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International Journal of Research in Humanities and Social Studies Volume 7, Issue 1, 2020, PP 16-24 ISSN 2394-6288 (Print) & ISSN 2394-6296 (Online)

In Search of True African from the Perspective of Relative Disciplines: Case Study of and Archaeology

OYINLOYE Michael Abiodun1 PhD., DIPEOLU Adedotun Ayodele2 PhD., OMOLOLA Feyisara Sunday3 ., ADEYEMI Adedola Olayinka4 PhD., SIYANBOLA Afeez Babatunde5 PhD. 1, 3, 4&5Department of Fine and Applied , College of Engineering and Environmental Studies, Olabisi Onabanjo University, Ago-Iwoye, 2Department of Architecture, College of Engineering and Environmental Studies, Olabisi Onabanjo University, Ago-Iwoye, Nigeria *Corresponding Author: OYINLOYE Michael Abiodun, Department of Fine and Applied Arts, College of Engineering and Environmental Studies, Olabisi Onabanjo University, Ago-Iwoye, Nigeria. Email: [email protected]; [email protected]

ABSTRACT The term „African Art‟ is typically used for the classification of the art of Sub-Saharan . It appears casual, amateurish and primitive by the classical proportion of European art, which is the way traditional is regarded. Truth be said, the continent comprise ideas from different cultural groups and civilization, each with a unique art tradition, architecture and lifestyle. It is as a result of this, we cannot talk about African Art without reference to the impact of some related disciplines, such as architecture and archaeology. Various Studies have shown that before the advent of Europeans and Americans with their influences on Africa culture, the people have already made significant contribution to develop themselves in the areas of ancient architecture, traditional medicine and technology, the African way of life depicts so many chronologically arranged pattern of operation and such was adhered to fully and passed down from age to age. Existing scholarship addresses documented evidences of ancient civilization in the archeological records. This study traces the history of some of the African art traditions, architectural styles, belief system, foreign impact and their usefulness in the communities that produced them, vis-à-vis what they connote in the present society. Therefore, this work intends to showcase the beauty and importance of the traditional African art and architecture, and how they would enrich our knowledge of history, research as well as serve reference purpose to generations yet unborn. Keywords: African and traditional art, Architecture, Archeology, history

INTRODUCTION In many African cultures, art is an integral part of people’s lives. Although, form presentation Art in its broadest definition refers to all and significance of art varied from one cultural creative endeavours. It includes action directly setting to another; over the years, art in its or indirectly relating to work production and various forms has played a vital role in the lives survival. Art is simply a generic term for the of African people. It serves as a major form of creative impulse out of which sprang all other communicative expression of religious beliefs human pursuits such as architecture, science, and socio-cultural norms (Opoko, Adeokun, and religion and disciplines. African art covers quite Oluwatayo, 2016). However, Lawuyi (1994) a number of cultures and tribes, each with its observes art as a historical record and unique art tradition and styles. In other words, embodiment of the culture of a particular African art objects are derived from divers people. He points to artifact as representing a group and cultures with similar but mostly historic period of a particular people. Rom divergent perspective. Therefore, it is complex Kalilu (1994) also stresses that African art is a and difficult to understand, inquiry into its combination of various collections from complexity and the basis for understanding different groups and traditions which have close requires in-depth and precise knowledge of the affinity but with divers view. Citing examples people’s philosophy and indigenous way of life from , the study argues that objects of the people (Rom Kalilu 1994). are made to be seen more as historical artifacts than being cited as historical reconstruction.

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However, the roles of archaeologist using historical value and aesthetic insights. The artifacts to reconstruct history cannot be glossed actual interpretation of forms, symbols and over because it has served as pointer to some iconographic representations as it really relates historical facts in most cases. Lawuyi (1994) to most artistic creations were not accurate. corroborates this statement as he notes that: In Lawuyi (1994) observes an under-utilised value constructing Yoruba historiography, historian of African art in the analysis of European made use of archaeological statements, oral scholars. Unlike the oral traditions and written traditions, and available written and sources, the language of African art is mythological sources to established reliable “ unfamiliar” , not easily readable as text of truth. However, African art explores tradition systematic relations of signs that corresponds to and arouses emotional feelings of the people. that of everyday speech. Therefore worthy to The expression comes in different forms such as note that most African arts take inspirations and beauty of wood carving, working, values from religious practices and culture and casting, , mud , which influences total ways of people’s life, and and ancient architecture. Traditional it is difficult to understand by non-Africans. African Art does not only beautify the Lawuyi (1994) further explains that if African environment, but rather transmits laws, moral arts were to be properly situated by historian, codes and history. It is made to communicate one would have been able to use heritage in our between people and the spirit world; and also museums to determine clearly origin and signifies wealth and status of personality. It possibility of most cultural diffusion of contents, encompasses total way of life: birth, initiation, styles and forms. work, marriage, childbirth, death and afterlife According to Smikle (2008) who observed that (Tetteh, 2010). Therefore, in many cultures, art many of what is known of Africa’s rich heritage and craft are vital means of human perception of today can be attributed to information gathered their world view and survival. from archaeological findings traceable to art. Thus, it is pertinent for the study to make an Artworks are an essential part of initiation attempt at finding answers to such questions as: rituals, planting prayers, harvest festivals, what is the place of Art in African society? Does divination ceremonies and funerals. African art still reside in the palaces of kings and animals, the primary subjects in African art, based on their roles as the custodian of culture depict desirable and undesirable aspects of and traditions? What are the influences of the human behavior. These traces are now eroded Western worlds and Colonization on African by civilization and modern technology of the arts? Qualitative research method was adopted western world. for this study. Photographic materials were also Despite the avalanche of rich cultural heritage used to substantiate the discourse. Limited advantage from the traditional African art, this secondary data were obtained, while paper observed the disappearance of the depth information collected were reviewed, discussed of rich meaning-laden traditional motifs and and presented descriptively with suggestive symbols from works and recommendations and conclusion. architecture, and their replacement with CRITICAL APPRAISAL OF AFRICAN ART contemporary forms and elements influenced by AND ARCHITECTURE several forces including , expatriation of slaves and more recent forces of There is no gain saying the fact that globalization and industrial mass production or documentation of African art is pioneered and technology. It is in the light of this expression dominated by Western scholars who are that this study appraises African Art from the anthropologists, ethnographers and perspective of Architecture and Archaeology archaeologists. They have in no small measures with a view of finding the present position of contributed to the theoretical reflections. true African art which seems to be gradually However, Rom Kalilu (1994) observes an going into a state of oblivion; and which can be underscoring of historical, contextual and most used as basis for launching Africa into and all- importantly, the formal qualities of African art round development long for. objects. In the same vein, Egonwa (1994) mentions that some anthropologists and PERCEPTION OF AFRICAN ART AND ethnographers who are interested in African can ARCHITECTURE hardly account for the paucity of the art

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There is an initial misconception circulating that Source: NCMM (2009) ALL IS NO LOT: A national Africa had no art identity. The term African Art treasure worth preserving is seen as a primitive and childlike representative art. Thus, Gates (1996) asserted that whatever was considered African art is termed primitive. African art describes the modern and historical , , installations and other visual culture from native or indigenous Africans and the African continent. The definition may also include the art of the African Diasporas, such as African American, or art in in south American societies inspired by African traditions. Despite reference to African art as Figure1c. Terracotta woman figure and Bronze head primitive and fetish, archaeological discoveries of an Oni, Osun State and existing traditional communities prove such assumptions untrue (Opoko et al., 2016). A Source: NCMM (2009) ALL IS NO LOT: A national cursory look at the value of African art shows it treasure worth preserving has not been adequately represented in the In the late nineteenth century, African art record of world . There has been objects were initially kept and labeled by gross misappropriation of the subject matter. European museum curators only as part of Suffice to say the Western scholars no doubt sample of materials culture of foreign people contributed to publicizing African art among (Rom Kalilu 1994). They were regarded as their expeditions in Africa but the values and curio objects. It was also about this time that we motifs originally was underscored. Their began to witness development in the study of accounts and judgments were bias and has its historical perspective to the African art but in a root is euro-centrism and egoism which is also slow progression. Today, many museums all incomprehensive (Lawuyi 1994). over the world are enriched with art works of African origin. Among the earliest surviving examples of African art are images which were painted on rock slabs found in caves in Namibia. Other examples of early African arts include the terra-cotta sculptures by the artists in northern Nigeria between 500 BC and 200 AD (see figure 1a), the Nok terracotta human head and kneeling figure (See Figure 1b), equestrian figure and bronze bell of human face, (See Figure 1c), terracotta woman figure and bronze head of an Oni of Ife, Osun State Figure1a. NOK Terracotta Human Head and (NCMM, 2009). Kneeling figure, The case of African architecture, on the other Source: NCMM (2009) ALL IS NO LOT: A national hand like other aspects of the culture in Africa, treasure worth preserving is exceptionally diverse. Many ethno-linguistic groups throughout the have had their own architectural traditions. The has been subjected to numerous external impacts from the earliest periods for which evidence is available (Tetteh, 2010). The history of African art and architecture spans a vast period of time, beginning as early as 25,500 BC and continuing to the present. Traditional architecture has been seen as the house building styles of indigenous people (Okeyinka and Odetoye, 2015) and Figure1b. Equestrian figure and Bronze bell of human face, Benin, Edo State factors such as social, economic and climatic

International Journal of Research in Humanities and Social Studies V7 ● I1 ● 2020 18 In Search of True African Art from the Perspective of Relative Disciplines: Case Study of Architecture and Archaeology influences of such architecture. They further by elaborately carved wooden posts often argued that culture is the most important of depicting the human body (see figure 4). these factors since it enables what is acceptable to the community. Emphasizing that in traditional architecture, the decisions involved in the activity of building are pre-determined by the tradition and the customs of the people.

Figure3. Decorated house facade in Zaria, Nigeria: painted facade and mud relief. Source: Tetteh, (2010) http://pitt.edu/tokerism

Figure2. Traditional earthen of Tamberma (Batammaliba) region of and Benin, portraying the anthropomorphism of African art and architecture. Source: Tetteh, (2010) http://pitt.edu/tokerism African art does not constitute a single tradition since Africa is an enormous continent with hundreds of cultures with their own languages, religious beliefs and political systems. Each culture produces its own distinctive art and architecture, with variations in materials, Figure4. Caryatids at the end of a court hall intensions and results. Whereas some cultures excel in wood carving, others are also known for Source: Dmochowski, (1990). casting objects in metal and bronze. In one AFRICAN ART FROM THE PERSPECTIVE OF culture, a decorated pot might be used for ARCHAEOLOGY cooling drinking water, while a similar pot is used for ritual ceremonies in another culture Archaeology is the study of the past society, that (Tetteh, 2010). is, the entire remains that could be gathered in order to reconstruct various aspects of life of a Traditional buildings across Africa’s people. Archaeology in the recent past does not geographical zones are known to have just stop in what is seen at site of past society demonstrated a thorough response to the but goes ahead to preserve evidence of material climate, local technology and socio-economic culture from the ancient civilization. Thus, pattern in which they evolved (see figure 2). cultural resource management is conceived as The origin of these different traditional practicing archaeology with emphasis on buildings were associated with the natural conservation and better use of the materials, their availability to the local builders, archaeological data-base (Folorunso 1996). It is as well as customs, religious and cultural belief in this regard that managing cultural heritage and also taboos (Agboola and Zango, 2014). becomes the objects to reconstruct past Areas where art featured in African traditional societies. The role of archaeologists over the buildings include exterior and internal walls, artifacts that have being excavated include posts, beams, lintels, ceiling boards, furnishings, identified and valued resources, the essence of furniture, decorations and artifacts used in this is to prevent exploitation, decay, and theft. domestic activities including traditional altars located within the houses (see figures 3 and 4). Archaeological findings in form of cultural Africa’s architecture was known to be supported resources are rich as non-material and material

19 International Journal of Research in Humanities and Social Studies V7 ● I1 ● 2020 In Search of True African Art from the Perspective of Relative Disciplines: Case Study of Architecture and Archaeology attributes of different cultures in Africa, in northern Nigeria transmitted through generations. This includes (Garlake, 2002; Allan and Tengan, 2014). The diverse belief, festivals, diets, architecture, iron interactions with European missionaries explain working, wood and stone carving, etc. Some of the predominance of gothic or Christian these resources may remain in actual use as do Architecture in the Southern part of Nigeria some historic and ethnographic materials, or (Allan and Tengan, 2014). they may consist only of partial remains and the Babalola (1994) observes that prior to the traces of the past use, as with archaeological European or contemporary art representation; sites (Lipe, 1984). For examples, some of African art was fashioned after the aesthetic and Nigerian art traditions recovered at cultural norms of the people. The art idea archaeological sites are from Nok, Ife, Benin, revolved round the total way of the people’s life. Igbo-Ukwu and Esie soapstone, among The concepts of forms were spiritually and historical buildings are Keffin Madaki and skillfully fashioned by experienced craftsmen in IlajoBar, etc. (Okpoko and Okpoko, 2002). the community. The traditional craft was purely Nigeria’s traditional architecture is represented a family or lineage affairs pass down from one by various palaces. In the palace of several generation to another. Specific families have kings and chiefs in part of Nigeria there are mini particular crafts peculiar to them and the museums which associated with crown and knowledge of such crafts are passed from other objects of cultural significance (Momin generation to generation. In this order, those in and Okpoko, 1990). In the palaces, collections charge of art production then were comprise mainly of hereditary ceremonial knowledgeable about the community’s objects. The royal patronage of the work of arts philosophy, legendary, aspiration and belief of (for example, Benin) led to the accumulation of the people. Therefore, they produced works that cultural objects of various kinds. Many of these are acceptable by the people both in beauty, collections were looted by Europeans, but are value and form representations. The task of later found in various museums and rich craftsmen, goldsmiths, wood-carvers, and the people’s homes in Europe. likes are to meet the needs of the people whether The anthropological study of ancient African art domestic, social or religious. and culture were studied by scholars such as When European missionaries penetrated the , Kenneth C. Murray, Bernard interior of Africa for the purpose of converting Fagg among others. Their explorations brought Africans to Christians, one of the first things to light the creative ingenuity of African artistry they did was to rid the tribes of their tribal idols and craftsmanship which are not only created and ancestral spirits. These were represented by for religious purposes but also as a source of the carved figures and painstakingly done prosperity for people. The famous discoveries by the locals for different purposes. Thousands with astonishment were the Ife arts, most of of sculptures and masks were burnt by the which were discovered by means of missionaries, and others were hidden away by archaeological excavations. Through this work, the natives. The artists in some other tribes Frobenius drew people’s attention to the turned to making new carvings that represented outstanding historical and archaeological the figures in the new Christian religion. Since importance of Ife and the naturalistic sculptures many of these figures still had the primitive found there (Famoroti, 2010). The discovery of of the traditional cultures, they, too, were Ife, Benin, Nok, Esiesoapstones arts and its looked upon as pagan idols, primitive style of study has helped in understanding of the history the traditional cultures, and were not accepted in and ancient civilization in Nigeria. the mission schools and churches (Gates, 1996). DISSERVICE OF FOREIGN RELIGIONS TO The status of African art has a negative impact AFRICAN ART on contemporary artist in modern society. Art is African arts were predominantly traditional not as highly exalted in a society where people before encounter with the Arabians and later believe in money, power and social status. Europeans through trade and colonization. The There is little or no appreciation for African art European influence was limited to coastal towns in a society that is driven by modern religious and the middle belts. In Nigeria for example, belief. Art has being regarded as a medium of Interactions with the Arabians through the trans- propaganda for indigenous religions, especially trade explain the predominance of by the Christian and Muslim faithful. The

International Journal of Research in Humanities and Social Studies V7 ● I1 ● 2020 20 In Search of True African Art from the Perspective of Relative Disciplines: Case Study of Architecture and Archaeology artistic works of wooden sculptures are regarded cultural festivals in the community. This is the as graven images, unrefined art concepts with reason why there has not been any record of fetish powers. Art and artists in Africa suffered worship or manifestation of spirit in any cultural tremendous setbacks and opposition from some heritage preserved in our national museums. All section of individuals and majority in the society objects kept in the museums are not worshiped (Oyinloye, 2006). While the Western worlds but preserved for their socio-cultural importance were attempting to help Africans to be more and values. religious and as well advance in technology, On the case of African palace architecture being they were not careful enough to guide some of built to assume a more permanent structure with the African arts jealously. Since then, many thicker walls, more elaborate designs and larger smaller communities have lost their cultural spaces, so many studies have shown the identity to modern religion and civilization. elaborate stances and purposes. In Yoruba land, Appreciation must be given to the effort of the southwest Nigeria the palaces are more defined Nigerian antiquity services that helped by spatial variation of its sections such as safeguard most cultural object that are preserved verandah, courtyards etc. Yoruba palaces are in our national museums today (Oyinloye, relatively dedicated to the gods, Orisa, and 2015). could be termed the dwelling places of the gods. THE PLACE OF AFRICAN ART IN PALACES AND The task of ornamentation and decoration of COURTYARDS OF TRADITIONAL RULERS Yoruba palaces lies on the communities and the priests in charge of the gods which the kings In the ancient African culture, it is the Kings and represent on earth (Okeyinka and Odetoye, nobles that usually commissioned traditional 2015; Fajuyigbe, and Okunade, 2015). African craftsmen and artists to work for them in the people generally have their own respective community. Therefore, most carvings were religious places which are not for common use, fashioned after myths, philosophies and ancestors they are considered sacred or holy. The kings of the land. In this regard, traditional rulers are and paramount chiefs in the society usually usually the custodian of most African arts. The reserve certain areas in the palaces where they important and useful objects such as stool, staff express their religious feelings. These places are of office, house-post, panels are all found in the specially decorated with religious emblems that palaces of the King or paramount rulers. juxtapose the tradition of the land. The architecture However, carved objects of worship, image of of the African palaces is traditionally embedded in ancestor are kept in or altar of the deity the use of art as the main source of aesthetic under the custody of the priest or priestess. embellishment. Art is totally linked to According to Adejumo (1994) the Yoruba architecture both in structure and interpretation. images used by Osun worshippers in , For this reason most African culture are initially 36 in number are not carved after the deliberately protected by creating custody for deities; but as representation of priestesses and them within the palace with the king or specially worshippers of some particular deities. Further appointed chief as the custodian of such culture. investigation also suggested that the images FOREIGN INFLUENCES ON AFRICAN were not actually the representation of any deity ARCHITECTURE AND ARTISTIC EXPRESSION (Adejumo 1994). They were all kept at the shrine of Osun and repainted yearly in In the early 1990s, the beauty of traditional preparedness for everyosun festival and other African sculpture became a powerful influence ritual or rites attributed to Osun in the period. It among European artists who formed an avant- is mostly utilitarian object of arts that are in the garde in the development of . In palaces because they are used for one purpose or France, , , and their the other. The Yoruba images can hardly be school of Paris friends blended the highly considered as idols because they were not stylized treatment of the human figure in carved after the semblance of gods. The images African sculpture with painting styles from post- involved in the celebration of African festivals artists. The attention of modern are the visible and tangible manifestation of the artists was drawn to African sculpture because spiritual conception. After all, many deities in of its sophisticated and unique approach to the can be worship without images. abstraction of the human figure. This feature Most carved images were purely objects of inspired the European artists to develop a beauty to be admired or appraised during painting style for their art.

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On the other hand, traditional architecture has and Jewish motifs combined to produce new hybrid continued to experience rapid revolution due to ). factors ranging from trade exchange, colonialism, Source: Authors, (2016). and return of slaves, industrialization to globalization and others. In religion, especially and also played significant role in this revolution. From the religious point of view, many of the art works were fetish and mystical in nature according to the two religious tenets (Hardy, 2003; Adeyemi, 2008; Opoko et al., 2016). Therefore, converts were consequently expected to denounce them and embrace other religious symbols than the fetish traditional items. Consequent upon the abolition of slave trade for example, Nigerian slaves were repatriated back to Nigeria via . Opoko et al. (2016), observed Figure6a. Pictorial view of the Cathedral Church of that the returnee slaves from Sierra-Leone and Saint Peters Ake, (The first Church in had a defining impact on the Nigeria) (This architecture was built in the style of lifestyle of people of South west Nigeria which Brazilian cathedrals. A great influence of the Afro- Brazilian style) was very evident in the built environment’s architectural style. Most of these returnee slaves Source: Authors, (2016) have perfected their craftsmanship skills from South America. They introduced the ornate Afro-Brazilian domestic architectural style of Portuguese antecedents into the region, beginning from Lagos where they settled to other parts of Africa (Osasona, 2007). Skills in the use of wood for relief murals as well as elaborately carved balusters and panels were at their command. They were also specialist at carvings around windows, portals, quoins, plinths, column capitals, shafts and Figure6b. Pictorial view of the Centenary Hall Ake, bases. This Afro-Brazilian style then began to Abeokuta-Nigeria built in 1930 (The building typifies grow from Lagos and extended to other cities in the obliteration of traditional architectural styles by Nigeria such as Abeokuta (see figure 5, 6a and b). European influence). While the Western worlds were attempting to Source. Authors, (2016.) help Africans to be more religious and as well advance in technology, they were not careful CONCLUDING REMARK AND enough to guard and guide some of the African RECOMMENDATIONS arts jealously especially those that were not The future of any art and Architecture depends fetish. Since then, many smaller communities on the extent to which it is acceptable to the have lost their identity. people for whom it is intended. The notion that art works or buildings of traditional materials are substandard is the main obstacle to the development of an authentic African art and Architecture that is truly indigenous to the people (Adeyemi, 2008). He further cited the quote of Richard Martin in the story of the African past as one of destruction of traditional values and their replacement with alien ones. Many even consider this trend as inevitable. The visual manifestation of the African fondness of alien culture is confirmed in the picture painted Figure5. Gate view of the Alake Palace Ake, by Richard Martin the picture of the Wabensi in Abeokuta-Nigeria (Elements of European, Yoruba Kenya, the Apambwaba” in Zambia the Nana

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Benz in Togo and in recent times the Mandarin [7] Aydın, D., Yaldız, E. & Sıramkaya, S. B. Millionaires of Nigeria. (2015). Evaluation of Domestic Architecture Via the Context of Sustainability: Cases from African artists place a high value on fine Konya City Center. International Journal of workmanship and mastery of the medium (Blier, Architectural Research, 9(1), 305-317. 2006). The form and detail of African artworks [8] Babalola, D. O. (1994). Problems of Perception and architecture are very crucial in their designs. and definition of Contemporary Nigerian Art. Balance and symmetry are also prominent in Rom Kalilu, R. O. (ed.) Africa Art, Definition, most African artworks and architecture. The form and styles. Ladoke Akintola University of textures of their finishes are taken into greater Technology, Ogbomoso, Nigeria; ISBN 978- consideration in order to make the works 32736-0-4. appreciated in their community. Smooth finishes [9] Blier, S. P. (2006). “ African Art and are mostly given to the end products of most Architecture.” Funk &Wagnalls New traditional African artworks and architecture. Encyclopedia. World Almanac Education Group. This element of African aesthetics is very [10] Dmochowski, Z. R. (1990). An Introduction to conspicuous in African art and architecture. Nigerian Traditional Architecture: South-West and Central Nigeria. London: Ethno graphica Ltd. By and large, despite the diminishing rate of the [11] Egonwa, O. D. (1994). Art Forms for Water traditional African art, this study emphasized Spirits in the Ethiope River Basin: An that not all valuable African arts has been lost. Iconographic and Stylistic Analysis. Rom Indeed, the best of what can be called African Kalilu, R. O. (ed.) Africa Art, Definition, form arts today can still be found in most African and styles. Ladoke Akintola University of ancient palaces and national museums Technology, Ogbomoso, Nigeria; ISBN 978- nationwide. The study therefore recommend 32736-0-4. among others, that primary and secondary [12] Fajuyigbe, M. O. &Okunade, M. A. (2015). Art schools curriculum should include courses that and Architecture of the Owa’ s Palace in , will take pupils to traditional palaces, museums Nigeria. Journal of Humanities and Social and archaeological sites, especially at secondary Science, 20(8), 37-45. school level, so that historical art works can be [13] Garlake, P. (2002). “ Early Art and seen, appreciated and studied appropriately. Architecture of Africa.” Oxford University Press. New York. REFERENCES [14] Famoroti, F. (2010). Leo Frobenius’ [1] Adejumo, A. (1994). Osogbo Festival of Contribution to the study of African art. Images: An insight into some Aspects of Nigeria: 100 Years Ago. Kuba, R. and Hambolu, Yoruba and History. Rom Kalilu, R. O. (ed.) M.O. eds.; National Commission for Museums Africa Art, Definition, form and styles. Ladoke and Monuments, Nigeria and Frobenius Institute, Akintola University of Technology, Ogbomoso, Frankfurt/Main, pp.55-62. Nigeria; ISBN 978-32736-0-4. [15] Gates, H. L. (1996). Europe, African Art and the [2] Adeyemi, E. A. (2008). Meaning and Relevance Uncanny. In Phillips, T. (ed.) Africa: the Art of a in Nigerian Traditional Architecture: The Continent (27-29). London: Royal Academy of Dialectics of Growth and Change. Covenant Arts. University, Public Lecture Series, 1(21). [16] Hardy, A. (2003). Multi-cultural Architecture. [3] Agboola, O. P. &Zango, M. S. (2014). Global Built Environment Review, 3(2), 13-17. Development of Traditional Architecture in [17] Jiboye, A. D. & Ogunshakin, L. (2010). The Nigeria: A Case Study of Hausa House Form Place of the Family House in Contemporary International Journal of African Society Oyo Town, Nigeria. Journal of Sustainable Cultures and Traditions, 1(1), 61-74. Development, 3(2), 117-128. [4] Andersen, K.B. (1977). African Traditional [18] Lawuyi, T. (1994). The Challenges of Art Architecture. Oxford University Press, London. History. Rom Kalilu, R. O. (ed.) Africa Art, [5] Asojo, A. O. and Jaiyeoba, B. E. (2016). Definition, form and styles. Ladoke Akintola and Cultural Expression in University University of Technology, Ogbomoso, Nigeria; Campus Design: The Nigerian Example. ISBN 978-32736-0-4. International Journal of Architectural Research, [19] Lipe, W. A. (1984). Value and meaning in 10(3), 21-35. cultural resources, approaches to [6] Allan, B. &Tengan, S. C. (2014). Determining Archaeological Heritage: a comparative study an Appropriate Architectural Style for of world Cultural Management system, Henry Designing Cultural Buildings in . Cleer (ed), Cambridge University Press, Journal of Arts and Design studies (18). London, New York, Sydney.

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Citation: OYINLOYE Michael Abiodun., DIPEOLU Adedotun Ayodele., OMOLOLA Feyisara Sunday., ADEYEMI Adedola Olayinka., SIYANBOLA Afeez Babatunde.“ In Search of True African Art from the Perspective of Relative Disciplines: Case Study of Architecture and Archaeology”. (2020). International Journal of Research in Humanities and Social Studies, 7(1), pp.16-24 Copyright: © 2020 OYINLOYE Michael Abiodun. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.

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