Nigerian Art Research Articles

The appropriation of African American Vernacular English and Jamaican Patois by Nigerian hip hop artists

The present paper deals with multilingual practices as they have emerged in Nigeria’s vibrant hip hop community. Apart from English, the most important strand in the multilingual fabric of Nigerian hip hop lyrics is Nigerian Pidgin. In addition, several more indigenous languages are used regularly. The focus of the present study, however, is on the use of two foreign varieties, namely African-American Vernacular English (AAVE) and Jamaican Creole or Patois (JC). Borrowing from AAVE and JC is a useful strategy for Nigerian artists to authenticate their performances by international standards. In principle, multilingual practices, including use of dialects and languages which are not natively spoken in a community, fits in well with the hip hop aesthetic. However, as will be shown, some AAVE and JC elements are borrowed without a full understanding of their linguistic and cultural context or transformed in an effort to adapt them to a new local context, which also runs the risk of undermining authenticity. Borrowing from AAVE and JC proves most problematical on the level of grammar

Art as a Catalyst of Religious Development in Nigeria

Art in Nigeria from the early Christian Missionary�s perspective was anembodiment of traditional African religion. Therefore, Nigerian art wasconsidered to be a taboo to the Christian religion, hence it should beabolished. The Islamic Jihadists on the other hand saw art as ensembles ofidolatry which must be destroyed while the traditionalists seemed to see artas the exclusive preserve of their religion, therefore, every art object shouldbe venerated. However, art is essentially a tool for the promotion of allreligions. The thrust of this paper is therefore to assess the Siameserelationship between art and religion in Nigeria irrespective of thecoloration.

Touching Lives: Social Responsibility Model of a Nigerian Entrepreneur

Dees (1998) defines entrepreneurship as characteristic of people who adopt a mission to create and sustain social value; recognize and relentlessly pursue new opportunities to serve that mission; continuously innovate, adapt, and learn; act boldly and beyond their resources; and exhibit a high sense of accountability. He sees it as a solution to social issues left unresolved by government and philanthropists. Given the success of the social work carried out by Nike Davies Okundaye, a female Nigerian artist and entrepreneur, this paper investigates how her brand of social entrepreneurship measures up beside the extant literature, and whether it is replicable, especially in developing countries. If it is a good model, then it should be emulated and funding. The approach used is phenomenology, using secondary data about Nike’s work and parameters synthesized by Dees (1998) and Light (2005) seven years apart after deep analyses of the work of earlier scholars.

Art Pricing and the Nigerian Economy, 1960-2008; the Rising Profile of Modern Nigerian Art

The turbulent situation in the socio-political and economic terrain of Nigeriasince the 1960s and the chaotic years from the time of the incursion of themilitary in Nigerian politics from 1966 to 1999 signaled systemic regression. From the 1980s to 1990s, despite the negative factors prevalent as a result of corruption and mismanagement in the nation, sale of art works was favoured by an astronomical growth in local clientele.. Although Ben Enwonwu, Nigeria’s foremost modernist artist opined in 1966 (Ekwensi, 1966; 36) that for a piece of painting by a Nigerian artist to be priced for so much as five hundred guineas(about five hundred British pounds), then the artist should be much older with years of experience including the artist’s quality of training. The state of art pricing in modern Nigerian art has defiled such limitations. Many factors have come to influence the contemporary proclivic developments and this paper adopting the Marxist art historical approach of approach of the inter-relationship of art, power and economy in the society, examines the development.Key Words: Patronage, Art Commission, Expressionistic, Art Contracting,Road- side- art, Connoisseur

Art and the Canker-Worm Years in Nigeria, 1980-2006; the Implications for Modern Nigerian Art, Its History and Documentation

The imagery of the Cankerworm is used as metaphor and analogy to indicatea period of increasing authoritarianism in Nigerian government, officialmismanagement, as well as sloppiness in government policies. This paperexamines the consequences of the historical trend on modern Nigerian art aswell as its history and documentation. Modern art in Nigeria and indeed thewhole of Africa is not exactly along the lines of western experiences and thisis because it is a derivative of specific historical background different incontext, content and types from those of Europe and the United States Inspite of the unfortunate postcolonial trend in Africa, modern Nigerian art hasbeen an anomaly of the deplorable tendencies because of its transmutationthrough identifiable developmental stages, which is, the colonial and thepostcolonial.Key Words: Cankerworm, Marxist art historical approach, Kitsch, Artcontracting, Hybridization, African Authenticity

Africa Happening! Bits and Pieces

The exhibition, Africa Happening! Bits & Pieces is a conceptualization through the arts, of African independence, its challenges, breakthroughs, contemplation on the future, particularly for the 17 countries that are celebrating their 50th independence anniversary in 2010. Artistic explorations of these questions by two young Nigerian artists, Stephen Adeyemi Folaranmi and Gbolade Omidiran both graduates of the Department of Fine Arts, Obafemi Awolowo University, in the City of Ile-Ife, Nigeria. “Africa is Happening! Africa has been Happening! Africa will continue to Happen!”(Steering Committee, Modern Africa Group 2010).

The Asele Period in Uche Okeke’s Creativity 1958-1966

The Asele Period is a research study of a major aspect of the creative works of Professor Uche Okeke. The artist, who is generally regarded as father of modern Nigerian art tradition, has made various giant strides in the creative development of the country. He is naturally endowed with skill and good knowledge of the traditional mythology, belief system and customs of his Igbo ethnic group in Nigeria. He has effectively explored them in the development of visual arts in the country. These contributions to a great extent, transformed the face of visual art in Nigeria .This study therefore substantially represents the creative works of the artist during the period under review. Uche Okeke classified his artistic career into three major dispensations, the researcher has therefore adopted same format in his study so as to properly key into the creative legend’s classification of his artworks and career development. The Asele period has indepthly reviewed the activities of the artist locally and internationally between 1958 and 1966. It discusses the artist’s inspiration as well as the cultural and symbolic inclination of his artworks. It also reviews the iconographic presentation of the artworks which the artist keyed into his Igbo mythology. The artist’s major works in the Asele Period is also articulated in a catalogueKeywords: Igbo folklore, Oja Suite, Munich Suite, Metaphoric Roles, LineDrawings.

The Origin and Development of Formal Art Schools in Nigeria

The paper traces the origin and development of art study in the institutions of higher learning in Nigeria. The British Colonial Government in the country was not keen at investing on higher education. They feared that increase in knowledge through higher education might intensify the already tensed political agitation for self rule in the country. Therefore, Nigerians were only left with the difficult task of travelling abroad to acquire higher education. This was also the plight of the pioneer College and University trained Nigerian artists. This paper investigates the eventual establishment of Art Departments in the first higher Institution built by the colonial masters in Nigeria. It traces the growth and transformation of the pioneer higher institution into the power house of art education in the country. It also looks at the subsequent establishment of many other art departments in the institutions of higher learning in post independence Nigeria. It looks at the changes over time in the course content of these art departments which today are completely indigenous. Finally, it concludes with an update of Nigerian Universities, Polytechnics and Colleges of Education that offer art in their programmes. Key Words: British, Art, Committee, College, University, Polytechnics.

Comments on Regulation Issues in Modern Art Practice in Nigeria

The practice of the visual arts in post-independence Nigeria has been variedly characterized. This has been more so since 1977 when the 2nd World Black and African Festival of Arts and Culture was held in Nigeria. This epochal event is, today, said to have engendered mercantilism, a decline in standard of art products, and a laisser-faire attitude towards art practice in Nigeria. These, it is said, have singly and collectively affected the status and working conditions of the Nigerian artist. It is also said that the practice of the arts, as well as the artist, are in jeopardy, at the moment. To remedy this situation, it is suggested by some, that the practice of the arts be regulated and that a code of conduct should be instituted. These suggestions are interrogated in this paper with the aim of finding out the suitability of these prescriptions for solving the identified problems in a 21st century art environment. The interrogation identifies that resorting to regulation would amount to imprisoning creativity and lead to retrogression.

Aina Onabolu and Naturalism in Nigerian Visual Arts

This paper focuses on Aina Onabolu’s creative exploits in the Nigerian Art Scene. There is the contention as to whether his techniques of artistic expression promoted or marred the realization of true Nigerian art. The writer seeks to examine the work of the artist and his techniques, the evolutionary stages of this naturalistic tendency, contemporary creative currents and possible contributions to visual art practice in Nigeria. Through intensive search of the literature on the artist and his contemporaries and students, one observed that his astute commitment to his work culminated in the integration of Art into the school curriculum as a subject to be recon with. Onabolu was part of an African current of modernization for which came the advocates of African nationalism and progress. He used his art as a critical tool to confront and challenge the racist rhetoric of colonialists, thereby laying a more solid foundation for art training in Nigeria. With Onabolu’s insistence on the representation of forms based on certainfundamental principles of Art and Design, the intellectual content of art is brought to bear on the populace. Naturalism continues to be explored by a large spectrum of contemporary Nigerian artists as a model of creative expression.Keywords: Naturalistic tendency, objective, representational, modernistic, imitative, Nationalist

Nigerian Visual Arts (1970-2003) and the Impact of Some Stylistic Tendencies

The paper made a critical appraisal of the diverse visual art practices in Nigeria. The writer observed that Nigerian art has not only carved an identity for itself but indeed has come of age. The art productions and techniques from the stylistic tendencies have created vista of possibilities for artists to explore. From this study, two phases namely; Phase III (1970 – 1988) - Harvest /Flourishing of Artistic Styles, Movements and Expansions, during which Nigerian art blossomed and became dynamic and Phase IV (1989-2003) – Period of Experimentation, Globalization and Creative Consciousness where different windows of interpretation were opened to further extend the frontiers of art globally were clearly discerned. It is a flowering phase, which bore fruits giving rise to a variety of stylistic tendencies, culminating in the conceptual art of the present. Apart from borrowing extensively from indigenous African imagery, they also lend themselves to modern trends which are reflected in the ways they experiment with materials and techniques without losing touch with their African identity.Keywords: Stylistic tendencies, conceptual, African imagery, expressive, art genre.

Nigerian Visual Arts and its Stylistic Tendencies

The paper made a critical appraisal of the diverse visual art practices in Nigeria. The writer observed that Nigerian art has not only carved an identity for itself but indeed has come of age. The art productions and techniques from the stylistic tendencies have created vista of possibilities for artists to explore. From this study, two phases namely; Phase III (1970 – 1988) - Harvest /Flourishing of Artistic Styles, Movements and Expansions, during which Nigerian art blossomed and became dynamic and Phase IV (1989-2003) – Period of Experimentation, Globalization and Creative Consciousness where different windows of interpretation were opened to further extend the frontiers of art globally were clearly discerned. It is a flowering phase, which bore fruits giving rise to a variety of stylistic tendencies, culminating in the conceptual art of the present. Apart from borrowing extensively from indigenous African imagery, they also lend themselves to modern trends which is reflected in the way they experiment with materials and techniques without losing touch with their African identity.

An Appreciation of the State Of Visual Arts in Nigeria (1900-1970)

This study chronicles the evolution and state of visual arts training in Nigeria. Sequel to the seemingly incomprehensible concept and doubt as to the existence of Nigerian art, the writer attempts...

African Musicology: A Bibliographical Guide to Nigerian Art Music (1927–2009)

This article provides a brief introduction to the history of art music in Nigeria, a concise discussion of three generations of music composition in Nigeria as well as an extensive bibliography of Nigerian art music comprised of articles, books, and discographic materials. The article is primarily set to present a list of sources on Nigerian art music, showcasing the depth and breadth of scholarly activities on this music. As such, this article is not focused on an overarching historical account of art music in Nigeria; this is outside the scope of this study. The bibliography encapsulates the focus of the extensive bibliographies which represent the scholarly contributions on modern Nigerian art music by various musicologists from Africa, Europe, and the United States. Most of the Nigerian authors are composers, ethnomusicologists, performers, and music educators, whose research is largely based on fieldwork, and their personal experiences in composing and performing this music. The bibliography includes articles, both published and unpublished, books, theses, and discographies, as well as papers presented at international conferences and symposia from 1927 to 2009. The topics cover every area pertinent to the study of art music in Nigeria—piano, organ, chamber, orchestra, vocal solo, choral, percussion, music and culture, music and dance, music and politics, music and text, music education, analytical and compositional techniques, theory, history, criticism, sacred and secular music, interculturalism, and composer biographies. The sound recordings of selected works were done by African, European, and American solo artists and orchestras.

Descriptive Analysis Of Nigerian Children Human Figure Drawings: A Developmental Approach

Art is a symbolic means of communication through which man can communicate his inner needs, desires and worries. Children find art a good means of communicating what ordinarily, they may not be able to describe orally. This study was on description of Nigerian children human figure art using Lowenfeld and Brittain (1970) developmental model. The participants were five hundred and twenty six (526) children drawn from population of primary and junior secondary schools from two towns in Northern and Southern Nigeria respectively. They included three hundred and eight (308) females and two and eighteen (218) males. Their ages ranged between 6 to 13 years. Their (18) males. Their ages ranged between 6 to 13 years. Their M age was 9.84 and SD age was 2.08. The analysis of the drawing showed developmental sequences on human figure drawings of children. Every age had their peculiarities on the drawings that differed from that of other ages. The developmental peculiarities were analyzed on such factors as spatial relationships, sexual orientations, socio-cultural and image representations. Implications of the study for early diagnosis and intervention on children were discussed.

Old Wine in New Skins: The University of Benin Art Department and the “Art School” Trend in Nigeria

In Nigeria, many artists, critics and scholars of art have been quick to justify the preoccupation of Nigerian tertiary institutions Art Departments with the quest for an identity. Some Art Departments of Nigerian higher institutions have since been identified with one trait or the other and are also classified with one trait or the other or classified as ‘art schools'. Art groupings and movements have also emerged in some of these Art Departments. Inspite of the vibrant and evolving artistic scene in Nigeria's Art Departments, many are worried that the Benin Art Department has not made a collective presence felt on the Nigerian art scene. Certainly, it remains one of the least publicized of the Art Departments in Nigerian institutions. Contrary to these views, the University of Benin Art Department remains an artistic environment of the various representational styles and other artistic approaches as well as subject matter in Nigeria. It can best be likened to a complex art forum where students from various Nigerian Universities and Polytechnics converge to sublimate their art. Despite the now familiar criticisms, there is indeed an underlying philosophy of the totality of the arts in the Benin Art Department as obtained in the pre-colonial period, an attitude, which in turn has encouraged within the Art Department, the development of diverse styles.Lagos Historical Review Vol. 8 2008: pp. 33-48

Contemporary Nigerian Art: From the 1920s to 2000

This paper discusses the evolutionary trends in contemporary Nigerian art, examining the philosophy, major actors, and activities emerging from these creative enterprises. Various emergent art institutions, ethnocentric groups and styles with current development and utility are underscored. This forms documentary evidence, which brings to limelight the contemporariness of Nigerian art. Humanities Review Journal Vol. 7 2007: pp. 15-27

Towards a durable alternative medium in mural painting: the auto paint experiment

In the traditional parlance of mural painting among Nigerian artists, the use of emulsion paint has become universal. After years of professional practice, the observation is that these emulsion-paint murals do not last on the walls. The reason is that the emulsion paint made in Nigeria is of very poor quality. Under the onslaught of tropical Nigeria rain, the beautiful paintings wash off very quickly from the walls upon which they are made. This paper is therefore the documented result of the visual artistic experiments spanning about 13 years, in the identification of a durable alternative medium for executing mural painting in Nigeria. Among possible paint mediums like emulsion paint, emulsion/glue mixture and oil paint, auto paint proved to be the most durable and applicable alternative to emulsion paint for mural painting. Global Journal of Social Sciences Vol. 6 (1) 2007: pp.93-96

The Politics of the Plane: On Fatimah Tuggar's Working Woman

In her digital photomontage Working Woman (1997), U.S.-based Nigerian artist Fatimah Tuggar stages a disjunctive encounter between the aesthetic procedures of the historical avant-garde and a postcolonial feminist critique of the visual imagery of the “Afro-optimism” that became prominent in the late 1990s. Treating the “modern African woman” as a mediatic phantom rather than a taken-for-granted subject-position, Tuggar's work evokes the universal “right to communicate” increasingly claimed by anti-neo-liberal activists in the Global South over the past decade.

“Monkey Dey Work”… Artists' Dues are Due”: Galleries and Nigerian Art

This study examines the role of galleries in the development of contemporary art in Nigeria. The gallery is central in acquiring patronage and influence, which are very important to the development of any artist. However, the galleries and their operators appear to have taken total control of the artist, deliberately ‘concealing' her/him from the public [under the guise of lack of financial support] so that the artist is neither seen nor heard. This study posits that there is a need for improvement in the situation of the artist, for example, in the payment of fees whenever his/her works are publicly accessed for viewing. (Humanities Review Journal: 2002 2(2): 79-83)