THE RELEVANCE, SIGNIFICANCE AND ABUSE OF OUTDOOR SCULPTURES IN ,

Sunday James, Ph.D Department of Creative Arts and Tourism, Email: [email protected], Faculty of Humanities, Management and Social Sciences, Kwara State University, Sheriff Ojetunde Malete-Ilorin, Nigeria. Email: [email protected] [email protected] +2348034095246

Abstract Art Education goes beyond the teaching and learning of Art as a subject within the four walls of the classroom. Its scope includes the study of outdoor events, monumental objects, museums and educational visits, among others. This is the thrust of this paper. The paper examines the issue of outdoor sculptures in Lagos, Nigeria with a view to discuss their relevance to the host community. The objectives of the study is to discuss the significance and relevance of outdoor sculptures in Lagos, state few reasons for siting them at various locations, as well as discuss a few ways in which these sculptures are abused. Photographs of major figures are included in the paper to draw readers' attention to situation as regards production, sitting and maintenance of these sculptures. Methodology adopted in the study includes personal visits, exploration, literature review and observation of political trends in the city of Lagos. The major findings of the study is that outdoor sculptures in Lagos reflect the philosophy, lifestyle, occupation, belief system of the people of Lagos as well as serving as means of adornment as reflected in the series of new sculptures commissioned by the administration of Governor Akinwumi Ambode between 2015 and 2019. Other findings are also listed in the paper. It is hoped that the findings of this study will be useful to art historians, National Commission for Museums and Monuments and relevant stakeholders in the field of Art. It is the view of the author that outdoor sculptures are of great importance to development of cities in spite of the environmental hazards they may cause if not properly maintained.

Key words: Outdoor sculptures, categorization, relief, form in the round, armature

Introduction The role of artistic objects in urban development cannot be overemphasized. This is because adornment and monumental objects play major role in enhancing the physical outlook of major cities around the world. Chapman quoted in Awogbade (2012) listed three major aims of Art Education as; to encourage personal fulfillment by helping children to respond to their immediate world and express its significance to them in visual forms; learn that which is related to cultural endeavours of the past and present through studies of the artistic heritage; and begin to appreciate art as a way of encountering life by studying the role of Art in society. This paper attempts to look at the situation of selected sculptural figures in Lagos as a way to educate the would-be-readers on the role artistic objects play in city development. Across ages, monuments and memorials have been present in public spaces, emphasizing the centrality of important sacral and secular places. However, the public sculptures primarily serve representative and propagating goals. Quoting Christian Norberg-Schultz (1999) Januchta-Szostak (2010) remarks that the purpose of a piece of art is to retain and convey existential meanings while human, through perception and understanding the symbols, exposes themselves to an act of identification which consequently gives some meaning to their individual existence. He also emphasizes that the meaning revealed by art in a particular place also determines the character of the place. Like other mega-cities of the world, Lagos is adorned with numerous sculptural figures. These

38 figures do not only serve as aesthetic objects but symbolize a number of historical developments in the country; thus enabling the city competes with similar cities in the world. Oladugbagbe (2016) notes that effect of modern technology and adventure into inventions have made the human race more concerned with the environment, positively or otherwise and consciously or unconsciously. Similarly, Januchta-Szostak (2010) compares people living in urban cities to rats in a maze who need a lot of recognition to get acquainted with the environment they have been forced to live in. The author stresses this referring to E. C. Tolman's experiments on the behaviour of rats in mazes, performed in the 1940s, proved that both man and animals create a tentative, mental map to recognize and learn environmental relationship.

The city of Lagos; being a commercial nerve-center of Nigeria, former capital of the country and a place where people with different cultural background converge, cannot but also grow with some artistic installations; which in most cases are sculptural monuments. However, the city is characterized by fast growing population, a lot of chaotic situations, partial lack of town and environmental planning and massive abuse of the environment; physical and human. Like most other urban cities of the world, outdoor sculptures in Lagos are sited in conspicuous places such as parks (amusement/recreation gardens), sports centers, institutions, places of worship and in most cases, at road junctions and round-about, thus making them visible. The sitting of most of the figures in road junctions is traceable to the importance of such road junction to the people who live around such places, a meeting point of people from different areas, people and spirits; as offerings are offered to the spirits there, and also, as a meeting point of pedestrians and other road users. The relevance of such figures cannot be over-emphasized; especially in the artistic, social, economic, political, cultural and historical life of the people of Lagos.

Observers of these sculptural pieces create mental pictures through series of views they perceive as they move around the city. This was the legible street network connected by nodes of squares, marking out formally important places that facilitated the 'way finding' (Lynch, 1960 as cited in Januchta-Szostak, 2010). Literature is replete on the issue of outdoor sculpture in major cities of Nigeria; Folarin, 1989, Adepegba, 1995, Ikpakronyi, 1997, Adewolo, 1999, Akintounde, 2009 and so on. Similarly, Akintonde (2013) made an overview of outdoor sculpture in public places in the Southwestern part of Nigeria between 1900 and 2005 in an attempt to set them in chronological order, identify some historical problems, forms, style and themes of the sculpture; the media and techniques of production. The author (ibid) noted that there has been concerted effort toward critical appraisal of the manner of outdoor sculpture practice from any front as it is done in advanced countries. Laws guiding commission, production, erection and maintenance of outdoor sculpture are not enforced, thus, the audience are usually embarrassed with substandard work and then abuse the sculptures. This has generated a number of attitudes among the audience who forcefully remove or destroy them. All these authors have discussed the issue of outdoor sculpture extensive by focusing on certain geographical location within Nigeria but none of them have categorized outdoor sculptures in Lagos according to relevance and cultural significance. This is the main thrust of this paper.

Objectives of the Study This paper attempts to: (i) discuss the significance and relevance of outdoor sculptures in . (Ii)highlight and discuss few reasons for siting selected outdoor sculptures in their locations. Method This study adopts the following methodological approach for data collection and discussion; Personal visits to sites, literature review and observation of major political trends in the country with Lagos as a case study.

39 Significance and Relevance of Outdoor Sculptures in Lagos City a. Sculptures for Monumental Purpose Most of the figures found in Lagos are monuments done and sited to keep memory of people, events or history alive; examples include: /ARO META'

Aro Meta (Idejo Chiefs) Formally - Toll Gate by Biodun Sodehinde, 1993.

This figure is now located at the entrance to the city (formally at the Toll Gate) but now moved forward as a result of rapid expansion of the city; is presented as depicting the traditional hospitality of the people of Lagos. The monument is constituted of three human figures (Idejo Chiefs) dressed in white robes (that signifies peace) extending their hands to suggest the traditional welcome greeting. At the base of on which the figures stand are environmental icons such as sun, symbols, palms, canoes/boats,, people, fishes in water and Eyo mask dancers; all characteristic of Lagos city. This monument was unveiled by Col. Raji Rasaki in 1991 and it presents Lagos as a place where every visitor is welcome to enjoy the peaceful and exotic natural life. The hands of welcome that are extended to every visitor means that even urchins/rogues are welcome to the discomfort of the city inhabitants. The city also welcomes more people than it can accommodate and cater for as noticed in most busy streets of the city.

After Lagos has welcomed the numerous people in search of the city's money along with the individuals in searching of good life with good intentions, the city turns back to sweep away unwanted guests through the constitution of the various anti-crime squads such as Operation Sweep, Rapid Response Squad, War Against Indiscipline/Kick Against Indiscipline (WAI/KAI) Brigades and so on by the government. Hospitality, which is qualified as being traditional in Lagos, becomes an indescribable term as its meaning has been interpreted differently. At times, what is provided as hospitality turns out to be a trap for exploitation of unwary visitors. The rendering of the concept meaningless implies that in the welcome sign on the monument, there is a silence on the characters of Lagos which is important in the reading and interpretation of the monument. The verbal anchorage 'Welcome to Lagos' privileges one of such interpretations since on the other hand, the outstretched hand of welcome shows a clenched fists of violent encounter with the police and thriving area boys. The different signs on the figure also signify warnings to anyone coming into Lagos about the danger inherent in being too fast of slow in their struggle for survival as portrayed by a popular Fuji musician; Akande Abass popularly known as 'Obesere'. Other subsidiary signs such as sunshine, palms, canoe/boat, people, fishes in water and Eyo mask dancers narrate the natural and cultural capacities of Lagos.

40 Statue at Idumota: Down-town at Idumota lies a monument of Eyo masquerade. The figure; though sited in a busy market square, making difficult for people to notice it, a text at its base of informs visitors that Eyo is a cultural display of the people of . This masquerade; also referred to as 'Adamu Orisa' is a day's festival staged for the final burial obsequies of an Oba or high Chief in Lagos; in memory of a deceased person who has contributed to the progress and development of Lagos or on other special occasions. The play takes place only in the streets of Lagos and does not extend beyond its boundaries and it ends at 7:30PM.

Eyo Statue at Idumota-Artist Unknown, 1987.

41 Statue of Chief M. K. O. Abiola at M.K.O Abiola Garden, Ojota Area by Olurotimi Ajayi in 2018

The Cenotaph of Late Kudirat Abiola by Kenny Adams - Seven-Up junction, 2004.

42 Statue of Chief Obafemi Awolowo by Hamza Atta LTV Junction, Allen Avenue, 2017.

Obafemi Awolowo was a prominent politician who attempted to become the president of this country by contesting an election under the Unity Party of Nigeria in 1979 and 1983 with Alhaji Shehu Shagari. The sculptor presented the hero and nationalist in his flowing gown (Agbada- a native dress of the Yoruba), his popular eye glasses with one hand raised with two fingers forming a U-shape; a sign of victory used by the party during the election. This figure also represents a political history of this country.

· Statue of Late The figure situated in front of CSS Bookshop, CMS produced by G. Cappa in 1973 and another by Tolu Filani in 1986 located at Sabo-Yaba, Lagos also depicts a national hero who also contributed towards Nigeria's independence. The figure shows the nationalist and hero in his suit dress installed on a pedestal.

43 Figure 1: Statue of Herbert Macaulay by G. Cappa located at CMS, Lagos. Photograph taken by Sheriff Ojetunde – November, 2019.

Figure 2: Statue of Herbert Macaulay by Tolu Filani located at Sabo-Yaba, Lagos. Photograph taken by Sheriff Ojetunde – November, 2019.

· Sango Statue Found at the Headquarters Power Holding Company of Nigeria (PHCN) formerly known as National Electric Power Authority, Marina, Lagos was used as a symbol of the organization. Sango is a legendary ruler in old Oyo Empire in Yoruba land; that was believed to have commanded thunder from heaven and spitting fire while angry. He eventually became a deity to his subjects who feared and worship him. This figure, produced by a renowned Nigerian sculptor; Ben Enwuonwu in 1964 is a monumental sculpture depicting an important historical event in Nigeria. PHCN adopted the symbol as a way of linking the past with the future and portraying the natural power of thunder; relating it to the currents in electricity.

44 Figure 3: Sango, by Ben Enwuonwu - PHCN Headquarters, Marina, Lagos. Photograph taken by Sheriff Ojetunde – November, 2019.

· The Drummer The statue by Ben Enwuonwu that can be found on NITEL building at Marina, Lagos. This figure represents an important means of communication used in the ancient times in Nigeria. NITEL; a communication organization in Nigeria adopted this symbol as its logo, perhaps as a way of linking the past with the present. The figure made in fibre glass is installed on the wall of NITEL main building. · Anyanwu This sculpture, also produced by Ben Enwuonwu depicts a deity (sun goddess) in the Eastern part of Nigeria. It was produced having a mixed form-partly human and partly animal. The figure is installed unto the building of the National Museum, Onikan, Lagos. It is also a symbol of historical development in the life of the country.

Figure 4: Anyanwu by Ben Enwuowu - Onikan Museum, Lagos. Photograph taken by Sheriff Ojetunde, November, 2019.

45 · Bust of Samuel Okwaraji This is a life-size bust of a Nigerian player who died on the pitch while playing for his country. The figure was done in his honour for his contribution to the game of football in Nigeria. The figure reminds visitors to the stadium of the fun, risks and dangers involved in playing and watching the game of football within the stadium.

Figure 5: Samuel Okparaji – National Stadium, , Lagos. Photograph taken by Sheriff Ojetunde, November, 2019.

· Series of Statues Found in the Premises of the National Theatre, Iganmu. A good number of sculptural figures could be found in the premises of the National Theatre, Iganmu, Lagos. These figures depict heroes and heroines from various cultural and ethnic groups in the country. The figures were done in memories of these people to remind people coming into the gallery of various happenings of the past in Nigeria, e.g. the statue of Mother Africa, Queen Amina of Zaria, Yemoja be Abayomi Barber and other abstracted figures.A good number of monumental figures abound in Lagos which time and space would not permit me to list here i.e. such figures found at various cemeteries in Atan and , Victoria Island. a. Sculptures for Advertorial Purpose Here, the author refers to figures that were produced to advertise various products, institutions, corporate bodies and so on. In most cases, motifs for such figures are taken from the logos, symbols and colours of the corporate bodies concerned. Examples of such found within Lagos are; Milo advert formerly at Costain Roundabouts-a Milo Football player installed unto a pillar to advertise Milo; a favorite drink loved by athletes and players, we also have a statue of a Lawyer in front of the Law Department, , , a hand holding a pen found at Eleganza building, Suru-Alaba; Eleganza is a major producer of ball pens. We also have a statue of a reader in front of the University of Lagos Library done to promote reading culture among students. b. Sculptures for Cultural Identity Cultural identity is another reason why some sculptures are sited in major places in Lagos, example is the statue portraying peace and unity titled 'Unity in our Hands' by Akintonde Moses produced in 1996 and sited at Maryland flyover which shows figures representing the three major ethnic groups in Nigeria carrying a map of Nigeria. The figure reminds viewers of the need for cooperation and brotherhood love for one another to take the country to an enviable height; the need to see Nigeria as

46 one country belonging to all and for cultural integration. We also have the Unity sculpture at International Airport, Ikeja - all done to portray Nigeria as a country that must not be allowed to disintegrate. A mega city like Lagos is liable to cultural conflicts; therefore the need to remind people about unity in cultural diversity cannot be over-emphasized. Hence, sculptures are at times used to communicate this. c. Sculptures for Adornment These are series of decorative sculptures produced and installed at various locations in Lagos state to add beauty and adornment to the city; making it become a city that can compete with other cities around the world. Akintonde (2013) noted that aesthetic function is the overriding value of outdoor sculpture in South-West Nigeria of which Lagos is not an exception. Visitors are attracted to the city and the need to beautify the city cannot be undermined. This call for aesthetic sculptures, examples of such are statues, waterfalls/fountains and lightings installed at public places. Below are common examples: Ÿ Water fountains - at , Lagos. This figure depicts a woman (Madam Tinubu) and other figures beside it. Another one is at Shitta Roundabout, Surulere, Lagos. Ÿ Horses – at (Race Course), CMS, Lagos Ÿ A abstracted figure at the entrance of Surulere Local Government Area Council Office, Lagos. Ÿ A sculpture showing a globe with a trophy being lifted by an athlete at the National Stadium, Surulere. Ÿ Eyo statue also at TBS, Lagos. Ÿ An artificial tree installed at Conoil Filling Station, Eric Moore Road, Surulere A statue of a footballer, , Surulere and a host of others. d. Architectural Sculptures These are usually found on buildings using the Corinthian order as a guide in most cases. They are fixed on the buildings to serve as a means of adornment and as support for the building as typical of most modern cities around the world. They are residential buildings for the rich and corporate offices. Buildings with such pillars can be found at Ikoyi, Victoria Island, , Festac Town and other mansions all around Lagos. e. Artists' Studio/Sculpture Designs These are various sculptural pieces found in artists' studios and also advertise the product and creativity of the concerned artist. Such can be found at Seven-Up junction, Ojota; Barracks- Onipanu area in Surulere; Mobolaji Bank Anthony Way, Ikaja and a host of other locations in Lagos. f. Airport Arts By this, the author refers to sculptures sold at Tourists' Centers, especially to foreigners. These figures are small figurines portray the different culture of Nigeria. Among them are the Ibeji Figures of the Yoruba, Epa, Sango Axe and so on. g. Monuments to Boost Tourism in Lagos Several sculptures were produced during the regime of Governor Akinwumi Ambode in Lagos to boost the aesthetic landscape of the state. These are nineteen (19) new sculptures sponsored by Lagos state Government in conjunction with Terrakulture to put the state in world tourism map. They include; 'The Drummer' located at Ipakodo in Ikorodu; The Fisherman in Badagry; Waka, located at Ojodu, Berger; Virtues of Life, located at Marwa, Lekki; From Ebute, located at Mobalaji Bank Anthony Way, Ikeja Area; Youth Empowerment at Sabo-Yaba; Community at Zik House,

47 Expressway; Fela Liberation located at Allen Roundabout, Ikeja; Bonga at Epe; The Nerve Centre at Maryland Bus-stop. The sculptures depict the belief system, aspirations, philosophies, occupation, political struggles and lifestyles of the people of Lagos state.

Abuse of Outdoor Sculptures in Lagos Abuse of Outdoor Sculptures in Lagos City is a major problem. In spite of the above highlighted relevance and significance of outdoor sculptures in Lagos. They also create a menace to the society; especially when they are abandoned and not properly maintained. Here, art as a means of beautification turns out to create ugly and add scenes in the society. Most of the figures visited have faded colours and not retouched or restored. Others restored are poorly done. This invites intruders who abuse them either by posting posters on them, urinating on them, sitting on them and the like. Most fountains and lightings visited are not functioning. This is as result of constant power outage or no running pipe-borne water to power them. Such include the Fountains at Shitta and Costain, Surulere and Tinubu Squares in Lagos Island. In such situations, hawkers and traders take over the sites for their businesses. This is in line with the view of Akintonde and Kalilu (2013) that as rich as the practice of outdoor sculpture is in Southwestern zone of Nigeria, there are a lot of problems threatening the retention of historical values. The authors listed lack of proper records of the works, constant replacement, random and willful damage of the sculptures, technical faults in production, religious and historical complexities as evident in crisis among others. Some sculptural figures serve as hideouts for thugs, area boys and the insane that see the sculptures as a safe abode. They sit, sleep, lean, defecate and at times, intentionally break them out sheer frustration. A few other ones were poorly sited. As a result, they at times constitute hazards to commuters, drivers and other road users. Furthermore, few others are sited at a hidden place. Example is the bust of Samuel Okwaraji in front of the National Stadium in Surulere. The Peace and Unity Statue titled 'Unity in our Hands' by Akintonde Moses produced in 1996 and sited at Maryland is seen in poor condition as at the time of visit; the environment is busy and turned into a urinal for passer-byes and faded with posters all over its body. A dump of refuse is seen around the figure; this creates an ugly scene for residents and other people who would have appreciated the figure. Another factor responsible for the poor state of most sculptural figures in Lagos is inadequate and poor quality of materials used in making them. A few of the figures were done with inferior materials i.e. poor concrete aggregate, rust iron rods used as armature and low quality paints for patination. This in turn reduces the lifespan of the works

Findings The following are the findings of the study: The major findings of the study is that most outdoor sculptures in Lagos reflect the philosophy, lifestyle, occupation, belief system of the people of Lagos as well as a means of adornment in the city as reflected in the series of new sculptures commissioned by the administration of Governor Akinwumi Ambode between 2015 and 2019. Other findings include: · Abuse of Outdoor Sculptures is a major problem in Lagos State. · Most sculptural fountains and lightings visited are not functioning. This is as result of constant power outage or no running pipe-borne water to power them. Such include the Fountains at Shitta and Costain, Surulere and Tinubu Squares in Lagos Island. In such situations, hawkers and traders take over the sites for their businesses. · Some sculptural figures serve as hideouts for thugs, area boys and the insane who see the sculptures as a safe abode. · A few other outdoor sculptures were poorly sited. · A dump of refuse is seen around the Peace and Unity Statue titled 'Unity in our Hands' at Maryland, this creates an ugly scene for residents and other people who would have appreciated the figure.

48 · A few of sculptural figures were done with inferior materials. This in turn reduces the lifespan of the works.

Conclusion Outdoor sculptures, whether in relief or in the round, whether monumental, aesthetic, functional or not are still very necessary in the society because of their great relevance and significance, in spite of the environmental hazards they create when they are not maintained. Its need as aesthetic, economic, social, political, religious and cultural importance cannot be over-emphasized, especially in a fast- growing city like Lagos. However, poor maintenance has made some of these figures to lose their values thereby constituting danger in the society.

Recommendations The following recommendations would improve the state of outdoor sculptures in Lagos State: 1. Government of Lagos state should set up a body to create awareness on the importance and significance of outdoor sculptures in public spaces. 2. Establishment of a body to regulate and look after all sculptural figures within Lagos stat and Nigeria in general. 3. Certain amount of money should be set aside annually from the state allocation to restore damaged figures; irrespective of who commissioned or made them and where they are sited. 4. The National Commission for Museums and Monuments should look into the state of outdoor sculptures not only the objects kept in Museums; especially, in a city like Lagos where any visitor into the country would like to visit. 5. Sculptors who are commissioned to produce an outdoor sculpture should use quality materials to enhance its life-span; patrons of those figures in poor state should make sure they are restored.

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