Ethnic Traditions, Contemporary Nigerian Art and Group Identity

Abstract

Contemporary Nigerian artists like their counterparts in different parts of Africa have drawn some of their inspirations from traditional art and life and in so doing they have not only contributed to the creation of an amalgamated national identity, but also continue to give art tradition a lifeline. The creative and visual talents noticed among many Nigerians artists no doubt is an indication that they have responded to the dynamics of change and continuity within the frame-work of indigenous art and culture. Generally, but not exclusive, Igbo and Yoruba cultures are characterized by strong art traditions and a rich art vocabulary from which some contemporary artists drew from. Thus it is no surprise that it has enriched their creativity. As the artists draw from Igbo and Yoruba cultures for identity, there is continuity not a break with the past.

Among other things, this study focuses on the contemporary artists who study and adapt forms, decorative motifs and symbols taken from indigenous arts and craft of the Yoruba Ona and Igbo Uli for use in their works. The result of which have not only inspired them to congregate to form art groups, but made them masters in oil and acrylic painting, sculpture etc. This study observes and analyzes the works associated with the artists with a view to establishing the content of inculcating and adaptation of cultural elements, of theme, motif, patterns and folklores in their various works. The works produced by the artists make them distinct and unique in contemporary Nigerian art.

Traditional motifs incorporated directly into contemporary work of art contribute to its formal beauty, while also adding a dimension of historical and cultural depth. Traditional Uli art forms, one of the indigenous artistic traditions from which some contemporary artists have continuously derived inspiration for their art, is found among the Igbo of Southeastern. It is impossible to state when Uli is first began, but Udechukwu (1990) opines that some Uli motifs bear close resemblance to designs on Igbo-Ukwu bronze art objects discovered along with the remains of the priestly king of the Nri Hegemony. He further says that the radio carbon text for Igbo-Ukwu dates the site to between 9^th and 10^th Century AD. For Okeke (1977) it is possible that Uli originated as a result of the Igbo penchant to beautify the body and most importantly as a tribute paid to a deity within the context of annual festivals of rededication and thanksgiving centered on the said deity.

Uli is both the material and methods of design presentation using the human body or mud wall as canvas for painting. This therefore means that Uli refers to the style, the cosmetics associated with the style and the overall intricacy associated with the design known for its delightful aesthetic qualities. The juice for the body painting or decoration is derived from a variety of shrubs and small plants. The crushed fleshy seeds of their pods produced a liquid that is traced into the skin with a small knife or wood. Also the materials used for wall painting include earth and vegetable pigments.

In the traditional culture of the Igbo, Uli art according to Willis (1986) was an art of the women folk. The motifs and symbols or patterns employed in Uli body and wall decoration were derived from different aspects of the people environment and world view. Some Uli were abstract with zigzag patterns and concentric circles, while others stood for house hold objects such as bowls, stools, pots, farm tools etc. Many represented animals and birds such as python, lizard, leopard, alligator, lion, monkey, eagle, owl, and kite, etc. or celestial bodies, the crescent moon and star. Still others signified certain activities and movements such as cutting and slicing. Although some Uli designs may carry a symbolic or metaphorical connotations, Udechukwu (1990) is of the view that one must not lose sight of the fact that for the Uli artists themselves, the decorative aspect seems to be most highly valued.

It is pertinent to note that traditional Uli was employed in many social situations, such as title taking, marriages, memorial services for the dead, harvest rites and ritual performances. This perhaps is the reason why Ottenberg (1997:8) says that Uli designs which commonly appeared on the faces, arms, legs and body of females, from girls to senior women and occasionally on the males, as well as the presence of Uli murals on houses and compound walls of Igbo living areas suggest human sociability. In essence Uli designs tends to have expressed social relationship which made it gain popularity among the Igbo.

On the other hand Ona has also played a great role in the works of some of the contemporary artists herein studied. Ona is a Yoruba word that has a wide application. Adeyanju (1990:92) says that Ona refers to decoration, pattern, ornament, embellishment, design composition, form, plan and motif. Okediji (1989) explains the use of Ona for embellishment of traditional sculpture in wood. Such examples are found on decorations on Opon ifa (Ifa Divination tray) Osa Sango (Sango Axe) Opo (house posts) doors and window carvings. Ona is also applicable to metal sculpture. Ona is also noticeable in traditional Yoruba pottery. In this case, the pots meant for domestic and ritual purposes often have elaborate Ona embellishments. The Sango ritual pots in particular have decorations or patterns arranged around the surface. Ona is also applicable to textile design. The people of Ogbomosho, Iseyin and Ilorin known for the weaving of Aso-Oke on the narrow loom usually incorporate variety of geometric effects and patterns which art connoisseurs refer to as Ona (Adeyanju Joel, 1990:92).

The Yoruba, generally, like adornment for their body. From Newman’s (1974:73) observation, they also have the urge to beautify their homes with patterns. Their functional implements and tools such as domestic bowls, pots and ladles are not left out as they are often decorated with geometric patterns derived from Ona.

The sources by which traditional Yoruba artists derived the Ona motifs or pattern are from nature, animals, birds, man-made objects, insects, plants and dreams. Certain names have also been given to the various geometric and non geometric elements. Some of the names include Onikikan-hexagonal or diamond shape, Onilawiniwi-intricate lines. Eletu-cross hatched, Ade oba-chief’s town, Irukure-at the lower end. Elegun eja elege-fish bone, Iru aku-rats tails, Ojueyele-pigeon eye, Alaayan- cockroach and Alapere- basketry. Some of these motifs such as Alapere- basket design, Alaayan-cockroach, Onikikan-diamond shape and the intricately carved lines called Onilawiniwini as earlier mentioned were mostly used for decorating the frame of carved doors, panels and figures (Fagg and Penbinton, 1982:147).

It is interesting to note here that it seems that traditionally, names derived from Ona are given to people in remembrance of the ancestral family occupation. The Yoruba names closely related to the word Ona include “Onabolu meaning design from the creator and Olonade the arrival of the design. Igbo and Yoruba cultures are characterized by strong art traditions and rich art vocabulary. Their influence on contemporary Nigerian artists and the use to which they have been put to project group identity is the focus of this paper.