Education 14, no. 1 (March 2, 2017): 262–70. http://dx.doi.org/10.1515/rae-2017-0032.
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Abstract The works of art are priceless going by the quality of works exhibited by an artist. The artist tends to describe a particular scene near to the natural object in question. In the 15th and 16th centuries , France relayed on the impressionists who graduated from workshops and schools of apprentice in the likes of Gauguin, Monet, Manet, Degas, Renoir Cezanne, Delacroix and others to capture scenes of the Parisian country side that existed long age. The artist and his works remain indispensible to the existing societies. This form of art venture is not new to Nigeria where schools and workshops of apprenticeship exist. In Nigeria, the existing heritage and traditions if not for the artists will not be translated into art by the artists particularly painters like Dale, Oshinowo, Oguntokun, Emokpae, El-Dragg and others. The existence of workshops and schools of learning art have trained more artists to keep the aesthetical values of art. The society would be no doubt an unpleasant community without a touch of the arts. The artists who on daily bases create by painting, sculpting to make the environment a pleasurable place remain an important factor in the society.
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Gilbert, Juliet. "Mobile identities: photography, smartphones and aspirations in urban Nigeria." Africa 89, no. 2 (May 2019): 246–65. http://dx.doi.org/10.1017/s000197201900007x.
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AbstractSince 2012, the influx of affordable smartphones to urban Nigeria has revolutionized how young people take, store and circulate photographs. Crucially, this ever-expanding digital archive provides urban youth with a means to communicate new ideas of self, allowing a marginalized group to display fortunes that often belie their difficult realities. Through gestures and poses, fashion and style, the companionship of others, or the use of particular backdrops and locations, these photographs contain certain semiotics that allude to the subject owning the means for success in urban Nigeria. Similarly, as youth constantly store photographs of themselves on their handsets alongside those of celebrities, patrons and friends, coveted commodities and aspirational memes, they construct personal narratives that place them at the centre of global flows and networks. With the ability to constantly retake, update and propagate photographs, the discrepancies between in- and off-frame identities become ambiguous. This article explores how young people in Calabar, south-eastern Nigeria, use digital photographs on their mobile phones to cultivate new visions of themselves. Arguing that these photographs not only represent superlative aspirations but are also integral to social becoming, the discussion examines how digital images allow youth to reposition themselves within (and beyond) Nigerian society. Ephemerality is central: digital photographs can be easily circulated and retain some permanence on social media, yet these immaterial objects can easily be lost from handsets. In thinking about the futures of African youth and African photography, this article therefore interrogates the tensions of private and public archives.
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Oshio, P. E. "Mortgages Under the Rights of Occupancy System in Nigeria." Journal of African Law 33, no. 1 (1989): 19–30. http://dx.doi.org/10.1017/s0021855300007956.
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The Land Use Act, 1978 (hereinafter referred to, where the context admits, as “the Act”) introduced a uniform State ownership of land otherwise known as the Rights of Occupancy System in Nigeria. Section 1 of the Act vests all land within the territory of each State in the Federation in the Governor of the State to hold upon trust for the use and common benefit of all Nigerians. Section 5 empowers the Governor in respect of land whether or not in an urban area to grant a Statutory Right of Occupancy to any person for all purposes, while Section 6 empowers the Local Government, where appropriate, in respect of land in a non-urban area to grant a Customary Right of Occupancy to any person. By Sections 34 and 36 former owners of land become deemed holders of rights of occupancy into which their former ownership rights have been transformed by operation of law.The Act continues to attract comments from learned writers as to its effect on various aspects of property law. However, it would appear that not many writers have focused particularly on the effect of the Act on the law of mortgages. This is not to say that the subject is not important, nor that the Act has not significantly affected the law and practice of mortgages. The object of this article is to fill this vacuum.
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Onuora, Chijioke Noel, Nkem Fortyunes Alu, Samuel Ogba Echem, Stephen Ezeh Ezike, and Jovita Charles Ogu. "ILLUSTRATIONS IN TOTEMISM AND MYTHOLOGY AS PANACEA FOR ENHANCING CULTURAL STUDIES AMONG IGBO SECONDARY SCHOOL STUDENTS IN NIGERIA." Advances in Social Sciences Research Journal 7, no. 7 (July 19, 2020): 238–60. http://dx.doi.org/10.14738/assrj.77.8543.
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Totemism is the philosophy in which animals and inanimate objects called totems are accepted as harmless co-habitants of man. Myths are folkloric tales of origins and existence, which are as doubtful as they are credible. In assessing Totemic and Mythological Imagery for cultural studies, the study specifically sought to; (i) measure the extent to which Igbo cultural images can hold students’ attention during cultural studies, and (ii) explore Igbo totemic and mythological themes for traditional synthesis in art. The research was experimental and descriptive survey. The 4-week long vacation experiment comprised 40 Junior Secondary School students of ages 12-14 (treatment, n=20; control, n=20) randomised from 60. The subject foci were; (i) Cultural Studies; Igbo, Social Studies and Agriculture, and (ii) Art; Fine art, Poetry and Drama. Three study instruments were used; (i) Igbo Totemic and Mythological Illustrations Scoring Chart (ITMI-SC), (ii) Igbo Totemic and Mythological Illustrations Mean Rating Table (ITMI-MRT), and (iii) Igbo Totemic and Mythological Illustrations Post-test Impact Assessment Mean Rating Table (ITMIPIA-MRT). The post-test course tagged; Igbo Totemic and Mythological Illustrations Post-test Impact Assessment Test (ITMI-PIAT) involved the treatment and control groups in a free-topic choice of artistic contents. Findings showed that the treatment group progressed in cultural studies with artistic illustrations and subsequently explored Igbo mythological contents freely in art. During the ITMI-PIAT post test, the treatment group excelled beyond the control group members who were significantly atelic. It is recommended that teachers adopt artistic pedagogies for ethnographical studies while injecting traditional contents in art learning processes.
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Francis Ademola, Sanda. "Art in the Service of Religion: A Study of Selected Carvers of Ifa Sculptures and Objects in South-Western Nigeria." International Journal of Architecture, Arts and Applications 3, no. 4 (2017): 53. http://dx.doi.org/10.11648/j.ijaaa.20170304.12.
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Chianu, Emeka. "Priorities under the Land Registration Act in Nigeria." Journal of African Law 36, no. 1 (1992): 66–80. http://dx.doi.org/10.1017/s0021855300009748.
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A substantial part of the rules governing land tenure and its conveyance has had the prevention of fraud and double-dealing as its object. Rapacious vendors have perfected the skill of selling the same piece of land successively to more than one purchaser. Trespassers have brazenly taken possession of land in which they have no vestige of interest, challenging the owner and asserting limited or absolute rights to it. Some of these frauds are perpetrated because land transactions are not publicised. It is no surprise therefore that the elimination of secrecy in such dealings was appreciated early in man's history.The oldest recorded land transaction, which took place almost 4,000 years ago in 1881 BCE in the Middle East, was concluded in the presence of witnesses, “before the eyes of the sons of Heth among all those entering the gate of his city”. Witnesses give the transaction publicity and they are also people who could testify to it. But the testimony, useful as it is, has its shortcomings and cannot always be relied on to determine either whether the transaction took place or the nature of the rights and obligations it conferred on the parties. With the passing of time the frail memory of the witnesses fails; on their death any evidence given becomes hearsay with the attendant possibility that subsequent persons may alter what they were told.
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Chebanenko, Sergey B. "Regarding the problem of restitution of African art pieces removed from Benin during the British military expedition of 1897: practice and legal aspects." Issues of Museology 11, no. 2 (2020): 319–35. http://dx.doi.org/10.21638/11701/spbu27.2020.214.
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The question of the fate of the “Benin bronze” is part of a more general problem of the restitution of African art pieces exported from the continent, during the period of European colonial rule. The difference between the history of the looting of the monuments of the Benin Kingdom (the territory of modern Nigeria) by British troops from many other examples of the removal of original African heritage, is in the fact, that in this case there was a robbery committed as a result of a military conflict, both sides of which were politically independent. The political independence of each party, strictly speaking, does not allow for the situation to be considered in the system of relations “metropolis — colony”. Modern owners of Benin monuments, spread across a number of museums and other collections in the world, recognize the injustice of their acquisitions, but they do not always recognize the possibility and necessity of restitution of these artifacts. This is facilitated by the complexity of the history of objects after their exportation from Africa and the absence of, in most cases, legal grounds for their direct return. Recently, the situation has changed significantly, making it possible to transfer a vast portion of art pieces, originating from Benin, on the basis of not so much the letter of the law, but on the desire to restore justice.
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Adunbi, Omolade, and Babajide Ololajulo. "‘Proceed to your death’: Lakuwa, environmental disaster management, and the culture of oil politics in Nigeria." Journal of Material Culture 25, no. 1 (April 15, 2019): 36–59. http://dx.doi.org/10.1177/1359183519843695.
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Since the 1990s, in the riverine areas of Nigeria, the ecological menace of water hyacinth has been turned into an object of politics by various administrations. Among the Ilajes, an oil-rich community in the southwestern part of Nigeria, water hyacinth is considered to be poisonous and an impediment to people’s livelihoods. Drawing on ethnographic fieldwork, the authors explore how an invasive species, known locally as lakuwa – translated as ‘proceed to your death’ – gets inserted into the politics of oil distribution. They argue that, just like oil, water hyacinth presents certain features that enable its conversion from poisonous species to money, and the article particularly explores how the conversion of water hyacinth, an ecological ‘plague’, fits into popular narratives of environmental degradation in Nigeria. The authors argue that the invasive nature of water hyacinth warrants a form of state response that deepens already existing forms of prebendal political interactions between the environment, local political leaders, and their numerous followers.
Dissertations / Theses on the topic "Nigerian Art objects"
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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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Gilbert, Juliet Caroline Maria. "'Destiny is not where you are now' : fashioning new Pentecostal subjectivities among young women in Calabar, Nigeria." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a23ecc18-f145-4556-8500-72019b445c58.
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The thesis examines young women’s livelihoods in Calabar, southeastern Nigeria. It discusses how young women aim to realise their believed ‘destinies of greatness’, reconciling aspirations of fortune with present insecurities. Pinpointing a time when the city’s universities were on indefinite strikes, the discussions depict young women’s industriousness as they ‘wait’ amid uncertainty. The thesis focuses explicitly on young women’s engagement with Pentecostalism, the religion encouraging action, timeliness, and knowledge of the self and God. Understanding how young women fashion Pentecostal subjectivities attuned with ideals of urban success, the chapters focus on various ‘sites’ in their lives: church ministries, the home, sewing shops, beauty pageants. The thesis argues that young women believe they can realise future fortune by constantly partaking in acts of self-preparation. However, as action is driven by the competing forces of fear and faith, the acts young women believe will fashion subjectivities conducive to urban success are always gambles. Illuminating the emic concept of ‘destiny’ – a classic concept in West African Anthropology, denoting personhood and lifecourse (Fortes 1987) – the thesis builds upon recent analyses of how action underpins concepts of hope (Miyazaki 2004), doubt (Pelkmans 2013), and fortune (da Col 2012; Graeber 2012). Illuminating action and futures, the discussion contributes to recent analyses of time, productivity and youth (Honwana 2012; Jeffrey 2010; Masquelier 2013a). By examining the often-ignored category of young women, the thesis develops an understanding of ‘feminine cultures of waiting’. The discussion of how Pentecostal subjectivities are fashioned, which draws different ‘sites’ of young women’s lives together, also furthers analyses of African youth by countering salient narratives of youth in violence (e.g. Vigh 2006). Focusing on young women’s livelihoods, the thesis contributes to an Anthropology of (Pentecostal) Christianity by illustrating how religious rhetoric and practice are carried out and negotiated outside formal church institutions.
Books on the topic "Nigerian Art objects"
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Kerri, H. O. Symbols of power and authority in traditional Nigerian culture: Exhibition guide. Lagos, Nigeria: National Commission for Museums and Monuments, 1998.
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Doris, David Todd. Vigilant things: On thieves, Yoruba anti-aesthetics, and the strange fates of ordinary objects in Nigeria. Seattle: University of Washington Press, 2011.
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Vigilant things: On thieves, Yoruba anti-aesthetics, and the strange fates of ordinary objects in Nigeria. Seattle: University of Washington Press, 2011.
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Insoll, Timothy. West Africa. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.008.
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Figurines are widely found in archaeological contexts in West Africa. Mostly of clay, more rarely in stone or wood, they served varied purposes. This chapter explores archaeological figurines from across West Africa, focusing upon the main regional concentrations in Sierra Leone, Guinea, Liberia, Ghana, Nigeria, Mali, Burkina Faso, Niger, Chad, and Cameroon, before considering broader interpretive themes. These figurines were ascribed different meanings and had diverse functions. Ancestor figurines recur. Others were perhaps linked with healing and medicine. The internal cavities found in some suggest they might have been perceived as power objects; considered as invested with personhood of some form. Many are found in ritual contexts—shrines, burials—and were likely linked with religions. Others were probably toys. What they seem not to have been is ‘art’, and when labelled as such they become commoditized, and the target of looters and dealers in illegally obtained figurines from West Africa.
Conference papers on the topic "Nigerian Art objects"
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Johnson, Johnson, and Ezizanami Adewole. "Flow Behavior of Horizontal Well Completed Within Two Sealing Faults Inclined at Right Angle." In SPE Nigeria Annual International Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/207186-ms.
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Abstract At inception of a production rate regime, a horizontal well is expected to sweep oil within its drainage radius until the flow transients are interrupted by an external boundary or an impermeable heterogeneity. If the interruption is an impermeable heterogeneity or sealing fault, then the architecture of the heterogeneity must be deciphered in order to be able to design and implement an effective work-over or well re-entry to boost oil production from the reservoir. In this paper, therefore, the behavior of a horizontal well located within a pair of sealing faults inclined at 90 degrees is investigated using flow pressures and their derivatives. It is assumed that the well flow pressure is undergoing infinite activity, and each fault acts as a plane mirror. The total pressure drop in the object well is calculated by superposition principle. Damage and mechanical skin and wellbore storage are not considered. The main objective of our investigation is to establish identifiable signatures on pressure-time plots that represent infinite flow in the presence of adjacent no flow faults inclined at 90degrees. Results obtained show that the flowing wellbore pressure is influenced strongly by object well design, object well distance from each fault, and distance of each image from the object well. Irrespective of object well distance from the fault, there are three (3) images formed. Central object well location yields a square polygon, with two image wells nearer to the object well at equidistance from the object well, and the farthest image well to be 2d2. From the object well For off-centered object well location within the faults, a rectangular polygon is formed, with each image at a different distance from one well to another. Dimensionless pressure and dimensionless pressure derivative gradients during infinite-acting flow are (4.6052/LD) and 2/LD, respectively for all well locations within the faults.
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Ogbamikhumi, A. V., and E. S. Adewole. "Characteristics of Dimensionless Pressure Gradients and Derivatives of Horizontal and Vertical Wells Completed within Inclined Sealing Faults." In SPE Nigeria Annual International Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/207179-ms.
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Abstract Dimensionless pressure gradients and dimensionless pressure derivatives characteristics are studied for horizontal and vertical wells completed within a pair of no-flow boundaries inclined at a general angle ‘θ’. Infinite-acting flow solution of each well is utilized. Image distances as a result of the inclinations are considered. The superposition principle is further utilized to calculate total pressure drop due to flow from both object and image wells. Characteristic dimensionless flow pressure gradients and pressure derivatives for the wells are finally determined. The number of images formed due to the inclination and dimensionless well design affect the dimensionless pressure gradients and their derivatives. For n images, shortly after very early time for each inclination, dimensionless pressure gradients of 1.151(N+1)/LD for the horizontal well and 1.151(N+1) for vertical well are observed. Dimensionless pressure derivative of (N+1)/2LD are observed for central and off-centered horizontal well locations, and (N+1)/2 for vertical well are observed. Central well locations do not affect horizontal well productivity for all the inclinations. The magnitudes of dimensionless pressure drop and dimensionless pressure derivatives are maximum at the farthest image distances, and are unaffected by well stand-off for the horizontal well.
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Anifowose, Titilayo. "Significance of cultural heritage assets in the definition of urban morphology. A case of Egba-Ake in South-West Nigeria." In Post-Oil City Planning for Urban Green Deals Virtual Congress. ISOCARP, 2020. http://dx.doi.org/10.47472/fxzs7229.
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This study defined morphological importance of cultural heritage assets and formation of Egba-Ake town. Cultural heritages include man’s physical imaginative products which can be touched and seen include buildings, crafts, tools, ivory, cowries, paintings, textiles, pestles, mortars, food, wooden objects, tombs & grave goods, temples, dresses, pottery & potsherd pavements, monuments, books and artifacts. Morphology are factors that influence city/community formation which are determined by synthetic and natural determinants. Cultural heritage assets are whatever is valued by people today that was also cherished by former generations. This research explored the importance of cultural heritage assets in relation to urban fabrics formation of Egba-Ake. Qualitative method was adopted in this study, in-depth interviews and personal observation was used for data collection while Nvivo words tree and satellite imagery was used to analyze collected data. Ake’s palace and Itoku market is located at the center around which the Egba-Ake evolved. Ake’s Palace (political and cultural hub of the town) and Itoku market (the economic heritage of the town) was used to preserve various aspects of Egba-Ake cultural heritage. Ela festival (new yam festival) is annually celebrated cultural activity in Egba-Ake. This finding is relevant to policy makers as it allows the support of potential common structures for heritage administration in Egba-Ake. Effect of heritage in EgbaAke morphology is the new palace of Alake (the cultural ruler) of Egba-Ake were renovated and new once built a few years ago with modern architectural designs, furniture and fittings. This has made the Alake’s Palace to meet ‘international standards’. Social amenities and infrastructures like electricity supply, water systems, hospitals, good roads, administrative offices, schools; communication networks, etc. are now a major feature in Egba-Ake town. Further studies will enhance the implementation issues which may arise from the creation of a framework for cultural heritage management, with emphasis on risk management and risk reduction of cultural heritage.