The Legend and the Man Mangiri

THE LEGEND AND THE MAN

Mangiri, Stanley Golikumo (Ph.D) Department of Fine and Applied Arts, Niger Delta University, Wiiberforce Island Bayeisa State, [email protected]

Abstract Every artist of every age do impact the people and environment which he belongs. As such many Nigerian artists have expressed themselves through their art works in different media on the social, cultural, political, and economic experiences in various degrees, qualities, and techniques. Many of these artists have been studied in some ethnic groups in Nigeria but not much attention has been given to the study of artists of Ijo of the Niger Delta. The artists of I jo ethnic groups appear to have been over - sighted by researchers. Hence, the research focused on the study of Jackson Ayarite Waribugo - his status, family life, works of art and their influence on the society. This is also aimed at terminating the era of publications on Ijo which reflects the Western perception of the region. That is hope of a new approach towards the understanding of the ijo, its artists, its works of art, its people and its vast potential. The paper attempts to present a detailed record of modern Ijo artistic heritage. Instruments such as interview, and photographic recordings of visuals were used to achieve the desired objective. The study reveals that the artist combined perceptual and conceptual tendencies by expressing cultural identity through the use of Western idioms. At the same time, it provides basic information on the activities of each zone as an integral part of the national and international community.

Introduction Jackson Ayarite Waribugo was born on the 15th November, 1942 at Okpoma in Nembe Local Government Area in Bayeisa State. He was the son of Mr. Waribugo Danjo and Madam Molly Ina- David. Jackson was the first of seven children of his parents. Until his death, he was the only survivor. All the other children had died earlier. He started his primary education at St. Paul's School, Okpoma and read up to primary four and completed his primary school at St. Luke's school, Nembe in 1962. At his primary school level, he was recognized as a talented artist. According to Egba, Jackson assisted his teachers to draw teaching aids and painted portraits. Soon after his primary school he took to portrait painting and wood carving.

Jackson Ayarite Waribugo (1942-1989)

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The Legend and the Man Mangiri

Plate 1

The Artist: His Beginning In a bid to improve himself; Jackson left home 1964 to the Northern part of the country (the particular town was not mentioned) in order to get enlisted into the Nigerian Army. He had disappointment in his plans and soon after joined his uncle Mr. L.D. Marcus in Lagos. It was in Lagos that he started his carving; because they lived close to a carpentry workshop. At this point, he started carving fish and walking sticks as souvenir items. It was one of such occasions in 1967 where he gave a walking stick to the first Military Governor of , Chief Alfred Diete Spiff that he was recognized as a talented young artist. He was only known as a talented and professional artist who was self-taught. This specialized professionalism in him at his early age beamed his artistic light to the knowledge of the government and people around him. This was corroborated by his childhood friend Ikelemotei, that "Professor" Waribugo as he was fondly called because of his creative genius, was endowed with restless ambition that coupled with his ennobling gift carried him to the fashionable world of the urban city where the government and the wealthy became his patrons. When Rivers State was created in 1967, the seat of the government was at Lagos. It was in 1969 that the government had its operation base in . In 1969 when the Rivers State Government moved to Port Harcourt from Lagos, Jackson Waribugo also moved to Port Harcourt at the instance of the Military Governor of Rivers State. He become a guest of the Government. Waribugo who was favoured by the then Government headed by A.P. Diete-Spiff got employment with the Rivers State Council for Arts and Culture. The few, sketchy literature available on him agrees that Jackson A. Waribugo was a versatile sculptor who works on stone, marble, brass and bronze. At the time of this research, there was no sculpture piece of stone, marble, brass or bronze for analysis. They were either sold or lost before now. As an employee of the Rivers State Council for Arts and Culture, he was commissioned to mount sculpture pieces at some parks and squares, for example the composition at the presidential hotel,

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89 The Legend and the Man Mangiri Jackson A. Waribugo, gods and goddesses, Cement, Life Size, 1970, Picture by Mangiri S.G., Presidential Hotel premises, Port Harcourt

Travel and Triumph In 1970 he started his experimental sculpture pieces in cement. After executing these sculpture pieces, he was given scholarship to study abroad. He was trained in Italy. He completed his programme bn record time of three years instead of four years. His first assignment in school was to produce a burst on marble. Because the finishing was extremely fine, his teacher Professor Tiko had the impression that Jackson was sent to compete with him. He therefore, ordered that Jackson be sent back to his country. Quite unfortunately both Jackson and Prof. Tiko did not understand themselves. Jackson did not understand Italian language and Prof. Tiko did not understand English language. The only saving grace was the Dean of the Academy who understood simple English but could not speak fluently. Jackson therefore, wrote in English, explained that though he could carve very well he wants to learn the intricacies involves in sculpture. The Dean in turn explained this to Prof. Tiko before he was allowed to continue his programme. Jackson was hardworking and punctual to school. He was going to school early and he was closing late. The keys of the studios were handed over to him because of the confidence they had in him. He obtained a certificate and diploma in art specializing in sculpture at Academia Di Belle, Carrara, Italy. After graduation, he was offered appointment to teach at the Academy of Arts, Carrara, Italy but he turned down the offer. Again, the Academia La Niccoli where he used to do his summer jobs offered him another teaching job. He also refused to accept the offer, stressing that he would come back to his country Nigeria to share his knowledge and experience with others. An awakening in Old Rivers State on his return to Nigeria after his studies he established an art studio at Isaka Island for the training of young artists and mass production of art works. He operated from this studio and produced many works of art. Jackson A. Waribugo was appointed Cultural Officer 1st January, 1976. He rose to the rank of Principal Cultural Officer on 1st January, 1981 and later was the head of sculpture section. At that time the council experienced accommodation difficulties. Therefore, a temporary structure was used to house the sculpture section in Nembe. The sculpture section was charged with the responsibility of producing sculpture pieces in stone, marble, brass, wood, and trophies in silver, bronze and wood.

According to the report, the section was also expected to experiment in metal casting, and to conduct research into local clay for possible industrial use. But due to inadequate work materials (which were expected to arrive from Italy), it was not possible for the section to operate as effectively as was expected. He made great efforts to improve and promote art particularly, sculpture in Old Rivers State (Dube/ Gloria). Though, no exhibition catalogue was available at the time of this research, Dube and Gloria of the Rivers State council for Arts and culture said, his works were mounted and displayed in many exhibitions/perhaps fairs of arts and culture festivals. He voluntarily retired from the services of the council with effect from 24th December, 1987.

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90 The Legend and the Man Mangiri

, .

Plate 2: Jackson Ayarite Waribugo

It was revealed by one of his daughters, Mrs. Favour Anamaleze that her Father had a quiet disposition. Fie established himself as an audacious sculptor of modern life. Fie was an obsessive worker, Fie likes working all the time according to Dube, that, he had the vigorous, sociable and pleasing nature of an artist. His deep need for serenity and love taught him to curb his tongue. Fie does not talk much Mr. Dube added. Mr. Innocent Eabbaa Dube my informant again said, he had a room of love in his life for friends. Material success and personal prudence, however, never dulled the thrust of his art. Fie remained to his dying day, at the age of 47, a passionate Ijo who drew and sculpted things he saw around him and the emotion he felt for them, his account added. Mr. Dube said Waribugo was said to have died of cancer of the lungs as a result of Ijis excessive drinking and smoking. In Mr. Dube's words, Professor Waribugo was original, frank, modest, courageous and untroubled. Fie was untroubled because he had a carefree life style. Fie believed that one must die one day, so he never allowed any circumstance to disturb him. When asked why he called Waribugo Professor, he said, it was because of Waribugo's expert handling of tools, materials, technique and perfect finishing of his works that made people refer to him a Professor. Fie was not an academic Professor he concluded. Fie was married to two wives and a concubine. Fie married Mrs. Rhoda Waribugo the'first wife on 19th April, 1970 and later married the second wife, Late Mrs. Ayibaemi Waribugo in 1989. Fie has eight children; four boys and four girls. From the evidences, it became clear that Jackson A. Waribugo had greater urge, greater search and greater zeal to improve on the existing artistic standard of the then Rivers State Council for Arts and Culture. It seems all his works were done with truth and Ijo religious philosophy. His ideas do not seem to lay more importance to appreciation of the works but their religious function. If one looks at the "Fountain of Life" figure, plate 18 one sees how he had really mastered the human body, adding in his work all the essential details of nature. The proportions are true to nature, the pose is full of simplicity and utter reality, showing the dynamics of feminine flexity and relaxation.

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91 The Legend and the Man Mangiri Source of Inspiration His sculpture pieces are life like as much in the features as in gods and goddesses. Much like the philosophy of the ancient Greece whose idea is that the gods lived among the living and they shared their joys there by made the images of the gods in the form of man which they believed was the best creature in the whole creation; the creature with perfect beauty. His daughter favour said, her father told her he gets his inspiration through dream. When he gets the revelation he immediately puts it down on paper in drawing and work on it later. Where he does not make a sketch of the idea, he forgets it she added. His works of art are distinguishable from his contemporaries, because, his realistic treatment of the figures is hardly to be confused with the styles of another artist at his time. This shows how distinct and specific his works are. Though he retained his particular technique and style, there was slight change from his earlier works and the later. This change in perfection may probably be attributed to his exposure and study at Italy. In the 1970s and 1980s the arts of Old Rivers State, experienced highly spirited growth and development of modern art which has been the result of the effectual contributions of some serious and active artists. They are: Jubilee Owei (1936 - 1994), Jackson A. Waribugo (1942 - 1989), Patrick A.P. Jumbo (b.1946), Wenikado S. Ganagana (b.1955). The Artist is one of the artists who helped to prepare the fertile ground for the evolution and infusion of the various intellectual and academic dimensions into modern art practice that have made it to be respected, accepted globally. Some selected works of the artist are examined below:

His Works of Art

Jackson A. Waribugo, gods and goddesses, Cement, Life Size, 1970, Picture by Mangiri S.G., Presidential Hotel premises, Port Harcourt

The composite sculpture gods and goddesses obsess the religious life of the Ijo who believe in the spirits and the world beyond. Stylistically, the sculpture pieces look naturalistic. The proportions of the bodies and the modeling of their flesh seem to have been closely observed, and the features look more like those of a living model. Their religious purpose is not clear. Their expressive actions convey an extraordinary sense of alertness and energy. The composition

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92 The Legend and the Man Mangiri reveals a marked interest in the dynamics of the activities of a King and Queen, warriors and servants. The difference in position is equally revealing individual sense of duty. The artist endeavored to stress the human implications of the mythological scene he is depicting through careful differentiation of the attitudes of the various figures. The seated male figure is shown as the ideal head. Attractive yet full of determination, he directs his powerful glance toward the Queen and seems to utter a few quiet words of command. The Queen equally attractive sits with pride and anger and she is like someone who wants to deflate authority. Her facial expression is exceptionally restrained. It has the gravity of a woman who is fully aware of danger but seems confident of the outcome and is able to maintain her composure. The two men standing have their eyes focused to the distance in surprise. The one at the back of the Queen looks like a warrior. His whole attitude is summed up in the imperious gesture of his left hand holding a weapon. There is graceful dignity in the attitude of the three women who seem to be attendants carrying various items to the King. The artist shows their feeling of joy in their sense of movement and particularly the woman with outstretched hands backing the viewer. Clearly, the bodily and facial expression of each member of the group is superbly related to its role in the scene. This articulate differentiation of expression is totally novel and represents vast progress over the achievement of the artist's dramatic expression. The artist attained a balance between the physical and the spiritual. He had a considerable knowledge of its technical modeling and the treatment of all the intricate contours that are beyond any possibility of execution by a nonprofessional; contains a complex of cultural and religious symbolism and or mythological representation. The key to this extraordinary composition and its achievement was the use of concrete. The centre of gravity is kept open like the work of Auguste Rodin "The Burghers of Calais". Waribugo used impressionistic principle; the surfaces of the figures appear to shimmer as light plays on their irregularities, but they are more than reflective surfaces. They give his work dynamic and dramatic qualities. Waribugo worked fairly realistically, he created a subjective reality beyond the surface.

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93 The Legend and the Man Mangiri Plate 4: Jackson A. Waribugo, Fountain of Life, Cement, Life Size, 1975, Picture by Mangiri S.G., Council for Arts and Culture, Port Harcourt The sculpture piece plate 4 is sculpted with concrete. The statue greets the admiration of the audience for its beauty but the essential point is that, here stands the goddess of life. According to Mr. Dube, when he asked the late Waribugo of the title, he replied: "she is a goddess who stands in front of the Council for Arts and Culture that she will continue to bless the Council. The goddess is represented standing in a dignified hieratic, grand pose easily recognizable as priestess in perfect anatomical proportions. The figure stands easily in contrapposto stance. She has her cloth stylishly tied around her waist with folds from the left hip which flows down in drapes to the ground. She has an elegant shape and features. Waribugo seem to have good taste for beautiful things, her breast are tightly packaged with a cloth, designed with elastic band. The eyes are open, the lips slightly parted. The neck, stomach, and lower abdomen are sensitively modelled. The hairs are braided. She is wearing coral beads on the neck and on the two upper arms and a bangle on her right wrist. She is holding a bottle of wine or a brandy, which suggests she is libating to appease the gods and ancestors. This master-piece is better explained by the various ideas that it conveys about this world and the spirit world, coupled with the discourse concerning its beauty. The high quality of the statue is found precisely in its sacredness and its aesthetic excellence. This reveals an associationist conception of mystical view as seen or perceived by the Ijos on the spiritual values of the image. According to Mr. Dube, the original plan by the artist was to construct a hose to the bottle where it could be pouring out water continuously as a fountain.

Plate 5: Jackson A. Waribugo, Endless Wrestlers, Cement, Life Size, 1976, Picture by Mangiri S.G., Council for Arts and Culture, Port Harcourt

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The Legend and the Man Mangiri Endless Wrestlers plate 5 as the theme suggests is a composition of two men in wrestlirc combat. This theme may have arisen from the view about man's endless challenges, confrontations and struggles in life which is expressed as endless wrestlers. Wrestling is one cr the cultural cum social activities in Ijo land. The work is sculpted in cement, a medium that the artist best handles with ease. The sculpture piece is made in realism, depicting the naturalness c£ physical human wrestlers. We are made to feel their thoughtful, calculated attentiveness. The idealization evident in the treatment of the features and in the overall proportions suggests the lofty remoteness of the classical tradition. One interesting thing about the figures is their firm and powerful grips and the expressive movement of the struggling bodies of intense concentration. Ironically, one of them is dressed in wrapper which is tied to his waist. The cloth flows in drapes at the center of the composition which may make the wrestling uninteresting because it could cause obstruction. Although, the drapes may disrupt the flow and movement of the game, it may possibly serve as a support to hold fast the figures at the centre of gravity.

Plate 6: Jackson A. Waribugo, Unknown, Cement, Life Size, 1976, Picture by Mr. Innocent E. Dube, Rivers State Council for Arts and Culture Archives

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. he Legend and the Man Mangiri Plate 6a: Jackson A. Waribugo, Unknown, Cement, Life Size, 1980, Picture by Mr. Innocent E. Dube, Rivers State Council for Arts and Culture Archives

The theme of this composition plate 6 is unknown. The group represents fully grown men and women demonstrating different cultural or social events. The figures are in a row which is supported by plinths and the backs and or sides of the figures are attached to a textured background. "The figures are stylized, and are sculpted in cement. The first figure, a woman is representing a dancer, standing in a lassie pose with her weight on her right leg, her left leg and the hip stretch diagonal. She inclines her head pensively. Her hands are raised up in a serious dance action. The second figure another woman in another dance styie or perhaps depicting some one in her farm. The third figure is a man in jubilant mood. He raises his hands and is dancing joyfully. •

The fourth figure represents a man who is digging or tilling the ground with a spade. The fifth figure is the only figure in frontal pose. He wears a cap and carrying a walking stick. He is like one representing high class chief. The last sixth figure looks like some one paying homage to a superior or could that be a beggar? The figures are powerfully sculpted. The style and the disposition of the figure tell the story about life in the society.

Plate 7: Jackson A. Waribugo, Late Chief Joseph Ayibatonye Aiagoa, Cement, Life Size, Picture by Mr. W. Ofongo (1998), Location: Tombi, Nembe

~~ s statue plate 7 is mounted at tombi, Nembe representing a man of intelligent features. He is :: s'a,ed as a pious man with the fold of his long sleeve. The statue is sculpted fully in the n cement in a seated pose. The eyes alertly open, are set in shallow depressions under ec r e.m me ears stand off. The face and the whole features are realistically modeled. He is • :: ' m: .\ :h his right hand is placed on the left hand. He wears a shirt with the folds and • : ;:c' . -epresented. He is holding his cap with his left hand pressed down on the knee • .me::e- tke a traditional Ijo man. The style, size and proportions correspond to the

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96 The Legend and the Man Mangiri portrayal of a middle-aged man. His sitting arrangement could be interpreted as in double triangle-from the waist to the knees and from the knees to the ankles, and from the ankles to the toes. It could also be called 'V' formation.

Plate 8: Jackson A. Waribugo, Late Major Isaac Jasper Adaka Boro, Cement, City Size, 1980, Picture by Mr. W. Ofongo, Location: , Port Harcourt

A city size statue plate 8 stands at the Isaac Boro Park in Port-Harcourt. This is to immortalize the champion and war General of the people of Niger Delta. He was a Freedom fighter, a revolutionary leader, fighting for the creation of an independent Niger Delta peoples Republic in a "twelve Day Revolution"-1966. A statue commemorating his struggles for the emancipation of the people of Niger Delta. The sculpture piece is sculpted in cement, and the artist employed the principles of the realistic tradition. The viewer's eyes moves downward from the face-gazing steadily, focused as a brilliant soldier and them the action region. The left hand holding is the magazine of the gun while the right hand is on the trigger ready for any action. The eyes are in rapt attention, the frowning brow portrays the fierce anger in him. The right leg is placed on a canon, and the left leg fully stretched to balance the energized body. He wears the cap of a major. The green white green camouflage shirt depicts Nigerian Sovereignty, the pockets and the folds of the trouser caused by the action are clearly represented. Politically, Boro symbolized the valiant Ijo hero. It also stood for all humanity as freedom fighters. He is seen as a new super human power, which young men today are emulating. Waribugo has tried to show the emotion- charged, heroic ideal, stunning beauty and grandeur of this piece. Boro remains stable and tense as seem in the sculpture piece.

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97 The Legend and the Man Mangiri Plate 9: Jackson A. Waribugo, Mangrove Giant, Cement, Giant Size, 1984, Picture by Mr. Fubara

The theme mangrove giant plate 9 is derived from the local setting of the artist-the Eastern Niger Delta forest zone. This piece sculpted in cement was described as a great work by I. E. Dube and E J. Alagoa. They said, it was a sculptural piece which depicts an elemental spirit. According to their account, it was mounted at the entrance to the Alfred Diete-Spiff Sports Complex, Port-Harcourt but was removed and destroyed by the last civilian governor of Rivers State during the second Republic-Mr. Rufus Ada George, on the grounds that the sculpture piece among other sculpture pieces were encouraging paganism and promoting immorality. At the time of this study, the original photograph of the work was not immediately available. The giant is struggling to tear the mouth of the crocodile. There is a great fight but the muscles of the giant do not show the force he is exerting on the crocodile. The head of the giant is bent toward the left in an effort to increase his strength of grip. He is seen loosing balance. He is naked, possible that his cloth is torn and loosened in the cause of the struggle. The features of his face are all expressing fearlessness and courage. The face is squeezed, demonstrating the powerfulness and force of the titans. The crocodile is forced to sit like a human being. It looks weak and tired. The concept of this composition seems to have been taken from the Bible story of Samson and the lion, which symbolizes divine intervention that delivers certain people at a certain time from catastrophe. The piece is nude like works of the early and high Renaissance and the Baroque, full of character and charged with energy. The scene forces the viewer's involvement in an overwhelming emotional experience. Here humanism is portrayed in art, illustrating how people with flesh and blood react in crisis.

Plate 10: Jackson A. Waribugo, Protect our State, Cement, 2.5m, 1985, Picture by Mr. Innocent E. Dube, Location: Alfred Diete-Spiff Civic Center, Port Harcourt

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98 The legend and the Man Mangiri

This sculpture piece plate 10 is mounted at the Alfred Diet-spiff Sports Complex in Port-Harcourt. A suggested theme of the piece is "Protect Our State". This piece was modeled to replace the Mangrove Giant that was destroyed by the then governor of the Rivers State, Mr. Rufus Ada George. The piece is sculpted with the artist most preferred medium cement. The work is a sculpted map of Rivers State. The sculpture piece depicts two hands carrying the map. The State map is seen in serious dangerous position because there is no firm grip of it by the hands. After the destruction of the

Front view Plate 11: Jackson A. Waribugo, Carnirive

Mangrove Giant a concept which was put forward to show how someone could salvage her people, the artist possibly decided to picture in this piece how the State could be swept or blown away without holding fast to what is traditionally good. According to E.J. Alagoa, this particular piece is devoid of the evocative power of the Original ------'the Mangrove Giant". This sculpture piece has its message that everyone should hold dear to what is rightfully his. By so doing, the environment, society will be united. 88,

At The End of , Port Harcourt At The End of Aggrey Road, Port Harcourt

Cement, 2.5m, 1988, Picture by Mangiri, S. G.,

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Back view

Plate lla: Jackson A. Waribugo, Carnirive 88,

Cement, 2.5m, 1988, Picture by Mangiri, S. G.,

fgjtj

Side "A" view of the pedestal

Side "B" view of the pedestal

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100 The Legend and the Man Mangiri Plate 12: Jackson A. Waribugo, Carnirive 88, Waribugo, Carnirive 88, Cement, 2.5m, 1988, Picture by Mangiri, S. G., At The End of Aggrey Road, Port Harcourt

Plate 12a: Jackson A.Cement, 2.5m, 1988, Picture by Mangiri, S. G., At The End of Aggrey Road, Port Harcourt

This piece plate lla/b is a composition of cultural events and objects. This sculpture piece is mounted at the end of Aggrey road in Port-Harcourt. The main works are on top mounted on a pedestal. The pedestal also contains some cultural objects. Major cultural and artistic developments were taking place through the fourth generation. It is evident that the artist was concerned primarily with cultural designs. The upper part of the back view of the work depicts a dancing maiden in cultural attire, dressed like Owigiri Dancers holding handkerchief in both hands. The lower part on the pedestal contaihs paddles and cowries. The cowries are a connotation of the exchange of goods and services experienced by people in Rivers State centuries past. The paddle is an object still in use among the people of the Coastal area to enable them propel the boat (hand pulling canoe) when making way in the river. The opposite side which is the front view portrays persons of different ethnic groups with different activities in Rivers State at the upper portion of the piece. The lower part of the pedestal contains the whole information about the unveiling of the plaque of the CARNIRIV "88. The lower part-that is, plate 12a/b the pedestal one of the sides embodies interlaced manilas. The manilas are another medium of transaction for goods and services centuries past. The other side depicts the tail of a fish which is showing that the inhabitants are fishermen. The fact that Waribugo studied his models with extraordinary care can not be doubted, which elements have their roots from antiquity. The overall arrangement is powerfully expressive. The size and placement of the figures is determined strictly by hierarchic precedence. The artwork is dressed with the Rivers colours of blue and white.

Any change experienced, changes with time. And the time or period of that change is determined by the effect it has on the visible substance. The artworks of the artists therefore, could be seen in their different periods, as they may have been influenced by time. The artistic life of Jackson A. Waribugo could be grouped into three periods: the early period, the middle period and later period. The early period spans from his post secondary days. This could be between 1960 and 1970. The works during this period were not available for study. The second period 1970 - 1980 is the time when he became recognized and commissioned to mount sculpture pieces. It was a more fruitful period in his life because he was sponsored at Italy by the then state government headed by Alfred Diete-Spiff. Waribugo's sculptures had a better finishing. Elements of continuity of his concepts of traditional myths remained. Look for instance the works "gods and goddesses" and "fountain of life", the idea of gods and or priestess is still reflected. The creatively brilliant, intellectual handling of the figure and draperies is more evident in the "Fountain of Life" than his earlier work "gods and goddesses". He is one of the artists who came out from the traditional proportions and introduced the academic measure of figures more acceptable to his immediate environment - Rivers and Bayeisa States. The third or later period - 1980 -1990 witnessed yet another Waribugo's creative and expressive power. He attempted abstraction where shapes and lines define his sculptures. The abstract pieces are angular and somewhat rough in texture. The

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101 The Legend and the Man Mangiri other figures such as plaques were sculpted according to the dictates of his patrons, though the cultural embellishment still embodies in their design. In all his artworks, the traditional figuration never changed. He maintained his skill, and his reflection on the spirits - gods and goddesses remain characteristic throughout his career. His works are most articulately expressed. He was an artist who endeavoured to satisfy his curiosity to create and to beautify the environment and not necessarily to educate, enlighten but to express some traditional values and keep alive history to the wishes of his patrons. Waribugo has inspiration through dreams. He favours elaborate detailing. Some of the elaborate details represent realistic features body adornment, jewelry and draperies.

Conclusion In the early 1970s Jackson A. Waribugo who was one of the leading artist of the region had started his campaign with environmental sculpture pieces. On his return from Italy, he concentrated on mostly commissioned works by the Government and wealthy private individuals. These works with historical and religious themes are spread all over Port-Harcourt adorning parks, gardens, squares and on the building as part of architectural design. The spread also covers many Local Government Areas in Rivers and Bayeisa States. His naturalistic and realistic style which was influenced by traditional folklore and myths, and Western principles is sc captivating that, the works drew and sustained the attention of the public thereby creating the needed art awareness among the people. The public admired his works not only because of their aesthetics but the formal content (concept) on which these works were created. He drew the ideas from socio - cultural and trado - religious perspectives. He represented his ideas in sculpture and with a medium he best handles - cement. He contributed immensely to art development because people understood and comprehended his message as people tend to learn faster from what is physically recognizable than abstraction. Generally, his works speak volume of the cultural, social and religious thoughts of the Ijos.

References Anamaleze, Favour (2008). "Family life of the Artrist". Oral Interview. Port-Harcourt.

Dube, I.E. & Gloria (2008) "Status and work life of the Artist" "oral interview" Port-Harcourt: Rivers State Council for Arts and Culture.

Ogionwo, W. (1979) "The Rivers State Council for Arts, Culture and its role in the cultural life of the city of Port-Harcourt" The city of Port-Harcourt: A Symposium on its Growth and Development. Ibadan: Heinemann Educational Books (Nig.) Ltd.

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