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Journal articles on the topic 'Nigerian Sculpture'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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1

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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2

Oladugbagbe, Francis Ebunola Allan, and Moses Akintunde Akintonde. "Contextual Change in Nigerian Sculpture." Asian Journal of Humanity, Art and Literature 3, no. 2 (December 31, 2016): 83–92. http://dx.doi.org/10.18034/ajhal.v3i2.309.

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In the past fifty years Nigeria has witnessed an almost unparalleled upsurge in three-dimensional art production significantly, sculpture in the round. The emergence of the latter can be traced to pioneer African sculptures whose pieces have been adjudged contribution to world artistic heritage. This paper, therefore, examines the continuity and change in sculpture practice as a result of contact with Western cultures and the artistic influence in form, style, theme and material of contemporary sculpture in Nigeria. Significantly, this paper hopefully serves as reference point for future scholarship on sculpture in Africa, while at the same time assist in formulating critical theories on sculpture practice in contemporary Africa, and Nigeria in particular.
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Chuu Krydz, Ikwuemesi, Egwuibe Nnaemeka, and Obodo Eva. "Realism, eloquence and symbolism in Reuben Ugbine's ceramic sculptures." IKENGA International Journal of Institute of African Studies 23, no. 1 (July 9, 2022): 1–13. http://dx.doi.org/10.53836/ijia/2022/23/1/006.

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Ceramics is often seen as utilitarian art, although some contemporary Nigerian ceramists like Chris Echeta, Tony Umunna and Ozioma Onuzulike have tried to re-inscribe it as veritable fine art. Conversely, sculpture in recent times has shifted mostly towards the stylised, abstract and conceptual, as can be seen in recent works by select sculptors. Although the above trends may be deemed to be general, there are still artists who seem to defy or subvert the trends through the formal and iconographic essences of their works. The works of Reuben Ugbine, a graduate of sculpture from Yaba College of Technology Lagos, provide a good example and have received huge attention due to their style, visual eloquence and social commitment. This paper, therefore, examines Ugbine’s ceramic sculptures and how they transcend the banality of genre and subvert the common expectations from contemporary ceramics and sculpture in their embodiment of meaning and social relevance.
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Oladugbagbe, Francis Ebunola Allan, and Moses Akintunde Akintonde. "Contextual Change in Nigerian Sculpture." Asian Journal of Humanity, Art and Literature 2, no. 3 (October 28, 2015): 105. http://dx.doi.org/10.18034/ajhal.v2i3.670.

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Oladugbagbe, Francis Ebunola Allan. "Metaphor in plastic arts: example of portrait sculpture in Nigerian art schools." International Journal of Arts and Technology 13, no. 4 (2021): 336. http://dx.doi.org/10.1504/ijart.2021.121057.

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6

N.A., Francis Ebunola Allan Oladugbagbe. "METAPHOR IN PLASTIC ARTS: EXAMPLE OF PORTRAIT SCULPTURE IN NIGERIAN ART SCHOOLS." International Journal of Arts and Technology 13, no. 4 (2021): 1. http://dx.doi.org/10.1504/ijart.2021.10043564.

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7

Abodunrin, Johnson Adelani. "Training in Nigerian art schools: a critique of gender distribution." Harmonia: Journal of Arts Research and Education 17, no. 2 (December 24, 2017): 105. http://dx.doi.org/10.15294/harmonia.v17i2.9826.

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<p>Training is indispensable in all facets of life in order to further knowledge and skills irrespective of gender difference, yet this disparity has become a phenomenon in artistic practice in Nigeria. The study aimed at examining art training in relation to gender distribution into various areas of specialization in art schools in Nigeria. There has been a gender imbalance in various areas of specialization which has left certain areas for male and female. Data for this study were collected in art School in Southwestern Nigeria between 2011/2012 to 2014/2015 academic sessions using archival materials to know the gender affinities. The university selected as sample size within the geographical scope of the study is Ladoke Akintola University of Technology, Ogbomoso. The selection was based on the orientation of their training and admission criteria which differs tremendously. Descriptive analysis was adopted to know the gender affiliation in the practice. Finding reveals that the total enrollments of students are more of females (55.8%) than male (45.2%) are admitted to study art. The result has also shown that more female (93.3%) specializes in textile while more male (84%) students are in sculpture. This perhaps could be attributed to the nature and the demands of each area of specialization. Textile design attracts more female artist because of; the socio-cultural affiliation of the discipline, interest in fashion; the readily available market for textile wares across all social class and the less demand on draughtsmanship skills as compared to other forms of arts.</p>
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8

Spaulding, Daniel. "A Scheme Transfer for Global Modernism." October, no. 186 (2023): 163–96. http://dx.doi.org/10.1162/octo_a_00503.

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Abstract This article proposes a new articulation of the field of global-modernist art history by way of three case studies: The influence of canonical African sculpture on early Cubism, the emergence of modern art in late-colonial South Asia, and Nigerian modernism around the moment of independence in 1960. Drawing on research by Joshua I. Cohen, Suzanne Preston Blier, Partha Mitter, Geeta Kapur, and Chika Okeke-Agulu, I argue that this growing field of inquiry is structured by observed parallelisms between practices that are separated by great geographical and cultural distances—parallelisms that are unavoidable, yet also potentially misleading. Rather than adopt a model either of unidirectional influence or amalgamating hybridity to systematize this field, I instead apply a disjunctive, diagrammatic formalism for which I borrow the notion of “scheme transfer” from Alfred Gell and Pierre Bourdieu. This is a way to articulate the transmission of specific formal and structural traits (for example, from the coast of West Africa to Paris) as being contingent and reversible rather than inevitably hierarchizing. Following suggestions in the work of Leo Bersani and Eduardo Viveiros de Castro, I thus recommend the mutability of the diagrammatic—or, to put it differently, a revised, non-totalizing structuralism—as a means of navigating the perils of the comparative enterprise.
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9

Lei, Yuxiao. "An archaeological overview of Nok terracotta sculptures." SHS Web of Conferences 193 (2024): 04011. http://dx.doi.org/10.1051/shsconf/202419304011.

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The purpose of this study is to compile the academic research that has been conducted on the Nok excavations over the course of this year in order to present a comprehensive archaeological narrative about Nigerian civilization. Despite the fact that the centre of the Nok culture can be found in the middle of Nigeria, it is possible that the influence of Nok artefacts and cultural practices has spread beyond this region. There is a good chance that migration patterns, cultural exchanges, and trade networks were all factors that contributed to the widespread dissemination of Nok cultural elements to neighbouring regions. Research and mapping projects that are currently underway have the objective of documenting and analysing the distribution of Nok sites throughout central Nigeria and across the country. For the purpose of visualising the geographical footprint of the Nok Culture and gaining an understanding of the settlement patterns of this ancient civilization, geographic information systems (GIS) and spatial analysis techniques are utilised.
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10

Berns, Marla. "Sculpture of Northeastern Nigeria." African Arts 18, no. 4 (August 1985): 89. http://dx.doi.org/10.2307/3336268.

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11

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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OLIGBINDE, S. R., O. P. ADESIJI, A. S. ADETOYINBO, and C. E. UMEH. "RECYCLED METAL WASTES: A PEEP INTO THE WORKS OF SEGUN OKEWUNMI." African Journal of Health, Safety and Environment 4, no. 1 (June 28, 2023): 19–30. http://dx.doi.org/10.52417/ajhse.v4i1.384.

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Wastes are everywhere in the world and they exist in different forms. They are discarded objects waiting to get a new life or further degraded. Improper disposal of these wastes causes flooding, environmental pollution and catastrophe because most of them end up in the environment and ocean life. The environment, man, animal and plants suffers from this menace and one of the major pollutant in this discuss is metal. The world is polluted with metal wastes caused by humans. Metal pollution and health is one of the most issues, which has not been given adequate attention to by both the government and the public. When these metal wastes materials are not re-used or recycled, they create a major threat to the eco-system. The history of contemporary or modern art in Nigeria, has connection with the western world especially in the use of foreign materials which are found objects such as metal, fibers, plastics, paper, glass etc. to replace Nigerians media such as calabashes, earth colours, gourds and so on. Artists throughout history have given much preliminary thought to content and devoted a great deal of time to studying methods by which their new ideas can communicate powerfully. This paper aims to address environmental metal wastes pollution in the environment and to document selected works of a unique sculptor, Segun Okewumi, a young, contemporary, Nigerian metal sculptor by examining his works, materials and his ideology. The paper relied on oral interviews with the artist, documented observation of his works, review of published books, journals, articles, published & unpublished thesis, newspaper and essays on the subject matter as well aesthetic artistic analysis.
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Owonibi, Sola Emmanuel, and Olufunmilayo Gaji. "Identity and the absent mother in Atta's Everything Good will Come." Tydskrif vir Letterkunde 54, no. 2 (September 4, 2017): 112–21. http://dx.doi.org/10.17159/2309-9070/tvl.v.54i2.1093.

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Everything good will come presents the trope of the absent mother which scholars have identified as a significant feature of third generation Nigerian women prose fiction writings. Besides the trope of the absent mother, religion and identity also feature prominently in Atta's Everything good will come. This article harmonises these three dominant motifs in the narrative towards an examination of the complexity of identity formation in Everything good will come. The article focuses on Mike's sculptures as an artistic depiction of the dynamics that ultimately influence Enitan's identity formation. Due to the plurality of religious ideologies in the postcolonial Nigeria depicted in the narrative, the motifs of Christianity and traditional religion present in the narrative are explored towards illumination of key elements of the text. Christian motifs provide deeper comprehension of the dynamics that influence the relationship of Enitan and Sheri against the backdrop of the trope of the absent mother. Victoria and Enitan's characters and experiences find parallels in the being and characteristics of Ala, the Earth Goddess and Obatala.
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Akintonde, Moses Akintunde. "Cross Sectional Attitudes of Public Sculpture Matrix in Southwestern Nigeria." Journal of Visual Art and Design 7, no. 2 (March 18, 2016): 69. http://dx.doi.org/10.5614/j.vad.2016.7.2.1.

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15

Oladugbagbe, Allan Francis Ebunola. "Socio-Psychological Impact of Outdoor Sculptures in Nigeria Urban Cities." Journal of Visual Art and Design 7, no. 2 (March 18, 2016): 116. http://dx.doi.org/10.5614/j.vad.2016.7.2.3.

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16

Bourgeois, Arthur P. "Messages to Gods and Men: Sculpture and Textiles of the Yoruba of Nigeria." African Arts 22, no. 4 (August 1989): 79. http://dx.doi.org/10.2307/3336668.

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17

Olabanji, Simon O., Victor O. Olarewaju, and Opeolu Onabajo. "PIXE analysis of museum soapstone sculptures from Esie, South-West Nigeria." Nuclear Instruments and Methods in Physics Research Section B: Beam Interactions with Materials and Atoms 47, no. 4 (June 1990): 415–20. http://dx.doi.org/10.1016/0168-583x(90)90620-a.

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18

Ige, O. A., and Samuel E. Swanson. "Provenance studies of Esie sculptural soapstone from southwestern Nigeria." Journal of Archaeological Science 35, no. 6 (June 2008): 1553–65. http://dx.doi.org/10.1016/j.jas.2007.11.001.

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19

Abamwa, Oghenekevwe E., and Abel M. Diakparomre. "Aesthetic Determinants in the Pottery Tradition of the Urhobo People of Nigeria’S Niger Delta." Journal of Research in Philosophy and History 4, no. 4 (January 6, 2022): p37. http://dx.doi.org/10.22158/jrph.v4n4p37.

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Pottery practice is one of the three-dimensional enterprises of the Urhobo people who inhabit part of the Niger Delta region of Nigeria. The people are also known for the production of massive sculptures in wood and mud. Many of the pottery products of the people are, as is the case with their sculptures, configurations of volumes. The expressiveness of these pots is, in part, determined by the way in which the constituting volumes meet each other. In most literature that is available on this art practice of the people, this structural feature is diminished in importance or not considered as a contributing element to the general aesthetics of the ware. This paper interrogates the structural elements that constitute the pots. This is done by dissembling the pots into their structural components (volumes) and analyzing the manner of their coming together to constitute the pot. The findings show that two basic transitions are used as aesthetic attributes in the pottery products from the study area. The study also reaffirms that the extent to which an object satisfies the purpose for which it is made is a strong determinant of the aesthetic value ascribed to the object by a people.
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Akintonde, M. A. "Thematic and Stylistic Appraisal of Sculpture in Public Places in Nigeria: The Example of Southwest." IOSR Journal Of Humanities And Social Science 13, no. 2 (2013): 26–37. http://dx.doi.org/10.9790/0837-1322637.

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21

Nasidi, Nadir A. "Art-Historical Analysis of Selected Sacred Sufi Paintings in Kano, Nigeria." Al Qalam 40, no. 2 (December 13, 2023): 113–29. http://dx.doi.org/10.32678/alqalam.v40i2.8171.

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‘Iconoclasm’, which may simply be defined as the destruction of artworks as a result of hatred towards them is a common phenomenon in all the three major Abrahamic desert religions; Judaism, Christianity and Islam. Because Islam frowns at representational art, especially sculptures in the round, many Muslim artists pursue and develop their creativity in the elegant Arabic calligraphic embellishments used to adorn the walls of mosques, palaces and the covers of Islamic books. However, despite the growing nature of iconoclasm amongst mainstream Muslims, the Sufis see no harm in visually and artistically representing their saints and hermits as a way to honour them and seek their barakah (blessings). It is on this basis that this paper examines selected sacred Sufi paintings of Kano, Nigeria. Relying heavily on oral interviews and written sources this paper traces the historical development of sacred Sufi paintings in Kano, Nigeria, focusing largely on the art historical appreciation and contextualization of such paintings. The paper also found out that despite the importance of sacred Sufi paintings in the reconstruction of history, they receive little or no scholarly attention.
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Odokuma, Ese. "Views on the Origins, Structure and Hierarchy of Some Niger Delta Mud Sculpture Styles of Southern Nigeria." Anthropologist 13, no. 1 (February 2011): 47–59. http://dx.doi.org/10.1080/09720073.2011.11891177.

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Sutton, John. "Kingdom of Ife: sculptures from West Africa/Dynasty and divinity: Ife art in ancient Nigeria." Azania: Archaeological Research in Africa 46, no. 1 (April 2011): 117–19. http://dx.doi.org/10.1080/0067270x.2011.553459.

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Olaniyan, O. M., F. B. Egunjobi, and A. Adegoke. "African Traditional Arts and Ornamentation in the Architecture of the Cultural Centre Ibadan." Environmental Technology and Science Journal 14, no. 2 (February 9, 2024): 9–15. http://dx.doi.org/10.4314/etsj.v14i2.2.

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Art and architecture have been intertwined throughout history. Art in its various forms has played a vital role in the lives of African people as evident in their architecture. The paper reviewed the African visual culture with respect to ornamentation in the built environment as well as the variations of cultural heritage in the anthropogenic sense. The study adopted a qualitative approach using the case study method with the selection of the Cultural Centre Ibadan. The 1977 Second World Black and African Festival of Arts and Culture (FESTAC 77) held in Lagos, Nigeria inspired the architecture of the National Theatre in Lagos, and other cultural centres in other cities in Nigeria including the Cultural Centre, Ibadan which exemplified African arts and ornamentation in its façade and spaces. The Cultural Centre Ibadan is a significant masterpiece adorned with African traditional arts and ornamentation. It embodies a bold fusion of art and architecture evident in the intricate sculptural reliefs that beautify its walls, the wooden and metal ornamentation embellishing its halls and lobbies, the luscious blend of geometrical forms and shapes in its façade, its harmony with the undulating landscape and the concrete anthropomorphic sculptural pieces that welcome guests into the entrance quadrangle. The themes of the arts and ornamentation of the Cultural Centre Ibadan reflect traditional Yoruba cultural festivals, philosophical and religious motifs that has transformed the building into a cultural heritage. Artfully embellished architecture with symbolic meanings like the Cultural Centre Ibadan affords the dividends of cultural emancipation, cultural renaissance and cultural preservation. The interweaving of art and architecture in public buildings should be promoted.
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Ogundiran, Akinwumi, and Adisa Ogunfolakan. "Colonial Modernity, Rituals and Feasting in Odùduwà Grove, Ilé-Ifẹ̀ (Nigeria)." Journal of African Archaeology 15, no. 1 (December 7, 2017): 77–103. http://dx.doi.org/10.1163/21915784-12340004.

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AbstractSacred groves are ubiquitous on the cultural landscape of Ilé-Ifẹ̀ and they have been the site of most archaeological research in the ancient Yoruba city. But these studies have been driven by the view that sacred groves were places of static ritual traditions. Recovering the paraphernalia of those rituals, especially the exquisite sculptures, therefore preoccupied the pioneering archaeological research in Ilé-Ifẹ̀. In contrast, the historical trajectories that defined the evolution and transformation of these groves as dynamic cultural sites have not been undertaken. We make the case in this article that sacred groves are dynamic and meaningful sites for historical negotiation. With this perspective, we conducted archaeological study of Odùduwà Grove in Ile-Ife with the goal to understand the broad sociocultural processes that have shaped the cultural landscape of the grove across different registers of time. The archaeological evidence in Odùduwà Grove dates back to at least the fourteenth century. We focus this article on the evolution of the grove during the twentieth century with emphasis on the materiality of colonial and postcolonial modernity and its implications for rituals of royal coronation, sacrificial rites, and feasting.
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Echesony, Gibson. "Perception of Gender Roles in Modern Art Exhibitions in Nigeria." American Journal of Arts, Social and Humanity Studies 4, no. 1 (May 30, 2024): 33–42. http://dx.doi.org/10.47672/ajashs.2066.

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Purpose: The aim of the study was to assess the perception of gender roles in modern art exhibitions in Nigeria. Materials and Methods: This study adopted a desk methodology. A desk study research design is commonly known as secondary data collection. This is basically collecting data from existing resources preferably because of its low cost advantage as compared to a field research. Our current study looked into already published studies and reports as the data was easily accessed through online journals and libraries. Findings: The study indicated that modern art exhibitions have increasingly become a platform for challenging and redefining traditional gender roles. Contemporary artists frequently address themes of gender identity and societal expectations, pushing boundaries and provoking thought. This shift reflects broader cultural movements toward gender equality and fluidity. Exhibitions now often feature works that explore the complexities of gender through various mediums, including painting, sculpture, and digital art. Curators are more consciously inclusive, aiming to represent diverse voices and perspectives. This evolving landscape not only highlights gender disparities but also celebrates non-binary and transgender experiences, fostering a more inclusive and reflective art world. These exhibitions serve as a critical dialogue on the evolving perceptions of gender roles, encouraging audiences to question and rethink preconceived notions about gender in contemporary society. Implications to Theory, Practice and Policy: Feminist theory, social constructionism and postmodernism may be used to anchor future studies on assessing the perception of gender roles in modern art exhibitions in Nigeria. Encourage art institutions to adopt diverse curatorial practices that prioritize equitable representation of artists across genders and identities. Develop and implement institutional policies that prioritize gender diversity, equity, and inclusivity in art exhibitions.
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Breunig, Peter, Gabriele Franke, and Michael Nüsse. "Early sculptural traditions in West Africa: new evidence from the Chad Basin of north-eastern Nigeria." Antiquity 82, no. 316 (June 1, 2008): 423–37. http://dx.doi.org/10.1017/s0003598x00096915.

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Thanks to a number of well-stratified sequences, the authors can offer a new history of clay image-making in West Africa. From the first known human occupation in the second millennium BC, the shaped clay figurines remain remarkably conservative, suggesting their use as offerings, toys or in games or some role rooted in domestic everyday life. Only in the late first millennium BC and in one area (Walasa) does a more formal art emerge in north-eastern Nigeria, a development contemporary with the famous Nok culture further south.
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Ejairu, K. O. "The Use of Seismic Attributes and Well Logs in Delineating Kick Horizon; A Case Study of Nova Well, Niger Delta Basin, Nigeria." Journal of Applied Sciences and Environmental Management 26, no. 10 (October 31, 2022): 1699–703. http://dx.doi.org/10.4314/jasem.v26i10.13.

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Predrill pore pressure prediction of the NOVA well suggested that the drilling program was in agreement with available seismic surveys. However, a kick was encountered while during the well. The study was carried out to ascertain the cause of the kick horizon in the NOVA Well, using seismic attributes and well log. Eight stratigraphic horizons were characterized to describe the amplitude variations. The top and base of the kick horizon were picked and sculptured to create sub-volume maps.The results revealed that the kick horizon was a shaly unit. The kick horizon was far off bright amplitudes that could have delivered high pressure which could trigger a kick. Faulting, shallow water and gas flows have been suggested as possible causes of the kick. A kill weight mud should be factored into the drilling operations to produce hydrostatic pressure where the kick is entering the NOVA well in order to prevent a blow out.
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Ukwandu, Damien, and Benjamin Obeghare Izu. "The Ugie Festival Ceremonies as a Demonstration of Ancient Benin Culture in Nigeria." Archiv orientální 84, no. 2 (September 18, 2016): 249–67. http://dx.doi.org/10.47979/aror.j.84.2.249-267.

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Through the ages, man has recorded his personal life experiences and sojourns in drawings, paintings, artefacts, sculptures, weaving, drama, music, songs, festivals and other forms of art. These expressions form part and parcel of the cultural heritage of mankind, and in many ways help to articulate human history, norms, customs and way of life. To the Edo society, festivals constitute an essential appendage to their accomplishments. These festivals are usually celebrated with music and dance, which provide entertainment throughout the period of the celebrations. Apart from their entertainment value, festivals provide an opportunity for the memories of our forebears to re-assert themselves in the consciousness of the people, with the hope of leaving the world a better place. Festivals also form a part of the heritage of humankind and have traditionally been passed on for posterity. These festivals constantly remind people of their past which is usually compared with the present so as to ascertain whether communities are progressing or not and to document other dynamic changes. Furthermore, festivals enable celebrating communities to devise programmes to improve the areas in their culture where these have been neglected. The main focus of this study is on the music and associated ceremonies enacted during the royal Ugie (festival) of the Omo N’ Oba N’ Edo Uku Akpolokpolo, Oba of the Benin kingdom. There are cycles of Ugie rituals held periodically within the confines of the Benin royal palace. Some of these ceremonies are of a private nature, while others are public. During these Ugie ceremonies, the palace is always the centre of ritual activities aimed at the well-being and prosperity of the Omo N’ Oba and the Edo people.
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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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Egwali, Franklyn, and George Ukagba. "The emphatic wood sculptures at the University of Benin – their cultural and philosophical contributions to Nigerian art space: an articulation of African aesthetics." Idea. Studia nad strukturą i rozwojem pojęć filozoficznych 28, no. 2 (2016): 246–58. http://dx.doi.org/10.15290/idea.2016.28.2.13.

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AJADI, Michael Olaniyi. "Eclecticism Style in Ceramic Art Practices of Ife Art School." Journal of Education and Practice 5, no. 2 (August 2, 2021): 45–58. http://dx.doi.org/10.47941/jep.630.

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Purpose: The study discusses Ife ceramic wares in tandem with the historical approach of the decorative patterns. It equally determines the origin of each style and how it moved and spread across the phases. The sequences of creative impulse and stylistic trends of ceramic practices in the art school from inception have not received scholarly attention in terms of the examination of the approaches towards the conceptions. The specific objective is to investigate the inception of eclecticism in the art school and circumstances behind the conceptions in order to reveal the contextual definitions of used designs and factors influence the innovation. Methodology: Descriptive and analytical approaches were used to trace decorative trends of each phase and the integration of the various motifs and styles of the previous phases in the new phases that sprung up. Samples of ceramic wares in the art school exhibition brochures, galleries and ceramic studios were collected for analysis and photographs were also taken for evidence. Findings: In concept, the praxis reveals traditional ideology at inception and desegregation of different themes, ideas, and styles in the recent phase of the practice. The practices are eclectic inclined as of late with reflection of traditional ideology, contemporary issues and customs of Western societies. Notwithstanding, the ceramic art tradition of the art school is aesthetically inclined both in principle and practice. Unique contribution to theory, policy and practice: No doubt, the sculptural creativeness of Ife wares has preserved cultural heritage for public awareness. This is largely evident in the proliferation of her ingenious adaptation of indigenous deco-stylistic techniques with Western influence that portrayed Nigerian traditional culture by themes, forms and styles in concepts and renditions.
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Oligbinde, Samuel Rotimi. "Oduduwa: Through the Eyes of a Wood Carver." International Journal of Research and Scientific Innovation X, no. XII (2024): 607–20. http://dx.doi.org/10.51244/ijrsi.2023.1012046.

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History is the chronological and integrated account of relationship between man, event, person, time and places. The Yoruba history has long been at the mercy of the West due to the disinterest of the Yoruba people in the preservation and propagation of their Tradition, Culture and Religion. This has led to the publication of volumes of misinterpretations, flawed and shallow analysis of Yoruba religion for which the Yoruba could only be grateful. Oduduwa is one of the most important Yoruba Progenitor in the history of the Yoruba tribe in Nigeria. He was a powerful leader under whom the nucleus of the Yoruba race migrated into this land from their original home in Ile-Ife. He was a man of great leadership skills, understanding and repute. He is one of the most discussed Yoruba Deity with different point of view because various scholars have not come to a conclusion of who he was. Unfortunately, from our oral Yoruba traditional history there is no descriptive analysis of how Oduduwa looked like but, however, a sculptor in person of Lamidi Fakeye, a traditional wood carver, carried out a commissioned work of Oduduwa in wood carving, describing what he looks like through a story which surrounds the creation of the world. The paper intends to discuss the life of Oduduwa and a conceptual analysis of the wood carving executed in his form. The background data for this paper came largely from textbooks, articles, field work, documentation, archival records, and observation of physical artefacts.
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Odewumi, Michael Olubunmi, David Akinjide Akintola, and Isyaka Bello. "Plastic relief sculpture: Improving Nigerian students’ performance in practical biology." JPBI (Jurnal Pendidikan Biologi Indonesia) 6, no. 1 (March 31, 2020). http://dx.doi.org/10.22219/jpbi.v6i1.10629.

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Among the factors identified to be responsible for the poor performance of senior high school students in biology is inappropriate instructional media. This study investigated the effects of plastic relief sculpture on senior high school students’ performance in biology practical activity in Ogbomoso, South Local Government Area of Oyo State, Nigeria. Moreover, it also observed gender as the moderating effect in this study. The population of this quasi-experimental study was the all senior high school biology students in Oyo State. Two intact classes of 120 biology students were randomly sampled for the study. Two instruments were used in this study i.e. Students’ Biology Practical Test and Biology Practical Lesson Notes. The findings of this study revealed that there was significant difference existed between the performance of students in the experimental and control group (F (8, 51) = 1.89, p < 0.05). Meanwhile, female students performed insignificantly different compared with male students (t (118) = 7.16, p = 0.12). Therefore, the study concluded that plastic instructional relief sculpture is effective in improving students’ performance in biology. Thus, it is recommended that teachers should adopt plastic relief sculpture as the innovative instructional resource in teaching biology.
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James, Sule. "Decolonising African vernacular rooted sculptures of selected contemporary Nigerian and South African artists." Journal of Decolonising Disciplines 2, no. 2 (September 7, 2021). http://dx.doi.org/10.35293/jdd.v2i2.686.

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I am interested in a decolonial reading of African vernacular rooted sculptures of selected contemporary South African and Nigerian artists and compares them. Although vernacular arts were produced in indigenous or traditional African arts context, there are still several forms of vernacular art practices jostling for space with canonical modes in contemporary art in various African contexts. However, I argue that the contemporary representations of cultural imagery and symbols from indigenous cultures or urban areas in South Africa and Nigeria suggest a different mode of engagement, even though the term vernacular is used to narrate them as a rethink in narrating art practices. Therefore, my paper argues that even though contemporary artists from both countries continue to represent cultural imagery (vernacular) in their artworks, they are not a continuation of traditional African art. I adopt formal analysis, cultural history methodologies for the critical analysis of the works of two South African and two Nigerian artists that were purposively selected and compare the ideas that unfold from the interrogations for a wider continental understanding of contemporary issues and artistic trends.
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Antonia, Okogwu. "Play Sculpture Model with Waste Metals, Plastics and Fibres." International Journal of Social Science and Human Research 04, no. 03 (March 25, 2021). http://dx.doi.org/10.47191/ijsshr/v4-i3-33.

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Play is defined by Advanced English Dictionary as activity by children that is guided more by imagination than by fixed rules. Play can also be defined as a state where the body and mind is let loose, only engaged in the act in the immediate environment with or without any secondary objectat this junction on would be pondering on what play got to do with sculpture that a study of this nature is striving to interlace The core or thrust of this study is on play and Sculpture and an attempt is made to marry the two major word in this study . It is this marriage that has led the researcher to the dumpsites to source waste metals, plastics and fibres, utilizing welding piecing stringing and construction and assemblage methods in the sculpture studio. This union has given birth to a movable model of play sculpture that can satisfy the yearning of children of about ten years old .As they were thoroughly engaged in the model moving it from one place to another in Campus 1,Delta state University , Abraka, Nigeria. One can see that creativity does not necessarily have to be expensive to be expressed.
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Osuagwu, Victoria N. "The Place of Traditional Artists in the Preservation of Nigerian Art." Journal of Tourism and Heritage Studies, December 15, 2018, 75–88. http://dx.doi.org/10.33281/jths20129.2017.2.7.

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Human beings have always left signs of their activities behind them. These signs take both tangible and intangible forms, including buildings, sites, sculptural works, antiquities, rock art paintings, belief systems, and traditions. The people of this millennium have recognized the remains of our fore-bears namely archaeological, architectural monuments, sites, and cultural works as an integral part of the cultural heritage of all humanity. They also recognized the fact that heritage is an invaluable source of information about the lives and activities of human beings and their artistic and technical capabilities over the centuries. The Nigerian Ancient Art Tradition which spans eight thousand years is a product of diverse artists from Dufuna, Nok, Igbo-Ukwu, Ife, Owo, Benin, Tada, etc. Also remarkable are the sculptural works created by late Susanne Wenger (an Austrian) and her New Sacred Art Movement in Osun-Osogbo Sacred Grove, which gave meaning to open spaces within the grove. This paper examines the role played by these artworks to project Nigeria to the global art world. The benefits to Nigeria and the global art traditions and recommendations on how to revive this dwindling economic resource will also be examined. The approach used was to study the artworks produced by some of these artists. Some of the findings were that the works were carefully done with suitable materials that have withstood climate change.
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Nnamani, Dr Sunday N., and Dr Casmir N. Nnamele. "Music and Sculpture, a Panacea for Combating Unemployment in Nigeria." International Journal of Social Science and Economics Invention 5, no. 02 (April 24, 2019). http://dx.doi.org/10.23958/ijssei/vol05-i02/99.

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In contemporary Nigeria, a large number of graduates are turned out from the different tertiary institutions of higher learning every year. The fact is that such graduates while in the school believe that they will be out of school rigour on graduation and will soon start life as soon as they are gainfully employed. But such dreams are in most cases shattered by the non-availability of jobs for such graduates. In the light of this, a good number of people who are graduates from the different higher institutions in Nigeria roam the streets in search of non-existing jobs. This paper deals with speciality areas of music and sculpture, the advantages and benefits inherent in these areas and their roles in generating employment with the major components highlighted. For Nigeria to attain the employment generation level of the post MDGs, there is a need to put in place vocational trainings that would enhance the right input of highly skilled human resources in music and sculpture to feed the labour market for the overall growth and development of the nation.
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Champion, Louis, Alexa Höhn, Katharina Neumann, Gabriele Franke, and Peter Breunig. "A question of rite—pearl millet consumption at Nok culture sites, Nigeria (second/first millennium BC)." Vegetation History and Archaeobotany, December 15, 2022. http://dx.doi.org/10.1007/s00334-022-00902-0.

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AbstractThe Nok culture in central Nigeria, dated 1500–1 cal bc, is known for its famous terracotta sculptures. We here present a study on > 11,000 botanical macro-remains from 50 sites, including 343 samples from Nok contexts and 22 samples dating between cal ad 100 and 400, after the end of the Nok culture. With 9,220 remains, pearl millet (Cenchrus americanus (L.) Morrone, syn. Pennisetum glaucum (L.) R.Br.) is dominant in the Nok samples, followed by cowpea (Vigna unguiculata (L.) Walp.), Canarium schweinfurthii Engl., Nauclea latifolia Sm. (syn. Sarcocephalus latifolius (Sm.) E.A.Bruce), wild fruit trees and wild Poaceae. The pearl millet remains consist exclusively of charred caryopses; chaff remains are completely absent. Because we studied all size fractions, including the small 0.5 mm fractions usually containing the involucres, bristles and husks, the absence of pearl millet chaff is real, excluding a methodological explanation, and distinguishes Nok from contemporary other West African sites. We propose that most excavated Nok sites were consumer sites where clean grain was brought in from outside and consumed in a ritual context connected with feasting. This is in line with the archaeological evidence from the larger excavated sites with stone-pot arrangements that are interpreted as ritual places related to mortuary practices. In addition to the known southward branches of pearl millet diffusion from the Sahara we propose a new, hitherto unknown branch directly from the central Sahara to the central Nigerian savannas.
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"Perceived Relevance of Public Sculptures in Ọbáfẹ́mi Awólọ́wọ̀ University, Ilé-Ifẹ̀, Nigeria." Journal of Culture, Society and Development, December 2023. http://dx.doi.org/10.7176/jcsd/71-07.

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Oluwasegun, Aremu, Ijisakin Yemi, Bello Emanuel, and PSO Aremu. "Analysis and Significance of Weather and Climatic Trend on Outdoor Sculptures in Southwest, Nigeria." Journal of Environmental & Analytical Toxicology 6, no. 5 (2016). http://dx.doi.org/10.4172/2161-0525.1000400.

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Bada, TA, YO Ijisakin, and IF Adeyanju. "Effects of Photography on Acquisition of Sculpture Skills among Junior Secondary School Students in Osun State, Nigeria." African Research Review 4, no. 2 (August 24, 2010). http://dx.doi.org/10.4314/afrrev.v4i2.58376.

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Jegede, Dele. "Ikere-Ekiti in Art and Cultural Narratives." Yoruba Studies Review 1, no. 1 (December 21, 2021). http://dx.doi.org/10.32473/ysr.v1i1.130021.

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Ikere, a city in Ekiti State of southwestern Nigeria, comes up often in the literature of art history on two principal accounts: first, its art and architecture, and second, its major annual fesitval. These are the two central concerns of this paper. In the first part, the unique architecture of the afin and the traditional sculptures that were its central feature present the opportunity to examine the interconnectedness of continuity and change, tradition and modernity, and the centrality of art in the Oba's quest for political pre-eminence. Ikere came to in­ternational attention through the vlrtuoslc sculptures of one of Africa's master carvers--Olowe (ca. 1873-1938), who lived in Ise-Ekiti, a town about 15 miles east of Ikere. In addition to offering new insights into the relevance of Olowe to Ikere, this essay posits a re-examination of the birth year of Olowe. In the sec­ond part, this essay dissects the Olosunta festival, which remains central to the collective identity of a people who subscribe to different religious doctrines. The early history of Ikere acknowledges the city as a site for the simultaneous reign of two rulers, the Ogoga and the Olukere. But it is the annual celebration of the Olosunta festival that serves as the rallying point for the indigenes of the city at the same time that it provides a time-honored structure for handling potentially explosive cultural and political contestations.
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Abass, Bada Tayo. "Computer Instructional Approach and Students’ Creative Ability in Sculpture Education in Nigeria Universities: Obafemi Awolowo University as a Case Study." World Journal of Education 1, no. 2 (October 19, 2011). http://dx.doi.org/10.5430/wje.v1n2p130.

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"Contemporary Perspectives on the Historic: Stone Sculptures of Oladapo Afolayan as Continuity and Development in the Trajectory of Nigerian Stone Art." NIU Journal of Social Sciences 8, no. 4 (December 31, 2022). http://dx.doi.org/10.58709/niujss.v8i4.1548.

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46

Isiani, Mathias Chukwudi, Ngozika Anthonia Obi-Ani, Chikelue Chris Akabuike, Stanley Jachike Onyemechalu, Sochima P. Okafor, and Sopuluchukwu Amarachukwu Dimelu. "Creativity, spirituality and society: a study in preservation of Ikenga and Ọfọ sculptures in contemporary Igbo society." Journal of Cultural Heritage Management and Sustainable Development, October 18, 2021. http://dx.doi.org/10.1108/jchmsd-12-2020-0178.

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Purpose The overall aim of this research is to interpret Ikenga and Ofo creativity as it is revered in Igbo societies. Igbo creativity, especially interpreted through material culture, suffers the threat of extinction resulting from the forces of modernity. Forces of modernisation, which appear in the personae of Christianity, education, urbanisation and industrialisation, denigrated indigenous creativity, brandishing them as devious, fetish and primitive. Ironically, in most cases, the drivers of such narratives keep these “fetish” items in their museums and will give a lot to preserve them. Design/methodology/approach This study centred mostly on several communities in the Nsukka area of Igboland, Nigeria. It relied on both primary and secondary sources of historical enquiry. This qualitative research discussed the nuances of the subject matter as it relates to Igbo cosmos. These approaches involved visiting the study area and conducting personal interviews. Findings Archaeologists do often rely on material culture to study, periodise and date past human societies. In this study, it is found that material culture, an expression of indigenous creativity, best interprets how society survived or related with their environment. This paper examined two Igbo sculpted artefacts – Ikenga and Ofo – while unearthing the intricacies in Igbo cosmology as regards creativity, spirituality and society. Originality/value The shapes, motifs, patterns and designs depict an imaginary history, the intellectualism of the past and even the present. This serves as an objective alternative to the twisted colonial narrative on Igbo material culture and consequently contribute to ongoing efforts to preserve, protect and promote cultural heritage resources in this part of the world.
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Emeka Phd, Okonkwo, Ivan. "Production of a Model Water Fountain Using Ceramics for Interior Decoration in Anambra State." International Journal of Multidisciplinary Research and Analysis 04, no. 08 (August 27, 2021). http://dx.doi.org/10.47191/ijmra/v4-i8-13.

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Water fountains have been produced by sculptors, architects and engineers over the years in Nigeria, however the production of water fountains in ceramics is not popular and could be rarely seen in public spaces, longues and interiors of public buildings especially in Anambra State. In view of this; this project entitled “Production of a Water Fountain using Ceramics for Interior Decoration in Anambra State” was designed to enlighten the society that ceramic materials could be used for the production of water fountain instead of other media like cement and metal. Also, that water fountain when situated in the interior of the house will help in relaxation thereby reducing some tensions and stress after all day work. Data used were sourced from both primary and secondary sources. An explorative method of research was employed in the project. The processes involved in the execution of the work were showcased in detail. The study observes that majority of water fountains seen around were made using cement instead of ceramics, which is more durable, hygienic, attractive and nature friendly, hence the need for this project. This work encourages more research in this area of study.
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Oligbinde, S. R and Orelaja O.A. "ODYSSEY THROUGH ACADEME I & II:Exploration of Metal Scraps in the Production of Creative Lampstand by Segun Okewumi." EPRA International Journal of Socio-Economic and Environmental Outlook, April 29, 2023, 50–60. http://dx.doi.org/10.36713/epra13014.

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The paper titled ‘odyssey through academe I&II was based on the problems and challenges students of higher education face in their quest of obtaining a degree in Nigeria. It is also a celebration of the determination of these students to be trained and acquire knowledge through formal education despite the hardship posed by the education system of higher institutions of learning. The methodology explored in this project involved both primary and secondary sources of data collection. Primary sources included observation, examination and review of previous works and studies related to challenges facing students in higher institutions, material exploration and the use of scraps for sculptures. The secondary sources include images/ photographs from the internet and journal articles. The analysis used includes descriptive analysis, which involves the explanation of the procedures and interpretation of the theme and meaning of the work piece. The paper revealed that a lot of undergraduates are faced with academic struggles and challenges such as, inadequate learning facilities, lack of regular water and power supply and tedious administrative processes amidst many, which are caused by the prevalent economic and political instabilities of varying nations. The paper also highlighted some of the ways forward from these problems. The study therefore concluded on the note that the effort of these students needs to be celebrated always. Also, laying emphasis on the importance of the executed piece to the academic community as a whole. KEYWORDS: welding, metal, waste, education, experimentation
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