Journal of Social andJournal Environmental of Social Sciencesand Environmental (JOSES) 1(1) Sciences June 2019: 1(1), 27-34. June 2019 27

Adapng Tiv, Fulani and Tamil Mofs to Forge Inter-ethnic Coexistence through Mixed Media Painngs

1Egharevba, S. V., 2Ayi, O. and 3Ajibade, B.

1,2&3 Department of Visual Arts and Technology, Cross River University of Technology, Calabar

Corresponding author: [email protected]

ABSTRACT In today’s there are flash-points of violence, as people try to negoate their own posi- ons. The most murderous is the Fulani herdsmen and farmer conflict in Tiv lands, which has resulted in the killing of thousands of people. This violence is somewhat based on perceived differences between the Fulani and Tiv cultures, which enables the aggressor to slaughter vic- ms so callously. But sociees as seemingly diverse apart as the Fulani and Tiv, are actually more similar than is assumed. This is evident in their cultural mofs and visual symbols used in both sociees. This paper sought to produce mixed media painngs using Tiv, Fulani and Tamil cultural mofs, combined with social idioms taken from the experiences of Nigeria and Sri Lanka. The movaon is derived from the need to use art to forge inter-ethnic coexistence and warn the Nigerian society from driing to the chaoc past of Sri Lanka, from which many have sll not recovered.

KEYWORDS: Adapng, Tiv, Fulani, Tamil, mofs, violence, painng.

Introducon are used decoravely, psychologically and aesthecal- Cultures are developed in human sociees from the ly, to represent paerns that may be visual, behaviour- rich blend of experiences gathered over me. These al, and sensory. Since these cultural nuances of mean- experiences have religious, mythical and social dimen- ing-making may be shared, it therefore means that sions that help make meaning of the world and envi- there is a potenal not just for cross-cultural interac- ronment around people. Besides the materiality of the ons and meaning sharing, but more precisely, for inte- environment itself and the stellar system, the immate- graon as well when effecvely ulised in cultural pro- riality of the broader transcendental world, which in- ducon and consumpon. Born in Sri-Lanka, one of the cludes belief systems that unify the aerlife with the authors is Tamil, brought up in Nigeria’s , here and now, are intricate parts of the meaning creat- while others are Nigerian, born and living in the coun- ed in human sociees. In sociees as seemingly diverse try. All pracce painng, using their own subjecve, apart as Africa and Asia, Nigeria and Sri Lanka, the cumulave experiences, including the appropriaon of aforemenoned processes of meaning making can be new media and technologies in their art forms. so readily witnessed in the daily life of cizens, as they While technological advancements are changing negoate life’s certaines and uncertaines, using the way life is lived today, it is also making new media symbols, verbal and nonverbal sign systems, including and techniques of applicaon available to arsts. For cultural artefacts. Being products of sociees and cul- instance, contemporary arsts have the advantage of tural experiences, artefacts such as visual arts are prod- today’s technology which produces synthec materials, ucts of these processes, embellished with inherent mo- as an addion to natural ones. These new synthec fs and symbols that convey shared meaning within a media are inexpensive, fast drying, unchanged in dried parcular society, or generalised generic interpreta- value, can adhere to a wider variety of surfaces, and ons understood by mulple cultures. The tendency, with a permanency unmatched by tradional media according to Dorian (1997) is that mofs and symbols (Jensen 2005). Also, today, there are newspapers, mag- 28 Egharevba, Ayi & Ajibade: Adapting Tiv, Fulani and Tamil Motifs ... azines, posters, handbills on the one hand, and Person- many have sll not recovered. al Computers (PCs), television and handhelds, on the other, that all funcon in communicaon processes. Tamil and Tiv Parallels in Violent Experiences While old issues of newspaper are being discarded, The Tamil are an ethnic group from South Asia, with a electronic gadgets end their life circles in trash cans total populaon of about 74 million in the world. Of and unmanaged heaps of waste around the city envi- this number, 63 million live in India, 3.6 million in Sri ronments. In Nigeria (as in many third world econo- Lanka, 1.5million in Malaysia and 250,000 in Singapore mies), poor waste management leading to indiscrimi- (Gordon 2005). Just like Nigeria was, Sri-Lanka was also nate appropriaon of space and land for dumping, is a colonized by the Brish Empire (Nadarajan 1999). As major contemporary problem in all villages, towns and the south, east, west and north of Nigeria were amal- cies. gamated into one country in Nigeria, the Brish also Another contemporary problem bothering on in- amalgamated Tamil lands, with most of the populaon discriminate appropriaon of land in contemporary in Sri-Lanka and others spread in neighbouring coun- Nigeria is the ongoing murders of hundreds of Nigeri- tries, including India (Manogaran 1991). Again, like it ans by so-called Fulani herdsmen, who wish to graze was in Nigeria before the Civil War, there was dissas- their cale on lands used as farms by host Tiv commu- facon among the Tamil in respect of constuonal nies. These murders happen mainly at nights, when rights by the Sri-Lankan government in the 1970s. By vicms are most vulnerable, and security forces are out the 1980s, the demand culminated in a full scale Civil of hand. As a Tamil, one of the authors has direct expe- War between the Tamil people and the government of rience of the 26 year Sri-Lankan civil war, which ended Sri-Lanka. The ethnic Sinhalese-dominated government in 2009, when the Liberaon Tigers of Eelam were de- of Sri-Lanka, hiding under the cloak of the war, em- feated. Till today, the scars of the war have not yet barked on a massive blockade of the northern and healed among the people (Candela and Aldama 2016). eastern Sri-Lanka, homeland of the Tamil, carrying out Seeing the ongoing killings in Nigeria today, the memo- a systemac ethnic cleansing. Over two decades (1983- ries of the Sri Lankan experience makes it expedient to 2008), Sri- Lanka witnessed a bloody civil war that sound a visual arsc warning using contemporary claimed over 65,000 lives and internally displaced over materials synthesized from the two cultures. This kind a third of the Tamil speaking people. Within this peri- of synthesis is an interacve communality, which is od, a quarter of all Tamil people migrated to other what Isiguzo (1991) suggests that African cultures sus- parts of the world (Rajesh 2006, Velupillai 2018). In tain today. Therefore, this paper seeks to produce actual fact the Sri-Lankan/Tamil war is why one of this mixed media painngs using Tiv, Fulani and Tamil cul- paper’s author migrated and integrated in Nigeria. The tural mofs, combined with social idioms taken from war officially ended in 2009, but the devastaon the experiences of Nigeria and Sri Lanka. The mova- caused by the bloodshed is sll present in the forms of on is derived from the need to use art to forge inter- displacement, insecurity, physical and economic scars, ethnic coexistence and warn the Nigerian society from which oen result in poor mental health (Arunalake driing to the chaoc past of Sri Lanka, from which 2001).

Fig. 1: The Map of Sri-Lanka Source: hp://www.worldatlas.com/webimage/countrys/asia/lk.htm Journal of Social and Environmental Sciences 1(1), June 2019 29

Fulani are a nomadic people Over the passing years, this fricon has led to severe violence and confronta- ons in which thousands may have lost their lives (The Punch 2017, Gever and Essien 2017). Between Febru- ary 2013 and January 2, 2018 there have been no less than 47 aacks in Tiv communies (African Herald Ex- press 2018). Unaddressed by successive governments, the conflict has been on for more than 2 decades and there are serious concerns that religion factors in the bloodshed, which is turning out like a war (Adamu and Ben 2017). At once, it becomes clear that the Tamil and the Tiv peoples have violence as a historical commonality. However, while the Tamil violence was mismanaged and escalated into a debilitang civil war, the Tiv expe- Fig. 2: The Map of Nigeria indicang Benue State, the major rience is sll ongoing and salvageable, if authories will site of bloodleng do the right thing and social actors will exercise re- straints. Inasmuch as the murders are happening on Tiv soil, the faceless Fulani herdsmen are the aggressors. To prevent an escalaon into war, there is a dire need to forge inter-ethnic coexistence to prevent a total Of Nigeria’s many ethnic groups, the Tiv are about 7 breakdown of order, and spill-over into other parts of million in Nigeria (and a few in ). In Nigeria, Nigeria. While polics has its role in direcng naon the Tiv language is spoken by people in Benue, Taraba building, the media and the arts also have agenda- and Nasarawa States, that is, the north central Nigeria seng funcons in society. This study, as part of the ( 2018, Weor 2005). However, the geograph- discourse for social change and agenda seng in Nige- ical locaon of the Tiv has tended to place them in di- ria, is contribung to the naonal queson by using rect confrontaon with the nomadic Fulani, who herd mofs and social materials from Tamil, Tiv and Fulani cale through the region. The Fulani are a nomadic, cultures to make mixed-media painngs to address the pastoral people whose grazing pracces are a problem rising violence between herdsmen and farmers in Tiv to (Ibrahim 1966). Numbering about 50 million, they land. migrated from North Africa to Futa Jalon in large num- bers in the 1600s, from where they had their first Jihad Materials and Methods and spread to other parts of Africa, including Nigeria. In It is important to note that arsts have produced Nigeria they were herdsmen living in communies, works that combine mulcultural materials. One such where Fulani leaders were installed in most of the Hau- arst is Ponniah Visagapperumal, a Sri-Lankan who sa City states. Katsina and Kano had the largest concen- migrated to Nigeria and pracced his art. His The Last traon of Fulani (Fani-Kayode 2018). Uthman Dan Night (2009), inspired by Leonardo da Vinci and Michel- Fodio’s Jihad pushed southward, it replaced the Hausa angelo Buonarro, is an expression of a cultural synthe- kings in most of northern Nigeria with Fulani aristocrats sis in which the arst is influenced by different cultures within a feudal system that tended to subjugate indige- and techniques. Modern African art also explores the nous peoples. It is this historical Fulani antecedent of adopon of ecleccism (Drewal 1984). In terms of mo- subjugang sociees by first coming as cale herders fs, Tiv art almost enrely uses natural elements like and integrang with the communies that make Nige- lizards, swallows, drinking gourds and calabash as body rian people resistant to the idea of herdsmen in their scarificaon markings that have serious cultural signifi- lands. As Fani-Kayode puts it, herdsmen are the foot cance and are used in design and painng styles. In Tiv soldiers of the Fulani Empire. To the people of south- art, angles represent the forces of individuality, mascu- ern Nigeria, today’s events where supposed herdsmen linity and disconnuity modes of being and becoming, sack and slaughter whole villages to graze their cale in which are potenally evil. It is the fricon and tension Tiv land bears an uncanny resemblance to the method between the circles and angles that generate energy, used to pillage and own northern territorie, in the dynamics and life (Keil 1979, Okogwu 2008). Tamil art aermaths of Dan-Fodio’s Jihad. is inseparable from religion, revolving around Hindu- The Tiv being predominantly farmers, Fulani cale ism, using elements and basic shapes to represent uni- oen graze on farms, reducing harvests and resulng in versal, humanisc themes (Coomaraswamy 1987, Na- severely dwindled incomes and food supply. This has tarajan 1999, Ascher 2002, Sukkran 2011). Mofs were resulted in several conflicts between Tiv farming com- also got from the calabash, which is the most prolific munies and Fulani herdsmen (The Punch 2018). The Fulani art form (Werness 2000) Tamil, Tiv and Fulani 30 Egharevba, Ayi & Ajibade: Adapting Tiv, Fulani and Tamil Motifs ... cultural mofs and symbols were isolated, sketched, shown in Table 1. In the end, the painngs produced tabulated (See Table 1) and used in producing mixed were mixed media painngs that are a synthesis of media painngs. Besides the cultural mofs, the mate- ideas, techniques, themes and pictorial elements from rials used in this study include acrylic paint, transparent Sri-Lankan and Nigerian cultures. Perspex [Poly(methyl methacrylate)], formica, ply- wood, ropes, paper, sand-paper, glue, reflecve pa- Results and Discussion pers, quilling papers, beads, buons and calabashes. Inspired by the imborivungu pipe, A Search for Ferlity Since perspex is not available in all colours in Nige- (Fig. 3) was executed on a vercal canvas. As with all ria, transparent sheets were painted in the desired peoples, ferlity – of the land, livestock and humans – colours, cut to shapes and the edges were smoothened is an important aspect of Tiv, Fulani and Tamil socie- with sandpaper. The surface of the calabashes and pots es. The imborivungu is an important Tiv ferlity object were treated with white glue and emulsion paint to used in performing rites. Ferlity lies at the very centre enable them take colour. Glue was then used to assem- of Tiv life, which plays out in Benue State being called ble the various cut-out pieces of materials according to the “food basket of the naon”. In Tamil society, ferli- sketches dealing with violence and peaceful coexist- ty also plays an important role as well, though not in ence. The designs and cut-outs, including embellish- the same fervour. In a generalized sense, circles sug- ments detail Tiv, Fulani and Tamil pictorial elements gest womanhood as a source of connuity of the hu-

Table 1: Some Tiv, Fulani and Tamil Mofs used in the Study TIV FULANI TAMIL

Hwange: parallel lines scratched at the neck of Bilva : The bael tree, fruit, Spherical intertwined motifs pottery. flowers and leaves

Kiav I Civin dots and holes artefacts Intertwined motifs Chandra-Surya : Sun-moon

Hyulugh : spirals Calabash Design Chakra : "wheel", the circle of time

Dharma: wheel with eight spokes, Facial marks Facial marks representing enlightenment.

Journal of Social and Environmental Sciences 1(1), June 2019 31 man life (Gbaden 1999), and all its sensuous and eroc extensions are inherent in a woman’s curvy body. In the Tiv cosmos, the circle (Igbiri) represents the sun ‘oo’, the connuity of life. The circle is also the basic shape of the Fulani calabash. It is used by women for milking and selling dairy products. And, just as the cala- bash is used to contain food and other vital materials, the sun is also a sort of natural calabash that contains energy, which supplies all the earth with light and heat. On the blue secons in the painng are lines crisscross- ing in orders similar to the lines on the calabash and intertwined mofs of the Fulani, and the hwange of the Tiv. However, the Fulani lines crisscrossing the blue secons in the background are in no parcular order, which represents the unplanned and hazardous ways cale is herded on Tiv lands. To the top le and boom right of the painng, there are two human figures. The one on the le is slimmer and much taller than the shorter one at the lower side. The slim figure repre- sents the Fulani herders, who are usually slim and tall. The shorter figure, rendered in red represents the Tiv who are losing their lands, farms and lives to the con- flict. Again, we find the lines in the Fulani calabash dec- orang the backgrounds in that area. This underlay of mofs suggest that there are Fulani acvies around the area, which are inimical to peace and the survival of the landowners. Similar to the Tiv world view, the circle in Tamil tradion represents a connuity of life, the sun-moon. Using these parallels in the Tiv and Tam- il cultures, the painng speaks volumes about seeking Fig. 3: A Search for Ferlity (2010) “ferlity” out of the “inferlity” of violence currently Mixed media with Perspex ropes and acrylics being seen in Tiv land. The sun is strategically placed at Size: 87cm x 124cm the centre to illuminate the minds of social actors and make them rethink their own roles in the conflict. In general, the painng calls aenon to the need to plan and enforce global best pracces in cale husbandry. Seasons of Ferlity (Fig 4) describes seasons of the year when Tamil and Tiv people travel back to their communies to parcipate in celebraons. It is usually a period of family re-union that children, adults and old people of the communies look forward to. This painng represents the climax in one such fesval. The different shades of red and yellow, and their nuances, were used to represent the energy and joy people ex- perience at such celebraons. This painng has a domi- nance of reds, with a sprinkle of yellow and blue, cre- ang a colour harmony that is warm. Acrylic colours, which gave brilliancy and transparency to the pictorial mofs, were used. The red superstructure of the painng’s visual represents violence and unfriendly acvies. In the background of the red there are sever- al linear designs drawn from the Fulani mofs in Table 1. In actual fact, it almost seems as if the spherical in- tertwined mof of the Fulani (in Table 1) is reproduced in the red background of the painng’s top right side. Fig. 4: Seasons of Fesvity (2010) Furthermore, the whole of the painng is embellished Mixed media with Perspex, with the facial marks and designs common to both the Size: 83cm x 98cm 32 Egharevba, Ayi & Ajibade: Adapting Tiv, Fulani and Tamil Motifs ...

Fulani and Tiv (Kiav dots) peoples, and also has a simi- larity to Tamil Rangoli designs. The major characteris- cs of the painng come with the deliberate use of the white ropes in zigzag and organic movements to repre- sent grazing routes tradionally traversed by the herds- men. The circles and dots, which are prominent fea- tures of Tamil, Fulani and Tiv cultures, were employed here to represent the cale, as they are herded along, bringing destrucon to anything green planted on the way. The line-up of different sizes of circles in the mid- dle of the painng add to the diagonal movement with- in the visual field, and further highlights the fact that spaces could be secluded as ranches for cale to be raised, without destroying the livelihoods of Tiv farm- ing communies. My Treasure, My Passion (Fig 5) is an acrylic mixed media painng in yellow, ochre, sienna and umber. It illustrates the passion with which both Tiv and Fulani herdsmen further their economic acvies. The Fulani, on the one hand are very passionate about their cale and will protect the animals with everything they have. On the other hand also, the Tiv are no less passionate

Fig. 6: Cross -Culture () Mixed- media with perspex Size: 83cm x 98cm

about their own farmlands and agricultural produce. In the painng, one sees a stern-looking individual tower- ing above all else, subjugang everything. In the brown background to his right are a rich profusion of Fulani intertwined designs. On his body are Tiv hwange run- ning through and texturing it. There are dots almost forming a hallo around the figure. These dots are simi- lar to the ones common to Tamil, Tiv and Fulani mofs seen in Table 1. Around the le half of the figure’s head are Tamil bilva paerns, supported by dots. There is a thick wavy line weaving from the back- ground, top-right, over the individual’s head and back to the boom of the background again. This dense black line signifies the mortal connecon between the farmers, herders and the environment. It also indicates the interconnectedness between all people and the environment. In that sense, everyone is equal, every- one’s life is connected to another because, as the painng shows, we share common paerns that run through the background of the painng and our lives also. Cross -Culture (Fig 6) is a mixed media painng using pictorial mofs of Tamil, Tiv and Fulani origin. Again, the sun “oo man iyo” of the Tiv and “suriyan” among the Tamil forms the centre of aracon in this Fig. 5: My Treasure, My Passion (2011) painng. The sun dial at the centre le dominates the Mixed media with calabash painng while, behind it, we see a thick column of dark Size: 53cm x124cm, Journal of Social and Environmental Sciences 1(1), June 2019 33 colour, represenng black smoke going skywards. But ests and grass lands. Today, however, virtually all land this smoke is one that oozes out of crises and war, rep- is owned and there are no more fallow lands to be ap- resented by the darkness under the sun, at the boom propriated for open grazing. The former cale routes le side of the painng. Extending from the top-right to of old can no longer exist because mes have changed boom-right of the painng, there is a column with 5 and development has overtaken open grazing. In to- equal sized circles. Each circle represents both the Fula- day’s world, ranching is the pracce and no society ni calabash and intertwined mofs. The 5 calabashes allows open grazing, for obvious reasons. In ranches, are neatly packed together, leaving space for other the space is fenced, the animals stay within and veteri- visual mofs in the painng. The neat parking of these nary services are provided, as well as food and water. circles represents the fact that it is possible for the Fu- With this, the cale are no longer problems to the soci- lani herdsmen to herd and move their cale without ety and clashes are avoided between grazers and land- disturbing the Tiv and their farmland. In other words, owners. as the 5 circles have been well managed within the However, the most vital challenge so far is not the space, it is also possible for the Fulani herdsmen to Tiv or the Fulani. It is government keeping silent and manage their herding without displacing the Tiv. There not being decisive in the context of the many killings. are indisnct figures hidden in the darkness under the Rather than call it “murder”, government insists on sun. These figures represent those in society that spon- calling it “herdsmen-farmer conflict” – a term that sor and benefit from crises and bloodshed. At the hori- downplays the genocidal proporon of events. But this zontal middle of that darkness, one finds vercal method merely makes everything worse and, soon paerns of red, which represent the wounded, maimed enough, all hell will break lose and full scale war will be and slain vicms of the crises. Surrounding the sun is a unavoidable. This was the scenario in Sri-Lanka before circle of red, which suggests our common humanity. the war, when authories took issues lightly, unl it And, the black dots spread evenly within the red circle exploded. In order for Nigeria not to witness an explo- are all peoples, whose desnies are conguous in the sion into warfare, it is important for all pares to take circle of life. The rays of the sun are also outlined by responsibility and perform their roles. Just as the Fulani the dots common to all three cultures. This is most herdsmen are able to appropriate the culture and sym- symbolic. For, it is the same sun that gives us energy bols of their host communies, they need urgently ap- without minding where we are from. Thus, all human propriate the contemporary method of ranching. Gov- acvies are not only similar but conguous in every ernment needs to enforce this, as the only viable op- society. That being the case, it is vital that we treat on. For this, loans need be available for people in the others with respect and regard for peaceful coexist- cale business and lands need be acquired (rented, ence at all mes. leased or bought) and facilies like fences, water and feed supply. Ranching will also open up business op- Conclusion portunies for veterinary doctors and feed farmers/ From the painngs themselves, and the discussions of producers to supply the ranches. Owing to the endless the social and underlying cultural mofs creaon, it is bloodshed on the one hand, and the global ranching clear that the Tamil, Tiv and Fulani have much in com- ideal on the other, there are no doubts at all about mon. In that sense, Adepegba (1986) menons that what Nigeria needs to do to arrest the situaon. At this the Fulani are not just inerant, but that they appropri- point, stakeholders need to remember that, while their ate symbols and cultural elements of their host com- cultures may seem to be different, there are evident munies. It may well be that many of the similaries unies beneath the superficial layer of difference. From visible in both cultures may have been picked along the the painngs and the analyses of cultural mofs, the way by the inerant Fulani. Whichever the case, it is complexity and connecvity of Tiv and Fulani cultures is important to realise that each culture needs to live and glaring enough as to make them one large people. let the other live also. For, the differences we perceive There is simply no reason for ethnic animosity because in human sociees are more superficial that real. There we share more that we think, and, we are beer as a is no doubt at all that the Fulani herdsmen need to united people. Inter-ethnic coexistence is vital now, herd their cale. But the Tiv farmers also need to farm more than ever before, to prevent Nigeria from driing their produce. In the end neither the Fulani cale nor to the chaoc past of Sri Lanka, from which millions the Tiv farm produce is more important than the other. have sll not recovered. They are both important and very complementary to themselves. Another main issue of concern in the painngs is that it is not a sustainable model for the herdsmen to insist on grazing their cale on Tiv lands and farms. The grazing style of animal husbandry may have worked in precolonial and colonial mes, when populaon was low and there was a lot of fallow for- 34 Egharevba, Ayi & Ajibade: Adapting Tiv, Fulani and Tamil Motifs ...

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