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Journal articles on the topic 'Nigerian Art'
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1
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.
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Omojola, Olabode F. "Contemporary art music in Nigeria: an introductory note on the works of Ayo Bankole (1935–76)." Africa 64, no. 4 (October 1994): 533–43. http://dx.doi.org/10.2307/1161372.
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The introduction of Christian missionary activity and the British colonial administration of Nigeria in the middle of the nineteenth century led to some of the most significant musical changes in the country. Perhaps the most far reaching was the emergence of modern Nigerian art music, a genre which is conceptually similar to European classical music. This study focuses on Ayo Bankole, one of the pioneer composers of Nigerian art music.As an introductory study of Ayo Bankole, the article briefly discusses the musico-historical factors responsible for the growth of Nigerian art music as well as the nature of Bankole's musical training and experience. This provides an appropriate context for understanding and appreciating the stylistic features of Bankole's works. Drawing on examples from his works, the article establishes the eclectic nature of Bankole's style, in which European and African musical elements interact.
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Abodunrin, Johnson Adelani. "Audience Perception of Effective Communication in Nigerian Paintings." Harmonia: Journal of Arts Research and Education 16, no. 2 (January 29, 2017): 103. http://dx.doi.org/10.15294/harmonia.v16i2.7824.
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<p>Artists in Nigeria perceived effective communication differently irrespective of the socio-economic status.Communication effectiveness depends largely on the understanding of the message being passed between a sender and a receiver. Painting has been used over time to express emotion and feeling to the perceiving audience. The study is audience’s perception of communication in Nigeria painting and how it varies with the socio-economic characteristics such as age, education, gender, and being professional artist or art lovers. Questionnaires were distributed and administered to examine how the status of the art audience makes or mars effective communication in painting. The inferential statistics that were employed include “chi-square test” to test the relationship between different variables. The data were taken in ordinal form using Likert’s scale, and transformed into interval data. This was done by attaching statistical weights to the responses in the order of importance which were summed up for the parametric testing. Findings show that gender factor has nothing to do with the understanding of paintings. Also, the level of education obtained by the audience does not have much to do with understanding of contemporary Nigerian painting but a better exposure to the issue concerning the stylistic development of Nigerian painting. Art practitioners must adequately be guided on stylistic trend in painting, art education should be more intensified in educational curriculum in Nigeria. The paper concludes that audience requires a better exposure to the issues concerning the stylistic development of Nigerian painting for effective communication to take place.</p>
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Voloshina, Tatiana, Natalia Nerubenko, and Julia Blazhevich. "LINGUISTIC AND CULTURAL PECULIARITIES OF NIGERIAN SCREENPLAYS." Bulletin of Chelyabinsk State University 476, no. 6 (September 15, 2023): 94–102. http://dx.doi.org/10.47475/1994-2796-2023-476-6-94-102.
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The article deals with the features of linguistic and cultural picture of the world representation on the example of Nigerian screenplays. The authors of the research analyze the features of the Nigerian cinematographic art which is the reflection of the Nigeria national picture of the world, that is subject to the dominant influence of the British English language influence. In the course of the work, the key characteristics of the screenplays of Nigeria are revealed, viz. the influence of the phenomenon called creolization which is the forced adaptation process of the British English language to the norms of the Nigerian autochthonous languages and cultures. The key characteristics of the Nigerian screenplays grammatical structures are due to the interference processes of autochthonous Nigerian languages Hausa, Yoruba, Igbo with English.
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Lenssen, Anneka. "The Two-Fold Global Turn." ARTMargins 7, no. 1 (February 2018): 83–99. http://dx.doi.org/10.1162/artm_r_00201.
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This essay is a review of art historian Chika Okeke-Agulu's Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria (Duke University Press, 2015). The book offers a chronicle of artistic theories, practices, and institutions during Nigeria's independence years (1957–67) amid the historical frames of Third World liberation, African decolonization, and Cold War realpolitik. The essay explores in particular how Postcolonial Modernism revisits and explores the thematic of “national culture”—the concept presented by Frantz Fanon in 1959, with long-lasting impact on theories of postcolonial arts—in the (decentralized) Nigerian art world, with a focus on the synthetic studio practices of members of the Zaria Art Society. Fanon's “two-fold becoming” model of national culture, which implies catalyzing links to international liberation movements, impacts not only Okeke-Agulu's narrative of a generational opposition to the preceding cultural paradigms of Negritude, but also—the essay argues—the writing of global modernist history at-large.
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Abakporo, Princewill C. "Dance and content issues: implications for contemporary indigenous dance in Nigeria." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 72–82. http://dx.doi.org/10.4314/ejotmas.v7i1-2.5.
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Many traditional dances have witnessed downturn in patronage to occasion academic debates geared towards reviving interest in indigenous performances and live theatres in Nigeria. It is within this context that this article closely look at content issues in Nigerian indigenous dance from a diachronic perspective and observed that the seeming dwindling patronage for certain Nigerian indigenous dances is as a result of the inability of indigenous dance creators and performers to package indigenous dance products to reflect popular tastes in contemporary times. Also, it is observed that content issues in art are indicators that human society is constantly in a state of flux and that as humanity responds to these changing realities; art must do the same to remain relevant to the society within a particular period. Drawing on this, the study concludes that Nigerian indigenous dance space could be enlivened when its contents are at par with dominant societal realities and respond to prevailing societal conditions within the time of its creation while retaining its structures and form as a cultural document for the people. It recommended that the approach, packaging, and performance of indigenous dances from formalist and philosophical aesthetic consciousness will aid in the malleability of traditional dance contents to satisfy changing societal and audience needs.
Keywords: Traditional dance, Indigenous dance art, Nigeria Content issues, Patronage
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Clement Emeka Akpang. "Nollywood and Churches’ Oriental Fantasies: Its Impact on Art Reception, Patronage and Expression in Contemporary Nigeria." Britain International of Humanities and Social Sciences (BIoHS) Journal 2, no. 2 (June 30, 2020): 594–602. http://dx.doi.org/10.33258/biohs.v2i2.272.
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The visual arts still suffer low reception and patronage in contemporary Nigeria as a result of an ongoing oriental stereotypical representation in Nollywood, the media and churches. This paper interrogates this problematic to address the subtle subversion of the arts that continues to grossly impede its development. Adopting the analytical tools of Content Analysis, this paper traces the origin of anti-art propagandism to missionary and colonial activities in Nigeria and establish its continues adverse propagation in Nollywood and modern churches. Findings from this paper conclude that the portrayal of visual arts in Nigerian movies as the instrument of dark practices and the further condemnation of the arts in churches as symbols of heathenism is responsible for the disdain towards the arts in contemporary Nigeria and responsible for its poor reception and patronage. The research contends, therefore, that both the media, Nollywood and churches must rethink their oriental fantasies about the arts because until that happens the anti-art culture inscribed in the consciousness of many Nigerians will continue to impede artistic progress and visual/aesthetic illiteracy.
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Kalilu, Razaq Olatunde Rom, and Allan Francis Ebunola Oladugbagbe. "An Examination of Postmodernism in Sculptural Practices in Some Nigerian Art Schools." Journal of Visual Art and Design 14, no. 2 (January 31, 2023): 191–209. http://dx.doi.org/10.5614/j.vad.2022.14.2.13.
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Postmodernism, a Western artistic concept, affects sculptural practices in Nigerian art schools. Sculptures are consequently getting extremely subjective as students use postmodernism to avoid learning classical sculptural principles. Therefore, this study examined postmodernism in sculpture in Nigerian art schools with a view to finding ways by which postmodernism can be incorporated into practice in Nigerian art schools. The study used data collected through field research at three art schools between 2010 and 2021. Nine (10%) out of 89 postmodern sculptures observed in the three art schools were randomly selected for formal analysis. The findings indicate that the exploration of found objects and the production of sculptures that provoke deeper conceptual meanings of subjects have become the norm, triggered by the socio-cultural conditions and geography in the art schools’ locations. It is concluded that postmodernism can be incorporated into sculptural training in Nigerian art schools without inhibiting the development of knowledge and skills according to classical and artistic principles and values.
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Fajuyigbe, Michael Olusegun. "Contemporary Painting as Reflector of Yoruba Cultural Values." Yoruba Studies Review 7, no. 2 (January 19, 2023): 1–28. http://dx.doi.org/10.32473/ysr.7.2.132806.
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Every art form reflects the values of the cultural background that produces it, and visual culture in its present state is based on art and values from the past. This paper, therefore, examines the re-invention of culture and distinctive cultural ideals in contemporary Nigerian art. Specifically, it pinpoints contemporary Yorùbá paintings as visual markers of the Yorùbá value system. The study traces the origin of painting in Africa, from its earliest forms in African caves, shrines, and palaces, through the colonial and postcolonial eras to the present. Based on their contexts, eight (8) paintings that portray specific values of the Yorùbá and are ingrained with symbolic motifs, patterns and imageries are selected. Formal and contextual methods in art history are employed in the analysis of the data. The selected paintings serve as a visual document of the Yorùbá belief system; while contemporary Yorùbá artists are shown to consistently draw from their culture and design resources to establish a connection between the past and the present. The paper concludes that contemporary Nigerian art, generally, reveals new perspectives and meanings regarding art, culture, and identity in a fast-changing, multi-ethnic society like Nigeria
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Ijisakin, Eyitayo Tolulope. "Printmaking in Nigeria: Its Evolution and Developmental History." Academic Journal of Interdisciplinary Studies 8, no. 2 (July 1, 2019): 247–60. http://dx.doi.org/10.2478/ajis-2019-0036.
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Abstract Despite the prolific and ingenious productivity of the printmakers in Nigeria, the significance of their creative endeavours has not been given adequate attention by scholars of contemporary Nigerian arts. Scholarship on the printmakers has been limited to catalogues of art exhibitions, skimpy art reviews in magazines, and a few sketches on their biographies. This study therefore probes into the evolution of printmaking in Nigeria. This is with a view to obtaining its developmental history and enabling a more nuanced and useful understanding of the ways in which printmaking contributes to contemporary art praxis in Nigeria. Relying on field investigation, data were collected through in-depth interviews of printmakers, art critics, art historians and gallery owners, using oral or interactive formats; and collection of visual media sources. This study justifies the need for a developmental history; it identifies and examines the key actors who pioneered printmaking in Nigeria. It further appraises printmaking in Nigeria through the lens of relevant literature; and examines workshops, training, and techniques of printmaking in Nigeria.
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Nwanmereni, Daniel. "Global Coronavirus Pandemic and the Improvised Online Lectures Perspectives in Select Universities in South-South, Nigeria." Cross Current International Journal of Economics, Management and Media Studies 2, no. 8 (October 24, 2020): 113–21. http://dx.doi.org/10.36344/ccijemms.2020.v02i08.001.
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In ensuring that the Nigerian educational system, especially tertiary education, was not completely shut-down due to the coronavirus pandemic, the Federal Government of Nigeria on April 10, 2020 directed the authorities of the nation’s universities to commence online lectures. This study investigated the implementation of the online learning directive by universities in South-South, Nigeria. The aim of the study was to investigate perspectives in the implementation of the directive. Among others, the study asked the following questions: how did Nigerian university students perceive the directive on online lectures due to coronavirus restrictions in Nigeria? What were the dominant online teaching platforms adopted by Nigerian universities in the implementation of the online lectures directive? The study was anchored on the Technological Determinism and Diffusion of Innovations theories. The survey research design was used to study a population of 152, 595 from which a sample size of 384 respondents was drawn. Findings of the study showed that although Nigerian university students appreciated the online lectures initiative, the arrangement was challenged by lack of requisite technological gadgets by both lecturers and students and poor power supply in the country. The study recommended, among other things, that the Nigerian government and authorities of private tertiary institutions in the country should provide state-of-the-art facilities that support online learning in the digital economy. It was also recommended that the age-long problem of poor electricity supply in Nigeria should be aggressively approached and addressed by the Nigerian government.
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Kigbu, Salome K., Tomi Grace Obagboye, Hope Lifted Haruna, and Augusta Uchechukwu Uzu. "Regulating Assisted Reproductive Technology in Nigeria: An Urgent Need." Global Journal of Politics and Law Research 12, no. 3 (March 15, 2024): 67–80. http://dx.doi.org/10.37745/gjplr.2013/vol12n46780.
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Infertility is now a common medical problem in Nigeria. Statistics reveal that the rate of infertility in Nigeria is 30 %. Many couples and persons seeking to have children are finding it difficult, if not impossible. Thus there is a high resort to medical assistance in the form of Artificial Reproductive Technology (ART). Indeed, there has been a lot of development in ART and medical advances and inroads have been made in the field. No doubt, this has brought succour to many couples and persons seeking to become parents. However, the increase in the demand and use of ART has led to diverse uncensored and unregulated practices, abuse of medical procedure, reproduction tourism and baby factories. This raises a lot of ethical and legal issues like egg and sperm donation, the fate of unused gametes, providing ART services to Single Parents or Same sex parents, at present, there is no national law nor body regulating ART in Nigeria. This work, adopting a doctrinal approach, highlighted the Nigerian practice of ART and considered fundamental ethical and legal issues arising from the increased demand and use of ART in Nigeria and made recommendations on the effective regulation and practice of ART in Nigeria such as uniform national law, national ART regulating body, subsidizing the cost of ART services, among others.
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Bolaji, David. "Sexual Abuse and its Implication in Nigerian Universities: A Reflection of David Bolaji’s TaniMola, A Satirical Folk Opera." East African Journal of Education Studies 6, no. 1 (February 7, 2023): 111–19. http://dx.doi.org/10.37284/eajes.6.1.1077.
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Satire is a potent literary art used to critique and redress illicit acts in societies. It is one of the artistic weapons from time immemorial used by literary writers and art musicians for correcting societal ills. Also, this phenomenon, within the context of academia, has been used to unmask the perpetrators of evils and unlawful acts prevalent at different levels of the Nigerian university system and political system of governance. This study examines sexual abuse and its implication for Nigerian universities while reflecting on the illicit behaviours illustrated in David Bolaji’s Tanimola (2011), a satirical folk opera. The paper exposes male lecturers’ sexual molestation of female students and the stigmatisation of sexual assault victims. In addition, it unravels other illicit acts within the University community in Nigeria and how each identified unlawful act is treated with irony, humour, and contempt within the framework of TaniMola. Adopting the principle of Ethics and Moral Theory presented by Strahovnik (2018) for textual analyses of the libretto, plots, and scenes in Tanimola, the article submits that as the university system passes through different transitions, there is a need for caution on the part of male lecturers concerning sexual assaults being perpetuated on female students. The study pointed out that every institution has roles to play in the crusade against the illicit acts of female sexual abuse in Nigerian universities if gender fairness is guaranteed and the education standard is to be improved.
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Ubale Yahaya, Dr Jibrin. "Political Ideology of Aristotle and It’s Connection to Operation of Good Governance and Peaceful Living in Nigeria." Addaiyan Journal of Arts, Humanities and Social Sciences 7, no. 1 (October 10, 2019): 20–26. http://dx.doi.org/10.36099/ajahss.1.7.2.
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Philosophers have played significant roles in understanding the historical development of man, societal changes and events that had been guided by their thought and thinking. This paper, therefore, is an attempt to study how the ideas of Aristotle's political philosophy can help Nigerian political leaders in giving maximum happiness to the citizens by providing an environment of sustainable peace and other related social services to the citizens. The objective is to analyze the relevance of Aristotle's political ideas to the art of governance and leadership in Nigeria. As Nigerian political leaders struggle to provide welfare to the citizens, it will be important to adopt some of the philosophical premises advocated by great philosophers like Plato and Aristotle to the process of governance. The study made use of secondary sources of information as to its methodology. The study has found out that if Nigerian political leaders will apply Aristotle’s political ideas such as his prescription on the duties of state, the importance of education to the citizens and the idea of private property to the art of governance, then there is need for contemporary elected leaders of Nigeria to be able to give maximum happiness to the citizens through the provision of conditions for peaceful environment and providing for basic social amenities which are relevant to improving lives of the general members of the society.
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Ozah, Marie Agatha, and David Bolaji. "Towards an Authentic Nigeria Hymnody: The Study of Yoruba Hymnody." East African Journal of Arts and Social Sciences 2, no. 1 (August 29, 2020): 67–72. http://dx.doi.org/10.37284/eajass.2.1.202.
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The indigenous hymnology has experienced a lot of tonality distortion in Nigeria due to the direct translation of Western hymn tunes to the indigenous hymns. Different scholars have identified this act of perversion, but little or no documentation can be found on the method(s) that can be used in correcting this perverse act. The focus of this paper is on Yoruba hymnody. In this light, the paper examines and discuss the abnormality found in Yoruba indigenous hymns, through an analytical content of three selected indigenous Yoruba hymns and propounds methods and implementation strategies towards correcting the aforementioned act of perversion. Findings revealed that most of the indigenous hymns had been distorted in meaning due to the deformation of the indispensable Yoruba tone language. The paper discusses and draws out specific lessons that would serve as channels and even methods for consideration during composition, especially by Nigerian art composers. Tackling this challenge from a unanimous perspective, the effort will address the articulation and use of tonal inflexions in Yoruba Nigerian hymns.
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Okafor, Richard. "Popular Music in Nigeria: Patronising Attitude or Benign Complacency?" British Journal of Music Education 15, no. 2 (July 1998): 181–89. http://dx.doi.org/10.1017/s0265051700009335.
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The development of musicians and the continuity of the musical art should be the main thrust of music education. The institutions of education should therefore be equipped to mould the development of music in society and to make the strongest input into musical expressions that are fashionable, acceptable and available. Formal music education came to Nigeria by way of Western institutions, drawing from the cultural traditions of Western societies. On the other hand, the media and other agencies have brought in other types of music acceptable in Western societies outside their academic sectors. Musical and cultural contact has given birth to the contemporary popular music of Nigeria that integrates Nigerian and non-Nigerian elements. With the growth of city life, commerce, industry and communication, this music has grown in popularity, in some cases sweeping every other thing aside. The attendant ‘pop phenomenon’ also means that cultural intrusion from outside Nigeria has grown more menacing. Who controls the popular music in Nigeria today? This paper tries to answer this question and in addition presents some data on the prevailing perspectives in the hope that the Nigerian Government and all music educators should range plans and solutions against them.
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Bardi, Augustine Okola. "7. Universal Studios of Art: Professionalization and Contributions to Art Education in Nigeria." Review of Artistic Education 14, no. 1 (March 2, 2017): 175–85. http://dx.doi.org/10.1515/rae-2017-0023.
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Abstract During the 2nd Black World and African Festival of Arts and Culture (FESTAC) in 1977, a lot of novel, creative and artistic events took place in Lagos. One of these was the construction of a monument, the National Arts Theatre, which also accommodated the National Gallery of Art. Invariably, the presence of the Gallery made the Arts Theatre management allocate the premises of the Theatre to some notable Nigerian artists for use as Artists in Residence. The premises eventually, by 1980, became an institutional and inspirational workshop for budding Nigerian artists. The activities of the artists were so professionally accepted that it was named the National Studios of Art. However, at the time the Studio had become the centre of sound informal art training, it was given a relocation order which caused serious controversy between the Gallery and the artists. The artists eventually accepted the relocation order, and this, necessarily, led to changing the name to the Universal Studios of Art (USA). As the professional artists became globally known, the USA also became a tourist centre for both local and foreign visitors and artists. Till today, the activities of the USA continue to attract national and international attention. Very as unfortunately, no scholarly study of the Universal Studios of Art has been carried out, despite its outstanding professional qualities.. For many years, the artists have developed valuable art forms and art styles that have contributed to the advancement of modern Nigerian art. It is the objective of this article, therefore, to document the artists of the Universal Studios of Art.
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Harris, Michael D., and Simon Ottenberg. "The Nsukka Artists and Nigerian Contemporary Art." International Journal of African Historical Studies 36, no. 1 (2003): 186. http://dx.doi.org/10.2307/3559351.
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Ugiomoh, Frank A. O. "Nigerian Art History and ‘The Hegelian Unconscious’." Third Text 19, no. 4 (July 2005): 329–38. http://dx.doi.org/10.1080/09528820500124503.
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Olatunji, Nneka Zelda, and Bolajoko Esther Adiji. "The Evolution of Contemporary Indigenous Textile Practice in South West Nigeria." East African Journal of Interdisciplinary Studies 5, no. 1 (October 25, 2022): 205–11. http://dx.doi.org/10.37284/eajis.5.1.906.
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This paper examines changes that has occurred in the Nigerian textile from its cradle and the influence it had on both contemporary and Indigenous textile practice. Indigenous textile practice in South West of Nigeria has evolved over the past years. This study is an attempt to evaluate contemporary indigenous textile in Nigeria, to understand the difference between the two terms contemporary and indigenous. There is the need to exploit the potential of indigenous textile practice. Therefore, to understand the contemporary evolution that has affected it is important. The aim of this paper therefore, is to investigate contemporary indigenous textile practice evolution in South West of the county. The research used historical method in analysing the evolution of contemporary indigenous textile practice in south west Nigeria. Findings and conclusions were made that the South West has a very rich heritage of contemporary indigenous textile practice which is culturally unique, and this study will act as a stimulus to textile designers, textile cottage industry, students, art historian, and art scholar
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Olatunji, Nneka Zelda, and Bolajoko Esther Adiji. "The Evolution of Contemporary Indigenous Textile Practice in South West Nigeria." East African Journal of Interdisciplinary Studies 6, no. 1 (March 17, 2023): 100–106. http://dx.doi.org/10.37284/eajis.6.1.1145.
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This paper examines changes that has occurred in the Nigerian textile from its cradle and the influence it had on both contemporary and Indigenous textile practice. Indigenous textile practice in South West of Nigeria has evolved over the past years. This study is an attempt to evaluate contemporary indigenous textile in Nigeria, to understand the difference between the two terms contemporary and indigenous. There is the need to exploit the potential of indigenous textile practice. Therefore, to understand the contemporary evolution that has affected it is important. The aim of this paper therefore, is to investigate contemporary indigenous textile practice evolution in South West of the county. The research used historical method in analysing the evolution of contemporary indigenous textile practice in south west Nigeria. Findings and conclusions were made that the South West has a very rich heritage of contemporary indigenous textile practice which is culturally unique, and this study will act as a stimulus to textile designers, textile cottage industry, students, art historian, and art scholar
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Nwafor, Nkiruka Jane. "Engaging women’s social concerns through the twenty-first century feminist art projects of three Nigerian women artists." UJAH: Unizik Journal of Arts and Humanities 23, no. 1 (August 31, 2022): 134–60. http://dx.doi.org/10.4314/ujah.v23i1.5.
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In this paper, I review the histories of feminism and African feminism to highlight their influence on the evolving nature of women’s art practices in the West and Africa respectively. Women Artists in the West had begun deploying feminist rhetoric in their art at the onset of second-wave feminism of the 1960s. On the other hand, women in Africa began using their art to engender intellectual discourses on African feminist concerns as recently as the mid-1990s. Using the works of three Nigerian women artists, Ayobola Kekere-Ekun, Lucy Azubuike, and Fati Abubakar, I, therefore, explore how their themes challenge critical issues that affect women in Nigeria’s twenty-first-century contemporary realities. These artists are also from different geopolitical areas (west, east, and north respectively) in Nigeria. In analyzing their art, I also argue that their art may offer possibilities in affirming the relevance of African feminist art.
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Adedeji, Wale. "Hip Hop Music and 'the Street’ Phenomenon in Nigeria." South Asian Research Journal of Arts, Language and Literature 4, no. 3 (July 2022): 92–102. http://dx.doi.org/10.36346/sarjall.2022.v04i03.001.
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In Africa, hip hop music is now undoubtedly the fastest growing form of expressive art in terms of availability, dissemination and acceptability. Nigeria not an exception, the genre in recent times has become the mainstream music representing the identity and socio-cultural aspirations of the teeming Nigerian urban youth population. Through incursion into the origin of hip hop, this paper examines the inter-connectivity and the inter-relationship between the street and hip hop music with a comparison of the Nigerian and the American street culture in hip hop music discourse. It is quite evident that hip hop music and the street are inseparable with manifestation which are visibly perceived through the Nigerian rap star- Olamide’s hip hop philosophy, his choice of language for dissemination, message and didactic use of the genre as an alternative and legitimate hustle as opposed to the now common internet fraud becoming a plaque among Nigerian teeming youths.
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Boluwaduro, Stephen Olabanji. "Negotiating Textuality and Aesthetic Tropes in Fújì Performance." Matatu 52, no. 2 (October 20, 2022): 313–36. http://dx.doi.org/10.1163/18757421-05202003.
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Abstract Fújì music, a Yorùbá popular art, has over the time been criticised as a local musical idiom devoid of any sophisticated aesthetic and functional values, and meant only for the illiterates. This study investigates the multiplicity of aesthetic performances in this Yorùbá art through close examination of a range of Fújì musical song texts in a bid to articulate Yorùbá socio-cultural realities. Engaging an aspect of Ackerman’s concept of hybridity, this study analyses selected works of two Nigerian Fújì musical artistes, Sikiru Ayinde Balogun (a.k.a. Barrister) and Rasaki Kolawole Ilori (a.k.a. Kollington Ayinla) who are representatives of the first generation of Fújì musical artistes. I argue that Fújì music possesses utilitarian relevance to Nigerian audiences as it is engaged in various ways to generate multiple meanings in linguistic, literary and musicological senses through syncretic complexities of postcolonial socio-cultural dialectical practices in Nigeria. The study concludes that Fújì song performance inherently possesses and articulates an array of social values and aesthetics.
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Voloshina, Tatiana G., Svetlana M. Profatilova, Dar’ya M. Kostina, and Anna N. Luhanina. "Language and cultural creolisation in nigerian script texts." Vestnik of Kostroma State University 29, no. 4 (March 29, 2024): 139–44. http://dx.doi.org/10.34216/1998-0817-2023-29-4-139-144.
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This article deals with the peculiarities of script texts being a part of cinematography – one of modern art form. The scientific problem is determined by the trend towards globalisation of all contemporary art types, on the one hand, and the need to preserve cultural heritage, on the other hand. The aim of the work is to identify the characteristic features of Nigerian English script texts – phenomena created due to creolisation process defined as the process of British English adapting procedure to the realities of local languages and cultures. The Nigerian script text is a creolised type of text with characteristic of unique properties – the presence of detailed instructions in the form of author’s remarks which provide expanded information for subsequent stepwise actions for the director, actors, editors, makeup and costume designers; a double process of creolisation due to the necessary adaptation to numerous local languages and cultures. It is proved that Nigerian script texts, influenced by the process of creolisation, are largely subject to grammatical transformations. The most productive grammatical changes include: the consistent use of nouns and pronouns within the same semantic group; the simplification of the specific verb forms manifested in the use of simple forms and omission of auxiliary verbs in interrogative and negative sentences. High-frequency grammatical transformation processes in Nigerian script texts are explained by the influence of tribal languages and be needs of the Nigerians to preserve the heritage of local cultures.
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Obijiaku, Chidi. "HYBRIDITY IN MODERN NIGERIAN MUSIC." African Music : Journal of the International Library of African Music 11, no. 4 (February 27, 2023): 25–42. http://dx.doi.org/10.21504/amj.v11i4.2456.
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Igbo choral art music is a Nigerian genre that exhibits interesting musical hybridity as it combines a notated choral part with an un-notated orchestral part into a final musical artwork. The notated choral part is produced by the composer through a synthesis of Igbo traditional music and European classical music, while the orchestral part, based on Igbo traditional music practices, is produced by the choral director. For over five decades scholarly discussions on Igbo choral art music have focused on the notated choral part and how composers blend European classical music and Igbo traditional music principles. Although the choral part is significant, my more than two decades of participation in the genre as well as interviews with leading practitioners reveal that without the orchestral part, a composition is considered incomplete by both the practitioners and the audience. Such a critical aspect of the genre has received little to no academic attention. This article is an autoethnographic report on the orchestration principles of Igbo choral art music, its relationship with Igbo traditional music, and how such orchestration contributes to hybridity as a fundamental resource in the genre’s development.
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Cecilia O., Okoro,, Aguguam, Chigozie N., and Aguguam, Chigozie N. "Strategies for Transformation of Higher Education Towards Enhanced Productivity in Nigeria - The Role of Quality Assurance." European Scientific Journal, ESJ 13, no. 10 (April 30, 2017): 137. http://dx.doi.org/10.19044/esj.2017.v13n10p137.
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This paper x-rayed the importance and linkage of education to the development of the Nigerian society. The quality of tertiary education as a system which serves as a mechanism of advancement in Nigeria is being confronted with the age-long difficulties of limited access, scarce financing, decreasing quality and relevance. The paper examines the rationale for the transformation of tertiary education system towards enhanced standard of education in Nigeria. This entails a shift to a more realistic approach that encourages the involvement of everybody’s effort towards ensuring quality in Nigerian higher education. The concept, role and problems of art teaching and learning, role were discussed. The paper concludes that the state of tertiary education in Nigeria is poor and thus the need for new approaches to be utilised to turn the situation around for better. It thus recommended that there should be a complete overhaul of the mode of instruction, massive investment in infrastructures in higher education.
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Avorgbedor, Daniel Kodzo. "Nigerian Art Music: with an Introductory Study of Ghanaian Art Music (review)." Research in African Literatures 32, no. 2 (2001): 219–22. http://dx.doi.org/10.1353/ral.2001.0043.
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Ibude, Isaac Osakpamwan. "African Art Music and the Drama of Christian Worship among Baptists in Nigeria." East African Journal of Traditions, Culture and Religion 2, no. 1 (October 22, 2020): 72–82. http://dx.doi.org/10.37284/eajtcr.2.1.226.
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Church music is purpose-driven and functional art. The search for authentic African experience in Christian worship among Nigerian Baptists brought about the introduction of art music compositions into the drama of worship. The paper discusses the development and contextualisation of Baptist worship by the inclusion of new music(s) written, composed and performed by Africans for the purpose of the liturgy, serving as a voice within the culture. The research adopted an ethnographic research design. Data were collected from published works and recorded art music compositions, content analysis of worship bulletins, personal interviews with art music composers, choirmasters and pastors within the denomination. Textual analysis of art music compositions reveals that there are four different modes of communication in the drama of worship: Kerigmatic, Leitourgic, Koinonia, and Reflexive. The emergence and performance of art music compositions in the drama of worship have facilitated communication, indigenisation and acculturation of Christian worship among Baptists in Nigeria.
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Onwuakpa, Lovina Ebele. "Challenges and Prospects of Contemporary Nigerian Textile Design." International Journal of Current Research in the Humanities 27, no. 1 (April 30, 2024): 249–58. http://dx.doi.org/10.4314/ijcrh.v27i1.16.
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Nigerian textile in all its ramifications is one of the oldest art practices in Nigeria. While it is worthwhile to note that textile design repertoire has been a major part of the nation’s identity, textile designers who form a considerable part of the workforce are confronted with challenges. On one hand, the current trend in globalisation has exposed textile designers to new materials and techniques as well as the potential influences of other world cultures. This paper contends that in the quest to become globalised, the traditional African cultural heritage is being sacrificed on the altar of modernization. On the other hand, the introduction of new materials and techniques counts among the instruments or tools for positive impact. It is on this premise that one can say that contemporary Nigerian textile designers alongside their designs are reminiscent or reflect a society in the cusps of change in terms of challenges and prospects. Hence, this article offers some useful knowledge on this development as it establishes the extent to which Nigerian textile designers had suffered from several inadequacies that posed as challenges. It also highlights some reasonable prospects for growth or advancement in the industry in Nigeria.
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Meribe, S. C., E. Harausz, I. Lawal, A. Ogundeji, C. Mbanefo, Y. Adamu, N. A. Hussain, L. Chittenden, and R. Nelson. "Improving indicators of tuberculosis program cascades by leveraging HIV program strategies." Public Health Action 9, no. 4 (December 21, 2019): 191–95. http://dx.doi.org/10.5588/pha.19.0049.
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Background: To improve rates of human immunodeficiency virus (HIV) case detection and treatment, the Nigerian Ministry of Defense Health Implementation Program and the US Army Medical Research Directorate-Africa/Nigeria introduced a HIV standard of care (SOC) package. Given the integration of tuberculosis (TB) and HIV programs and evolving policies, we evaluated the impact of this strategy on TB program indicators.Methods: Routine, de-identified program data from 27 Nigerian military hospitals were analyzed. Using Wilcoxon signed-rank test, bivariate analyses were performed to compare data from 12 months before and after implementation of the SOC package.Results: Our data showed improvements post-implementation as follows: the number of individuals receiving antiretroviral therapy (ART) screened for TB increased from 14 530 to 29 467 (P < 0.001); the number of individuals with presumptive TB identified increased from 803 to 1800 (P < 0.001); the number of ART clients bacteriologically tested for TB increased from 746 to 1717 (P < 0.001); and the number of ART clients treated for TB increased from 152 to 282 (P < 0.001). Newly registered or relapsed TB cases increased from 436 to 906 (P < 0.001), the number of TB cases with known HIV status increased from 437 to 837 (P < 0.001), the number of TB-HIV co-infected cases increased from 182 to 301 (P = 0.006), and the number of TB-HIV co-infected clients who started ART increased from 101 to 176 (P = 0.003).Conclusion: The implementation of the updated HIV SOC package led to the improvement in key TB diagnosis and treatment indicators. When emulated, this could help improve the performance of other TB programs in countries other than Nigeria.
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Ajayi, Joseph Babatunde. "The Role of Cottage Art Industry in Developing Nigeria Economy." Advances in Multidisciplinary & Scientific Research Journal Publications 31 (June 30, 2022): 135–46. http://dx.doi.org/10.22624/aims/abmic2022p29.
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The current economic reforms implemented by the Federal Government of Nigeria aim to realign the nation's economy in order to address the prevailing economic challenges, including a high unemployment rate and imbalances in foreign trade resulting from excessive reliance on imported goods relative to domestically produced goods. The objective of this study is to examine the contributions of the cottage industry to the economic development of Nigeria, with the intention of addressing the aforementioned challenges. The cottage industry plays a crucial role in the Nigerian economy, making substantial contributions to the production of employment opportunities, the redistribution of income, the alleviation of poverty, and general economic expansion. This research provides an examination of the history and contemporary state of the cottage industry, complemented by empirical data to substantiate its importance. Furthermore, this study delves into the many obstacles encountered by cottage industry firms in Nigeria and puts up suggestions to enhance their progress. The data for this study will be gathered from reputable academic journals, official government reports, and scholarly literature. Keywords: Cottage, Arts, Economy, Nigeria, Unemployment. Proceedings Citation Format Ajjayi, J.B. (2022 The Role of Cottage Art Industry in Developing Nigeria Economy. Proceedings of the 31st Accra Bespoke Multidisciplinary Innovations Conference. University of Ghana/Academic City University College, Accra, Ghana. 1st – 3rd June, 2022. Pp 135-145 www.isteams.net/ghanabespoke2022. dx.doi.org/10.22624/AIMS/ABMIC2022P29
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Kashim, I. B., and O. S. Adelabu. "The Current Emphasis on Science and Technology in Nigeria: Dilemmas for Art Education." Leonardo 43, no. 3 (June 2010): 269–73. http://dx.doi.org/10.1162/leon.2010.43.3.269.
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Nigerian educational policies continue to emphasize the development of science and technology. Arts are being relegated to the background as a result of this emphasis. This paradigm shift has affected visual arts education in Nigeria. The number of those seeking admission into science- and engineering-based courses has risen tenfold in spite of the limited infrastructural facilities available, while the number seeking admission to creative arts continues to dwindle yearly. Those who had been preparing for courses in engineering and science but could not secure admission are often absorbed into arts-based industrial design courses. Students in industrial design with science backgrounds are able to develop their creative potential, which is necessary in developing economies. This paper suggests that art training in Nigeria should embrace integrated science subjects.
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Voloshina, Tatiana G. "NIGERIAN SCRIPT TEXTS AS CREOLIZED REALITY REFLECTION." Bulletin of the South Ural State University series Linguistics 21, no. 1 (2024): 19–25. http://dx.doi.org/10.14529/ling240103.
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The article deals with the peculiarities of script texts within the realm of cinematography, a contemporary art form. The research endeavors to elucidate the primary characteristic features of Nigerian script texts, which undergo creolization towards the norms of British English and local languages and cultures. Screenwriters initiate the filmmaking process by crafting a script text, serving as the essential foundation for directors, actors, stuntmen, costume and makeup designers, as well as editors. Nigerian script texts manifest as creolized texts, distinguished by a notable feature: the detailed inclusion of authorial remarks providing extensive information for future utilization. Each film script embodies a creolized text, contributing to the transformation of structural substance into a new cinematic reality. Nigerian script texts undergo multiple instances of creolization, adapting to the requirements of local languages and cultural peculiarities. The research validates Nigerian script texts as creolized compositions characterized by detailed authorial remarks, shedding light on language-specific features such as grammar transformations resulting in simplification processes. The most prevalent grammar simplification processes entail the consecutive use of nouns and pronouns, a preference for simple verb tenses, and the omission of auxiliary verbs in interrogative and negative sentences. The grammatical alterations observed in Nigerian scripts are attributed to the influence of local languages and Nigerians' aspiration to adhere to local language features, thereby preserving cultural heritage.
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Giménez-Llort, L., EK Oghagbon, F. Dogo, M. Ogiator, and J. Prieto-Pino. "438 - Nigerian women are more susceptible to the impact of diabetes-and-dementia: State-of-art, Future perspectives and Directions." International Psychogeriatrics 32, S1 (October 2020): 156. http://dx.doi.org/10.1017/s1041610220002902.
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Among the preventable complications of diseases that require urgent effective health literacy programs in sub-Saharan Africa, crosstalk between diabetes and dementia stands out for women's health. Type 2 diabetes mellitus (DM2) in midlife is a recognised risk factor for dementia. This crosstalk is more significant in persons of African ancestry. Globally, the prevalence of DM will increase dramatically in the next few years with 75% of cases living in low-to-middle-income countries. Some major risk factors for DM2 accelerates the development of dementia in Africa-Americans, thus leading to higher prevalence of dementia compared to Caucasians. It is known that 58% of the global 46.8 million dementia subjects lives in economically developing countries. This proportion may reach 63% and 68% in 12 and 32 years' time, respectively. Females are 1.5 times likely to develop dementia, but sub-Saharan Africa women have a disproportionately two-to-eight fold increased dementia risk. In the eye of this storm is Nigeria which is home to the highest number of diabetics in Africa. Diabetes prevalence in the country is rising parallel to increased incidence of obesity, hypertension and rising population age. The socioeconomic impact of increasing prevalence of DM2 and dementia will be unsustainable for Nigeria healthcare system, given the experiences in developed economies. This study analyses the current situation of women's health in Nigeria, and explore future policy directions. The complex interplay of factors involved in the DM2-dementia crosstalk in Nigerian women include those due to biological processes (metabolic syndrome, vascular damage, inflammation, oxidative stress, insulin resistance and anaemia), nutritional habits and sedentary lifestyles. Other factors that predisposes Nigerian diabetic women to dementia are, restricted resources, lack of visibility and poor health management. They add up to increase the burden of disease in the Nigerian woman, irrespective of age. We advise urgent implementation of heath policies and actions that will increase ratio of mental health professionals / number of patients, especially in rural areas and the establishment of proactive primary healthcare centres. Importantly, interventions targeting adolescents and adult women, and others specific to mother- child interactions, are strongly needed in Nigeria and the sub-region for mitigating dementia in women.
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J.E., Ighoroje, and Eloho O.E. "Financial Market Operations and Economic Growth of Nigeria: An Empirical Insight." African Journal of Accounting and Financial Research 5, no. 2 (May 19, 2022): 13–31. http://dx.doi.org/10.52589/ajafr-pgj3cz7e.
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This paper investigated the efficacy of financial (money and capital) market operations on economic growth in Nigeria from 2008 to 2020. The study considered the post global financial crises periods. The regressor is financial market operations measured by market capitalization, All-share-index and turnover ratio, and the money market operations (most especially treasury bills, commercial papers, and bankers’ acceptance). Meanwhile, the regressand is economic growth measured by RGDP. Data for the study was sourced from the Central Bank of Nigeria (CBN) statistical bulletin (2020). Meanwhile, the study patterned after the ordinary least square (OLS) methodology using E-Views 9.0. The study reported that both market capitalization (MCA) and treasury bills (TBL) had a positive significant effect on the growth of the Nigerian economy. However, both All-share-index (ASI) and Bankers’ Acceptance (BAA) had adverse significant effects on the growth of the Nigerian economy. Meanwhile, both commercial papers and turnover ratio had a positive insignificant effect on RGDP. Hence, the study concludes that market capitalization (MCA) and treasury bills (TBL) are instrumental to the growth of the Nigerian economy. As such, the capital market regulators should sustain the current market capitalization by encouraging more foreign investors to participate in the market, maintain state-of-the-art technology like electronic fund clearance, automated trading and settlement practices, and eliminate physical transfer of shares. Lastly, the current treasury bill rate should be sustained if the Nigerian economy must experience growth.
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James, Sule Ameh. "African Vernacular-rooted Imagery in Yemi Ikisakin’s Stone Sculptures." African Studies Quarterly 22, no. 1 (December 15, 2023): 41–57. http://dx.doi.org/10.32473/asq.22.1.135894.
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This article presents a critical analysis of the African vernacular-rooted imagery represented in Yemi Ijisakin’s stone sculptures produced between the years 2006 and 2016. The focus on this period is to study the kinds of imagery he represents when there is a global artistic shift to installation and conceptual art. In doing this, I argue that even though Ijisakin’s stone sculptures are deemed vernacular art, they are not indigenous or historical African art, but a rethinking that references indigenous African cultural registers. The article also focuses on the ideas and meanings the interpretations of the works communicate to the audience. Thus, this article presents his artworks to a mainstream journal given that they have not received any critical analysis on the grounds that his works are regressive and outside the normative standards for referencing African/Nigerian/Yoruba contexts. But his works are important for demonstrating the interdependence of art and culture in Nigeria and producing knowledge on cultural practices.
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Fajobi, Eunice, and Adenike Onadipe. "Exploring the Articulation of Sentence-Stress among Teachers of English in Selected Nigerian Secondary Schools." Studies in English Language Teaching 8, no. 3 (August 31, 2020): p166. http://dx.doi.org/10.22158/selt.v8n3p166.
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A number of studies on Nigerian English intonation, of which sentence stress is a part, reveal that Nigerian English is devoid of accentuation; it is generally spoken with tone. Even at that, none of these studies has analyzed how teachers of English in Nigeria articulate or utilize sentence stress in speech, whether consciously or unconsciously. This present study focuses, therefore, on the performance of secondary school English teachers in the use of sentence stress for effective communication. Analysis of 24 (12 short and 12 long) elicited English sentences uttered by 32 secondary school English teachers in Lagos State of Nigeria reveal a performance of only 27% correct accentuation and 73% incorrect accentuation. The study concludes that secondary school teachers of English in Nigeria have not adequately mastered the art of accenting the right words in sentences to accurately generate the intended meaning. Finally, the study recommends that intensive trainings be organized for teachers of English, thereby creating awareness of the need to treat sentence stress not only as a mere English Language classroom topic, but also as an effective tool of oral communication beyond the shores of Nigeria.
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Bolaji, David. "The Musical Art Creativity and Contributions of Isaac Idamoyibo to Okpe Discourse." African Musicology Online 11, no. 1 (December 30, 2022): 69–84. http://dx.doi.org/10.58721/amo.v11i1.115.
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The rise in the pursuit of knowledge and acquisition of training in Western art music has produced many competent Nigerian art musicians. The result of this training is seen in the steady efforts made by Nigerian art musicians, whose scholarly works are channelled into the global preservation and propagation of Nigerian indigenous music. Investigating indigenous theory and practices of diverse music and philosophy encompasses different genres in Nigeria’s milieu. The significant contributions of the Late Isaac Idamoyibo, like some other notable ethnomusicology composers, in discussing Okpe’s intangible musical heritage via his indigenous hymn compositions cannot be excluded from this scholarly achievement. This study examined some selected indigenous hymns, namely, “Sun Me,” “Odibo Omerhen“, Edon Aghogho”, and “Omo Imeri”, composed in Okpe socio-value imperceptible heritage by Isaac Idamoyibo. Findings revealed that the artistry continuum of Idamoyibo in composition has added to the scripted educational materials in Nigeria’s educational setting. The highlight of his remarkable scholarly studies on different aspects of the Okpe culture and its musical system remains one of the historical annals of the 21st century.
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Alabi, Oluwafemi Sunday. "An Exploration into the Satiric Significance of Abuse in Selected Nigerian Drama." Revista Alicantina de Estudios Ingleses, no. 35 (July 28, 2021): 143. http://dx.doi.org/10.14198/raei.2021.35.07.
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A general survey of the contemporary Nigerian theatre and drama reveals that several contemporary Nigerian dramatists have harnessed the art of abuse—invectives— as a device for conveying meanings in their works and achieving their satiric goals. These dramatists create characters that engage abuse to articulate the thematic concerns of their drama, accentuate the conflicts in them, and establish the socio-cultural and political setting of their drama. Although extant works on satiric plays have focused on the use of language, and other satiric devices such as grotesque, irony, burlesque, innuendo, sarcasm, among others (Adeoti 1994; Adenigbo & Alugbin 2020; Mireku-Gyimah 2013; Nyamekye & Debrah 2016), sufficient scholarly attention has not been given to the art of abuse as a trope in Nigerian drama. The article explores the artistic significance of abuse and its forms in selected works of two contemporary Nigerian dramatists: Femi Osofisan’s Altine’s Wrath (2002) and Ola Rotimi’s Who is a Patriot? (2006). These two plays are selected because they manifest ample deployment of the art of abuse and engage various sociopolitical issues. Hence, the article discusses how the art of abuse in these plays projects and addresses such sociopolitical realities as oppression, exploitation, resistance, self-interest versus national interest, and capitalism, among others. The article engages the principles of superiority theory of humour as espoused by Henri Bergson (2003) for textual analysis. It contends and concludes that abuse, as an inherent part of social and human interactions, has been an effective tool in satirising ills in individuals and society at large.
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Adepoju, Oluwatoyin Vincent. "Adapting Yorùbá Epistemology in Educational Theory and Practice in Nigeria." Yoruba Studies Review 3, no. 1 (December 21, 2021): 1–26. http://dx.doi.org/10.32473/ysr.v3i1.129918.
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What is the value of Yoruba epistemology, theory of knowledge, particularly its philosophy of perception, to humanity in general, and to contemporary Nigeria, in particular? How does Yorùbá epistemology connect with educational theory and practice in Nigeria? This essay recognizes but goes beyond the more general overviews on classical Yoruba education and its contemporary significance represented in works of Yorùbá and Africanist scholars. I demonstrate the significance of Yoruba philosophy of education beyond its cultural context, by projecting its universal and timeless value, foregrounding its distinctive concepts in dialogue with ideas from other cultures. In its engagement with Nigerian educational dynamics, the essay concentrates, first, on Yoruba epistemology in its intersection with ethical and metaphysical perspectives from Yoruba thought. Second, the essay deploys the African art-centered investigations of the role of the senses in relating with art, understood as paradigmatic of navigating the world.