UNIVERSITY OF NIGERIA, NSUKKA
DEPARTMENT OF FINE AND APPLIED ARTS
VEGETABLE CULTURE: FIBRE ART IN THE NSUKKA
SCHOOL, 1975- 2005
BY
GODSON .O. DIOGU
PG/M.A/Ph.D/05/40119
A THESIS SUBMITTED TO THE DEPARTMENT OF FINE AND
APPLIED ARTS, UNIVERSITY OF NIGERIA, NSUKKA, IN PARTIAL
FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF
DOCTOR OF PHILOSOPHY IN ART HISTORY
APRIL 2010.
TABLE OF CONTENTS
Pages
Dedication------.------i
Title Page------ii
Certification------iii
Acknowledgement------v
Approval Page------iv
Abstract------vi
List of Plates------viii
CHAPTER ONE
INTRODUCTION------1 DEFINITION OF TERMS------6 STATEMENT OF THE PROBLEM------7 OBJECTIVE OF THE STUDY------8 THE SCOPE OF THE STUDY------9 THE SIGNIFICANCE OF THE STUDY------10 METHODOLOGY------10 ORGANIZATION ------11
CHAPTER TWO
LITERATURE REVIEW------13
CHAPTER THREE
FIBRE ART IN HISTORY------22
CHAPTER FOUR
CURRICULUM REVIEW IN THE NSUKKA SCHOOL: DEVELOPMENT AND IMPACT ON FIBRE ART------50
CHAPTER FIVE
SOME SELECTED FIBRE ARTISTS OF THE NSUKKA SCHOOL: BIOGRAPHICAL AND PROFESSIONAL DETAILS------68 UCHE OKEKE------69 CHUKWANUGO.S.OKEKE------77 IFEDIORAMMA DIKE------84 EVERASTUS OBODO------103 SLYVERNUS ODOJA ASOGWA------110 ANGELA NKEMDILIM UDEANI------119
CHAPTER SIX
THE FIBRE ARTISTS AND INDIGENOUS ART TRADITIONS------128
CHAPTER SEVEN
THE FIBRE ARTISTS WITHIN NSUKKA SCHOOL EXPERIENCE------141
CHAPTER EIGHT
CONCLUSION------149 APPENDIX 1------159 APPENDIX 11------163
1 LIST OF PLATES
Pages
Plate 1: Jindrich Vohanka, La Visite d’aldebaran……………………………25
Plate 2: Barbra Chase riboud, Monument to Malcom………………………..26
Plate 3: Walter Nottingham, Wall Pillow……………………………………...28
Plate 4: Walter Nottingham, Fuses……………………………………………28
Plate 5: Joesp Grau Garriga, Soca de Guernica……………………………...30
Plate 6: Josep Grau Garriga, Perella………………………………………….30
Plate 7: Claire Zeisler, Cascade………………………………………………..31
Plate 8: Claire Zeisler, Untitled………………………………………………..31
Plate 9: Anonymous Artist, Medicine man mask……………………………..33
Plate 10: Anonymous artist, Baule Mask………………………………………34
Plate 11: Anonymous Artist, Head-dress………………………………………36
Plate 12: Anonymous Artist, Flat Disk Mask………………………………….36
Plate 13: Anonymous Artist, Wearable Art……………………… …...... 37
Plate 14: Anonymous Artist, Yoruba King’s Head-Dress……………………..39
Plate 15: Anonymous Artist, Ijele Costume……………………………………40
Plate 16: Anonymous Artist, Warriors in quilted Cloth Armor……………….41
Plate 17: Anonymous Artist, Ekwe Masquerade Costume…………….. …...... 48
Plate 18: Anonymous Artist, Wander Masquerade Costume………………….48
Plate 19: Okwuowulu, T. F, Untitled Mixed-Media Textile…………………...56
Plate 20: Jackson Ikanem, Royal Couple………………………… …………...56
2 Plate 21: Ali, Rebeca, Christmas
Greetings…………………………….……….57
Plate 22: Musa, Grace, Christmas Greetings…………………… ……...…….57
Plate 23: Anonymous Artist, My Experience…………………………….…….58
Plate 24: Anonymous Artist, My Experience……………………………..……58
Plate 25: Nwigwe, Chukwuemeka, Hope………………………… ……...…...59
Plate 26: Onwuzuruigbo, Scholastica, Expectation……………..……………..59
Plate 27: Asadu, Nick, Mother and Child………………………… ………….60
Plate 28: Asadu Nick, Futility…………………………………………………...60
Plate 29: Anonymous Artist, Conservation……………………………………..61
Plate 30: Anonymous Artist, Conservation……………………………………..61
Plate 31: Oguejiofor, Sabina, Right of Passage………………… …………….62
Plate 32: Anonymous Artist, Untitled…………………………………….…….62
Plate 33: Nwigwe, Chukwuemeka, Nest……………………… … ……....……63
Plate 34: Dyoke, Chinyere, Nest………………………………… ……………63
Plate 35: Dyoke Chinyere, Nest…………………………………………………64
Plate 35(b): Portrait of Uche Okeke……………………………………………..68
Plate 36: Uche Okeke, Anya Nwammuo………………………………………...75
Plate 37: Uche Okeke, Onwuelo Depart………………………………………...75
Plate 37(b): Portrait of C.S.Okeke………………….……………………………77
Plate38: C.S.Okeke, Tapestry…………………………………… ……………...82
Plate 39: C.S.Okeke, Ejekom be Loya…………………………………………..83
3 Plate 39(b): Portrait of Ifedioramma
Dike………………………………………84
Plate 40: Idu Masquerade………………………………………………………..88
Plate 41: Okwomma Masquerade………………………………………………..88
Plate 42: I. Dike, Meditation…………………………………………………….89
Plate 43: I. Dike, Night Bird…………………………………………………….89
Plate 44: I. Dike, Mgbedike……………………………………………………..89
Plate 45: I. Dike, The Lost Scroll………………………………… …………....92
Plate 46: I. Dike, Something Binds Us Together……………… ……………....93
Plate 47: I. Dike, Iru Ijele……………………………………………………….93
Plate 48: I. Dike, Grander…………………………………………………….....96
Plate 49: I. Dike, The Melting Pot……………………………………………....96
Plate 50: I. Dike, The Bull…………………………………………….………...97
Plate 51: I. Dike, Identified Flying Object…………………………….………..97
Plate 52: I. Dike, Resonance……………………………………………..……...98
Plate 53: I. Dike, Our Faces are Different…………………………….………..98
Plate 54: I. Dike, Mere Africa………………………………………….……….99
Plate 55: I. Dike, Even with One Eye………………………………….……….99
Plate 56: I. Dike, The wings are There…………………………………………101
Plate 56(b): Portrait of E. Obodo…………………………………………….....103
Plate 57: E. Obodo: Ite Ofo…………………………………………………….106
Plate 58: E. Obodo, Igbangwu Oka…………………………………………....106
4 Plate 59: E. Obodo, Gut and Intestines
I………………………………………107
Plate 60: E. Obodo, Gut and Intestine II………………………………………108
Plate 61: E. Obodo, Goods Only……………………………………………….108
Plate 62: E. Obodo, Wall and Tubers………………………………………….108
Plate 63: E. Obodo, The Explorer……………………………………………..109
Plate 63(b): Portrait of Slyvanus Asogwa……………………………………..110
Plate 64: Asogwa. S, Nwangboto……………………………………………...113
Plate 65: Asogwa. S, The Counselor…………………………………………..113
Plate 66: Asogwa. S: Sage……………………………………………………...113
Plate 67: Asogwa. S, Royal Concourse…………………………………………113
Plate 68: Asogwa. S, Ugele Nwoma……………………………………………114
Plate 69: Asogwa. S, Eshikaru…………………………………………………114
Plate 69(b): Potrait of Angela, I. Udeani……………………………………....119
Plate 70: Udeani, Angela, Royalty………………………………… ………....121
Plate 71: Udeani, Angela, The Royal and the Subjects…………… ………...121
Plate 72: Udeani, Angela, Conflect……………………………… …………..122
Plate 73: Udeani, Angela, Dialogue I …………………………… ………….122
Plate 74: Udeani, Angela, Dialogue II .………………………………………..122
Plate 75: Udeani, Angela, Peace ……………………… …………………….122
Plate 76: Udeani, Angela, Solemnity…………………… ………… ………...123
Plate 77: Udeani, Angela, Transition …………………… ………… ……….123
5 Plate 78: Udeani, Angela, Hang on Me…………………… ………
………..125
Plate 79: Udeani, Angela, New Birth …………………… ………………….125
Plate 80: Diogu, G .O, We can Still Live Togather……… …………………148
Plate 81: Nwigwe, C, Idi na Otu………………………………………………148
APPENDIX 1
Plate: 82 Diogu, G. O, Unknown Flying Object……………………………….159
Plate 83: Nwigwe, C, Nest I ..…………………………………………………..159
Plate 84: Nwigwe, C, Untitled………………………………………………….159
Plate 85: Nwigwe, C, Nest II …………………………………………………..159
Plate 86: Nwigwe, C, Untitled………………………………………………….160
Plate 87: Nwigwe, C, Untitled…..……………………… ……………………..160
Plate 88: Anonymous Artist, Fabric Collage………………………………….161
Plate 89: Nwigwe, C, Untitled………………………………………………….161
Plate 90: Anonymous Artist, Untitled…………………………………………161
Plate 91: Ubah, Rita, Hand Bag………………………………………………..161
Plate 92: I. Dike, Master With the Golden Thread…………………………….161
Plate 93: Diogu. G.O, In Memory of Dick Tiger………..…………………….161
6
7 CHAPTER ONE
INTRODUCTION
The University of Nigeria was formally opened on the 7th of October 1960, as the climax to the Nigerian independence celebrations. Although classes began on the 17th of October 1960, registration into the Fine Arts programme of the university commenced in 1961. The department was originally named the
Enwonwu College of Fine Arts before its change to College of Fine Arts, and it was noted that Dr. Nnamdi Azikiwe, among other actors, played a major role in its establishment (Oloidi, 2004, 23-25). But immediately after the Nigerian Civil War, in 1970, the department acquired a new name: Department of Fine and Applied
Arts under Uche Okeke.
In his article titled Ile Ola Uli; Nsukka School as Fount and Factor in
Modern Nigerian Art, Oloidi (2002, 244), citing one of the ramifying philosophy of the Department of Fine and Applied Arts, notes that “one of the objectives of the Department of Fine and Applied Arts programme according to Dr. Nnamdi
Azikiwe, the First President of Nigeria, was to make the touch of creativity which
Aina Onabolu gave us at the dawn of this century brighter and more enlightening to Africa”. Thus, following the philosophy of the University, which was reflected in her motto: “To Restore the Dignity of Man”, the University was expected to influence the Nigerian society in many ways. Through her Art Department, the society would be activated and re-directed in order to restore self-respect, self- confidence and to enhance social and cultural development. The establishment of
8 the Department Fine and Applied Arts was therefore based on the “critical study of the nature and purpose of Art and Design in the society and the application of intellectual and artistic proceeds for social and technological advancement”
(Ezeoke and Ogbechie, 1991).
The early post Civil-War period, particularly 1970 to 1977, was extremely important to the development of the Nsukka School. With the appointment of Uche
Okeke to lectureship position in the Art School in 1970, a new direction was charted in the theory and practice of art in the school. Supported by the academic staff of the department, particularly Chuka Amaefunah, Chike Aniakor and later
Ola Oloidi, Obiora Udechukwu, C.S Okeke and others, Uche Okeke began to enforce the Uli art forms which manifested as the popular art language of the school. This was successful for the following reasons:
(a) The willingness of the academic staff to embrace new ideas;
(b). the collective interest of staff and students to forge an identity, and
(c). the disposition of the staff and students to experimentation and the structure of the Art History programme. The above factors were responsible for the emergence of ulism, as coined by Amaefunah in 1978.
Reflecting on an interview he held with Chike Aniakor, an art historian and one of the protagonists of Uli art, Nkurumeh (2002, 134) in an article titled Beyond
Ulism; Print Making in the Nsukka School observes that “art blossomed at Nsukka as a result of interdisciplinary experimentation as “Drawing, Painting, Graphics,
Ceramics and Textiles were inter-woven in terms of conceptualization”.
9 Convincing evidences have also demonstrated that the Nsukka School has established cultural authenticity with greatly fructifying international spread.
Ottenberg (2002, 19) notes, “The Nsukka artists have drawn notice, particularly in
Germany, England, and the United States. The different artistic experiences and experiments of the Nsukka artists within and without Nigeria are striking”.
Similarly, Ecoma (2005, 290) explains that the dominance and importance of Nsukka School in contemporary Nigerian Art are not “its share participation in the aesthetics of art creation, but because it had identified a part way, a visual identity of art which instills and projects, particularly, a strong Igbo arts at home”.
Reflectively, one would note that the above reaction of Ecoma had earlier been asserted by Oloidi (2002, 248) who, after appraising, critically, the contributions of the Nsukka School to the development of modern Nigerian Art, concludes that
“without doubt the Department of Fine and Applied Arts of the University of
Nigeria is greatly respected for its creative, intellectual and ideological contributions” to the development of modern Nigerian Art. The questions which may arise among critics are: what are the levels of creativity which have marked the development of the Nsukka School, and what are those intellectual and ideological contributions which have helped the development of modern Nigerian art?
Between 1970 and 2005, critical essays and opinion papers were widely published and studies were conducted by art historians and critics, tracing the development of the Nsukka School and its contributions to modern Nigerian Art.
10 Lamentably, most of the articles are not holistic with regard to presentation of information concerning the developmental process vis-à-vis the active participants both in the theory and practice of art. With all that is finally being written today about the Nsukka School, there is still need for more research efforts. One area in which this need is very apparent is the history of Fibre Art in the school. Only a few writers, particularly the painters and sculptors in the school, have occasionally made their way into the journals and textbooks. The artists who have had wide exposure are Uche Okeke, Obiora Udechukwu, El-Anatsui, Chuka Amaefuna,
Okpan Oyeoku, Tayo Adenaike, Olu Oguibe and lately, Kridz Ikwuemesi The female artists among them include Ndidi Dike, Chinwe Ntefe, Nkechi Nwosuigbo and Nnena Okorie. These are the most privileged artists. Some of them have been listed among the painters of the Nsukka School (Ottenberg, 2002).
Although there is evidence of the existence of Fibre Art study among other creative activities of the Nsukka School, the impact it has made on the development of the Nsukka School can hardly be identified. Could it be that the
Nsukka School lacks awareness of the development of new ideas in other studio areas apart from painting and sculpture? Are they not aware of the new creative direction in Fibre Art? Why has ‘Ulisim’ dominated the creative ideology of the
Nsukka School? Are there other art forms with which the Nsukka School could be identified? If there are, what are those art forms which have contributed positively to the development of the School, and why is the impact not yet felt by the Art
11 Historians and Critics? Answers to these questions are crucial and need to be sought through critical examination of works of the Fibre Artists in the school.
But from practical and literary perspectives, there are evidences to show that the Nsukka School initiated the development and practice of Fibre Art, and indeed the first Art School in Nigeria to formally introduce it in its curriculum. However, the school has not been able to propagate this new area of art through research, documentation or exhibition as a means of supporting this creative direction.
Consequently, the gaps between theory and practice in this domain have persisted.
This has raised the issue of responsibility. Who is responsible for the propagation of information or ideas on this creative development? Is it the art historian/critics or the creative artists? Most people believe that the art historians are responsible for the propagation of information on the creative arts, but little effort has been made in this area by the art historians. Fine and Applied Arts as a subject in particular lacks qualified and well-trained researchers.
Based on visual evidence, there seems to be a quick pace of development in the Fibre Art experimentation in the art school. This should be marched with concerted efforts by the Art Historians and Critics to document all the creative ideas of the art school. The Nsukka School is like a creative spectacle which uses various elements for productive outing. The main point here is that all the sub- disciplines that make up the Nsukka School should be critically studied. Those artists who have been involved in exploring Fibre as a new expressive channel should be examined and put in proper literary perspective. Similarly, the media,
12 concepts, social, economic and cultural determinants which enhance the production of Fibre Art should be put in proper perspective.
DEFINITION
In order to keep the discussion in this thesis in proper perspective, it has become necessary to define some important words. These are the Nsukka School, Fibre-
Art and Vegetable Culture.
Nsukka School: In the context of this study, Nsukka School refers to an established creative and stylistic institution projected by the approved programme of study in the Department of Fine and Applied Arts, University of Nigeria. It defines a unique experimental artistic ideology that encourages the use of ethnic criteria for the projection of, particularly, Igbo aesthetic ideals. It further represents an art institution that re-invigorates the Igbo ethnic concepts of Uli as an aesthetic basis for the projection of the Igbo design ideology.
Fibre Art: Fibre Art, which made its appearance in literature towards the end of the twentieth century, describes works of art that are rendered in two or three dimensions, predominated by fibres or fibrous materials. Fibre Art, according to
Jesska (2005), is a unique kind of art that is not meant to be functional or necessarily wearable. It encompasses works produced on treadle looms or through any alternative devices like tapestry, quilted fabrics, appliqué, mixed media textiles and installation art.
13 Vegetable Culture: Vegetable culture is used in this research to describe the ways of life of a cultural group or community and their interactions with their vegetative or organic environment. With regard to the Nsukka School, the term has been extended and extensively used to discuss and analyze different kinds of explorative tendencies and design products, which emphasize the use of Fibre and related materials, derived through exploration and advanced exploration of indigenous ideas, forms and materials from the environment.
STATEMENT OF THE PROBLEM
A critical appraisal of the development of Art in the Nsukka School from
1975 to 2005 reveals that the Nsukka School has developed in various dimensions.
“The lecturers and graduates are academically and vocationally trained and, as such, they are open to wider views of their environment. They have the intellectual ability to source ideas, analyze, synthesize and modify new concepts and therefore cannot be confined to any one style” (Ecoma, 2005). Moreover, the 1992 edition of the University of Nigeria Academic Calendar, compared with the previous ones, shows that the art curriculum has, from 1992 to date, shifted its focus to a more integrated approach, encouraging creative development through media integration and promotion of entrepreneurship values. Thus, the works of Nsukka School
Lecturers and graduates have made a profound impact on art lovers, both nationally and internationally.
14 But unfortunately, there is dearth of information on the academic and professional activities and achievements in some of the sub-disciplines. One of these activities, which have missed the search light of the art historians and researchers, particularly, is the comprehensive study of the development and practice of Fibre Art in Nsukka.
Fibre Art has made a subtle impression on the development of Nsukka
School and its recognition as new researchable area has, thus, been delayed.
Consequently, the impact of Fibre Art and the value it has added to the history of modern Nigerian art need critical examination. This research is therefore focused on Fibre Art and the creative works of the pioneer Fibre Artists of the Nsukka
School between 1975 and 2005.
OBJECTIVES OF THE STUDY
A number of objectives have reinforced the need for this research, and
as a result great effort has been made:
1. Identify and profile the pioneer Fibre Artists and the role they have
played in its development.
2. To study the evolution and development of Fibre Art in the
Nsukka School.
3. To examine the curriculum development in the school and determine
its impact on the origin and practice of Fibre Art in the School.
4. To determine the level of influence of the artists, and diffusion of Fibre
15 Art forms.
5. To construct an historical development of Fibre Art for a comprehensive
picture of its origin and stylistic evolution.
SCOPE OF THE STUDY
The research is limited to the construction of the evolutionary history of
Fibre Art as a newly established creative channel. It covers only the artistic experience of the fibre artists in the Nsukka School from 1975 – 2005. For a comprehensive rendering of this development, the background of the Nsukka Art
School was examined briefly from the time the school was established. However, a comprehensive account of the artistic development between 1975 and 2005 and various factors responsible for the development have been given a major focus.
The study is limited only to artists who have produced works with fibers and fiber related materials. Emphasis is placed on selected exhibiting artists from 1975 to
2005, and postgraduate students of the Department of Fine and Applied Arts within the period under review. However, a window – view of the works of some graduates of the school is undertaken and the works are briefly examined.
16 SIGNIFICANCE OF THE STUDY
Economic attention is today focusing sharply on Fibre Art, worldwide. Also, interest in the investment market of museums and galleries of most countries, especially in Europe and America, is now in the area of Fibre Art. Consequently, most Art institutions in Europe and America, as a way of advertising fibre Art, are organizing conferences, symposia, and exhibitions in order to sensitize the public about this new direction (Liz. Good, & Kit Kinseth, 2005). Although the Nsukka
Art School has been involved in Fibre Art for over three decades, there is dearth of reliable information on its development. Thus, there is the danger of the society loosing the record of this artistic event, as well as the socio-cultural and ideological relevance of the unique art. In the light of the above observation, this research on the Fibre Art in the Nsukka School from 1975 to 2005 is very significant; also in the sense that it contributes to a better understanding of Fibre Art practice as an art historical event. The study will also bring awareness and critical insight into the works of modern Fibre artists in Nigeria.
METHODOLOGY
In carrying out this research, both primary and secondary sources of information have been relied upon. Primary sources include interview, with a tape recorder and camera, of relevant artists, designers, art historians, as well as some corporate organizations in the print and electronic media. There are also visits to
17 art exhibitions, seminars and art workshops, where some pertinent observations have been made. Visits to many artists / designers’ studios also serve as additional primary sources of information. Study and analysis of art works in private and public collection, particularly, in the Ana Gallery, Nsukka and the National Gallery of Art, Lagos, are also additional useful primary sources. All these are in addition to private diaries and photographs in private collections.
Secondary sources include written or published materials in form of books, journals, newsletters, conference papers, magazines, exhibition catalogues and newspapers. These are in addition to published monographs, dissertations, theses and project reports in tertiary institutions. Being a historical research, the study has been carried out through narrative, evaluative and descriptive presentation of information that is also handled chronologically within the scope of the study.
ORGANIZATION
This study is divided into eight chapters. Chapter one provides the background information about the establishment of the Nsukka School and its gradual and consistent development. It also provides the conceptual and thematic framework for the entire study. In chapter two, the literatures that are relevant to this study are reviewed, while in chapter three, a historical appraisal of the development of Fibre Art in Europe and America is presented and it examines the contributions of Africa to the development of Fibre Art. It also looks at the impact of socio-cultural environment on the practice of Fibre Art. Chapter Four examines
18 the Nsukka School curriculum and the impact it had in the development of the
School. In chapter five, the selected Fibre Artists are discussed through a broad view of individual artists, their styles, themes and conceptual orientation. Here, issues of relationship between media, themes and styles are also discussed. In chapter six, the researcher relates the Fibre artists to the indigenous art traditions, while chapter seven examines the Fibre artists within the Nsukka School experience, while chapter eight concludes the thesis.
19 CHAPTER TWO
LITERATURE REVIEW
Literature on Fibre Art in the Nsukka School is very scanty because it is a new area of exploration. The Uli experiment that assumed a creative force in the
Nsukka School from the early 1970s to the late 1990s placed the art school in a very high pedestal, because it related its relevance to the contemporary art experience of Nigeria. The special attention that was given design expression in painting medium served to make any other creative activities that did not fully involve Uli irrelevant. This may have brought the low level of research in Fibre
Art. However, few works on Fibre Art can be located in some art brochures, conference papers, unpublished materials, journals and books.
Many of these works are not in-depth and generally lack critical examination of the subject. Besides, materials derived from art exhibition catalogues are generally biographical, with less attention given to medium or materials, stylistic, technical, symbolic or conceptual analyses. Although, some of the works recognize the impressive formalistic characteristics of Fibre Art works, there are few that highlight Fibre Art as a cultural phenomenon that had its origin from various masking traditions. However, it is important to examine some of the available literature on Fibre Art, starting with books.
One of these books is The Creative Conscience by Uche Okeke, which presents, graphically, the historical development of the Art School, and the impact of the “Natural Synthesis” ideology and its formation. The book recounts how
20 Okeke joined the Nsukka School, bringing his Uli Art into the philosophy of the
School. He analyzes how his academic and professional experience helped to provide the conceptual, philosophical and stylistic development of the Nsukka
School. Information gathered from this source is very useful in assessing the school’s concern for the development of modern Nigerian Art.
The Triumph of a Vision by C.Kridz Ikwuemesi (2003,), is another important book with some limited information that is useful to this study. For example, it contains Ola Oloidi’s article “Uche Okeke and His Creative Dynasty in Nigeria”.
Apart from delving into Uche Okeke’s biography as regards early education and formal education, it incisively examines the professional contribution of Uche
Okeke particularly, in the areas of art theory and his general artistic versatility, which includes his adventure in Fibre Art. The book has been very useful in this research.
Another useful book is the Rediscovery of Tradition, Uli and the Politics of
Culture by Ikwuemesi, C and Agbanyi, E, eds. (2005). The book features all those
Nsukka artists that have identified, through the culture of Nsukka experimentation, the indigenous creative properties of Igbo Art, the situation that eventually made some studio, particularly, textile artists focus of on Fibre Art.
However, some of the books that are also directly relevant to this study are
Weaving Tradition in Igbo land by Afigbo, A. E, and Okeke, C. S, Design and
Technology in the 21st Century by Filani, E. O, and Azeez, W. A, et al, (eds.), and
History, Design and Craft in West Africa Strip-Woven Cloth, by Picton, John, eds.
21 The Weaving Tradition in Igbo land (1985), apart from presenting the historical foundation of weaving along with the typology and aesthetic appeal of Igbo woven art, also brings out not only the lucrativeness but also the creativeness of different forms of woven fabrics and other woven materials that include the use of a variety of materials, including fibre for weaving.
Design and Technology in the 21st Century directly and very importantly features in detail the function of fibre and fabric materials in Nsukka masking culture. The above is contained in the article “Fibres and Fabrics in Nsukka
Masking Tradition: Potentials for Fibre Art” by Asogwa, S.O, and Diogu, G.O.
(2005). The authors have extensively discussed how Fibre Art, for example, can be very expressive in utilitarian, functional and stylistic consideration as well as in aesthetic appeal. History, Design and Craft in West African Strip-Woven Cloth
(1992) has also brought out the beauty, socio-cultural and socio-political functions of woven cloth, among the West African groups. The book is very relevant in the sense that it has brought into focus a seemingly neglected weaving tradition of the
West African people, therefore, making African scholars focus on the almost forgotten tradition of Fibre Art in Africa.
An important book that appears to synthesize the intellectual, creative and the cultural potency of the iconography of the Nsukka School is the Poetic of
Lines: Seven Artists from the Nsukka Group by Ottenberg, S, (1997). This is because the book features all the notable creative forces behind Nsukka School, who have had varying degrees of literary attention. Prominent in this respect are
22 Uche Okeke, Chike Aniakor, Obiora Udechukwu, Tayo Adenaike and Olu
Oguibe who are the creative artists that gave impetus to the study and adaptation of iconographical elements in Igbo Art and other cultural traditions. The artists, according to the book, have been able to draw from Uli aesthetics in a personal way.
This takes us to another important book by Simon Ottenberg, The Nsukka
Artists and Contemporary Art (2002). In this book, Ola Oloidi has also presented in detail Uli Art as a paradigm and notable reflection of the Nsukka School, arguing that the Uli culture and strong tradition of experimentation as well as intellectual exercises made both staff and students of Nsukka sensitive to iconographical properties that eventually dominated the artistic creations, including
Fibre Art, in the School. Other books that are indirectly relevant to this study, particularly, in terms of art visuals are African Art by Monti, F (1969), African
Textiles and Decorative Art (1972) by Roy Sieber, African Art by Frank Willett,
African Art: An Introduction (1974) by Denis Duerden and Traditional Art of
Nigerian People (1977) by Drewel, S, J. These books have discussed modern
African art with emphasis on different thematic and stylistic aspects. Although these books, particularly African Art by Monti, F, and African Art by Frank Willett present sketchy account of Fibre Art, the visuals in these books are very useful because they provide information through various images that acquire fibre materials.
23 Chike Aniakor has also contributed articles that trace the growth and development of the Department of Fine and Applied Arts, University of Nigeria.
He contributed many art critical reviews of the group’s exhibitions for over twenty years. His texts generally cover discussions of the Aka artists, particularly
Ifedioramma Dike, a notable fibre artist.
In the introduction to the group’s inaugural exhibition in 1986, Chike
Aniakor profiles thirteen members of this group with eight of them having either had creative link with the Nsukka School or their training at Nsukka. According to him, “these Nsukka artists have begun in their own ways to experiment in various directions in an effort to articulate their feelings and experiences into eventful works of art”. Although Aniakor makes effort to discuss aspects of the Fibre Art forms, he did not examine in detail the artist’s tools, techniques and styles. Also, he did not construct the entire fibre art experience of Dike in critical historical perspective.
However, Aka 88: 3rd Annual Exhibition Catalogue 1998 is perhaps the most relevant of all the art catalogues that feature Fibre Art. IN it , Dike’s professional contribution, as regards fibre art experience, is made very prominent; particularly in his very proficient production of fibre art forms displayed on pages 33 to 36 of the catalogue. The works in terms of structure, design and overall aesthetic appeal, give credit to the tradition of fibre art at that period. This takes one to another art catalogue, Artytude: Dreams Alive, an AFAAS Multi-Media Art Exhibition, 2002.
The catalogue, for its vibrant perceptual discussion and visual presentation of fibre
24 art, has made a reasonable contribution to the study. In the same academic and artistic vein, the Celebration: Art Exhibition Profile to Mark the 10th Year
Anniversary of NCCE (1999) has been useful, especially in its presenration of over twenty fibre artists as well as a variety of fibre materials. In fact, the catalogue is a collection of the brooding fibre artists in Nigeria.
The project report of Iroh Addis (1998), The Organic Trend in Nsukka
Sculpture School: 1985-1998, examines the stylistic peculiarities in the work of the sculptors in the Nsukka School. Their main stylistic influences discovered by this researcher are representational and modified abstract-representational modes of expression. He also identifies various types of fibres, reed and pliable materials that the sculptors use in mixed-media. He analyzes the stylistic development in sculpture and shows El Anatsui as one of the motivators. Although he does not present a detailed report of the design process while highlighting the products of these experiments, he suggests that incorporation of organic materials in sculptures would improve the tactile quality of sculpture, thereby enhancing its aesthetic appeal.
Uche Onyishi’s Exploration of New Sculpture Ideas and Forms in Fine and
Applied Arts, University of Nigeria tries to establish the originality and influence in
Sculptural Exploration in the University of Nigeria. He examines the works of some of the sculpture students on the strength of local media explored by each of the students. He provides a short biographical sketch of the students profiled in his project report, including Onyishi Uche, Mbawuike Cosmas, Offiong David, Ugwu
25 Peter, Alozie Onyirioha and others. These artists have explored with different kinds of local materials, including natural fibres, woven mat, woven trays, seed, pod, fishing net, synthetic threads, feathers, animal skin, pieces of cloths and rug.
This project is purely a documentative survey, which has contributed to the history of the implantation of fibre art culture in the Nsukka.
In a related study One Person Does Not Have the Hand of Another: Uli
Artists, the Nsukka Group, and the Contested Terrain in Between by Sarah Adams
(2002, 52-62), examines the issues of evolution of Uli design concept and the concepts of ownership of various Uli patterns. She discusses in detail the design background of the Nsukka School, iconographic influence and adaptive potentials of Uli in Drawing. She also examines Painting, Ceramics and Textile art and its mobility across frontiers. However, the issue of mobility was the main point for discussion by Battestini (2002, 63-83) in the work titled “Nsibidi”. Simon
Battestini observes that Nsibidi script has no reliable etymology, but notes that it seems to have originated from Ekpe Leopard Society of the Cross River region. He discusses social functions and context of Nsibidi and highlights its relationship to the Nsukka artists. Battestini identifies Uche Okeke, Chike Aniakor, Chuka
Amaefuna, Obiora Udechukwu, Tayo Adenaike, and Olu Oguibe as the Nsukka artists who have employed Uli and Nsibidi in their art. This article is important in the sense that it discusses clearly the mobility of art, media interaction.
With regard to the impact of masking traditions on Fibre Art, scanty literature exists. Among the Igbo, there are three major genres of masking
26 traditions: the Igbo Odo, Igbo Omabe and Igbo Mmanwu. The three are of the same stock except for dialectical difference. In a paper presented by Obiora Anidi,
Okey Ikenegbu and Krydz Ikwuemesi, titled Art Forms of Igbo Masquerade
Paraphernalia: Their International Relevance, Mmanwu Fiesta and Road Show.
(2009) at Enugu, the authors observe that Nsukka cultural zone is made up of both
Igbo Odo and Igbo Omabe. They identify the art forms of the masquerades as being made up of the Headdress and costumes. The headdress is usually made of wood, while the costumes are made of assorted fibres and fabrics. The artists in the process of construction of the costumes put much effort and skill on the production of costumes that have striking features.
Slyvernus Asogwa’s Textile Sculpture: Potentials Fibres and Fabrics in
Nsukka Masking Traditions, (2005) also examines the Typology and Forms of
Nsukka masquerades and analyzes the symbolisms, beauty and relevance of Odo,
Omabe, Agbeji and Okokoro Odo masks, which he studied in his Master of Fine
Arts decree practical project. While Asogwa studied and adapted forms from
Nsukka masking tradition, Ifedioramma Dike (2003) turned to Awka and studied a large repertoire of the Igbo masks forms; from where he selected the most striking ones in terms of design, colouration and symbolisms. His project, The Dynamics of
Forms and Design in Textiles: Adaptation of Igbo Mask Forms in its introduction, presents visuals of masquerades in their range and types. The main discussion here is on masking as theatre and not as art form. Thus, his work reveals the religious
27 and social conditions that have sustained the growth of Fibre Art. All the above projects are found to be relevant to this study.
With regard to materials used by the traditional fibre artists in the production of masquerade costumes and other products, Diogu (2004) in his article, The
Development of Fibre Art and Fibre Technology of the Igbo, identifies different kinds of fibre plants, which are sources of local fibres. He notes that the Igbo masquerade costumes vary in designs, as a result of geographical location and ecological environment of their designers and fibre sources. He gives, as an example, the Nsukka and Abakaliki Igbo who are very popular cloth weavers and who produce masquerade costumes with woven cloth and additive fibres. He concludes that masking tradition was one of the factors responsible for the development of indigenous techniques of fibre processing. To some extent, the essay is relevant to this study.
Considering the above, it is clear that literature on this new area of study is scanty. It is therefore very necessary to study very elaborately the Fibre Art in the
Nsukka School, particularly, for its role in historical construction of the school’s development. As briefly discussed at the beginning of this research, the life and creative work of many bourgeoning artists in the Nsukka School have suffered an art historical critical neglect, particularly in the area of Fibre Art. This study, therefore, does not only seek to fill this gap, but also attempts to bring the pioneer
Fibre Artists within a broader critical and historical compass.
28 CHAPTER THREE
FIBRE ART IN HISTORY
In the field of textiles, the late twentieth century experienced a new philosophy initiated by the Bauhaus which reached its artistic expression in the nineteen seventies international art scene. The industrial revolution had brought new and dynamic development in the manufacturing industry and the use of machines dominated the processes of manufacture and neglected design principles.
By this process, designers were not given the freedom to express themselves freely in design concept formation. The Bauhaus was known not only for its influence on designers by encouraging them to free themselves from over dependence on machine technology, but rather to encourage freedom of expression and experimentation among designers. This model has been acknowledged as “the training school for the development of unique design for mass production in the industry and experimental model leading to the development of new industrial products” (Gardner, 1970, 741).
This development influenced the artists of this period, and the designers, most especially the sculptors and painters, began to penetrate the medium of fibre and in the process developed very unique fibre art works. The use of fibre and thread as a means of expression of basic concepts began to flourish in this period.
The authoritative book that was written by Irene Waller in 1977 titled Textile
Sculpture, introduces the most exciting aspects of the Fibre Art movement, with an analysis of works of over twenty well known artists across the globe.
29 Commenting on the origin of Fibre Art, Waller (1977; 6) observes:
Its origin lay in free experimentation on the loom by weavers of imagination. This moved out to include a like experimentation with other textile techniques and materials and gradually outwards until finally the expression of abstract artistic concept was fully achieved in the mastery of the use of the materials and techniques inherent in this media in a totally uninhibited free and vigorous manner.
The textile artists were not alone in the search for other channels of expression.
The Fine artists, particularly the painters, were searching for other means of expression too. By so doing, according to Waller earlier cited, “a wide range of artists discovered in fibres, yarns, and textile-based techniques their perfect medium”. They were, by so doing, freed from both fine art traditions and the limitations conventionally dictated by both machine technology and by the functional use of textiles.
Critical statements by selected few Fibre artists and Textile sculptors give their varied opinions about Fibre Art, with particular regard to natural and found objects, new techniques, new fibre art works, and new materials. A few artists’ comments would be examined here in order to determine their directions and motivations. One of the popular artists presented was Jindrich Vohanka, a native of
Czechoslovakia. He was born in 1922 and obtained his Master of Fine Art degree from the School of Decorative Arts in Prague, Czechoslovakia. He was a professional textile artist. Citing the statement made by Jindrich, Waller (1977,
136- 137) wrote; “About natural and found materials; …a bit of charred rag which
30 bears the trace of its own tragic history can recall the atomic horrors of
Hiroshima more effectively than the most expertly machine woven wool”.
Jindrich’s statement shows that discarded materials which may seem useless can be recycled and could be used to develop new product and the artist is seen as the vital force in the process of their creation. With regard to inter- penetration of media, Jindrich states; “Buffalo skins with paintings organically incorporated by North American Indians, tuffs of human hair, and parrot feathers inserted into religious objects… what overwhelming statement by materials!
Where is man as an author in all these? Is it simply the will and vital force of these organisms or are these often valueless materials only a pile of refuse? Numerous objects seen at the Lausanne Biennales have taught us to understand that raw fleece, rope bleached by the sun and unraveled by wind and water, wire and metal have much to tell us”.
The above statement provides an insight into the mind of a Fibre Artist who has experimented with textile and related media and has in the process given materials their own interpretations. The major mission of Jindrich has been to explore engagement with materials and process, with a new creative vista that expresses and projects the use of recycled and recyclable fabrics, and renewable resource fibres such as cotton, jute and sisal. His work, “La visite d’aldebaran”
(Plate 1), shows the artist’s skill in manipulating different kinds of fibres, and his ability to weave with alternative device, other than the loom.
31
Plate 1. Jindrich Vohanka”La visite d’aldebaran”, High warp tapestry, Wool, sisal,metal, wood.(c) Waller, 1977.
Another Textile Sculptor worth mentioning is Barbara Chase Riboud, an
American-Canadian of African descent. She explored the efficacy and compatibility of opposing elements. Her theme was always the combination of opposites; time and eternity, mathematics and poetry, the personal and the cosmic, force and tenderness, male and female, shadow and light.
Her works also cover areas concerning the interpretation of media and she achieved it by the handling of conflicting materials in sculpture. Commenting on her materials and techniques of production, Barbara Riboud remarked: “The use of cord and rope skirts released me from the tyranny of the base and the armature and was an absolute revolution for me…The silk and the wool are worked not as a weaving material but as one would work clay, in mass and volume rather than weave and texture” (Waller; 1977, 42).
32
. Plate 2. Barbara Chase Riboud “Monument to Malcolm”, Copper, Cord, Aluminum, synthetic silk. (c) Waller, 1977.
Barbara’s textile sculpture (Plate 2), “Monument to Malcolm”, like most works of the Post-modern artists, shows the artists’ influence from all periods and styles and the willingness to combine elements of all styles and periods. This work according to the artist was used to symbolize the contradictions of the artist’s cultural and artistic heritage. Conceptually, this has come to play in sculptural themes of Barbara and she does her work by incorporation of bindings, looping of meticulously drawn cords, copper, aluminum and synthetic silk. Stating the objective of her work, she noted that “My objective in the wall hangings is to reinterpret the aesthetic function of African and Oceanic masks in abstract language, using non-anthropological materials: Bronze and silk, Bronze and wool,
33 steel and synthetic, aluminum and synthetic” (Sharon F Patton, 1998, 208). Her work therefore, presents a fine example of Modern Fibre Art that had influence from Africa.
On the other hand, Lewis (1990; 215) describes Barbara’s works in this manner: “She makes skillful use of a combination of materials and techniques”. He also notes that Barbara Riboud’s sculptures demonstrate the traditional lost-wax techniques. These techniques include braiding, knotting and rapping. Her reasons for combining hard and soft materials are both technical and aesthetic. Another important American Fibre artist whose work and style have made great impact is
Walter Nottingham. He was born in 1930 in the Great Fall, Montana, in the United
States of America. He had his Master of Fine Art degree at the Cranbrook
Academy of Art, Michigan. Walter Nottingham was basically a weaver and has moved towards the use of crochet techniques as a major means of expression.
34
Plate 3. plate 4 Walter Nottingham “Wall pillow” Water Nottingham “Fuses” Sisal, jute Sisal, Jute, Linen, Manila. (c) Waller, Wool, linen. © Waller, 1977. 1977.
Plates 3 and 4, are Walter Nottingham,s crotchet he titled ‘Wall pillow” and
‘ Fuses” respectively. They reveal his interest in the production of organic works; circular, curvilinear and intestine-like shapes. He combines crocheting with twining and in the process develops complex intestine-like crocheted forms and anchoring falls of streaming yarns. Describing his philosophy and creative direction, Walter Nottingham in Waller (1977; 100) remarks:
…each work is my attempt to articulate through fibers, spiritual, emotional and aesthetic impulses. Fiber construction and fiber manipulation, both on and off the loom, is the major form (medium) into and through which I attempt to translate, discover, intensify and respond to the mystical aspects of my life. The atmosphere and mystic aura is the main concern of my work…The form and techniques I feel must be one developed from the foundation of a search for content-, a grouping for expressive, symbolic images within the life cycle of a work. The work makes itself through my
35 hand…The search for the form of things unknown –not trying to make the visible seen but the unseen visible, a probing of the mystical content within my life and medium of fibers is my involvement as a weaver.
Nottingham’s statement shows that the power of art belongs to the creative artist and the principal pictorial concerns of themes are influenced by the artist’s thought or ideas and perceptions of his worldly conditions.
Josep Crau Garriga is another artist whose career has been dominated by
Fibre Art. Born in Barcelona, Spain in 1929, he studied Graphics and interior
Design and later abandoned this area of interest and moved into the fields of textile and painting where he made major artistic progress. His paintings were mainly mixed media and his tapestries were textural and three-dimensional. Josep
Garriga’s samples of works shown in Plates 5 and 6 could be used to locate his interest in fibre art. He effectively controls this medium and introduces different structural effects to achieve two and three dimensional art forms. He combines different kinds of weave structures; pilling, looping, knotting, stitching and folding.
36
Plate 5. Josep Grau-Garriga Plate 6. Josep Grau-Garriga “Soca de guernica” Fibres. “ Perella” Fibres. © Waller,1977.
The works of Claire Zeisler, (born in 1903), were in the same class with
Garriga’s. Claire Zeisler’s compositions are dense and impressive. They also show self contained design power. She was one of the first artists to work in a sculptural fashion and many of her works are free standing forms with effective knotted and bound shapes with little structural support in the forms of wrapped coils and looped stitches. Plates 7 and 8 draw attention to Claire Zeisler’s Fibre Art works.
It would be noted that most of Zeisler’s works and the works of the artists examined above were produced in the 1960’s and 1970’s and it would be recalled that the period between 1950 and 1970 gave rise to a multiplicity of art movements. Among them are “Mixed –media assemblages, Indirect sculpture,
Hard edge, Colour field, and Minimal art”, (Lewis, 1990; 186); Installations and
37 Environments, Early Feminism, Performance, and Super-realism, among others,
(Duane and Sarah Preble, 2004; 464-469).
. Plate 7. Claire Zeisler “ Cascade” Plate 8.Claire Zeisler, “Untitled’ Jute. Macrame’, jute and wool. and Wool. © Waller, 1977.
From the above discussion, it could be seen that the works of many foreign artists of this period had inclination to Fibre Art, mixed- media, which involve the use of various materials to produce an artistically interesting work of art. Having examined critically, development of Fibre Art in America and Europe, it is very necessary to also discuss this form of art in Africa.
DEVELOPMENT OF FIBRE ART IN AFRICA
Africa has indeed made important contributions to the development of fibre art but it has not been packaged in such a manner that could give Africa the prime position it deserves. The problem is that, as has been the case with other types of
38 African art forms, the contributions made by the Africans have been seen to be insignificant and little understood and appreciated (Jacob Lawrence; 1990; v).
Lawrence further notes that “there is need to make known the uniquely creative, artistic, and philosophical aspirations, social motivations and scope of African artists towards the development of arts in the United States of America and
“elsewhere in the world”( and elsewhere in the world,- mine).
As one reflects on the contributions of Africa to the evolution and development of art, it is important to observe that before the evolution of Fibre art in America and Europe in the 1970’s, fibre art had existed and taken root in Africa in the form of “wearable art”. The researcher believes that surrealism, Dada and some post modernist movements which began in the 1920’s did not come to Africa as a new creative development, but as adaptations of existing concepts which hitherto were familiar to indigenous African Craftsmen. Although the works of the
Dadaist and Surrealists were eye-catching and well designed, they were not challenging and intriguing to the traditional and modern African artists. This is because African masking traditions had given the African Artists the opportunity to develop, to high aesthetic level, wearable costumes: royal regalia, paraphernalia, masking costumes and headdresses. Plates 9 and 10 are good examples of original
Fibre Art produced by anonymous African artists from the Bakongo and Baule regions, respectively.
39
. Plate 9 “Medicine man mask” (Bakongo-Bavili). Media: wood, raffia, feather, Pigment. © Leuzinger, 1976.
40
. Plate 10. “Baule Mask”. Media: Reed, raffia, feather, cord, quill. (c) Denis Duerden, 1974.
These works are examples of wearable Fibre Art that show the high level of skill which the traditional African artists have developed in the production of Fibre
Art objects. Leuzinger (1976) in his book titled The Art of Black Africa presents different kinds of Art, particularly, Mixed-Media Sculpture and Fibre Art, produced long before the evolution of Fibre art in Europe. Of particular interest to this study are those multi-media productions which show and highlight Africa’s contributions to the development of Fibre art. Plate 9 shows mask from the
Bakongo (congo region). The media are wood, feathers, raffia, animal hair, skin, pieces of mirror, iron nail, white and black paint. The mask was traced to the sixteenth century royal court art of the Congo. With regard to factors which led to the production of this kind of art, Leuzinger (1972; 278) notes:
41 …in the Congo region and elsewhere in Africa, “the high culture and luxurious requirements of the royal courts gave impetus to art. This can be traced back as far back as the sixteenth century, continues to display an exuberant variety of forms right down to the modern period, and repeatedly displayed in the very smallest objects of everyday use, the sophisticated taste of the royal courts. The place of honour is occupied by figures, masks, and ceremonial objects…, one style follows another in a creative variety.
Plate 10, shows a mixed-media face mask produced by a Baule traditional artist in Ivory Coast, now called Cote’ de Voire. The mask which has abstract form is equally a multi-media textile sculpture. The work is composed of wood decorated with woven cloth which forms the face, leather, raffia, feathers, tied stones and reed. This is a good example of wearable art. The Ekoi people of
Southern Cameroon and the Bateke of the Congo region are also good Craftsmen that produce all kinds of functional objects and ornaments in iron, copper, bronze, ivory, feathers, and leather, among others. They produce naturalistic carved human heads, adorned with decorated headdresses made of cloth, raffia, feathers, leather, animal hair and woven reed. Plates 11, 12 and 13 show samples of multi-media art works, produced by this group of traditional African artists.
42
Plate11 “Head-dress” Ekoi. Plate12. “Flat-disk-like mask”, Bateke Both art works were produced by African artists. Media: wood, leather, raffia, feather and pigment. © Leuzinger, 1976.
43
. Plate 13. Mixed- Media Wearable Fibre Art by Bamum artist. © Denis Duerden, 1974.
Also, among the Bamum and Bamileke peoples of the Cameroon, the art of beading, grass weaving, fibre plaiting and weaving, knotting and appliqué have projected the image of their society to a high level. In this region, Fibre Art practice is regarded as an “old tradition which has been sustained by the society that regards their art works as lasting memorial to the genius of the man who made it or to his patrons” (Duerden, 1974; 7). Although the actual dates these works were produced were not known and cited, it is believed that they were produced long before the inclusion of Fibre Art in the art historical records in Europe and elsewhere. Visuals on African art documented in Duerden (1974) and Leuzinger
(1972) can be used to validate this point. It is necessary to note here that what led to the evolution and sustainance of Fibre Art in Africa are the social institutions
44 that rely on mask and masking traditions as the major channels of cultural transmission and social security. As a result, artists that work in fibre medium attract patrons from far and near who come to buy their works for social and religious functions.
The Yoruba and the Igbo of the South Western and South Eastern Nigeria, respectively, were also very productive in Fibre Art. Plate 14 is a good example of
Fibre Art produced by the Yoruba for their kings. The headdress symbolically acts as a veil which shelters the group from malevolent forces. From the photograph of the headdress, the artist is seen to have combined different materials and stitching methods; embroidery, running and cross-stitches, looping, tapestry and appliqué methods in the production of this three-dimensional object. The materials used by the artist to produce the King’s Headdress include, cotton, jute, leather and metal wire. The colours were derived by dyeing the yarns with local dyes. The techniques of construction are also local methods, including stitching, knotting, looping and basket weave pattern.
45
Plate 14. Yoruba king’s Headdress. Media: Wood, Dyed cotton yarn, leather and metal, (c) Denis Duerden, 1974.
The Ijele mask of the Igbo can be regarded as a textile sculpture. It is an art form which has elevated Igbo aesthetics and design conceptualization in costume design to a very high level. Visona, et al (2001) describes the Ijele as one truly exceptional Igbo mask that can be seen as the crown of other Igbo masquerades.
Among the Igbo, there are plethora of masks which are composed of varieties of materials such as cords, wood, pieces of cloth, fibres, pieces of mirror and seeds, to mention a few. Some of them, such as the Ijele and Mgbedike, are kaleidoscopic in its form, range and beauty. Mixed-media Fibre Art, most of which are wearable and for theatre and personal adornment, gradually evolved in Igbo land as a result of secular, religious, social and economic activities. An example of Fibre Art on a
46 large scale is the Ijele masquerade, (Plate 15). The Ijele is uniquely monumental when used as installation art and also wearable and kaleidoscopic when danced.
. Plate 15. Ijele costume. Media: Wood, cloth, fibre, bell, mirror, feather, cord and metal, among others. (c) Visona, 2001.
The artist used different methods of cloth decoration in the production of the Ijele.
These include quilting, appliqué, weaving, tying, knotting and twisting. Also Uli
47 patterns were also drawn on the fabric using painting and drawing techniques.
The materials used for the production of the Ijele are as varied as the techniques of production. These include cloth, raffia and cord, metal wire, wood, pigment, bell, mirror, seed, feather, cowries, among others.
Plate 16. “Warriors in Quilted cloth armor costume danced at a coronation ceremony”. (c) Visona, 2001
In addition to these varieties of textile sculpture and wearable art examined above, some ethnic groups in the lower Niger; the Edo, Ibibio, Kalabari, Ijaw and
Urhobo, are known for the production of kinetic sculpture embellished with textile related materials. Kinetic Art, according to Diakparome (2005; 2), applies the principle of Kinesis in which movement is an integral part. He also notes that
Kinetic sculpture had taken root in Africa and evidence abounds which suggests
48 that “African artistic heritage of kinetic sculpture predates European emergence of it” (Diakparome, 2005, 2,) and Barrett, (1972; 216).
In Africa, Masks, masking, and wearable arts for personal adornment have provided stimulus for the high rate of Fibre Art practice. This has influenced, to a great extent, traditional and modern Fibre Artists and Fashion Designers. The researcher presents a few visuals, selected from different regions, to show the extent of creative works produced under the aspect of wearable art.
The Fulanis, a group that occupies the Northern parts of Nigeria and Niger
Republic, are the best example of Fibre Artists who have shown high level of creativity in the production of wearable art, mainly produced by the quilting and appliqué methods. The colourful costumes worn by the Emirs’ horse riders are usually designed for the purpose of meeting religious, military and social needs of the traditional Muslim society. The modern muslim communities have adopted this medium in costume design for various ceremonies. The nomadic culture has limited the types of art works they produce to simple and portable objects, and most of them are wearable materials used for personal adornment. These kinds of articles include hats, hand bags, slippers, shawls, tray, trinket box and belts, among others. The techniques of appliqué and quilting are evident in the costumes worn by the Warriors dressed in quilted cloth armor, plate 16. Other groups in Northern
Africa, particularly Tunisia, Morocco and Algeria have developed wearable art and this has become an indispensable part of the peoples’ costumes worn at formal and ceremonial occasions.
49 From what has been discussed so far, it would be seen that African craftsmen are knowledgeable and very conversant with the use of multi-media in art production.
It has shown that what is called Fibre Art in modern art historical studies has been one of the African most common artistic modes of expression. What the European artists have done is to adapt the basic shapes and forms and sometimes the African concepts. Thus, as African sculpture influenced cubism as an art movement in
Europe, the masking traditions of Africa contributed in a greater measure to the development of Fibre Art in the late twentieth century.
Although Africa has made a major contribution to the development of Fibre
Art in time and space, it seems that Africa, based on lack of historical records and documentation, has lost view on this important development. Based on extant literature in this area, it seems that Europe and America have embraced the issue of ownership of its development.
FIBRE ART IN NIGERIA
It would be necessary to highlight the social and environmental factors which some authors have observed to be responsible for the development of Fibre and wearable arts, particularly in Nigeria. Nigeria has a vast wealth of crops resources since both tropical and temperate crops grow in her favourable climatic conditions. Okigbo (1980) identifies tropical crops, which are grown by small- scale crop farmers in Nigeria. Among the vegetable crops listed include those which have leaf fibres such as crab grass, reed grass and spear grass. They grow
50 very well in the savanna region of Nigeria and are used by craftsmen in the production of mats, hats, bags, ropes and masquerade costumes, among others.
Other vegetable plants, which grow in large quantity, include cotton, which is commonly used in cloth weaving, Jute, Kenef, Ramie, Manila and Sisal hemp which are fibre plants. “These are becoming wide spread in Nigeria because of the rewarding efforts of farmers and horticulturists in the domestication of these fibre plants, and increased demand for local fibres by the local industries” (Diogu,
2004). For example, fibres from the above sources are used in the manufacturing of balers, binders, twine, rugs, hats and canvas, among others.
The availability of fibres in Nigeria has given the people the opportunity to develop local methods of identification and processing of fibres and their utilization in production of objects for domestic, religious and secular purposes.
Fibre Art has been used, particularly in the design and construction of ritual objects, local mats, rope, cane chairs, architectural design materials, masquerade costumes and paraphernalia, among others. Masking tradition has in the recent past provided the stimulus for high productivity in textile sculpture and wearable art practice. Masking is culturally associated with spirit phenomenon. This is a thought pattern which has pervaded the traditional African world view. Monti
(1967: 7) describes masking as “one traditional element that permeates every culture throughout the continent”. Duerden’s (1974; 11), writing on issues related to this subject, identifies some of the contributions of Africa to world civilization:
51 There is no doubt that there is particular kind of art in Africa which is unique to the continent and can be found no where else in the world. It is an art, which is especially exemplified by the mask and the masquerade in which the mask is used. The masquerade is a particular kind of theatre…, which is intimately related to the origin of a people whose life depended on an understanding of animals, plants and seasons.
What is the implication of the above observation? Recently, the search light of the western world has shifted to Africa. All the aspects of African cultures, particularly her art and crafts, have been of great interest to Europe and America.
For this reason, many foreign writers, mostly archeologists, sociologists, and anthropologists, have emerged. They have written from different perspectives and their research topics, according to Sylvia (1992; 8) “ranged from focused small- scale studies to broad interpretative views” about African art. Generally, most foreign writers such as Robert (1980), Leuzinger (1972), Willett (1971), among others, examined and analyzed the visual arts forms of different regions of Africa and their cultural societies. They looked at the religious symbolisms of African sculptures and the significance of art forms as fetishes for sorcery. They assumed that most African art images were for entertainment. As a result, they failed to examine the social and cultural phenomena which led to their production and consequently made African art the richest in the world. They could also not examine these as products of dynamic indigenous technology.
However, a few scholars have written volumes on traditional African textiles, all usually accompanied with very impressive illustrations on woven textiles. Broad views of various aspects of strip weaving, principally in West
52 Africa, dominated their research reports. With particular reference to Nigeria,
Lamb Venice and Judy Holmes (1980) in their book titled Nigerian Weaving presented the earliest studies of indigenous textile technologies in Nigeria. Since then, according to Picton (1992), “most writings on the subject of weaving have concentrated upon broad descriptive studies with particular regard to textiles woven in narrow strips that are usually three or four inches wide and rarely more than twelve inches wide”. This trend was followed by authoritative surveys conducted by Lambs (1975), Posnansky, (1992, 113-132) Edwards (1992, 133-
158), among others, who concentrated on West African textiles.
The report of their surveys focused on traditional history of textiles, design pattern and motifs as well as economics of local cloths. However, for Nigeria,
Eicher (1976), Sieber 1970, Picton and Mark (1979, 1989) had focused on technology and history; the loom, weave structures, relevance, tradition, and market of Nigerian textiles. In the same manner, Perani (1979, 1989, 1992), placed emphasis on the cloth connection, patrons and producers of Hausa and Nupe prestige stripe –weave. She also surveyed the Northern Nigerian Prestige Textiles, with emphasis on the production, trade, patronage and use. The most important areas which were neglected were the environmental and social significance of
Fibre art, development of textile sculpture and wearable arts designed for traditional theatre. These neglected aspects have made significant contributions to the regeneration of African social systems, particularly, in masking traditions, rites of passage and funeral ceremony.
53 The environment has always played a major role in the generation of functional and aesthetic art. For example, the Nsukka environment has been recognized as a very important factor in the evolution of Fibre Art in the
Department of Fine and Applied Arts, University of Nigeria, Nsukka. The
University of Nigeria is located in the Nsukka community that shares boundary with Kogi and Benue States and has a common masking traditions among some groups. They are the Igala and the Idoma of Kogi and Benue States, respectively.
The groups share a number of socio-cultural features, especially, their farming techniques, production of fibres, crafts and masks. The later emphasizes the use of fibres, raffia, pieces of fabric, leaves, seeds and feathers, among others for the construction of masquerade costumes. The reasons for this cultural association or
“cross-movement of ideas between cultures” according to Bravemann (1973) and
Onwuejogwu (1979) are because they have common ecological environment, pattern of trade, history of migration and marriage institution.
This means that the idea of fibre art has existed in the Nsukka zone for quite a long time before the founding of the University. Therefore, masking has formed part of Nsukka cultural life. Large repertoire of masks, masquerade costumes and paraphernalia, that are made of assorted materials, and traceable to the Nsukka community and their neighbours are evidence to show that masking tradition exists. Examples of these masquerades are shown in plates 17 and 18. In plate 17, the “Ekwe” masquerade poses and acknowledges greetings from the “maiden
54 spirit”,the “agboho-muo”. Also, in Plate 18, the Wander masquerades, Ojolima perform in public arena during a funeral ceremony.
Plate17. Ekwe Masquerade receives greetings from Ada mma (female masquerade), Costume designed by anonymous artists. © Nigeria magazine.
Plate 18. Wander masquerade showing kinetic design made by an anonymous artist. © Nigeria Magazine.
55 Some of these masquerades are Omaba, Ekwe, Ikorodo, Ojolima and
Mgbadike. In addition, the Nsukka cultural zone has been identified by Afigbo and
Okeke (1985) as successful cloth weavers. Four popular traditional designs which are used for construction of costumes have been identified among Nsukka cloth weavers who make them. They are Akpoto, Oja, Ajima and Agbo cloths. Generally, these art products have socially and economically affected the life of people who live in the Nsukka community. The impact it has made on the staff and students of the Department of Fine and Applied Arts is indeed great. For example, there are many Fibre Artists who were trained in the Nsukka School and have made good impressions nationally and internationally. There are also many who exist but have not been uncovered because of lack of support and publicity. The challenge now remains for scholars to present a holistic history of these artists, highlighting the developmental process of the fibre Art phenomenon among their other creative ideas.
56 CHAPTER FOUR
CURRICULUM REVIEW IN THE NSUKKA SCHOOL: IMPACT ON FIBRE AND OTHER ART FORMS
From its inception, the University of Nigeria had broad curriculum which was designed to satisfy the major pragmatic objectives of the University of Nigeria.
Reflecting on these objectives, Obiechina (1986: xv) notes that the objective was the establishment of “an institution whose curricula would promote science, technology and vocational skills, while at the same time avoiding the alienation of the products from the masses of the people and their cultural aspiration” Initially, the university, according to Obiechina, embarked upon an experimental programme, which allowed it to draw support from appropriate sources in pursuit of its basic philosophy and objectives. Michigan State University, East Lansing,
USA, was the main source of this support, but the university also drew support from institutions and agencies in the United Kingdom, Western Europe, Canada and elsewhere”.
Ottenberg (2002, 20-2) gives reasons why the problem of alienation was inevitable. He asserts that “the creative life of the contemporary African Artists have been marked by mobility, multiculturalism, hybridism, Diaspora, volatile third world politics and economic condition… Even when artists remain in their countries, their art or both may be influenced by western art modernism”. The point being made here is that the idea of drawing support from an organization in order to improve on an emerging system is a common phenomenon. Thus, the
57 ideas the University of Nigeria initially got from these various sources made the
University to develop a new and dynamic concept of higher education in Nigeria.
The programme of the Department of Fine Arts was developed as a result of this mutual association. It was seen to be holistic and prepared to enhance the dual allegiance to international standard from where the University drew her support and also allegiance to the locality and her interests.
This made the Department to develop a unique standard that has given her international attention as well as deserved acclamation in Nigeria for her curriculum. The curriculum reflected both the diversity and the uniformity of the nature of humankind as shown in the various areas of specialization. Diversity addresses itself to individual differences, pluralism and heterogeneity, all of which have the implication of freedom of choice and diversified opportunities.
Uniformity, on the other hand, suggests a measure of unity as well as some degree of conformity. This was the kind of synthesis the initial curriculum based on the
American experience had on the Nsukka School.
However, the call for innovation by some formally trained Nigerian artists and the biting criticism of the conventional instructional model, produced a synthesis of ideas. Within the following decades, 1970 to 1990, greater flexibility was introduced by the Department of Fine and Applied Arts. This was evidenced not only by the introduction of new subjects to the curriculum, such as the Research
Techniques in Fine and Applied Arts, Exploration of Indigenous Ideas, Forms and
Materials, but also granting greater openness to electives.
58 The department at her inception offered four years and three years standard programmes leading to the award of Bachelor’s degree in Fine Arts. During the first half of the four years programme, students were introduced to all the main areas of specialization such as painting, sculpture, textiles, graphics and ceramics. Courses were also taken in drawing and basic design. Students were required to take service courses from other departments in the following subjects: The Use of English, Natural Sciences and a Modern Foreign
Language. By 1977, students could specialize in Art History and Art Education at undergraduate level. But according to Oloidi (1978), Art History was further enriched with more courses like Modern Nigerian Art and Fine Art Criticism.
To him, also, a postgraduate programme, particularly a Ph. D programme had earlier been introduced in 1970.
It is important to recall here that in 1973, the Federal Government of
Nigeria produced the benchmark guide for the universities. Among the requirements of the operational guidelines, each university was given freedom, to decide on appropriate duration of her degree programmes. In order to make her programme unique, professionally relevant and internationally acceptable, the duration of the degree programme of the Department of Fine Arts was changed from four years to five years for candidates admitted through entrance examination and four years for candidates admitted through direct entry mode of admission. The Department’s name was also changed, as earlier stated, from the Department of Fine Arts to the Department of Fine and Applied Arts. These
59 changes took place at the beginning of 1974 academic year. As was expected,
the change in the duration of the degree programme also brought changes in the
curriculum which the school operated for twelve years (1961-1973), with more
of western oriented programme.
Some new courses were introduced which incidentally increased the credit
load. These new courses include the following: Introduction to Philosophy,
Basic photography, Art and Artists, Exhibition display techniques, Theatre
design, Restoration techniques, Ceramics and Artificial Stone Sculpture.
Despite these changes and pressure mounted by Uche Okeke in the middle
1970s to change the mode of instruction and to emphasize Uli as a language of
visual/ artistic expression, the media and instructional methodology still showed
some evidence of western conventional methods of teaching.
It is necessary to observe that between 1981 and 1985, the undergraduate academic calendar of the University had five editions without any significant changes in the programme of the Department of Fine and Applied Arts. However, the review of the department’s programme in 1986 brought into the system new courses. Two of these courses which need to be mentioned are Exploration of
Indigenous ideas, Forms and Materials and Research Techniques in Fine and
Applied Arts, which were third year courses and Advanced Exploration of
Indigenous Ideas, Forms and Materials which was a final year course. They were core courses for all the sub-disciplines. These new courses encouraged the students to exploit materials from their cultural environment. Research Techniques in Fine
60 and Applied Arts exposed the students to issues relating to African traditional arts as regards concept, technique, media and design.
This development contributed in no small measure to changing the school’s artistic vision, particularly in its highly explorative or experimental activities, including Fibre Art experiences. With this new channel of expression, the middle
1970s began to record consistent growth, and many students also began to benefit from it. This has encouraged positive research scholarship capable of putting Fibre
Art in the Nsukka School in time and space. It would be necessary to examine some samples of works produced by students of the Department of Fine and
Applied Arts between 1990 and 2000. This period could be regarded as the
“Golden period” in the history of Fibre Art in the Nsukka School. It was a decade of creative harvest. Supported by their lecturers like Obiora Udechukwu, Chike
Aniakor and lately Kridz Ikwuemesi, the students in painting were encouraged to use unconventional materials in pursuance of their courses, particularly
Exploration and Advanced Exploration of Indigenous Painting Ideas, Forms and
Materials. The textile designers and sculptors were also encouraged by their lecturers, C.S.Okeke, El Anatsui, G.O.Diogu, E.C.Okoli and C. Onuora to exercise freedom in the use of indigenous and recyclable materials, while Ola Oloidi gave the students the philosophical and ideological fortification that showed the cultural validity of their exercises.
The Postgraduate studies in Fine and Applied Arts also emphasized research through experimental and explorative approaches to learning, which enabled the
61 researchers to have courage to venture into the unknown areas of creative arts; to ask critical questions and fearlessly proceed to find answers to them. By doing so, the research students were required to have intuition and originality of thought to break the barrier of mental inhibition and search for the extension of the frontiers of knowledge or new artistic horizons.
The postgraduate programme in Fine and Applied Arts was not strictly prepared in such a way that required definite issues or procedure. It was prepared in such a manner that gave students creative freedom to explore and experiment with various ideas and materials. The wide coverage that was given to studio work and the emphasis placed on the use of local materials accelerated the development of Fibre Art. It is therefore pertinent to acknowledge the contributions of Uche
Okeke and his colleagues to the development of a unique postgraduate curriculum which encouraged the pursuit of postgraduate studies through Exploration and
Advanced Exploration of Indigenous Forms, Ideas and Materials. This period became very notable in the development of Fibre Art in the Nsukka School.
Emphasis on exploration and experimentation which the curriculum brought into the School gave rise to competition in research efforts of both staff and students. Different creative results were achieved and most exciting works were produced during this period. These works range from two dimensional multi-media wall hanging to three dimensional multi-media installations. Plates 19 to 35 are selected samples of works produced by the students of the Department of Fine and
Applied Arts between 1975 and 2005.
62
Plate 19. Okwuowulu .T.F, “Untitled”. Mixed-media; wood, seed, cotton, Calabash, cord and yarn.2001 (c) G.O.Diogu,
Plate 20. Jackson Ikanem “Royal couple” Textile design, mixed media, cloth, plasticBead, plastic tile. 1987, (c) G.O.Diogu.
63
Plate 21. Ali Rebeca “Christmas Greetings”. Media: Rayon yarn, plastic button 2004, © G.O.Diogu.
Plate 22. Musa Grace “Christmas Greeting”. Media: Rayon yarn, plastic button, seed. 2004. © G.O.Diogu. s(c) G.O.Diogu
64
Plate 23.t “My Experience” Mixed media, CD plate, Plastic bead, plastic button and yarn, 2004, © G.O.Diogu.
Plate 24. “My Experience” Tapestry, 2004, © G.O.Diogu.
65
Plate 25. Nwigwe Chukwemeka “Hope”. Media: Pot, rope, plastic button and pigment.2002, G.O.Diogu.
Plate 26. Onwuzuruigbo. S. “Expectation”, pot. Yarn and Plastic Button, 2005, (c) G.O.Diogu
66
Plate 27. Asadu Nick, “Mother and Child”, Mixed media: Woven mat, Wood and iron rod, 2003, © G.O.Diogu.
Plate 28. Asadu Nick “Futility” Plastic Syringe, fibre, iron rod and Woven mat, 2003, © G.O.Diogu
67
Plate 29 “Conservation”. Media: Straw, rope and basket. 2004. (c) G.O.Diogu
Plate 30. “Conservation”. Media: Straw, basket and rope. 2003 © G.O.Diogu.
68
Plate 31. Oguejiuba Sabina “The Right of passage” Quilting, dyed Cloth, foam, bead. 2005, © G.O.Diogu.
Plate 32. “Royalty”, Mixed media: jute, shell, cotton And Rayon yarn, 2005, © G.O.Diogu.
69
Plate 33. Chukwuemeka Nwigwe “Nest”, metal wire and pieces of fabric, 2005, © G.O.Diogu.
. Plate.34. Dyoke Chinyere, “Nest”, Cane, plastic bead and rope 2005, © G. O. Diogu.
70
Plate 35. Chinyere Dyioke. “Nest”, Cloth, plastic straw and Synthetic yarn. 2005, (c) G.O.Diogu.
During this period under study, many Fibre artists had emerged from the
Nsukka School. Some of these were Ifedioramma Dike, Godson Diogu, Everstus
Obodo, Angela Nkem Udeani and Sylvanus Asogwa, who incidentally had their postgraduate degrees. There were also many graduates in the School who showed interest in Fibre Art whose works in fibre medium demonstrated high skill in workmanship; particularly Textile design, Painting and Sculpture students.
However, it must be stressed in this study that the magic wand, which was responsible for the Nsukka School’s achievements in Fibre Art, was the course titled “Exploration and Advanced Exploration of indigenous ideas, forms and
71 materials”. This course cuts across all the sub-disciplines in the Department.
When the course was introduced by Uche Okeke, the art school might not have realized the extent of its creative possibilities and potentialities or according to
Oloidi, “the aesthetically ramifying nature” of the Fibre Art products which manifest from this medium. Today, the harvest from the Nsukka School’s experiment has made some art historians and critics curious about Nsukka. Barlow
(2003), Ottenberg (2002), Jegede (2000) and Norbert Ass (2002) are examples of these art scholars.
It is necessary to cite the comments of Oloidi (2002), which are relevant to the above discussion. Commenting on why foreign institutions such as the National
Museum of African Art, Washington D. C. is focusing on the creative efforts of the students in the Nsukka School, Oloidi argues that “the School has made its creative and ideological self felt, not only in Nigeria, but also in Euro-American nations”.
There are lots of visual evidences to support Oloidi’s observation, and such examples have been shown in exhibition catalogues. Also, through his poetic verse, Greg Odo (1998) makes one realizes the vision of Nsukka artists. He observes:
…We are unshakably resolved. Every tool must be put to its greatest use, every medium fully explored … we shall show our art to everyone that is someone. Everywhere there is somewhere … we shall take the ultimate weapon to every corner of this land.
In this statement, Odo was referring to the Nsukka School’s graduates and postgraduates, who had demonstrated a high level of creativity and innovation in
72 Fine and Applied Arts, utilizing what was available from both their academic programme and their environment. Odo’s vision seems to have been realized, because the Nsukka School can boast of dynamic creative artists whose lives and influence have been felt at home and abroad. The opinion of Nwafor stated below seems to agree with the views held by Iroh (1998) and Onyishi (1999). Discussing what he titled “Radical Experimentations in the Nsukka Art School’s Painting and
Sculpture options” Nwafor (1998) comments as follows:
At Nsukka, the artists are like migrants. Behind each of them lies an ultimate experience of the Nsukka landscape, including the hills and valleys…As migrants they came and migrants they have remained, exploring the ocean and the air…, always searching and moving. Those who came brought in bits and pieces of many ideas, which became a part of the School and produced its obvious characters.
The above has shown that the development of Fibre Art in the Nsukka School underwent gradual and consistent growth. At the beginning was the subtle tapestry experiment of Uche Okeke; Open work and extra-weft explorations of C.S.Okeke, and Mixed-Media installations by sculpture students. As ideas grew and consolidated, there were dynamic works in Fibre and related media of the younger generation of postgraduate students such as Ifedioramma Dike, Godson Diogu,
Pius Ntagu, Jackson Ikanem, Everastus Obodo, Angela Udeani and Slyvernus
Asogwa. Also, there were abundant mixed-media installations by sculpture students such as Iyke Okenyi, Ndidi Dike, Asadu Nicodemus and Uche Onyishi, among others. The major factors that made the works of these students more relevant were that they showed competency in the use of Uli organic composition
73 and linear management. They also employed in their sculpture, organic materials such as vegetable fibres, fabrics, leather and seed pod. Some of these artists have been selected for detailed discussion in chapter five.
74 CHAPTER FIVE
SOME SELECTED FIBRE ARTISTS IN THE NSUKKA
SCHOOL:BIOGRAPHICAL AND PROFESSIONAL DETAILS
Broadly speaking, the Fibre Artists who have been profiled for this study are six: Uche Okeke, Chukwuanugo, S. Okeke, Ifedioromma Dike, Slyvernus Asogwa,
Everastus Obodo and Angela Udeani. All these artists are textile designers, except
Uche Okeke who is a painter and Everastus Obodo who is a sculptor. This classification is for the purpose of ascribing a major medium to each artist since some of them create works in many media other than those stated above. These artists have strong Igbo cultural background because they are of Igbo extraction.
While this is necessary in cultivating strong Igbo identity around their works, their training and influence they had at the University of Nigeria, Nsukka, enable them to have strong artistic link, anchored or cohesively watered by their adaptation of
Igbo Uli tradition as artistic, aesthetic and ideological reverent. Actually, the creative and ideological links which exist among these artists, warrant detailed study and analysis. The biographical sketch was used in this chapter as the Primary tool, for it reveals both the personal lives of the artists and the public attitudes of their time.
75 UCHE OKEKE (1933…)
Plate 36(b)
Uche Okeke is one of the notable artists in the Nsukka School. His contribution to the development of Fibre Art is presented here to situate him as one of the pioneers and motivators of Fibre Art study. He was born in 1933 and hails from Nimo in Anambra State of Nigeria. He had his primary education in
Kafanchan in Niger state. His artistic vision was encouraged by his parents who were engaged in art related profession. His father was a carpenter, and his mother was an established craft woman, who had a sewing and knitting business at
Kafanchan. Both at home and at school, Uche was exposed to creative art activities by his father. Uche Okeke recalls some of the factors that motivated him to develop more interest in art in these words:
One early interest of mine which was recognized at school and encouraged at home was drawing and making handcrafted objects with paper, fibre, guinea corn stalk, elephant grass stems or bamboo. I was, as a result, very often
76 invited to draw maps and other teaching aids for our school walls by teachers during break time or the manual labour period (Uche Okeke, 2002, 92).
This recognition from school administrators made Uche Okeke to seek further training in Fine Arts because he was convinced that his career prospect in art was assured. While in secondary school, he enrolled in correspondence art courses in drawing and painting at the Lash Studio Correspondence Art School of
Akinola Lasekan in Ipele in the present Ondo State. This effort by Uche Okeke helped to sharpen his sense of observation of forms in nature, as well as achieving theoretical knowledge of art and design. In fact, it was Lasekan who natured his early art to maturity. He completed his secondary school education in 1953. From
1954 to 1956, Uche worked as a free lance artist. During this period, he drew and painted plants, animals and landscapes in and around Kafanchan and Jos. He also, as earlier stated, had commissions to draw and paint teaching aids on school walls in and around Kafanchan.
He had his first art exhibition in the National Museum, Jos, in 1956, and his drawings and paintings were attractive and informative. This was the first exhibition that brought Uche Okeke to the limelight because it attracted Nigerian dignitaries, including an expatriate, Sir Robert Wray. In 1958, he set up a studio and gallery in Kafanchan. This project enabled him to interact with some local and international organizations and local craftsmen. It was at this period that he began to explore and experiment on ideas based upon Igbo folk tales. This project
77 enabled him to create images of Igbo spirits, mythic figures and masquerades in various media.
He entered the Nigerian College of Arts, Science and Technology at Zaria in 1957 on the advice of Lasekan and graduated in 1961. At the early stage of his entry in the college, three major concerns, according to Uche Okeke (2002, 93), were uppermost in his mind. That is, “first, how to become a Nigerian artist; second, how to marry my visual and literary arts experience; and third, what to do to stimulate the growth of contemporary Nigerian art and culture through appropriate organization arrangements”. These “concerns”, raised by Uche Okeke, were pursued with great interest by him. In order to achieve his vision while in the college, he led other students to revolt against formal British artistic training and the work of earlier contemporary artists in Nigeria, arguing for the “Natural
Synthesis” of indigenous elements with topical issues.
At the time he graduated from the college in 1961, Uche Okeke had acquired varied creative experiences in the theory and practice of art. His profile in some of his publications, one of which is Creative Conscience (1981), could be used to determine his place in art development; for he is really an indispensable artist. This could be one of the reasons why he was invited to teach in the
Department of Fine and Applied Arts, University of Nigeria in 1970. His entry into the academic life of the Nsukka School quickly changed its landmark. Through his efforts, “New policy directives had to be fashioned and wide-ranging changes in the departmental programme affected” (Uche Okeke, 2002). Moreover, through his
78 leadership, the art department at Nsukka “set itself the task of searching deeply into the nature and purpose of Art and design in Nigerian society as well as applying the proceeds of its intellectual and artistic endeavors to social and technological development in Nigeria”(Uche Okeke; 1993).
As a restless versatile artist, Uche Okeke had a creative aura that attracts various ideas to him. Although he was a painter artist, he developed the skill to penetrate other sub-disciplines in his research efforts. He produced many drawings and paintings as he sought to resolve problems of representation of two or three- dimensional objects on a two dimensional format. With the incorporation of his Uli design expressive idiom, he achieved significant results. In this regard, Uche
Okeke could be said to wear different crowns: a painter, sculptor, printmaker, fibre artist, art historian and art critic.
His works in these areas abound, both in art historical realm and in studio productions. For example, some of his drawings and paintings that were part of his experience at Zaria, Munich and Nsukka were published in Uche Okeke (1971),
Tales of the Land of the Dead: Igbo Folk Tales. The paintings and drawings in this book showed how Uche Okeke gave expression to his concept of Igbo folklore through Uli forms. One of his drawings in the Tales of the Land of the Dead: Igbo
Folk Tale was reproduced, using tapestry medium. This was a commissioned project by the Federal Government of Nigeria in 1977. This project is considered by this researcher as a landmark development in the evolution of Fibre Art in the
Nsukka School. Apparently, this issue has not been examined in his career, and the
79 contribution this has made to the development of Fibre Art in the Nsukka School is yet to be determined.
Based on the researcher’s survey and investigation, Uche Okeke was found to be the first artist in the Nsukka School to venture into the art of tapestry design.
While he was in Germany undergoing his postgraduate Diploma in Art, Uche
Okeke was influenced by two textile artists, known for their skill in creation of three-dimensional tapestry. They are Moik Schiele and Jagoda Buic. The involvement of these artists with tapestry was great and their works were more forceful and impressive, both in impact and in their deep effect upon the senses.
The most attractive thing about these artists’ tapestries was that it maintains the story telling roles, portraying events in every day life, a concept that Uche Okeke values. Uche Okeke brought the technical ideas involved in tapestry production home, and began his experiment in tapestry. In 1977, he was commissioned to produce a large tapestry by the Federal Government of Nigeria. This was a crucial period in the evolution of Fibre Art in Nsukka. His commissioned tapestry titled
Onwuelo Depart (Plate 37), adapted from a very popular Igbo folk tale measured
210cm. long and 150cm. wide. It was woven on a broad vertical loom. Before the production of his commissioned work, he had reproduced one of the sketches he developed in Germany titled Anya-Nwammuo—the Spirit Eye, in tapestry medium
(plate 36). The sketch of this work was drawn in Munich, Germany, while Uche
Okeke engaged in his stained glass painting experiment. His Munich experience resulted in the creation of religious imagery in mosaic. Anya-Nwammuo,
80 measuring, 1.26m long and 1.8m wide was exhibited along with Mrs. Ego Uche
Okeke’s works in Through the Eye of the Child, an art exhibition by Mrs. Ego
Uche Okeke at the Goethe Institute, Lagos in 1983, while the large version adorns at the Departure Lounge, Murtala Muhammed International Airport, Lagos.
The media of Uche Okeke’s commissioned tapestry are cotton, Jute and
Rayon. Although, it was commissioned for the decoration of the Presidential lounge, Murtala Mohammed International Airport, Lagos where it still adorns the space today. It was woven in the Department of Fine and Applied Arts, University of Nigeria, Nsukka, by a group of students in the art school: Ifedioramma Dike,
Godson Diogu, Tony Nwigberi, Joel Njoku and Milian Osayi under the direction, instruction and supervision of Uche Okeke, who had the tapestry commission. This tapestry was influenced by the Uli design elements, motifs and symbols in pictorial space, which he championed with his synthesis as a language of expression. A detailed study of Uche Okeke’s second tapestries, Onwuelo Depart, (plate 37) reveals its relationship with Okuku’s Chicken, a drawing that was produced by
Uche Okeke in 1958. Both tapestry and drawing reveal a deliberately limited use of forms, negative and positive spaces in the overall composition of the design.
The major imagery in the tapestry is Onwuelo, the chicken that was placed at the top left side of the picture, looking down at the centre of the composition where the
“Mythical Spirit Figures”, representing ancestors appeared to instruct Onwuelo, the chicken to depart and go home.
The colours of the yarns and cord used in weaving are earthy ones: blue, yellow ochre, red and rock brown have symbolic essence. He employed his
81 representational style, embellished with Uli calligraphic form. The colours he used belong to the pallet of Uli wall painters of the Igbo, which Uche Okeke projects.
Plate 36 Uche Okeke, “Anya Nwammuo”—Spirit eyes, Tapestry, Mixed-Media, ©Ucke okeke.
Plate 37.”Onwuelo Depart”, Uche Okeke, Tapestry, 1977, © G.O.Diogu.
82 Through this effort and pioneering work, Uche Okeke influenced the life and career of most of his staff and students in Fibre Art studies. The questions which may be asked as a result of Uche Okeke’s explorative tendencies are as follows: What was the state of Fibre Art since 1977 when Uche Okeke made his entry into this area of art? Was the development sustained or abandoned? Are there evidences to show that Fibre Art study has subsisted in the Nsukka School despite some emerging problems? It will be noted here, that before Uche Okeke’s tapestry was woven on the vertical loom in the Department of Fine and Applied Arts, instructional implementation in cloth weaving was conducted by the aid of only the broad horizontal loom. The introduction of the simple vertical loom for cloth construction informed textile students that it is possible to weave with alternative devices apart from the conventional horizontal broad loom. This had a positive influence on textile students as all of them in the final year class in 1979, constructed their own simple portable vertical looms. The result was felt in the
1979 degree exhibition, where varieties of tapestries were presented by each of the five graduating students of the class. It is necessary to reveal here that the researcher was a member of this class.
Also, the students of this class constructed a vertical loom for the textile section of the Department on which they wove a group tapestry project for their degree examination. From this period onwards, experiments in Fibre Art was consolidated and sustained by the staff and students of the Department of Fine and
Applied Arts. The advancement that Fibre Art has recorded today in the Nsukka
83 School is attributed to the pioneering effort of Uche Okeke and the response this has received among staff and students of the Department of Fine and Applied Arts has affirmed this fact.
CHUKWUANUGO SAMUEL OKEKE (1941---)
Plate 37(b)
Chukwuanugo Samuel Okeke was born in 1941 in Ogoja, in Akwa-ibom
State of Nigeria, to the family of late Samuel Chieze Okeke of Oba in Idemili Local
Government area of Anambra State of Nigeria. He completed his primary education at St. Bartholomew Primary School, Asata, Enugu in 1953. His
Secondary School education commenced in 1954, at the Merchant of Light
Secondary school, Oba. It was in this school that he met the famous pioneer art teacher Mr. Roland Ndefo, who had great influence on Okeke. Chukwuanugo, S.
Okeke entered and passed Fine Arts in the West African School Certificate examination in 1958. Between 1960 and 1961, he enrolled and completed the
84 Teacher’s Grade II programme at St. Mark’s Teacher Training College (T.T.C),
Nibo-Nise, in Awka, Anambra State.
His interest in Fine Arts led him to seek admission into the Nigerian College of Arts, Science and Technology (NCAST), Zaria in 1962. In the same year he entered NCAST, the college that was later converted to a degree awarding institution, and named Ahmadu Bello University, Zaria. This event marked the beginning of professional and academic career for Chukwuanugo Samuel Okeke in
Fine and Applied Arts. He graduated in 1966, majoring in Textile Design. His experience as an art teacher began in 1966 in the Anglican Girl’s Technical
School, Ngwo in Enugu. Okeke observes that his association with Roland Ndefo and his influence tremendously prepared him for a career in art teaching. In an interview that Okpara Paulinus had with C. S. Okeke in 2005, Okeke recollects how Ndefo influenced him:
Ndefo very much influenced me. What I cherished in him was the way he goes about the whole business. As a talented artist he produced his objects as magic. He rarely use eraser. Everybody was looking forward to his lesson. He was very punctual and amiable, ready to help any time anywhere (Okpara, 2005: 31). Chukwuanugo .S. Okeke proceeded to the University of Leeds in England in
1971 for a postgraduate degree in Textiles. He had his Master of Philosophy degree in 1974 with stress in Surface Design and Woven Structures. In 1975, he became a member of the Associateship of the Textile Institute (A.T.I) of
Manchester. This elevation professionally gave him recognition as a Chartered
Textile Technologist (C.TEXT.) On his return to Nigeria, C.S. Okeke joined the
85 services of the University of Nigeria as lecturer II, in the Department of Fine and
Applied Arts in 1975. He became the most academically and professionally qualified lecturer in the studio area of textiles in 1978 after he had been promoted to the rank of Senior Lecturer. He later obtained the Doctor of Philosophy degree in 1983 from the Ahmadu Bello University, Zaria.
With this strong academic background, practical training and experiences on foreign and indigenous textile cultures, C.S Okeke was fully positioned to inject new creative ideas into the mainstream of the textile unit of the Department of Fine and Applied Arts. Students who studied under him between 1974 and 1996 benefited immensely. During his twenty two years of teaching in Nsukka,
C.S.Okeke was regarded as the “master of the loom” because of his incursion into all aspects of woven structures and the varieties of woven designs which he produced on the loom. He demonstrated masterly competence in the following weaves: plain, twill, herring-bone, diamond twill, satins and rug, to mention a few.
All the above weaves are two dimensional in their formation and appearance.
Although he had good experience in production of three dimensional fibre art works, he had strongest inclination for woven structures on the loom where he demonstrated a high level of creativity. However, he was not interested in producing designs which could not be used for dress or furnishing. Moreover, students were compelled to produce designs which could be mass- produced in the industry. Therefore, this affected C.S.Okeke’s modes of instruction and exploration in three dimensional textiles. Also, the tailored programme of the department acted
86 as a limiting factor to C.S.Okeke’s productivity in Fibre Arts. With the aid of both the box and treadle looms, he exposed his students to various methods of pattern drafting and exploration of other media which are available to the students.
From 1978 to 1980, C. S. Okeke carried out experiments on looms, exploring open work, extra-weft, pilling, looping, tapestry, crocheting, lacing and interlacing techniques. The forms produced by these techniques are generally two dimensional, although they can be manipulated in the process of construction or further composed to take three dimensional effects. These techniques enhanced the tactile quality of his woven designs and also revealed their two and three- dimensional appeal. His motifs range from those of social and political satire, myths, folklores, heroes and valor to narrative themes. An example of C. S.
Okeke’s works, including installations, appeared in one of his solo exhibitions which he titled “Culture in Fabrics”. It was held at the Continuing Education
Centre (C.E.C), University of Nigeria, Nsukka in 1989. Each of the designs he exhibited was given a name. These include “ejekom be loya,” I am going to the house of a Lawyer, “Oche isi okwu”, the chair of the spokesman, “Odogwu anya mme”, the Oppressor, and “Odinala”, heritage. Others are Ancestors, Truce,
Ikenga and Scramble.
In his choice of colours, C.S. Okeke’s works draw light from the vegetative environment: green, yellow, brown, blue, pink, dark red and ash. He also has inclination for monochromic hues such as orange, orange-green, deep green, blue, blue-green, yellowish green and black. These are his dominant colours when he
87 works on the treadle loom. However, there is a time in one’s life that a change in life style or techniques of design and production has to be influenced by someone or internally motivated. From 1978, C.S.Okeke decided to follow a new way or style in his studio practice. Uche Okeke’s pioneering work in tapestry became a source of inspiration and seems to have challenged him and he decided to prove his skill in that medium. Thus, in 1985, C.S.Okeke made his first major attempt in producing a tapestry. This art piece which he titled “Revelation” had two versions.
The first was a printed fabric for wall hanging and the second was a tapestry which measures 120 by 77 centimeters (plate 38). The tapestry was produced with jute, rayon, cotton and plastic beads. The colours used by the artist, particularly for this design, are earthy ones which are symbolic and traceable to the Igbo tradition. The colours are brown, white, blue, sky blue, red, orange and yellow-ochre. Another work which attempts to show C.S.Okeke’s ability to produce three-dimensional woven design is titled “Ejekom be loya”, meaning I am going to the lawyer (plate
39).
This work was woven on non conventional equipment such as the box and treadle looms. It is a kinetic art. Through the process of production, the artist explored looping, pilling and crocheting techniques. The length of the work when installed is two meters. The media are cotton, rayon and metal and plastic beads.
The metal was shaped to give circular form in the overall composition.
The themes which C.S.Okeke chose provided for him channels of expression with media. Conceptually, it has provided a channel of exploration into the social,
88 religious, and political feelings of the society. Very much like children born in the traditional society, C.S.Okeke received a good deal of his informal education in the traditional culture of the Igbo. He was conversant with knowledge of local fibre processing, cult festivities, folklore and customs. Also his research experience as an academic in the Nsukka School further helped him to understand and appreciate the philosophy embodied in his people’s masking traditions. In all, C.S.Okeke’s works, when examined together, have force which compels the observer or a critic to appreciate textiles not only as wearable objects, but as instruments which could be used to interrogate humans; their nature, drive, thought, skill and creative paths.
Therefore, given the facts as stated in C.S.Okeke’s brief biography, one would, without fear of contradiction, conclude that C.S.Okeke did well in his contributions to the development of his discipline in particular and the nation at large. The third
Fibre Artist who would be discussed, and whose works have made major impact among creative artists, is Ifedioramma Dike.
Plate 38. C.S.Okeke, “Tapestry”,1988 © G.O.Diogu
89
Plate 39. C.S.Okeke, “Ejekom be Loya”, Mixed media, Ribbon, button, Rayon yarn, metal wire, © G.O.Diogu.
90 IFEDIORAMMA DIKE (1947---)
Plate 39(b) IFEDIORAMMA DIKE (1947---)
Ifedioramma Ndubueze Dike, born in 1947 in Markudi, Benue State of
Nigeria, hails from Awka in Anambra State. His professional training as an artist began in 1973 when he enrolled at the University of Nigeria, Nsukka where his talent as a great artist was noticed by his teachers. In his third year, Dike found it difficult to choose a major area of specialization because he was good in all the studio subjects. However, he finally opted for textile design, because this major area of study would enable him to contribute in a greater measure to the social, economic and entrepreneurship development of the nation. Also, his lecturers in textile section, Dr. N. Udosen and Dr. C. S. Okeke, encouraged him to specialize in textile design, not only for the great need of the products in the society, but also for a lively practice that thrive for textile artists both in academics and in the textile industry.
91 Ifedioramma Dike graduated in 1978 and was recommended as the best graduating student in textiles for the “Afprint prize”. Shortly after his National
Youth Service Corps, Dike was appointed as a lecturer in the former Anambra
State College of Education, Awka. In 1991, an incident took place which not only improved his means considerably but also placed him on a more solid professional ground. This was the creation of the Anambra State University of Technology
(ASUTEC), Awka, now known as Nnamdi Azikiwe University, Awka. The newly established University inherited the facilities of the Anambra State College of
Education, Awka. This incidentally marked the beginning of Dike,s journey as a creative Fibre Artist at the Nnamdi Azikiwe University, Awka.
He began his experiment with fibre as medium of constructing two and three-dimensional art forms in 1977, while he was an undergraduate student in the
Department of Fine and Applied Arts, University of Nigeria, Nsukka. His first attempt was the creation of a tapestry. The year cited above coincided with the period Uche Okeke’s tapestry was produced by a group of textile students in the
Department of Fine and Applied Arts. Ifedioramma Dike, being one of the students who were involved in its construction, might have been further influenced by this development. Between 1985 and 1987, Dike’s work underwent a gradual stylistic transition. His works in the batik medium began to exhibit a more limited use of positive and negative spaces. It was about the same period that he began to use appliqué.
92 Between 1987 and 1990, Dike developed his approach to visual expression through experimentation with varieties of art forms and styles. He was always careful to rely on his cultural heritage, thus Igbo themes and symbolism dominated his creative direction. Later, an enthusiasm for Fibre Art, nourished by experience he derived from his “Aka Group” led Dike to attempt structural composition with fibre, raffia, wood and metal. Some of Dike’s collections of Fibre Arts which he produced between 1977 and 1985 made the first major public appearance at the
1986 Inaugural Exhibition of the “AKA” Group of Artists. Apparently, Dike’s artistic growth was linked to his membership of this group. The “Aka” group which had for the past two decades (1986-2005) made regular exhibitions in Nigeria has helped to put Dike in the lime-light locally and internationally. It was at the
Inaugural Exhibition that the potential of Dike as a dynamic fibre artist was revealed.
A close study of his early works shows prevalence of imageries from
African masks, his source of influence (plates 40 and 41). Some masks which have striking features in terms of shape, form, colour and textural qualities were chosen as his visual models. They include Ijele, Ukwu-Ijele, Idu, Okwomma and Iga.
Masking is very important to the traditional Igbo society because of its social benefits and people are most interested, not only in its ideological projections, but also in its social vision. Social vision concerns itself primarily with observations on and projection of the society, through practical work experience. It is this social vision that has motivated the artist, traditional and modern, to produce works for
93 the society. In the case of the traditional masquerade costume designer, he turns to culture to derive imageries with which he used to compose his work, and thus, produce wearable costumes which could be worn and danced.
However, in the case of Dike and his colleagues under study, they equally returned to their culture, and from it, sourced the best ideas and elements which they used to produce creative works which would serve the wider society. Also, the students who passed through the Nsukka School were through the nature of the programme, made to believe in the principle of natural synthesis which was born out of the desire to develop a modern Nigerian art that would blend indigenous art forms with the best of western methods and materials.
Other reasons which further informed Dike’s choice of Igbo masks as visual models were the media which the artists used in the construction of the costumes, the symbolic colours, textures, motifs and weave structure. The works he titled
“Meditation,” “The Night Bird, and Mgbedike”, respectively (Plates 42, 43 and 44) were influenced by the visual properties identifiable in these masks, particularly the Ijele and Mgbedike. The Ijele and Mgbedike masks are regarded as the most symbolic and heroic among the Igbo (Cole and Aniakor, 1984).
The Dike’s works shown in plates 45, 46, 47, 48, 49 and 50 are good examples of multi-media tapestries. The media explored in these works include raffia, jute, cotton, rayon and plastic pipes. The colours are blue, yellow ochre, white, brown, black and red. Through this medium, Dike seeks to break the interdisciplinary barriers in the use and adaptation of forms and design in art. Dike
94 used figurative and realistic styles in his earlier works because he attempted to reveal the form of the mask which he chose as visual model. In his later works he turned to abstract expressionism, plates 51, 52, 53, 54. He changed to this style because he was interested in using current art forms to update his on style, and this was a practical example of “natural synthesis”. However, Dike seems to have combined two styles: expressionism and realism in the production of “The Bull”
(Plate 50).
Plate 40 Idu Masquerade Plate 41. Okwomma Masquerade The costumes were produced by anonymous traditional Fibre Artists. © I.Dike, 2002.
.
95
Plate 42. I. N. Dike“ Meditation” Plate 43. I. N. Dike “Nightbird’’ © I. N. Dike, 2003 © I. N. Dike, 2003
c
Plate 44 I. N. Dike “Mgbedike” © I. N. Dike, 2003
96 Three-dimensional effects were achieved by introducing various colours of fibres in high and low relief formations. His works at this period, 1977 to 1985, reveals a subtle combination of plain and basket weaves, looping, pilling, stuffing and tying techniques. He developed his approach to artistic expression as a fibre artist over a period of seven years, 1978 to 1985, which marked his gestation period. He had left the University of Nigeria at this period where he had contact with great masters of the Nsukka School. Furthermore, his literary contact with some popular foreign fibre artists such as Tadek Beutlich, Daniel Graffin and Josep
Grau-Garriga (Waller, 1977) contributed very greatly to the accelerated development Dike had in Fibre Arts.
During this early period, 1978 to 85, Dike Ifedioramma sourced his motifs and symbols from the Ijele masquerade which as already stated, is culturally regarded as the most symbolic and heroic masquerade of the Igbo. The impact of
Awka traditional culture and its social values played a major part in shaping the intellectual and artistic development of Dike. His style in these earlier works reveals a strong inclination towards naturalistic representation of Igbo objects and subject matters. In his critique of the works of Dike which appeared in the 1986
Aka exhibition, Aniakor (1986; 9) notes:
In the case of the AKA circle of artists, it is in their deep knowledge and mastery of the principles of line-space relationships as an artistic/design language that one perceives the triumph of the creative spirit. For example, in the hands of Ifedioramma Dike, the brute force of Igbo Mgbedike mask is transformed into a work of expressive power based on a near virtuosic handling of the tapestry medium. However, the visual strength of his works derives from an intense colorism of abstract surface areas firmly knitted through the rhythmic contrast of space/boundary relations. That an Igbo
97 mask is adapted and transformed into the image of Meditation points up the artist’s introspective concerns as well as good understanding of Igbo design forms.
From 1986 to 2001, his representational style changed slightly from naturalism to abstraction. It was about this time that he began to experiment with collage and re-introduced appliqué technique. His materials were printed, cut out and reassembled in a way suited to his explorative imagination before the introduction of his motifs or symbols. Of a particular note is the introduction of the
Uli design elements, visually highlighted symbolic colours of red, yellow, green, white and black, which apparently gave these abstract designs their culture base.
“The lost Scroll”, “Something Binds Us Together” and “Iru-Ijele” (Plates 45, 46 and 47) are works which have Uli design elements as symbolic and decorative motifs. In justifying the reasons for the introduction of Uli design, Dike observes:
The colourful appliqué work on the scrolls is an adaptation of the patterns and motifs replete in the Ijele family of masks. Some of these patterns and motifs like the Uli are traditional symbols, full of meaning and very communicative. They were used to adorn and beautify not only the masquerades but also the human body and the environment (Dike, 2003, 70).
98
Plate 45. I. N. Dike “The lost Scroll”, Mixed media. © I. N. Dike, 2003.
99
Plate 46. “Something binds us together”, I. N. Dike. Mixed media. © I. N. Dike, 2003.
Plate 47. I. N. Dike “Iru-Ijele.”,Mixed media, 1989. © I. N. Dike 2000.
100 Accordingly, Dike went on and on to publish his thoughts and research- based fibre works. His themes were focused on the necessity of shaping the attitudes and values of the Nigerian people, especially the youth, to attain its expected level of artistic, social and technological development. The Aka annual group exhibitions which had featured for ten years (1986-1995) motivated Dike to produce and exhibit over thirty works; the majority of them in fibres and mixed media. A proof of this observation could be seen in the group’s exhibition annual catalogues from 1986 to 1995. Some of his works which were not shown in this chapter are presented in the appendix I.
In 2000, Dike started a project which he titled The Dynamics of Forms and
Design in Textile Art: Adaptation of some Igbo mask forms. In this project, Dike resolved to study some Igbo masks as perfect models for a research on the dynamics, mobility and inter-play of forms and design. The masks which he selected for the research are Idu, Ijele, Ukwu-Ijele, Okwomma and Iga. This project helped Dike to develop high sense of observation and critical analysis of traditional
Fibre Arts. He studied the interesting forms of the masks and the characters of the visual models and began to produce Fibre Arts which compete favourably with the works of notable foreign fibre artists which had earlier been mentioned in the literature review. Dike has in this regard, set a record in the Nsukka School as the most prolific and adventurous artist in the area of Fibre Arts.
Conclusively, when his profile is compared with other artists who have ventured into this media, it would be recognized that Dike had made the greatest
101 input in the history of Modern Art in Nigeria. He was able to achieve good results in his new experiments because he knew the limitations which his major area textile design had and tries to break the inter-disciplinary boundaries and thus, create an open frontier for the mobility of forms and ideas. How did he do this?
Dike provided the reasons in these words:
I am conversant with masking traditions of my people, and have resolved to bring innovation into this tradition, through adaptation of some of the traditional, formal and conceptual qualities, to make new artistic statement in textile art…, Great artists through the ages have always sought for new directions in art and also the younger generation artists have often looked upon the great masters for inspiration and creative direction (Dike, 2003, 20).
From 2000 when this project started to 2003 when it was finished, Ifedioramma
Dike was able to produce ten major works. These include Grandeur, the melting pot, Resonance, the Bull, Identified Flying Object, Our faces are different, Mere
Africa and Even with one eye, among others. It is against this background that one would be required to examine some of his works for the purpose of appreciation
and determination of his creative path: Plates 48, 49, 50, 51, 52, 53, 54 and 55. 1
102
Plate 48. I. N. Dike. “Grander’’, mixed media. © I. N. Dike, 2000
Plate 49. I. N. Dike, “The melting pot”, mixed media. © I. N. Dike, 2000.
103
Plate 50, I. N. Dike “The Bull”, mixed media, © I. N. Dike, 2000
Plate 51. I. N. Dike,”Identified Flying Object”, mixed media, © I. N. Dike, 2003
104
Plate 52. I. N. Dike,”Resonance”, mixed media, © I. N. Dike, 2003.
Plate 53. I. N. Dike, “Our Faces are different”, Mixed media, © I. N. Dike, 2003
105
Plate 54. I. N. Dike, “Mere Africa”, mixed media, © I. N. Dike, 2003.
Plate 55. I. N. Dike, “Even with one eye”, mixed media, © I. N. Dike, 2000
106 It is necessary here to ask some questions. What media did Dike use in the production of these works? Are they adaptable? What techniques were used in the production of his later art works and how did they differ from his earlier works? Are there conceptual ideas which have informed the thematic consideration of the titles of the works? The discussions below will attempt to provide answers to these issues. A close study of some of Dike’s early works shows the media which the artist has used. The most common ones which cut across his works are jute, raffia, cotton yarn and cord. These materials are pliable and have been used by artists throughout the ages in the production of functional objects such as bags, mat and cloth. The artist has explored the techniques of weaving; stitching, looping, sewing, knotting and wrapping, and in his colour choice, he prefers the natural colour of the yarns. However, when there is need to dye his yarns, he uses cool harmonious colours. The introduction of non-pliable materials such as copper wire, metal, synthetic foam and plastic pipe helps the artist to provide a base or support for the design so that the desired three dimensional effects could be achieved or simulated.
With regard to design pattern and decoration, Uli design motifs began to appear as a means of communicating the social values which are traditionally inherent in the system. Some of the Uli designs have been shown in plates 48, 49,
53 and 54. The techniques of production were also modified to include collage, painting with acrylic colours, appliqué and quilting. Free standing textile sculpture was equally explored. The first free standing fibre sculpture was titled, The
107 Master. . The success of the work led to further experiment that resulted in the creation of the work he titled, The Wings Are There, (Plate 56). This concept was intended to extend the functional values of art products to include those that would be used to beautify the environment.
Plate 56. I. N. Dike “The wings are there”, mixed media, © I. N. Dike 1989
However, at the 2005 Aka Group exhibition marking the thirtieth anniversary, Dike is credited to have produced and exhibited over fifty Fibre Arts works between 1986 and 2005. Notable works include Mgbedike, Meditation and
Night bird, which were produced in 1986. He produced Idu, Ikenga and the Master in 1987. Off Rituals, Festivals, the Ancestral Gates, The Wings are Here, and
Faces, were produced in 1988. In 1989, Dike produced Iru-Ijele, the Master with the Golden Thread, Mere Africa and Homage to Tradition and Regal dignity. Also, from 1991 to 1994, he produced The Ritual Festival, Rejuvenation, the Lost Scroll,
108 the Working of the Mind and Dialogue, among others. In the same manner, between 2000 and 2005, Ifedioramma Dike produced the Freezing Point, It is a
Sunny Day, Something Binds Us Together, Even with One Eye, Resonance and Our
Faces are Different, among others.
One thing which could easily be noticed in Dike’s later works is the tactile quality of his Fibre Art. Many of his later works have concern with texture and its visual effects. His colours provide textural changes which help the works to achieve tactile simulation, visual distance and perspective. Conceptually, Dike’s works focus on social, religious, political and cultural issues and were used to make social, religious and political statements about the Igbo or Nigerian traditional philosophy and governance. However, with regard to exploration in mixed media, Dike seems to have expanded ideas he derived from some foreign fibre artists such as Daniel Graffin, Josep Garriga, Ritz and Peter Jacobi (Irene
Walker, 1973, 54, 60 and 86), whose textile sculptures appeared in public shows in
Europe and America in the early 1970s.
However, from 1994, Dike’s works began to change from his traditional representational style to a unique style, which seems to be a blend of the traditional
African imagery and conceptual art forms, noticeable in the works of some mid- twentieth century Afro- American artists, such as Betye Saar, Barbra Chase-
Riboud, Joanna Lee and Allen Fannin (Lewis, 1990; 201, 215, 239 and 240).
About Dike’s colour choice, especially from 2000 to 2003, it may be difficult to situate his colour inclination. His works generally, show the artist’s ability to
109 produce works, which have harmonious colour effects. However, the works, which he used to make religious statement, were influenced by earthy colours of the Uli wall painters, like brown, yellow Ochre, white, black, red, grey and blue.
Ifedioramma Dike has been described by Aniakor (1987), as one of the budding fibre artists in the modern Nigerian tradition. Like a short story writer,
Ifedioramma Dike has continued to “write” on fibre, fabrics and assorted materials, which his environment provides. He has made his mark in the history of Fibre Art in the Nsukka School.
EVERASTUS OBODO (1963---)
Plate 56(b) Everastus Obodo is a sculptor trained in the Nsukka School. He has not received a wide focus as a creative Fibre Artist and Textile Sculpture, except within the compass of the Nsukka School. He hailed from Abor in Udi Local
Government area in Enugu State of Nigeria. Born in 1963, he enrolled for a
Bachelor’s degree programme in the Department of Fine and Applied Arts,
University of Nigeria, Nsukka where he began his professional training as an artist in 1987. He graduated in 1992, majoring in sculpture. He later enrolled for the
110 Master of Fine Arts degree in 1996 and completed the programme in 1998 as a sculptor. He was supervised by El Anatsui, a versatile experimental sculptor, who has national and international fame. El-Anatsui had all along influenced Obodo’s research scholarship from his undergraduate days to the present. Evarestus
Obodo’s research interest was on the exploration of soft sculpture which he began in his undergraduate days in the University of Nigeria, Nsukka. During this period, he spent most of his long vacations in the studio of his mentor, El Anatsui, who eventually influenced his creative and research abilities.
. His Master of Fine Arts research was on the Production of Soft and Stuffed
Sculpture: Wall and Tubers, which interest he had earlier developed in 1988. This research is closely related to textile sculpture. Everastus Obodo has had academic and professional experiences as a sculptor. He lectured in Benue State Polytechnic,
Ugbokolo from 2000 to 2006. In 2006, he moved to the University of Nigeria,
Nsukka where he now lectures.
PROFESSIONAL EXPERIENCE.
Everastus Obodo began his first cycle of experiments called “wrappers”, and produced two important works titled Igbangwu Oka and “Ite-Ofo. These works excited some of his lecturers, including El-Anatsui. It also brought in a spirit of enquiry among his peers in the sculpture section. In his Igbangwu Oka series, he used ropes of different kinds and sizes to produce designs which are composed of organic and structural patterns. Igbangwu as the name implies, is a type of food that is popular among the people of Nsukka. The pudding is made by grinding and
111 mixing corn with vegetables. The mixture is enclosed in seasoned banana leaf and tied with palm reed before cooking. Ite-Ofo is a ritual object believed to be an intermediary between the living and the dead. The idea was derived from the traditional religious practices of the people of Obor. In this regard, Obodo used his visual art to address issues of immediate and continuing significance and drawing experience from his society.
TheIte-Ofo (Plate 57) is a representation of a ritual pot on which sacrifices are made. The mouth of the object is composed with two tied shapes which resembled the Igbangwu Oka. The tactile nature of the object was achieved by the process of tying and gluing different sizes of yarns and cords to form high and low relief patterns. The design was firmly secured and supported on a metal stand. The massive forms and strong patterns of this huge sculpture which rests on tiny legs illuminate Obodo’s exceptional ability to control motion through organized design.
The colour of the yarns and cord he used in the production of this work was left in their natural colours of brown, yellow ochre, white and grey.
The Igbangwu (plate 58) is a relief composition made of different sizes of tied forms of the Igbangwu food described earlier. In this work, the artist experimented on tying as an art process. Traditionally, tying has been involved in food processing and preparation. The local foods which involve tying during processing are Igbangwu Oka, Agidi, Moi-moi, Okpa and Akpu-olulo. Also, the traditional farmers tie their seed yams in barns as a method of conservation.
112 The shapes derived from each method of preparation and conservation differs in visual quality. It is these qualities that the artist has explored in the production of the work in his wrapper series titled Igbangwu Oka. The complex design is based on personal reflection of the artist. The work was designed to serve as a wall hanging. It has no definite positioning, thus, it can be placed on any side: left, right, up or down. Which ever way this organic composition faces, it has a unique visual effect, and its aesthetic quality is heightened by the inclusion of a wooden board.
Plate 57, E.Obodo “Ite-Ofo’, plate 58 E.Obodo “Igbangwu-Oka” © E. Obodo, 1998 © E. Obodo, 1998.
113 In 1992, Obodo began his second cycle of work. A series he called Gut and intestine-like studies, (Plates 59 and 60). In this series, the composition was taken up entirely by a huge emphatic heads of concealed synthetic foam from which emerges thick textured intestine-like coiled forms, contrasted by seemingly isolated lobes. The coils (intestines) run in different directions with contrasting sizes; long and short, thick and thin, fat and slim relief forms. The entire textured tube-like background accentuated by the stuffed round and oval images gives the work a sense of organic unity. In the “Gut and Intestine II”, Uli pattern is printed on the background.
Plate 59. E. Obodo “Gut and Intestines I. 1992 © E.Obodo.
114
Plate 60. “Gut and Intestine II” by E. Obodo, 1992. © E.Obodo
His tied series of work was titled Soft and Stuffed Sculpture: Wall and Tubers. Through this experiment, Obodo continued his pre-occupation with media interrogation in his subsequent works as shown in the Wall and tubers (plates 63). Goods Only (plate 62) and The Explorer (plate 63).
plate 61 “Goods Only” 1998 Plate 62 “Wall and tubers” 1998 © E. Obodo © E. Obodo
115
Plate 63. Eva Obodo.“The explorer” 1998, © E. Obodo.
He approached his works by employing soft and flexible relief forms, designed either to be fixed permanently stretched to the wall or to be hung on the provisions made for them. The design consists of “rucked” background on which stuffed tubular-like forms are arranged and superimposed. He combines collage,
‘rucking” and tying in the process of his design execution. The media which he explores are Jute, Straw, Synthetic foam and fabric. Commenting on the significance of his experiments, Obodo (1998, 11) notes:
The projects are intended to open up a new way of exploring some unconventional pliant materials, which are abundantly available in our environment, in order to arrive at soft or stuffed sculpture...the projects hinge more on formal qualities of sculptures, and of course their materials, as they relate to softness, it is however expected that it would veer a bit to explore processes too.
116 When one looks at his styles, it would be seen that his works have two stylistic features: representational and expressionistic. Ite ofo and Gut and Intestines, respectively, are good examples of these styles. With this contribution of Eva
Obodo, the Nsukka School presence in Fibre Art study has been felt, particularly, in the area of recycling of discarded materials.
SYLVANUS ODOJA ASOGWA
Plate 63(b) SYLVANUS ODOJA ASOGWA
Slyvernus Odoja Asogwa was a contemporary of Everastus Obodo in the
University of Nigeria who is yet to be appreciated as a Fibre Artist nationally.
However, he is one of the artists to watch among artists in the Nsukka School. His works and those of Obodo are closely related, because they grew up in a similar cultural and educational background. Moreover, they were interested in textile sculpture and thematically, their works address the traditional and social conditions of their cultural communities. Sylvanus Asogwa was born in Ovoko in Igbo-Eze
South Local Government Area of Enugu State. He studied in the Department of
117 Fine and Applied Arts, University of Nigeria, Nsukka, from 1982 and 1986 and graduated with B.A degree. He thought Fine Arts in some Secondary Schools before he enrolled for the Master of Fine Arts (M.F.A) programme in 2000 and completed this in 2005 before becoming a staff of the University of Nigeria,
Nsukka as a lecturer. Asogwa has since his appointment as a lecturer exhibited his works locally; most of his works are in Fibre Art medium.
He had exposure to Fibre Art Nukkka because of the varieties of art and crafts that existed there and which gave him basic knowledge about their production processes. In 2003, he began a project titled, Textile Sculpture: Potentials of Fibres and Fabrics in Nsukka Masking Traditions. Although Asogwa had a good background in Surface Design with a stress in screen printing, he quickly developed interest in Fibre Art which could teach him about mixed-media art making. This medium according to him would help him to understand the artistic opportunity available to him and to explore in a new way with materials which can be derived from his environment.
He also used the opportunity to source his materials by means of local processing methods. An example of this is the extraction of Ibari from banana stem. Ibari is the local name that is given to the fibre derived from the Banana stem. The Ibari is the most popular fibre which Asogwa used to a large extent in construction of his works. This was necessary because it is available in large quantity and can be processed without much technical problem. He produced varieties of imaginative designs along with cool contrasting coloured of Ibari
118 yarns. His production techniques are a re-interpretation of the traditional stitching, twisting, plying, knotting, stuffing, padding and tying methods, familiar with the craftsmen in the society. His stylistic interest was in favour of symbolic and abstract-expressionistic styles. The composition of many of his Fibre Arts reflects the tossed layouts of woven images enlivened by lack of repeat pattern.
With regard to his themes, Asogwa drew his ideas from his culture.
After studying the social, religious and economic conditions of his community, he was attracted by their masking traditions. The masks which formed his visual models for his exploration in fibre are Odo, Omabe and Igele Nwaoma masquerades. Stating the objectives of his project, Asogwa notes: “This research has been an attempt to respond to the alluring appeal of the richly varied types of fibres and fabrics and other related textile materials found in Odo and Omabe masking traditions” (Asogwa, 2006, 42). The ideas derived from Odo and Omabe masks (see figures 17 and 18 earlier shown) and various local materials were used to create new works in textile sculpture such as Nwangboto, Counselor, The Sage and the Royal Concourse (Plates 64 to 67).
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Plate 64. Asogwa.S. “Nwamgboto”, Plate 65. “The counselor”, 2005 mixed media, © Asogwa. S. 2005 mixed media, © Asogwa. A. 2005
Plate 66. Asogwa. S. “Sage” Plate 67. Asogwa. S. “Royal concourse” Mixed media, © Asogwa. S. 2005. Mixed media, © Asogwa. S. 2005
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Plate 68. Asogwa. S.“Ugele Nwoma” Plate 69. “Eshikauri” Mixed media, © Asogwa. S. 2005. mixed media, © Asogwa. S. 2005
The Nwangboto was conceived to serve as an installation art piece. Nwangboto is known as the maiden spirit. The overall composition is symmetrically balanced and symbolized as an abstract image representing the Igbo maiden spirit. It has a feminine head made of woven yarn. The two large breasts are attachments of oval shaped form made of raffia basket. Coloured raffia yarns were arranged to flow from the breast down the bottom of the image, giving the overall design a kinetic effect.
121 This work is a combination of many techniques in weaving, stitching, knotting and basketry. The work seeks to capture the essence of the pivotal position of the woman as the centre of meaning in life, as the symbol of survival and continuity of every traditional and contemporary society. It also reminds one of the visual records of our past that are vanishing from our society with European influence and acculturation. The idea of portraying the maiden with emphasis on the breasts according to Asogwa cited above “is not to show sensuality and love. It is to give an idea of fecundity”.
The Wise Counselor (Plate 65) derived its theme from Odo masquerade. The artist made use of some of the appealing features of the masquerade, such as elaborate head, brilliant coloured yarns and beaded tassels. The work has two composite parts. The upper part of the masquerade is constructed with locally woven cloth, stuffed with cotton and embellished with beads. The lower part of the work is of heavy long fringes of blue, red and white cotton yarns. In addition to suggesting the grey beards of the mask, the long fringes also function as kinetic elements.
The Sage (Plate 66) is another work, which has striking features. In this design, a mask- like human figure is presented in a symmetrical position. An organic arrangement of coloured banana fibres mixed with acrylic yarns are used to accentuate the background. A combined technique of embroidery, stitching, stuffing and gluing are employed. The mouth is emphasized by contrasting white and black yarns which run parallel and seem to have divided the picture plain into
122 two equal parts. The dark green negative space below the mask figure is highlighted by two circular shapes made of gourd and balanced by flowing tassels.
The work was designed to serve as wall hanging.
The Royal Concourse (Plate 67) addresses the role of the ancestors as
“guardian spirit” and the importance of royalty in the traditional society. The general concept of the work was drawn from the thought and belief systems of the
Nsukka, that Omabe is essentially a benevolent spirit that has protective power over his subjects. Also among the Yoruba, the Egungun Masquerade, is also regarded as a “Living Dead”. Aremu, (1983, 50) explains that among the Yoruba, the deceased is not traditionally regarded as dead, but has gone to the ancestrial world. He later appears on the earth in human form as children or in spiritual form as the Egungun masquerades. Egungun can be represented in either real or abstract representational form.
The abstract- representational works of Asogwa derived their concepts from the traditional masking of the Nsukka community. The works are composed of three panel figures, representing a king at the middle, flanked by two of his elders.
Each of the panels is composed in a symmetrical manner, exploring knotting, tying, twisting, stuffing, and appliqué methods. Apart from the head and shoulder of each of the figures, the whole structure is composed of long strips of hanging threads attached to the shoulder to decorate it. The long fringes and tassels of varied colours are beaded at intervals. It was designed to have kinetic effect.
123 Ijele Nwaoma (plate 68) is the latest work that was produced by this artist in 2005. It is specially designed to serve as a three dimensional wall hanging or mobile installation which could be kinetic. The features of this design are derived from the Akatakpa and Agbogho-muo masquerades. He explores with a combined construction techniques such as twisting, knotting, looping and coiling. After the design had been completed, it was stuffed with synthetic foam in order to give volume to the work. In all, his research enabled him to produce over ten fibre art works between 2000 and 2005. These works were shown in 2005 during his M.F.A project assessment and defense. What are the impressions of this artist about his work and what contributions has he made to the development of Fibre Art? With regard to the above issues, Asogwa (2006, 41) notes:
To appreciate these works demands a sound knowledge of their interpretative approach or creative attitudes towards the rendering of these forms devoid of any form of pictorial exactness in the achievement of the sculptural integrity or artistic force. Therefore, the works have been done to distil the essential characteristics of the techniques, forms and their aesthetic expressions. Although each of these works has its own characteristics, they have so many elements and artistic idioms in common… A number of materials and techniques used in the production of the art forms appeared consistently virtually in all the forms. Moreover, the immediacy and directness with which the visual impact of the artistic power is felt by the viewer is another important feature they share in common. However, they have some minor variations in terms of techniques, form and materials, but creative efforts were made to create these forms in such a manner that creative synthesis results.
With regard to the contributions of the project to knowledge and to the development of the Nsukka School, Asogwa further observes that “the study will not only help in increasing our vision of the possibilities these media and
124 techniques can offer, but also help researchers and their likes to look beyond the masking traditions as metaphorical characters of the ancestors incarnate. Thus, this project has opened a new vista in the study of Fibre Art”. From the quantity of work Asogwa produced and their qualities, and the production techniques involved, it would be appreciated that the journey of an artist from the studio to the exhibition hall might be seen to be tedious and formidable. For an artist to subsist in this area of art, he has to develop high explorative interest in the subject, study and become conversant with the conventional studio application methods, and integrate both ideas generated from these experiences for development of new products. It is the impression of the researcher that Slyvernus Asogwa has utilized what he had experienced in his environment for the development of humanity through the study of Fibre Art.
125 ANGELA NKEMDILIM UDEANI
Plate 69(b)
Angela Nkemdilim Udeani is one of the few female artists associated with Fibre
Art. Born in 1970, she hails from Owelle in Agwu Local Government Area of
Enugu State. She enrolled for the degree programme of the Department of Fine and
Applied Arts, University of Nigeria, in 1988 and graduated in 1992, specialized in textiles. She also enrolled for the Master of Fine Arts programme in the same department in 1992 and completed the programme in 2002. She now teaches in the
Department of Creative Arts, Federal University of Technology, Yola. Since her employment as a lecturer, she has been creating images in textiles, exploring serigraphy, screen printing, batik, appliqué and quilting.
In 1997, she returned to creating images in Fibre Art, an interest which she had earlier developed in her undergraduate days at Nsukka. Her best area of study was woven structure, where she worked on the treadle loom, producing rug, tapestry, basket-weaves with extra-float patterns and quilted design. She also produced two and three dimensional designs with the aid of improvised or
126 alternative devices. This informed her choice of Fibre Art as her research area in her M.F.A programme. Angela Udeani is not well known because she has not featured significantly in exhibitions nationally and internationally, but her level of research and productivity in her Master of Fine Arts programme and few group exhibitions she has participated could be used to appraise her, and determine her status in this area of study. She focused her M.F.A research on the Igbo-Ukwu art forms, which ideas she transformed into textile sculpture.
Igbo-Ukwu is one of the communities in Igbo land that has a rich culture. The most prestigious Eze-Nri institution is located in Igbo-Ukwu, and this is responsible for the growth of art and crafts in Igbo-Ukwu and its environs. Among the traditional cultural practices are Court art for the Eze-Nri institution, wall painting, bronze casting, masquerade costume design, carving of ceremonial staff and ritual objects, among others. Angela Udeani was motivated by these cultural materials which informed her choice of the Igbo-Ukwu art forms as models for exploration. The objects which she selected as her symbolic metaphor are snake, spider, snail, chameleon, frog, lizard, and coiled patterns derived from Igbo-Ukwu pottery and wall paintings. Her set objective for her exploration was to use Fibre
Art as “one of the ways of reviving Igbo-Ukwu culture in bronze through innovation process involving experiments and exploration of alternative media of expression (Udeani, 2002).
In the light of the foregoing, it would be good to appreciate the achievements of this artist, based on the visuals supplied below. The first work which she
127 produced was titled Royalty (Plate 70). The concept was historical, addressing the Nri stool and her leadership. The first thing she did was to take the total concept of the Nri about ancestral spirits, the world of man and nature. Her main concern was to find a way of reflecting this in her work. The Royalty was composed of two parts. The upper section of the work was woven on the box loom and the design was decorated with extra weft rayon yarns. It was attached to a circular appliquéd framework. At the center of the circular design was attached an image of a spider made of aluminum and copper foil. She had expressionistic style which she first demonstrated in such work as Royalty, and The Royal and the
Subjects. The Transition is a symbolic work which offers an extensive range of colour as well as expressive style. The circular forms (Plate 77) are interwoven in overlapping circular pattern, and each historical event is easily seen as a separate part of the overall composition.
Plate 70.“Royalty”. Plate 71. “The Royal and the subjects” Mixed media. © A. N. Udeani 2001. mixed media. © A. N. Udeani, 2001.
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Plate 72. “Conflict”. Plate 73. “Dialogue I” Mixed media. © A.N. Udeani, 2001. Mixed media. © A. N. Udeani, 2001.
Plate 74. “Dialogue II”. Plate 75. “Peace” Mixed media. © A. N. Udeani. 2002. mixed media. © A. N. Udeani. 2002
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Plate 76. “Solemnity”. Plate 77. “Transition”. Mixed media. © A. N. Udeani. 2002. mixed media. © A. N. Udeani. 2002
The second work in her Royalty series is titled The Royal and the Subjects, which was produced in 2002. This work (Plate 71) has five colourful objects representing the king and her wife, prominently highlighted on the top of the panel, and three objects representing the subjects, placed at the bottom, all linked by cords, which act as binding force. The composition was woven into a background of nylon sack. Like her first work, this was used to address the problem of leadership. The artist used the work to advise that “for leadership to hold, there must be a ruler and the masses, who are willing to be governed, and both must work in harmony to ensure peace and stability” (Udeani, 2002,45). In 2002, she carried out a project called the Transition. The transition project involved the artist in production of six unique designs which were after completion joined together to form one piece. Each of the six designs represented a character identified by a
130 name. The first is titled Conflict (Plate72). Conflict has been discovered to be the problem of most societies and where conflict thrives, there will be no development. Since conflict exists, the only way to solve this problem was through dialogue. Therefore, the second and third works in the series are titled Dialogue I and Dialogue II (Plates 73 & 74).
The fourth work is titled Peace which apparently results from dialogue. The fifth work Solemnity reminds one of the seriousness and sincerity involved in conflict resolution. The sixth work Tranquility represents a condition that manifests after conflict has been resolved. These designs were arranged in an orderly manner, resulting in a composition or design titled the Transition (Plate
75). Conceptually, therefore, the transition into the Eze-Nri kingship requires a model, chronologically represented as shown in these creative works of Angela
Udeani.
The techniques used by the artist in the process of constructing her works are knotting, weaving, stitching, appliqué and looping. The materials used in each work differ in range and quality, and this was dictated by the design. For example, her Royalty was produced with varieties of yarns and unrelated media such as aluminum foil, copper wire and bicycle wheel. The metal used was to enable the artist introduce form to the work so that it could have three dimensional effect. In
The Royal and the Subjects, the artist used only pliable materials, such as nylon sack, jute, fabric, cotton and rayon yarns. In contrast, Hang on Me (Plate 78) shows the artist’s ability to compose with multi-media in their range and character. These
131 materials include wood, jute, cotton and sliver cords, pine cone, beads, copper wire and pigments. Also in her New Birth (Plate 79), the artist also used discarded materials such as cork, seed, button, jute, and in combination with ribbon, plastic pipe and fabric.
Plate 78. “Hang on me” Plate 79. “New birth” Mixed media, © A. N. Udeani 2002. Mixed media, © A. N. Udeani 2002.
In Conclusion, the major achievement of this artist was concretized in the work titled Transition. The artist used only two media: metal and cord. The metal component of this work is bicycle wheel, which provides the conceived circular form. The cord yarns are of various sizes, shapes and colour, and the twisting and braiding added contrast and rhythm to the composition. This work (plate 77) is
132 used to make social and political statements about kingship, its process and expectations. Reacting to issues raised by the researcher about her concept and media in an interview, the artist commented as follows: “a successful dialogue results to the unification of all calibers of people, village communities and nations.
The unification then breeds peace, solemnity and tranquility and that was the solution proffered through this work”.
So far, one can consider Angela Udeani as an abstract or non- representational artist. This is because her works have no recognizable subject. Her works are inspired by the curvilinear and angular shapes of the Igbo-Ukwu bronze objects. Angela Udeani approaches her work by employing two general abstract styles; that is the Organic and the Geometric. In her organic style, she combines large, thick and thin curvilinear shapes to define her forms. With regard to geometric style, she defines her forms with hard-edged and angular shapes. She prefers simple forms and shapes, and has little concern for depth or optical illusionism.
Judging from these fibre works of Angela Udeani, it is instructive to place her works along those of Obodo, and Asogwa because they share related concepts, themes, media and production technique. Udeani’s art, ultimately, has started to make impact among some art lovers. For example, she has participated in many group exhibitions where Fibre Art was very significant. Some these were the
Jubilee Year of the Artist, 2000, University of Nigeria; University of Nigeria 40th
Anniversary, 2001; Visual Orchestra, Enugu, 2005; Dakar Art, Senegal 2006 and
133 Austria-2007. Although Udeani got these exposures, she has not sold any of her
Fibre Art works. However, based on her group exhibitions and continual experimentations and development, her movement into international scene, seems assured, and with the support from art lovers, galleries and patrons, Angela Udeani can become a leading force in Fibre Art in Nigeria.
134 CHAPTER SIX
THE FIBRE ARTISTS AND INDIGENOUS ART TRADITION.
Tradition, like culture, covers all aspects of material and non-material experiences, which according to Opata (1998), arises from and determined by both influence of the environment on human activity, and also, by the conscious or deliberate action of man on his environment. It is implied from the above that the development in the Nsukka School with regard to its identity hinged. This is because whatever achievements the Nsukka School has made so far is due to the fact that, it is rooted in her cultural traditions.
To explain further, the University of Nigeria was established with a major objective: “To Restore the Dignity of Man”. Ijomah (1986, 10) also notes, that “as a university that should be a mirror that reflects its environment, the courses of the university must be related to the daily life of Nigeria and must focus on the socio- economic needs of Nigeria”. It is this ideal that led to the establishment of the
Department of Fine and Applied Arts. To make this dream realizable, the “natural synthesis” drive became very relevant to the dream of Nsukka School, and this was credited to Uche Okeke, who was the main of the motivator. The Nsukka experience with regard to Natural synthesis factor, according to Agbanyi (2003, 21)
“emerged from the ground”. This refers to the cultural environment from which it evolved and its relationship to Uli art. As has been reported in many write-ups on
Uche Okeke and his Uli experience, the Uli art penetrated into the life styles of students who passed through the Nsukka School in the nineteen seventies and
135 eighties. Agbanyi, earlier cited notes that “the artists in the Nsukka School passed through the ground in search of sap and roots”. This implies that those cultural elements such as folktales, myths, symbols, motifs and patterns are explored for the purpose of creating aesthetic and functional products.
It would be necessary to ask these pertinent questions, while reflecting on the subject of this study: In what ways have the indigenous culture influenced the works of the fibre artists? Are the works of these artists the mirror of the society and do they reflect their environment? Are there relationships between the works of these artists and the works of indigenous artists in terms of styles, themes and media, and what gains have the artists brought to the development of art?
It has been noted earlier in this study that the major reasons which made the works of Nsukka students more relevant in the early 1970s were that the artists, led by Uche Okeke, resolved to form an identity with Uli and through design principles, show competency in the use of Uli design symbols and motifs. It would be realized in this study that Ifedioramma Dike, Eva Obodo, Slyvernus Asogwa and
Angela Udeani, like their pioneers in the Nsukka School such as Obiora
Udechukwu, Paul Igbanugo, Ray Obeta and Tayo Adenike, among others, derived their themes from their socio-cultural backgrounds. For example, Ifedioramma
Dike, who hailed from Awka in Anambra State was inspired by the masking traditions of the people of Awka, particularly the Idu, Okwomma and Ukwu-Ijele masquerades. His works which include Mgbedike, Idu, Nightbird, Meditation and
Iru Ijele, among others, were influenced by the cultural environment. He adapted
136 some of the traditional, formal and conceptual qualities to create works which differ in form and function from the traditional Fibre Art. It will be stated here that the fibre artists in the traditional society were focused in the production of functional objects such as hand bags, caps, fan, mat and wearable costumes used in masking ceremonies. In contrast, the present modern fibre artists are producing works designed for use as wall hanging and installation.
In the same manner as Dike did, C.S.Okeke, Everastus Obodo, Slyvernus
Asogwa and Angela Udeani had their eyes focused on their respective cultures. In the case of Asogwa, the Nsukka masking traditions became his focal point, and masquerades such as Omaba and Odo became his models. These attracted the following adapted work: Nwangboto, Ijele- Nwoma, Sage, and Royal concourse.
The varieties of imaginative designs by Udeani were influenced by the Igbo-Ukwu findings which have been popularized by the archeologists, Thurstan Shaw and
Ekpo Eyo.
Udeani went to the palace of the Eze-Nri at Igbo-ukwu and studied the royal artifacts; staff, spears, bronze pots and ritual objects, among others. She became exposed to the full range of indigenous art and crafts, which she was unable to explore during her formal art training. Her visit to Igbo-Ukwu and the insight it afforded to move her into indigenous design traditions were crucial influences that enabled her to develop on a new artistic direction. Thus, her mixed- media works which include Royalty, The Royal and the Subjects, Conflict, Dialogue, Peace,
Solemnity and Transition have cultural roots.
137 Judging from the works of the artists earlier discussed, it would be seen that their works are comparable not only from the thematic point of view but also in terms of media and process of production. Their differences in these works could be located in the functions and patronage that are given to the products. As regards the functions of the works, these were limited to the masking and material cultures which have apparently influenced the fibre art and particularly, the modern fibre artists in Nigeria. It has earlier been observed that all the artists studied, except C.S.Okeke and Angela Udeani, have in one way or the other been influenced by the masking traditions. The idea of masquerade is linked to the Igbo concept of ancestors and ancestral worship. What is being personified in masquerade drama is a respected Igbo ancestor invited to life to commune with the living. The Igbo ancestor being personified must be a hero. Nwabueze (2003, 74 ) in his article titled The Masquerade is a Hero in Igbo Society identifies some of the revered qualities of a hero, as agricultural hero ( Di-ji), War hero ( Di-ogu),
Wrstling hero (Di-mgba), Political hero ( Oka-Okwu), and legal hero (Oka-Ikpe).
All these heroic qualities have their symbolic imageries that have been used by the costume designers as decorative designs. Nwabueze, who has been cited above in another article titled The Aesthetic of Narratives in Igbo Masquerade
Drama, presents a prose which is used to acknowledge the authority of the revered hero:
The python that owns the forest. The sky that overshadows the earth The leopard that kills and devours The fearful two-headed snake that is dreaded
138 Dry meat that fill the mouth The moon that shows the light to the people The eagle perching on the Iroko tree The beauty that provokes the battle
The ideas derived from these sayings are concretized by the costume designer, and the results are a plethora of symbolic motifs which are most often appliquéd on masquerade costumes. The uniqueness of masquerade costumes for a performance is very often determined by the use of symbolic motifs, which most often has become a yardstick to measure the creativity of a village.
With regard to the issue of patronage, masking tradition was not a personal affair in terms of ownership of the costumes. Masking was a village or community affair, and the village, as a group, was the patron of the fibre artists. The artists understood the social and economic climates and worked throughout the seasons to ensure that they produced good and aesthetically appealing designs for the other social events. They did not want to be commissioned before the production of work commenced. They, therefore, always produced exciting designs in anticipation of the yearly masquerade festival, and other social functions which required fibre art products. Wearable fibre costumes were made according to social hierarchies or archetypal members of the society.
For example, the Iga or Ulaga masquerade costume belonged to the young stock; the Idu, Agaba-Idu and Okwomma belonged to the middle age, while the
Mgbedike and Ijele, masquerades were for the elders and the wealthy members of the society. Masking tradition, therefore, was the focal point of the society, and this was why there was greater patronage for the traditional artists. In contrast, the
139 modern fibre artists, particularly, those profiled in this study, though they worked with indigenous materials and themes, their social background, audience and patrons slightly differ today, and these have affected the artists’ creative drive.
With regard to the artists under study, their different social backgrounds have contributed a lot to their unique creative development when compared with the traditional Fibre Artists. Having attended formal school and trained in the theory and practice of art, they understand the consequences of colonialism to indigenous arts, particularly, the masking tradition and its ritual performances.
They were conversant with their material culture, particularly, the functional fibre products. They have become aware that for Fibre Art to thrive, the artist should explore with new materials and modern methods of production. Also, the design and aesthetic quality of the art product should be improved in order increase the level of patronage of the products. The artists that were profiled in this study have through exploration of indigenous materials introduced change in the weaving tradition of the Nsukka School.
The first of such change by the Fibre Artists was noticeable, in the improvement in the form, textures and colours of fibre art works. Thus, these fibre artists studied have explored and produced works which can be used as wall hangings or interior decoration. Also, they have produced wearable costumes for the theatre and for formal dramatic expressions and objects for secular functions.
In this regard, the scope of audience and patrons for Fibre Art has widened the boundary of traditional masquerade culture, and the new products now
140 accommodate wider societal interests. So far, it would be noticed that the
Nsukka School artists in their experiments concentrated on the production of wall hangings and installation art, which the artists feel would satisfy various interests.
According to Ifedioramma Dike and Everastus Obodo, what has kept them experimenting in the fibre medium was not the financial reward that comes from the sales of the products, but the interest and commitment to make new discoveries through adaptation of formal qualities of traditional masks. For example,
Ifedioramma Dike’s Idu, Mgbedike, Okwomma and Iru-Ijele wall hangings are typical examples of designs adapted from Idu, Mgbedike, Okwomma and Ijele masks prototypes. Also, Asogwa’s Couneslor, Sage and Ugele-Nwoma have Odo and Omaba masquerades as their adaptive prototypes. Visuals of very popular Igbo motifs have been presented in this chapter to show graphically, the secular and symbolic motifs that have been used repeatedly by the Fibre Artists under study.
These motifs express the culture of the Igbo and represent things of physical importance, aesthetic appeal and relevance to traditional beliefs.
The task of these Fibre Artists is to consolidate the impact tradition has made on our art forms, and to make effort that our culture is not wiped out by the western influence. Thus, through Fibre Art medium, the Nsukka School artists have expanded the contents of the Igbo patterns, symbols and designs, which consequently, have increased the patterns of artistic patronage. How have these artists achieved these? First by recognizing that different types of wall paintings and masquerade paraphernalia very often symbolize or personify certain qualities,
141 values, ideas and belief systems which make up the Igbo world-view.
Symbolisms, which these artists have used are of four major types: Agricultural,
Situational, Occupational and Animal Symbolism. For instance, Dike observes in an oral interview that, “the patrons of modern fibre artists should improve in scope to accommodate varied interests, such as public and private art collectors, galleries, museums and monuments”. A few of Dike’s works are today in private collections in Europe and America as well as in the National Gallery of Art, Lagos.It can be concluded that the philosophy of the Nsukka School, based on her indigenous culture, has elevated creativity to a level of communal fame and achievement in the contemporary Nigerian society.
However, going by the works of the six artists presented above and the literary discourse, the artists themselves seem to appreciate the danger facing the tradition for and in which they lived. They are also very conscious that the traditional patterns and symbols should find expression in other means, especially, in the face of the dilemma that still defines the notions of religion and culture in our society today. These artists have achieved this by adapting, very symbolically, many indigenous Igbo patterns and motifs. These motifs, which indeed influenced the creative Fibre Art works of the Nsukka School, as already seen in most of the works in this study, are graphically presented from Figures 1 to 40.
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143
144
145
146
147 CHAPTER SEVEN
FIBRE ART WITHIN NSUKKA SCHOOL EXPERIENCE
In this chapter, the writer examines the conditions that led to the development of Fibre Art and its inter-disciplinary relationship in the Nsukka
School. The influence of fibre art among the studio artists, generally, and the Fibre
Artists in particular is also examined. Many artists of the Nsukka School from various areas of specialization have made their impact locally and internationally, and have shared experiences from both the Nineteen and Twentieth Centuries international development in art. Obiora Udechukwu, Tayo Adenaike and Olu
Oguibe, Greg Anonyuo (Crucifix), Bathosa Nkurumeh, Kridz Ikwuemesi, Ozioma
Onuzulike, Ndidi Dike, Godson Diogu and Bright Eke, and the artists profiled in this study, except Uche Okeke, among others, are Nsukka trained artists.
Obiora Udechukwu, for example, has shared in the following styles at different periods in his artistic career; Realism, Impressionism, Expressionism and
Abstract Expressionism. All these are manifestations of the modern art. His creative works from 1970 to 1975 show Udechukwu as a social critic, poet and commentator. His works titled The Night Soil Man, The Exile Train, The Nsukka
Market and The Man Died are good examples of works that address social and political issues and personal introspection. Some of these works presented visually compelling scenes of the misfortunes that befell the ordinary Nigerians, particularly during the Nigerian Civil War.
148 From 1976 to 1980, he worked in the impressionistic manner, drawing and painting the Nsukka landscapes, the hills, valleys and sky. He moved to expressionistic style from the early 1980’s to 1990. His works of this period such as Road to Abuja, The General is Up, The driver has changed and The Moon is up, among others, presents images of agony, suffering and oppression, which seem to predominate the military regime in Nigeria. This is also, an indirect reflection of similar events that took place during the First and Second World Wars in Europe.
This trend has been the status quo among many Nsukka School artists.
His most resent works, which he produced from 1990 and beyond, show his shift to abstract-expressionism. The works he produced in this style include
“Contemplation”, “Spirit in Ascent”, “What the Weaver Wove”, and “The General and the Mirror”, among others. These works were shown in the exhibition titled
“SO FAR; drawing, painting, prints 1963-1993” by Obiora Udechukwu (1999), held at the Italian Cultural Institute, Lagos from May 8-22, 1993. What makes his work culturally effective is the introduction of Uli and Nsibidi patterns in some of his paintings.
Unlike Udechukwu who had many stylistic influenced, Tayo Adenaike and
Olu Oguibe are abstract –expressionistic artists. Tayo Adenaike,s works have been shown in all the “Aka” series of exhibitions which have appeared in Nigerian art scene since the past two decades. He has also had several exhibitions in Britain and the United States of America. As an abstract-expressionistic water colourist painter, Tayo Adenaike has produced over one hundred and twenty works, some of
149 which cover areas of individual introspections, myths, social and political satire.
The works which have appeared in the ‘Aka exhibition catalogues include “They met me thinking and left me crying”, “The usually unseen other half”, and “change beyond imagination”, all were produced in 1987. “Dawn of creation”, “The preacher”, and “Anticipation” were produced in 1991. “The dreamer that we all are”, was produced in 2005, among others. Although of Yoruba origin, Tayo is one of the Nsukka artists that have employed the Uli as a reflective symbol of expression.
With regard to Olu Oguibe, an expressionistic post modern artist, he had his formal training in the Nsukka School, and later had his postgraduate training in
England. His influence was felt in Nsukka in the mid- eighties. His exhibition with
Greg Odo was titled “Art in the Street”. The works were exhibited along the street in Nsukka and they highlighted his expressionistic style. Oguibe’s art works were produced from diverse media often reflect social issues and personal reflections.
His work titled “This image looks like the beast I know” was used to criticize the oppressive nature of the military regime of the period. During this period, he painted on traditional mat, baskets, and cane mesh. According to Ottenberg (1998,
17), Oguibe like most current artists in the Nsukka School have “shifted to installation art through which he evokes the suffering of children and his own childhood experiences during the Biafran War”.
Oguibe who now resides in the United States of America has gradually ceased to draw upon Uli and Nsibidi designs. Adapting to the natural synthesis
150 ideology of the Nsukka School, he now draws upon the imageries of his immediate environment, America, and the third world countries, such as Mexico,
Aboriginal Australia and Near East.
It is the opinions of many writers that all the areas in creative arts, namely painting, sculpture, textiles, ceramics and graphics, have in the nineteen seventies and eighties made good contributions to the development of Fine and Applied Arts through the adaptation of Uli. More resent revelations on this could be seen in the exhibition catalogue titled “The Poetic of Lines; Seven Artists of the Nsukka
Group that was published in 1998. In this publication, Syliva Williams (1998, 3),
Comments notes that the Nsukka School has exposed her students to the use of both indigenous and European media, which include “pen, brush, ink, pastel, water-colour, tempera, gouache, oil and acrylic paints, as well as methods of printing, including screen, aquatints, etching, and lithography”. She also observed that El-Anatsui of the Nsukka School uses modern carving tools to create his sculptures out of Nigerian woods. Each artist of the school utilizes Uli in a personal way”. The above are the experiences, which the Nsukka students are exposed and these have helped them develop in line with what is obtainable internationally.
Another Nsukka artist, who must not be neglected because of his explorative effort is C.Krydz Ikwuemesi. He is an individual who has explored Uli art to its highest expressive level, and has shown concern about its sustainability. His numerous paintings in Ikwuemesi (2007), “The Story of Stories, an exhibition of
151 paintings and drawings” have placed Ikwuemesi according to Obumselu (2007) as one of the most refined Modern Nigerian artist. In the introductory note to
Ikwuemesi’s exhibition, Professor Ben Obumselu observed that “If Ikwuemesi’s art is intellectual and argumentative the reason should be sought in the situation of the painter in Nigeria today. Often a modernist specializing in abstract forms, he works in isolation from the social and cultural forces, which should give his products a communal signature”. Ikwuemesi,s works in the view of the researcher is very much comparable to the works of Vasily Kandisky, a modern expressionist artist, and Jackson Pollock, the leading innovator of Abstract-expressionism.
In the area of “installation art” which is a modern art movement, the Nsukka
School is currently making a strong appearance in the scene. The major motivator of this kind of art is Professor El-Anatsui who has carried out numerous installation projects in Europe and United States of America. Ifedioramma Dike, Godson
Diogu, Ozioma Onuzulike, Chris Echeta, Bright Eke, Nwigwe Chukwuemeka and
Nnena Okore are among the Nsukka trained artists who have carried out projects in installation art. Among these artists mentioned above, Bright Ugochukwu Eke has made the most significant contribution because of his international achievements within a short space of time. Bright has enjoyed international recognition and have taken part in important events such as Dak’art Biennial, 2006; Trans Cape
Contemporary African Art Exhibition, South Africa; 2006, Djerassi Resident
Artist, USA;2007, 2007 Commonwealth International Arts Residencies, to mention a few.
152 Bright Eke,s works include “Acid Rain, 2005”, “Shields, 2005”, “Public tap, 2005”; “World Flags on the Day of Convention and Deliberation of Ecological
Disasters, 2006, “Urban Landscape, 2006” and “On The Verge of Doom, 2007”.
Bright uses discarded materials such as fibres, pure water sachets, shopping bags, empty paper packages and cord to create his installation works. Concluding his write up on Bright Eke’s Exhibition titled “Bright Ugochukwu Eke: Environs-
Scope”, Onuzulike (2006) noted that “Bright Eke has elected to be part of the global creative tendency in which common place materials and ideas are appropriated for the sake of addressing commonplace issues of local and global importance”.
The number of Modern experimental artists from the Nsukka School has continued to increase, and today, fibre artists have joined the group. Like their counterparts discussed above, Ifedioramma Dike, Nkem Udeani, Obodo Everastus and Asogwa Slyvernus were concerned with Fibre art, a relatively virgin area similar to installation art. They were motivated to experiment in this new area as a result of the broad curriculum of the University of Nigeria, Nsukka. Obiechina
(1986) observes that “the University of Nigeria was established to become an important instrument of Nation building by promoting those skills, ideas and outlook that would transform Nigeria into a Modern State, while conserving and refining the people’s authentic culture and values”. He further noted that to achieve this objective, the Department of Fine and Applied Arts developed a broad curriculum, designed to provide her products with knowledge of current
153 development in the modern world, while at the same time avoiding the alienation of her products from their cultural aspiration.
The Fibre artists have some things in common. They were trained in Nsukka
School and exposed to the same programme and environment. They hailed from the same Igbo cultural background and were all concerned with the problem of conservation of their traditional values. Consequently, they considered tradition as a point of departure in design process.
Ifedioramma Dike and Asogwa Slyvernus, for example, were concerned with the problem of conservation of the masking traditions which interest among the people had continued to wane as a result of the encounter of Modern Christian
Religion. C.S. Okeke and Udeani Angela were concerned with the material culture of the Igbo, while Obodo Everastus was interested with the ritual life of the people of Abor. These artists approached their art from different perspectives and exploring various styles and media, such as Expressionism and Abstract- expressionism. Examples of the above styles could be seen in the tapestry of
G.O.Diogu, plate 80, titled “We can still live together”, an expressionistic work which was used to make a statement on nature of relationships.
In the same manner, Dike’s tapestry, “Iru-Ijele”, plate 47, an abstract- figurative and expressionistic art was used to probe the issue of mixed- media and their inter-relationships. In the area of installation art which is a manifestation of modern art tradition, Dike’s work, “The Wings are there”, plate 56, and
Chukwuemeka Nwigwe’s “Idi na Otu”, plate 81, were used to question the
154 boundary between art and architecture. The techniques used by these artists include appliqué and quilting.
Plate 80. “We can still live together” Plate 81. “Idi na otu” Mixed-Media Tapestry by G. O. Diogu, 1989. Installation by Nwigwe. C.
There is a rich collection of very good mixed media works of many graduates of the Nsukka School in the Ana Gallery, University of Nigeria, Nsukka.
The student artists, though most of them anonymous due to lack of proper documentation have approached their works through different styles and media.
Some of these works for avoidance of doubt were shown in Appendix I.
From what the researcher has presented in this chapter, it could be concluded that the Nsukka Art School has made itself relevant in its approach to art professionalism and her products are in tune with modern development.
155 CHAPTER EIGHT
CONCLUSION
The preceding study of the Fibre Artists of the Nsukka Art School within the wider context of its achievement from 1975 to 2005 enables one to conclude that the Nsukka School has continued to positively engineer the development of modern
Nigerian art. By showing how some artists have used fibre, thread and found pliable materials as means expressive of fundamental concepts in modern art, the
Nsukka School could be seen to have added another dimension to its contribution to the development of art. In this work, the researcher introduces the latest and exciting aspect of art, the Fibre Art with a focus on the works of six Fibre Artists:
Uche Okeke, C.S.Okeke, Ifedioramma Dike, Everastus Obodo, Asogwa Slyvernus and Nkemdilim Udeani. The assessment of the individual artists was accompanied by brief biographical details and, in many cases, a personal statement by the artists.
The Nsukka School was noted to have created identities for which it is known. For example, it developed the ideology of “Natural Synthesis”, and from it evolved a unique technique of pictorial representation called Uli Art. It also introduced a culture of exploration of indigenous ideas, forms and materials. This gave the students freedom with minimum control to explore universes of experiences with indigenous and modern conventional materials. It was the first
Art School to develop an art historical curricular, particularly African Art History, in Nigeria. The Nsukka School, according to Oloidi, was credited based on a survey by the University of Maryland, U.S.A, as “one of the best in Black Africa”
156 with regard to the development of African Art History curriculum (Okpara,
2004, 192).
The School has made itself relevant based on the structure of its programme, which has made it possible for the training of high caliber manpower, who have taken very important responsibilities and positions in institutions and establishments in Nigeria and abroad. Virtually, all studio areas of specialization have made impact in the development of the School, but painting and sculpture have made more impact due to national and international response to research results coming from these areas.
The Nsukka School artists who have pioneered this development include
Uche Okeke, Chuka Amaefuna, Chike Aniakor, Obiora Udechukwu, Tayo Adenaike and Kridz Ikwuemesi, among many other artists. At the Art Historical dimension,
Uche Okeke, Chike Aniakor and Ola Oloidi have made obvious contributions to the development of efficient and effective Art History curricula with effective instructional model for Fine and Applied Arts. In the same manner, the introduction of theoretical courses such as Research Techniques in Fine and
Applied Arts, Professional Practice in Fine and Applied Arts brought in aspects of entrepreneurship training and development. This apparently made the programme more holistic.
Concerning the evolution of Fibre Art as a new development in modern art, several European Fibre Artists were identified and briefly discussed and their works compared with those of traditional African fibre artists. They include J.
157 Vohanka, Babra Chase-Riboud, W. Nottingham, Claire Zeisler and Joesp
Garriga, among others. The place of Africa as first among the initiators of Fibre
Art was noted when the issue of pioneer-ship was critically examined. It was shown that the African or the Nigerian masking traditions played a major role in this development. Thus, its manifestation in the creative works of the modern fibre art of the Nsukka School was equally a point to appreciate. This serious critical attention to indigenous tradition among the Nsukka artists has continued to receive support from private and public art collectors and promoters in Nigeria.
The analyses in chapters six and seven have revealed the ideological, conceptual and formalistic links between the Fibre Artists profiled in this research and the phenomenon that is modern Nigerian art. Based on that analysis, the position of Uche Okeke and particularly C.S.Okeke, Ifedioramma Dike, Everastus
Obodo, Slyvernus Asogwa and Angela Udeani as modern fibre artists within the
Nigerian context is not in doubt. These artists, except Uche Okeke, are among the fourth and fifth generations Nigerian artists who are exposed to Uli art. They have continued to project Uli design despite its limitations in its application in Fibre Art design process. The adoption of social themes and constant recourse to tradition was identified as a common ideological stance. Although these artists have similar background based on their training, their distinction lies in the use of materials, representational style, improvisational skill and assemblage, and the use of formal and informal balance in their pictorial composition.
158 The most exciting thing about these artists is that they work with found objects: recycles discarded materials, garbage of local and urban community, and transforms them into aesthetic statements about Nigerian culture and contemporary society. Their works have communicative value, reminding the viewer of one of the few means by which the modern artists can achieve professional and economic success. Art institutions, private and public galleries are furthering the careers of artists in most advanced countries, but these are lacking in Nigeria, resulting to low level of aesthetic awareness. This problem has at present made the Fibre Artists to be at the cross-road with regard to issue of patronage, conservation and career opportunities.
Finally, the support of the artists comes from the sale of their works, but the sale of Fibre Art works depends on credibility. To gain credibility, the artist needs to show the best works in the best venues, with the best possible documentation.
Residency scheme which allows artists, between six months and one year to create, innovate and experiment is not yet obtainable in Nigeria. The Government, private investors and non-governmental organizations are encouraged to rise to this challenge. This thesis has informed the audience on the remarkable works of some
Fibre Artists from the Nsukka School, their significant developments which have been anticipated. On the threshold of this important development, it is perhaps valuable to reaffirm the motto of the University of Nigeria: “To Restore the
Dignity of Man”. Its pursuance has been the concern of the students of the Nsukka
School. The numerous works, which these artists have produced, are a testimony to
159 the achievement of its objectives. It is hoped that through the works that have been shown in this thesis, the society, generally, will be more artistically informed, the artists more creatively inspired and the art students more energetically motivated. In addition, apart from the respect which this has given to the artists under study, this research will help enhance art historical development not only in
Nigeria but also in Africa.
160 REFERENCES
BOOKS
Afigbo, A.E. and Okeke C. S. (1985), Weaving Tradition in Igboland. Lagos, Nigeria Magazine.
Bravemann, R.A. (1973), Open Frontier: The Mobility of Art in Black Africa, Settle, University of Washington Press.
Barret, C (1972), “Kinetic Art” in Concept of Modern Art. Richard and Stangos, eds. London, Pelican Books.
Coin, Robson (1993), Real World Research: A Resource for Social Scientist and Practitioners Researcher. Oxford, Blackwell Publishers.
Duerden, Denis. (1974), African Art: An Introduction, London, Hamelin Publishers Co. Ltd.
Duane and Sarah Preble (2004), Art Forms: An Introduction to the Visual Arts, N.J., Prentice Hall
Drewal, H. J. (1977), Traditional Art of the Nigerian people, The Museum of African studies, Washington.
Edwards, J .P (1992), History, Design and Craft in West African Strip-Woven cloth, Washington, The Museum of African Art
Filani, E.O, et al, (2005), Art, Design and Technology in the 21st Century, Lagos, CCAF
Eicher. J.B. (1976), Nigerian Handcrafted Textiles, Ile-Ife, Nigeria, University of Ife Press.
Ikwuemesi, C.K. eds. (2003), The Triumph of a Vision: An Anthology of Uche Okeke and Modern Art in Nigeria, Lagos, Pendulum Art Gallery.
Nwabueze Emeka (2003), Visions and Re-visions: Selected Discourse on Literary Ctiticism, Enugu, ABIC Publishers.
Obiechina, E., et. al, eds, University of Nigeria 1960-85: Experience in Higher Education, Nsukka, The University of Nigeria Press.
161 Perani, Judith (1992), “The cloth connection: Patrons and Producers of Hausa and Nupe Prestige Atrip Woven Cloth” in History, Design, and Craft in West African Strip-Woven Cloth, Washington, National Museum of African Art.
Lambs, V. and Holmes J, (1980), Nigerian Weaving, Lagos, Shell Petroleum Development Company of Nigeria.
Lamb, Venice (1975), West African Weaving, London, Duckworth.
Lewis, S. (1990), Art: African American, California, Hand- Craft Studio.
Monti, F (1969), African Masks, London: Paul Hamelin.
Ndubuizu, T. O. (1990) “The Subsistence Crop Grower”, in Ikeme, A. I. eds, The Challenges of Agriculture in National Development, Faculty of Agriculture, University of Nigeria, Nsukka.
Ass, Nobert (2002), “Including New Experiences: Artist of the Nsukka School in Germany” in The Nsukka Artist and the Nigerian Modern Art, Simion Ottenberg, eds, Washington, Smithsonian National Museum of African Art.
Okpara, A.U, (2004) “Art History: The Process and Product of Adaptive Philosophy’ in Ola Oloidi, eds, Modern Nigerian Art in Historical Perspectives. Nsukka, AHAN.
Oloidi, Ola, (2002), “Ile Ola Uli: Nsukka Art as Fount and Factor in Modern Nigerian Art” in Ottenberg, ed., The Nsukka Artists and Contemporary Art, Washington, D.C, Smithsonian National Museum of African Art.
Oloidi, Ola, (2003), “Uche Okeke and His Creative Dynasty” in The Triumph of a Vision: An Anthology of Uche Okeke and Modern Art in Nigeria, ed., Ikwuemesi C.K, Lagos, Pendulum Art Gallery . Oloidi, Ola, (2004), “Nnamdi Azikiwe, in the History and Development of Modern Nigerian Art”, in Modern Nigerian Art in Historical Perspectives, Ola Oloidi, (ed.) A Publication of the Art Historical Association of Nigeria.
Ottenberg, S. (2002), Nsukka Artists and Contemporary Art, Washington, Smithsonian National Museum of African Art.
Ottenberg, S. (1997), New Traditions from Nigeria: Seven Artists of the Nsukka Group, Washington, D.C. Smithsonian press.
162 Okeke, Uche (1993), Creative Conscience. Nimo, the Asele Institute.
Picton, John and Mark, John (1979), African Textiles, London, British Museum.
Posnansky, M. “Traditional Cloth from the Ewe Heartland” in History Design and Craft in West African Strip – Cloth, Washington D.c, National Museum of African Art.
Sieber, Roy. (1972), African Textiles and Decorative Arts, New York, The Museum of Modern Arts.
Williams, H. Sylvia (1992), “Foreward” in History, Design, and Craft in West African Strip-Woven Cloth, Washington, National Museum of African Art.
. Willett, F. (1971), African Art, London, Studio Vista
JOURNAL
Aremu, P.S.O (1983), “Spiritual and Physical Identity of Yoruba Egungun Costume”, Nigeria Magazine, No. 147, P. 47-54.
Diogu, G. O. (2004), “Improvement of Fibre Production in Nigeria: The Role of Vocational and Technical Education”, Multi-disciplinary Journal of Research and Development, volume 3, No. 3.
Good, Liz and Kit, Kenneth (2005), “On The Road with Fibre Art”,Fibre Arts, Vol. 31, No. 5
Asogwa, O, (2008), “Fiber Arts in Contemporary Nigerian Art: The Evolutionary Trends”, Ikoro, Journal of the Institute of African Studies, University of Nigeria, Nsukka, Vlo.8, 1 & 2 . Onwuejeogwu, M. A. (1979), “Typology of Settlement Pattern in Igbo Culture Area”. African Notes, No. 6. Ibadan.
163 EXHIBITION CATALOGUE
Aniakor, C.C, (1998), Aka 12th Annual Exhibition Catalogue.
Aniakor, C.C, (1987), Aka Second Annual Exhibition Catalogue . Aniakor, C.C, (1988), Third Annual exhibition Catalogue . Aniakor, C.C, (2000), Aka Fourteenth Annual Exhibition Catalogue.
Eke, Bright. U. (2006), Evirons-Scope: Installations Art Exhibition, Goethe- Institute, Lagos.
Ikwuemesi, Krydz (2007), The Story Of Stories, An Exhibition of Paintings and Drawings, Enugu, Alliance Francaise . Barlow, M, (2003), El Anatsui: Gawu, Exhibition Catalogue, Oriel Mostyn Gallery.
Oloidi, Ola, (1985), Echo U.N.N Sliver Jubilee Exhibition: Nsukka Students Art. The Department of Fine and Applied Art, University of Nigeria, Nsukka.
Oguibe, Olu and Odo, Greg (1998), “Art On The Street: An Exhibition of Drawing and Painting”, Exhibition Catalogue, Nsukka, University of Nigeria . Okigbo, B.N. (1980), Ahiajoku lecture. Owerri, The Ministry of Information, Youth, Sports and Culture.
Onuzulike, Ozioma (2006) “Introduction” in Bright Ugochukwu Eke: Environ- Scope, Art Exhibition, Lagos, Goethe Institute.
UNPUBLISHED WORKS Asogwa, S. O. (2005), Textile Sculpture: Adaptive Potentials of Masking Traditions”, Unpublished M.F.A project. Department of Fine and Applied Arts, University of Nigeria, Nsukka.
Diakparomre, A.M. (2002), “Kinetic Sculpture of the Urhobo: Masquerades as Sculpture” A Seminar Paper, Department Of Fine and Applied Arts, University Of Nigeria, Nsukka .
164 Dike, I. (2003), The Dynamics of Forms and Design in Textile Art: An Adaptation of Some Igbo Mask Forms. Unpublished M.F.A Project, Department of Fine and Applied Arts, University of Nigeria, Nsukka.
Iroh, A.D, (1998), The Organic Trend in the Nsukka Sculpture School, 1985-1998, Unpublished B.A Project, Department of Fine and Applied Arts, University of Nigeria, Nsukka.
Nwafor, Okekwukwu (1998), A Radical Experimentation in Nsukka Art School: Focus on Painting and Sculpture, Unpublished B.A Project, Department of Fine and Applied Arts, University if Nigeria, Nsukka.
Onyishi, U.C. (1999), Exploration of New Sculpture Ideas and Forms in Fine and Applied Arts, University of Nigeria, Nsukka, Unpublished B.A. Project, The Department of Fine and Applied Arts, University of Nigeria, Nsukka.
Okpara, P. A (2005), An Analytical Study of Chukwuanugo Samuel Okeke as Artist and Teacher in Modern Nigerian Art Scene, A Thesis presented to the Department of Fine and Applied Arts, Imo State University, Owerri.
Obodo, E. (1998), The Production of Soft and Stuffed Sculpture: Wall and Tuber, Unpublished M.F.A Project, University of Nigeria.
Udeani, A. (2002), Textile Sculpture: Adaptive Potentials of Igbo-ukwu Art Forms, Unpublished M.F.A Project, University of Nigeria, Nsukka.
165 APPENDIX ONE SELECTED FIBRE ART WORKS PRODUCED BY STUDENTS OF THE NSUKKA SCHOOL BETWEEN 1975 AND 2005.
(82). Diogu, G.O. “Unknown flying (83). Nwigwe, C. “Nest”: 2005. Object”: 1989. © Diogu G.O © Nwigwe, C.
(84). Nwigwe, C. “Untitled”,Mixed- (85) Nwigwe, C. ”Nest II” Mixed-Media. Media, 2004. ©Nwigwe, C. 2004. © Nwigwe, C.
166
(86)Nwigwe, C. “Untitled”, metal wire (87) Nwigwe, C. “untitled”, wax and fibres and plastic straw’ 2005. ©Nwigwe, C. 2005. ©Nwigwe, C.
(G)Anonymous Artist, Fabric (H) Nwigwe, C. “Untitled, wax, cord and yarn Collage 2005. ©Nwigwe. C. 2002. ©Nwigwe. C.
167
(88) Anonymous Artist, “Untitled” (89) Ubah Rita, “Hand bag” Leather, Mixed-Media, 2001 ©Diogu.G.O. button, fabric and cord, 2007.
(92) Dike. I. N. mixed media textiles (93) Anonymous student, “milk maid” © I. N. Dike. Mixed media. © G.O. Diogu 2004.
168
(94) Diogu G. O. “In Memory of Dick Tiger” mixed media, © Diogu G. O. 2002
169 APPENDIX TWO STRUCTURED INTERVIEW QUESTIONNAIRE One of the research instruments developed by the researcher was interview method. To help the researcher to conduct this effectively and efficiently, structured questionnare was designed to guide the researcher. Itemized below are thirty questions, which helped in data collection and analysis.
1. Can you tell us a little about yourself?
2. What inspired you to create your fibre art?
3. Have you had any previous experiences with fibre or textile design?
4. You have exhibited many fibre art works, what inspired the designs? Did
you work from a drawing or did you just let the design evolve as you
worked?
5. Some of your designs are complex and the big question everyone will be
asking is “what process did you use to attach the yarn and other materials to
the background”?
6. What term best describes your work?
7. Would you feel comfortable if referred to as a Fibre Artist?
8. How do you work?
9. How do you market your work?
10. What are some of the technical challenges of working in fibre?
11. Do you think there is a growing trend among fibre artists to use non-fibrous
materials?
12. How do you describe your design aesthetic?
170 13. What are other qualities that shape your design philosophy?
14. What are some of your visions of what textile and fibre art can become in
the future?
15. I understand you are a graduate of the Nsukka school, How has that
influenced your works?
16. How does interest in your culture influenced choice of theme and motif?
17. Do you have a studio? Describe your studio set up.
18. What kind of help do you have or do you weave alone?
19. How many designs do you produce a year? What are your goals for
production?
20. Does the fibre art business pay the bills?
21. Who are your patrons?
22. What are the functions of your fibre art products?
23. How much do your works cost and how do you decide pricing?
24. What are your dominant colours and how are you inspired by your choice?
25. What has inspired your creative directions?
26. What is the biggest challenge you are facing in your art work?
27. What is the most unique aspect of your work?
28. Is there a technique or material you have not used but would like to?
29. Are you satisfied with your work?
30. What advise would you give to young fibre artists and those who may be
interested in this profession?
171