Nok CultureCulture is the way of life of a people. In Nigeria, culture is Art. It is religion, it is tradition, it is environment, it is life itself. Art in Nigeria dates back to over 2,000 years and in the archaeological discoveries that depicted the works of the people, the culture of the various peoples of Nigeria are also illustrated.
Nok CultureThe Nok culture was also discovered through archaeological finds. It is considered the earliest cuilture that emerged in Nigeria. The name Nok came from the site in which it was first discovered, but it seems to have fairly widespread in the region north of the Benue. The characteristic features of the Nok culture which flourished from 500 BC to AD 200 are the terracota figurines associated with it and the extensive use of iron. The source of the knowledge of an iron technology has been atributed to the civilisation of b"Meroe" in what is today the Republic of Sudan, as well as to Carthage in North Africa.
Brass and Bronze CastingBrass or bronze casting is still made but there is nothing produced now to compare with the fabulous lfe and Benin bronzes. These perfect example of portraiture and the "cire peerdue" method of casting, together with the equally perfect
terracottas thought to be of the same period and possibly by the same craftsmen, have no equals anywhere. Apart from the Benin and lfe bronzes, archaelogical finds at lgbo-Ukwu, in Enugu State, have revealed advanced ancient works of art. The lgbo-Ukwu bronzes which have elaborate intricate symmetrical designs are as remarkable as the letter known lfe works.
Grass WeavingBecause grass is plentiful in the northern parts of Nigeria, northern craftsmen and women make grass baskets, fans, tables and floor mats. some of the objects are beautifully coloured and are durable.
Wood CarvingThough places like Benin and Akwa are acknowledged as centres of wood-carving, wood carvers have flourished all over southern Nigeria since time immemorial, making figures for shrines, portraiture, masks, representations of the spirits of the field, forest, stream, earth, sea, sky, water, fire and thunder. The works of old carvers remain in many villages where they provide the villages with their shrines, utensils and ornaments to this day. Many of the older examples of these products are preserved in the national and other museums.
Ivory CarvingIvory carvings have for many years adorned ancestral altars in benin and the palaces of Nigerian rulers. Ivory carvings are also available in homes and offices as paper knives, inlaid cigar boxes, cigarette holders, ladies earrings, hatpins, necklaces, bangles and innumerable small pieces of dector.
Glass and Metal WorkThe metal works, glass beads and bangles ofBida are familiar articles to visitors to Nigeria. The bead makers in particular preserve their ancient skills as a family tradition. The metal workers were originally the armoured of the north. Their art is now applied to the production of skillfully fashioned and decorated trays, bowls, and pots, rings, bangles and the like.
Leather and CalabashThe skin popularly known as Morocco leather comes from goatskin from Sokoto. It was erroneously given the name "Morocco leather" because, until recently, it reached Europe through Moroccan traders who bought them from Nigerian caravan traders across the Sahara Desert. Excellent leatherwork and calabash carvings are produced in Kano and Oyo.
PotteryExcavations have shown that pottery attained a high level of development in Nigeria several hundred years ago. The tradition has been maintained and Nigerian pottery today ranks among the most artistic in the world.
The best known pottery centre in the country is Suleja in Niger State. In 1963, a Nigerian pottery worker, the Late Dr. Ladi Kwali, toured Great Britain and Europe to demonstrate the art of pottery-making in Nigeria. Products of the Pottery centre at Okigwe in Imo State, were widely distributed in Nigeria and abroad.
Cloth WeavingAnother outstanding craft of Nigeria is cloth weaving. The popular Akwete cloth woven in a town of that name in Abia State is fast changing the dress fashion of many women who live in, or come to the country. Produced on a broad loom, Akwete is usually about 1,200 millimetres wide. It is produced in attractive designs and rich colours.
There are also the "Aso-Oke" woven on narrow looms notably at lseyin in Oyo State, the Ebira weavin at Okene, Kogi State.
PaintingApart from such crafts as bronze-casting, wood carving, leather work, pottery and weaving, a form of artistic expression that has quietly gained a stronghold but has not been given its due recognition in Nigeria is painting. As a medium of artistic expression, painting is not completely new in the country. The two groups of rock paintings in Kano and Bauchi are the most important yet found in the country, the Bimin Kudu cattle paintings and symbolic drawings show affinity to some Saharan paintings.
The colouring of masks monochromatically or polychromatically is also a form of painting that has been in existence in Nigeria for as long as the festivals and ceremonies for which such objects were made. Body paintings and decorations for ceremonial rites and festivals are also a common practise in many parts of the country. The designs and decoration used in body-painting possess esoteric connotations and the human body so painted at times in varied colours, visually becomes a really beautiful "living art piece".
Another form of artistic expression closely akin to painting that has been in practice in the country for a long time is the multicoloured decoration of the inner and outer walls of houses with beautiftil and elaborate symbols and designs. Some of such designs have their origin in the Islamic influence onNigerian culture and are popular in the northern parts of the country.
International FameThose who have gained prominence at home and abroad in this field within a relatively short time include Ben Enwonwu, well known for his landscapes, Simon Okeke, E.O. Okebolu, ErhaborEmokpae, bruce Onobrakpeya, Ayo Ajayi, Felix ldubor, Muraina Oyelami, Twin Seven-Seven and a host of others. A laige number of the works of these Nigerian painters can be found in many galleries and private collections in Nigeria and abroad.
Though it is just a little over 80 years since the first acclaimed modern painter emerged in Nigeria, painting as an art form has become so popular that apart from regular one man or joint exhibitions held abroad by individuals or groups, some artists have emerged to form a "school" or "movement". For instance, the Oshogbo Movement has gained global identification by breaking fresh grounds with fruitful experimentations.
While most Nigerian painters started their career with such traditional means as oil, charcoal, pencil, pen or water colour, a number of innovators and experimentalists among them have widened the dimensions and horizons of fine arts in and out of the country.
Works in the new areas have been classified as bronzed lino relief, into cut, deep etching, print, collage, bead-mache, ponitilism, etc. The scope for experimentation seems limitless and the future of fine arts looks very promising with the continued development of the country.
Government AssistanceThe Federal and State governments of Nigeria have always shown keen interest in the development of arts and crafts as a source of employment and means of developing aptitude and have given every possible assistance to the industry. The governments encourage the formation of cooperative societies to advise on the best way of increasing production and sales, and help to arrange exhibitions both in Nigeria and abroad.
As a further step towards the development of arts and crafts, governments have opened art schools and colleges, such as the College of Technology, Yaba and the School of Fine Arts at the Ahmadu Bello University, Zaria, where students can develop their talents under the guidance of qualified instructors. Many of the students are sponsored by the government or private organizations. Government has also established various agencies for the coordination promotion and preservation of the Arts. Below are some of them:
National Council for Arts and CultureThe National Council for Arts and Culture (NCAC) was established by Decree No. 3 of 1975 after the dissolution of the former Nigerian Arts Council. It started operations in 1976 with the constitution of its Governing Council and the appointment of a Secretary and other supportive staff. The NCAC is a parastatal of the Federal Ministry of Information and Culture. The Council was set up to coordinate, promote and foster the appreciation, revival and development of Nigerian arts and culture among others.
The National TheatreThe imposing National Theatre overlooking the Eko Bridge and standing 31 metres above ground level was built by the Federal Government in 1976. It is under the management of the Federal Ministry of Information and Culture. It covers an area of 23,000 square metres and its graduation of forms and contours, its proportions and radial development, give it characteristic deep shades and contrasts, which form a befitting monument to the role it plays.
The theatre complex comprises a main hall capable of seating approximately 5,000 spectators; a conference hall with 1,500 seats, and two cinema halls with a sitting capacity of 800 each. There is also a V.I.P. complex which also includes a reception hall for the Head of State. Other facilities include a press complex, dressing rooms and cubicles for performers and contestants, translators, a fully fomished kitchen and fire alarm system. Telephone and telex systems link the whole complex with the outside world. Delegates to international conferences can tune in to any of the six languages transmitted.
Centre for Black and African Arts and Civilisation (CBAAC)Established by Decree No. 69 of 1979 as a multi-dimensional documentation institution, the Centre for Black and African Arts and Civilisation (CBAAC), is the custodian of cultural materials for Black and African peoples all over the world. The institution is a vital Centre for the study, propagation and promotion of understanding of Black and African ideals and civilisation.
Its core collection consists of all the unique and rare archival, library, audio-visual and museum materials deposited for safe keeping with the Nigerian Government, by the 59 Black and African Governments which participated in the FESTAC '77. The materials, being preserved, utilised and augmented, represent jthe invaluable contributions made by the intellectuals, writers and artists who were the moving spirits behind the execution of FESTAC '77.
The Centre was officially declared open on 22nd June, 1978, and has been declared a depository for UNESCO books, documents, etc. All the materials in the Centre are distributed into four components, namely Archives, Library, Audio Visual and Museum divisions. Among the collections in its museum is an exhibition on "Africa and the Origin of Man" an invaluable discovery which provides material evidence that AFRICA IS THE CRADLE OF MAN.
National Commission for Museum and MounmentsThe registration and clearance for export of antiquities as well as arts and crafts (even newly made) is conlolled by the National Commission for Museums and Monuments. There are severe penalties for attempting to export antiquities without a permit issued by the National Commission for Museum and monuments. Export permits can be obtained at any of the National Museums in the country. The clearance permit, serves as a conclusive part that an object is not an antiquity. Permits for export of antiquities should be directed, and with as much notice as possible, to the Director-General, National Commission for Museums and Monuments, National Museum, Lagos or to,the Director-general, through the Curator and head of station of the National Museum in the state in which the applicant is located.
WALLS AND ANCIENT BUILDINGS
City Wall and Moat, Benin City
These are the most impressive city walls and moats in southern Nigeria. At their highest point, the walls were nine metres high and the moat (ditch) nine metres deep, making a total incline of 18 metres. Unfortunately in the past few years, the walls and moats have been the victim of extensive soil excavation used as a source of building materials.
The Zaria city wall perhaps remains the best preserved among the cities of northern Nigeria. The need for defensive walls has disappeared since the occupation by the British of the Western Sudan at the beginning of this century. Moreover, the rains of over 50 wet seasons have battered down the tall mud walls rampant in this part of the country. The walls of Zaria which circumnavigate the city are between 14 and 16 kilometres long and are pierced by eights gates.
This imposing minaret, or tower which originally is said to be some 120 metres tall and which was built of mud and palm timbers, is all that remains of the mosque constructed in Habe times, before the holy wars of Sheikh Usman Dan Fodio, Parts of the 15.25 metres tower are thought to be about 250 years old.
This building is protected under the Antiquities Act of 1953 principally because of its architectural eminence as a fine example of Benin traditional architecture. It has an elaborate system of court yards and altars. It is a chiefs house and was probably built before the 1897 British expedition against Benin. The building was not affected by the big fire that gutted the city following the British invasion.
This is an interesting example of indigenous engineering before the advent of roads and railways in Nigeria. The bridge was originally erected by Lord Lugard at Zungeru in 1904 and re-erected in 1954 in the Kaduna Gardens.
RELIGION
Nigeria's traditional religion has often been inadequately described as animism, fetishism or paganism. Viewed generally, it is the worship of a deity through the visible representation of that deity by animate and inanimate objects such as trees, streams, birds, animals or man-made images of clay, stone or wood.
Religion forms an important aspect of the everyday life of the Nigerian people. Every group possesses shrines dedicated to some gods to whom sacrifices, prayers and libations are regularly offered. The gods are supposed to exercise protective power over their worshippers.
There is a wide variety of thought and belief among Nigerians concerning their gods. But most ethnic groups recognise the existence of a Supreme Being who is the Creator and Lord of Heaven. He is credited with having created the universe in which everything was good and beautiful. He assumes different names among the various ethnic groups. The Yorubas call him Olorun (Lord of Heaven). To the lgbos. He is Chineke (the Creator), and the Hausas, Ubangiji (God). Efiks of Calabar call him Abasi lbom (the Great God). The Urhobos and Isokos refer to this Supreme Being as Oghene.
Midway along the family tree of the deities come the lesser gods. Lesser powerful, though more accessible than the Creator. They act as Intermediaries between God and man and are more often consulted by the people. They are many in number and are worshipped by the various ethnic groups. Many have their own shrines and objects of worship which are used when prayers and appeals are made to them. Certain power are ascribed to particular gods.
Spirits are believed to be of a rank lower than the lesser gods. They are forces which can be mastered by carefUl handling and the correct use of invocations to make them perform the wishes of whoever has control over or contact with them. They are both good and evil spirits of the dead who have been unable to return in human form or to find suitable resting places.
Sometimes, objects are dedicated or made sacred to certain gods and spirits. In part of Edo, Imo and Anambra and a few other states, there are sacred streams, sacred forests and sacred animals. Such objects are either worshipped or treated with respect so as not to offend the gods or spirits with which they are associated.
Traditional religion has left its mark on the peopled way of life. Their agriculture, music, arts, crafts, language aod economy still bear traces of such influence.Fairly recent discoveries of African art works have established that some form of civilisation existed among certain ethnic groups in Nigeria before the advent of Europeans.
The Sefawa traditional rulers (Mais) of Kanem (now Bomo) embraced Islam about the end of the 11th century. Islam was then a religion of rulers and couriers. By the end of the 16th century when the kanern was transformed into a moslem state, Islamic schools and centres of learning had sprung up all over the area now known as Sokoto State. It was in that area that the religions revolution kindled by Shehu Usman Dan Fodio began. From northern Nigeria, Islam spread first into Northern Yorubaland, Buru, Yagba, Akoko and Afemai and then into other parts of the country. Missionaries from India and Pakistan played remarkable roles in the advancement of Islam in the south.
Today there are in Nigeria millions of moslems of various sects, chief among which are the Kidiriyya, Tijaniyya, lslamiyyah, Madhiyya and Ahmadiyya. No less than 50,000 Nigerian Moslems make the pilgrimage to Mecca annually.
Christianity was first brought to West Africa by Portuguese adventurers who began trading with the coastal tribes around the 15th century. But it was not effectively established in Nigeria until the 19th century when religious societies in England sent out missionaries to convert Africans.
In 1799, the Church Missionary Society (CMS) was founded as a missionary arm of the Church of England. Close on the heels of the Church Missionary society were the Church of Scotland Foreign Mission Committee and the United Presbyterian Mission.
With the abolition of slavery, religious bodies began taking increased interest in the conversion of Africans, but the high mortality among Europeans along the coast effectively tendered progress. Finally, Africans, particularly freed slaves from Sierra Leone, were trained as missionaries and they carried the heaviest burden of the work of the church.
Large numbers of freed slaves had migrated to the cities along the coast, especially to Lagos and Abeokuta. where Anglican and Methodist missionaries began work in 1842 and 1846 respectively. In Calabar, the Church of Scotland Mission arrived, in response to a request by the Efik King to Queen Victoria, "to bring book and make us sabi God as whitemen do".
Missionary stations had also been set up along the coasts on the eastern side of Niger, in the lgbo area, the C.M. S. had succeeded in penetrating the interior in 1857 when it opened the first missionary station in lgboland at Onitsha. Later, in 1885, the Roman Catholic Church also entered Onitsha.
Early attempts to bring Christianity to the northern part of Nigeria were unsuccessful because of the vastness of the area, the difficulty in finding an easy route for travelling missionaries and the existence of an already large and expanding number of practicing moslems who were hostile to the idea of spreading a new religion in their land.
In 1864, the Reverend Samuel Ajayi Crowther became the first Nigerian to be consecrated Bishop of the Niger Diocese. But he was beset with many problems, one of which was the hostility of the European clergy.
The controversy over English missionaries in the C.M.S, the succession by a European asBishop of the Niger Diocese after Crowther's death, and the determination of the C.M.S. to maintain an English episcopate which would effectively control its activities, resulted in a revolt among some African members of the Church which led to the establishment of African Church Movements.
Similar policies pursued by the Methodists and Baptist also resulted in a steady growth of dissident Africans who began moving out of the missions to establish the African Churches. The United African Methodist Church was formed in 1917 by a group of expelled Methodists who had been found guilty of polygamy.
It wass not until 1886, when the Royal Niger Company received its charter giving it control over the banks of the Niger and Benue that the extension of trade went forward hand in hand with the spread of Christianity. The Sudan Interior Mission (SIM) finally succeeded, after several attempts, in establishing a station at Pategi. Gradually, other missions followed suit.
The Nigerian Constitution guarantees freedom of worship and the right to hold and propagate any religious view. Paragraph II, Part II, Chapter I of the Nigeria Constitution (1989) stipulates that "the Government of the Federation or of a state shall not adopt any religion as state religion".
