Thesis Abstract

<p> This thesis is based on twelve-selected artist from fine Arts<br>Department, Ahmadu Bello University who graduated from 1981 –<br>2002. The selected artists were chosen out of twenty five artists who<br>were sent questionnaires based on their performance in their post<br>graduate activities.<br>Such artists have acquired great technical experience in the art of<br>which they currently practice. The themes, styles and messages of<br>their works are some times socio-cultural, Scio-economical or sociopolitical.<br>Despite the various efforts by such artists the art scene over the<br>years, there is still inadequate literature to show these efforts.<br>Therefore most of these artists remain unknown in their professional<br>fields either as sculptors or painters.<br>– 7 –<br>The only available literatures on these artists are from a few exhibition<br>catalogues, art journals and thesis; which was used for the literature<br>review.<br>Chapter three of the thesis deals with the methods used to collect<br>data, field work were under taking. After which a combination of<br>descriptive and historical methods were used, to write the thesis.<br>Questionnaires were sent to the selected artists of whom oral<br>interviews were held and photographs taken as part of the method to<br>document some visible forms or art works seen. Also several visits<br>were made to the artist either in their studios, work shops, residence,<br>homes or gallery to acquire more information.<br>Chapter four of this study deals with the data analysis and<br>discussions. Here each artist’s work was presented and explained.<br>Three works of John. N. Nyamdi was presented and explained, which<br>were; the local Hunter, the farmer and the reclychining lady. Two of<br>Mohammed Sani Muazu works were presented and explained, they<br>are In the grave, and chuwa-chuwa boy. Three of muyideen Adio Jaji’s<br>works were presented and discribed; they are Kwame Nkurumah,<br>Ahmadu Bello, sango. The works of malthew Ehizele were; the sledge<br>harmer, Amariya da Ango, the Queen mother mask and the drummer.<br>Gushem Philip’s paintings were the savannah landscapes and the<br>messiah. Tunde Babalola’s sculptures were; the drum beat, African<br>– 8 –<br>Rhythm, Ghana must go and the palm wine taper. The gate of hell, the<br>gossip and Night and Day were works of Ayo Aina. Lamidi Lasisi’s<br>works are supplication, mother and child the seat. Kenneth Okoli<br>worked on Zaria metal landscapes were include kore landscape, Zaria<br>landscape and Layin Zomo. Kevin Damden worked on series of<br>sculptures called the “Bism” style of whom Chief Olusegun Obasanjo,<br>the supervised terror are described in the theses. Baba Musa’s<br>collage works include the portrait of Mallam Muazu Sani, Ahmed<br>Makarfi.<br>Then Idowu Biola works on metal sheets of which the African lady, the<br>spider, the palm wine taper and the acrobats art examples.<br>Some of the findings showed that the works of the artists over these<br>years (1981-2002) in the manipulation of line, colour, form, space and<br>content through the borrowing of traditional and unconventional<br>material has perhaps brought old forms into existence.<br>The basic recommendation here is that artists should practice art,<br>produce art and continue to explore new possible directions in their<br>presentation of contemporary Nigerian art.<br>– 9 – <br></p>

Thesis Overview

<p> 1.0 Introduction<br>This study introduces the contribution of some selected artists of<br>Department of Fine Arts Ahmadu Bello University, Zaria from<br>1981 – 2002. It discusses the historical background of the<br>Department of Fine Arts Ahmadu Bello University, Zaria and its<br>graduates. The study examines the works of the artists, their<br>progress through the years, and also gives a fairly<br>comprehensive survey of their artistic activities over the years.<br>This research work serves as a preliminary study; however a<br>document such as this chooses to inform the public on the<br>development of Zaria artists through simple explanation. It is<br>hoped that a work such as this will contribute to the knowledge<br>of the audience about the various contributions of Zaria artists<br>since 1981.<br>1.1 Background of the study<br>The development art in Fine Arts Departments, Ahmadu Bello<br>University, Zaria has a long history. It was first transferred from<br>the Ibadan branch of the Nigerian College of Arts, Science and<br>Technology in 19551. It was the first Department of Fine Art in<br>Nigeria2.<br>– 17 –<br>There were only three senior members of staff, Mr. &amp; Mrs.<br>Baker, British National and Clara Ngbodaga a Nigerian who was<br>an art graduate of London University3. The Fine Art Department<br>of the Nigerian College of Arts Science and Technology, Zaria<br>admitted it first batch of diploma students who were seventeen4.<br>The students were taught painting, sculpture, graphics and<br>commercial design barely two years after its transfer from<br>Ibadan. In 1957/58 the department had, through its programmes<br>gained international acclaim and quickly received affiliation first<br>with the Slade School of Arts and later the Goldsmiths School of<br>Arts both of the University of London5. Only six of the students<br>admitted graduated with Diploma in Fine Arts in June 1959-one<br>in painting; T. A. Fasuyi, two in sculpture; G.M Eneremadu and<br>C.C Ihejiahi and three in graphics and commercial design<br>namely S.O. Fasuyi, J. A. Nkobi, S. I. Wangboje6. In 1960, four<br>students graduated in painting and four graphics and<br>commercial design, J. A. Agbabiaka, Y. A Grillo, W. A<br>Olaosebikan, C. O. Talabi; for Graphic and Commercial Design;<br>J. A. Adeka, P. O. Erese, J. K. Oyewole, J. N. Thomas. In the<br>same year, most students took part in the independence<br>exhibition where their works were for the first time brought to the<br>notice of the Nigerian public.<br>– 18 –<br>In October 1961, the Ahmadu Bello University was established,<br>taking over the Fine Arts Department from the former Nigerian<br>College of Art, Science and Technology, Zaria.<br>From 1959 to date over One Thousand Students have<br>graduated from the Fine Arts Department Zaria with either a<br>Certificate, Diploma, Bachelors Degree, Masters of Art Degree<br>in Art History or Education, Master of Fine Arts Degree (M.F.A)<br>in Sculpture and Painting or Masters and Doctorate Degree in<br>Art Education and Art History. Such graduates have been a<br>source of pride to the institution, with honours for themselves<br>and their Alma Mater9. Some of the Masterpieces at the National<br>Gallery of Art Lagos have added to their reputation. Their works<br>adorn leading museums, galleries, private and public institutions<br>like hotels, banks, conference halls and churches.<br>For example, Solomon Irein Wangboje is known severally for his<br>prints, “the desert journey”, “the Romance of the head load” 1<br>and 2; Yusuf Grillo is known for his paintings, “the Moslem<br>women”, “Sultan Bello Mural” and Ten Virgins Stain Glass at N.<br>D. A Catholic Church. Uche Okeke’s tale drawings include<br>“Ogadili the terrble warrior”,”match of masquerades”; Bruce<br>Onobrakpeya’s prints include “Boat Regatta”, Builders at Work,<br>– 19 –<br>Emedjo and Ekuoregbe Unity. Demas Nwoko is popularly known<br>for his sculptures, Adam and Eve, the philosopher and the boy;<br>Jimoh.B. (Akolo) paintings, which gained great popularity, are<br>women carrying water pots, the flutist and Dye pit.<br>Okekechukwu Odita’s Njikoka series are examples of the<br>statement the artist made on the Nigerian civil war of 1967-69,<br>he interprets it as unity and strength. In this work attention is<br>drawn to unity as well as benevolent acts between Igbo, Yoruba,<br>Hausa and Fulani speaking ethnic groups of Nigeria.<br>Salihu Suleiman is known for his play sculptures for a park at the<br>Kongo campus of Ahamdu Bello University Zaria, wall relief for<br>the Kano fire Brigade and the statue of Barewa for the Barewa<br>college, Zaria. R.B. Fatuyi’s murals at the Department of<br>Chemistry and Civil Engineering Department of Ahmadu Bello<br>University Zaria and murals at the National Eye Centre Kaduna<br>are acclaimed paintings of the artist. T.A.Fasuyi’s paintings like’’<br>Meeting of Elders” and the Offering are the artist’s excellent<br>works. Kolade Osinowo is known widely for his paintings: the<br>Ritual dance the portrait of Bishop Samuel Ajayi Crowther and<br>the Ensemble.<br>– 20 –<br>I .N. Uzoagba works include northern panorama, the donkey,<br>man among the Baobab, the Lizard, which are prints, the<br>worried woman and the worried man. Dele Jegede’s paintings<br>also include Samaru, Sallah day, Market scene, Masquerades<br>and the Drummer. Further more, these graduates of Zaria have<br>been successful in various walks of life as Deputy Vice<br>Chancellor, Provots, Rectors, Cultural officers, Proprietors of<br>Galleries, Studio Artists and Teachers. They have made<br>appreciable contributions in the art sphere of Nigeri. Their<br>works, both in painting, sculptures and prints attest to this. Some<br>of them have stirred the course of some artistic innovations in<br>Nigeria. Their performance in the art has injected life into the<br>new generation artist.<br>From 1981- 2002, some artists are identified by what they are<br>doing, in painting, sculpture, and prints to mirror the Nigerin<br>society. Jerry Buhari is known today for his floral notes; Jari<br>Jacob is known for his corn stalk or bullet hole mosaic; Mu’azu<br>Sani is popular for his splashing, liquidize painting technique,<br>Jaji Adio is known for his relief sculptures; Matthew Ehizele is<br>known for his linear metal sculptures; Babalola is known for his<br>assembles of regain waste from his environment for his<br>sculptures. Kefas Danjuma is identified with his conceptual<br>– 21 –<br>portrait painting; Philip Gushem is popular with his northern<br>landscape painting; Lasisi Lamidi is also identified by his<br>experiment in welded sculptures of sawn canvases on welded<br>metal rods; Kenneth OKoli also is recognised by his metal<br>landscapes while Kelvin Bism and Baba Musa Adamu work with<br>collage.<br>The 1980s are full of new forms, techniques and theme by<br>emerging artists who are very eager in their search to new ways<br>of expression. Since 1981, there has been an addition to the list<br>of such emerging artists. However, during the twenty-one years<br>(1981-2002) a lot has been done without adequate little<br>document to show for it. An attempt has been made in this study<br>to enumerate and analyze some of such art.<br>1.2 Statement of the problem<br>Over the years there has been an increasing number of trained<br>artists in Fine Arts Department Ahmadu Bello University, Zaria<br>as a result of the yearly turn out of graduates. And the number<br>of such graduates may be difficult to count. The condition has<br>been that as soon as most of these students graduate, nothing<br>is heard about them as to whether they are practicing the art<br>they were trained for, as art teachers, art historians or studio<br>– 22 –<br>artists. Attributed to this is the economic hardship that engulfed<br>the country since the beginning of the 1980s to date. The<br>second is the art gagging which art collectors and gallery owners<br>did to mortgage art production of the artists in line with what they<br>want. The third was the depreciation in the practice of art all<br>over Nigeria. Another is the attitude of the art viewer to the<br>existing art in the country. Various artists are busy producing art<br>works, which the art audience is not ready to buy. In line with<br>this, various artists were not patronized. Some of the galleries<br>set prices that are too high for the poor artists. Also there is the<br>problem of where to exhibit. Most venues are not always open<br>enough to the public to have an opportunity of viewing or buying<br>art works. The most vibrant patrons are the Goethe Institute and<br>Italian Cultural Organisation both in Lagos, British Council<br>(Kaduna) now Abuja and Alliance Francaise Kaduna. The<br>problem of writing about the works of these artists especially the<br>Zaria artists of 1981 – 2002 becomes a very difficult task.<br>Moreover, no comprehensive study on the works of these artists<br>has been made. One of the questions that comes to mind is, is<br>it possible to cover these artists of Zaria from 1981 – 2002<br>considering the wide spread of time and artists, numbering up to<br>about five hundred? The bits of information contained in books<br>are not also comprehensive. There have been scattered<br>– 23 –<br>biographies of these artists, brief analysis of some of their works<br>published in books, magazines, and exhibition catalogues;<br>others are in dissertations, thesis, projects, and project reports,<br>seminar or conference papers. As the researcher seeks to<br>investigate further some specific questions will be considered.<br>How have these Contemporary Artists of 1981 – 2002<br>contributed to the development of Contemporary Art in Nigeria?<br>1.3 Objectives of the study<br>The main objective of this study is to investigate the<br>contributions of Zaria contemporary artists, (1981-2002) to the<br>development of Contemporary Art in Nigeria. The specific<br>objectives are to:<br>i. Assess the extent at which the artistic expression of Zaria<br>artists have culminated into contributing to the<br>development of Contemporary Art in Nigeria<br>ii. Identify those artists who have distinguished themselves in<br>contemporary art expressions, through new themes,<br>styles, and messages.<br>iii. Foster public awareness of the diverse art style of the<br>Zaria Art School.<br>– 24 –<br>iv. Assess the artistic development of artists, noting their<br>commentaries on current happenings in their environment.<br>v. Promote the growth of Contemporary Art in Fine Art<br>Department Ahmadu Bello University, Zaria.<br>1.4 Significance of the study<br>This research is significant first, for bringing to the limelight<br>some outstanding works of artists who have carved for<br>themselves bold relief in the midst of many contemporary artists.<br>Secondly, the significance of this research stimulates better<br>appreciation of art works of Zaria contemporary artists. Thirdly it<br>documents the various contributions made by such artists to the<br>development of contemporary art in Nigeria. Fourthly it adds to<br>the existing literature on Contemporary Art in Nigeria.<br>Furthermore, the findings and recommendations that emerge<br>from this work should contribute significantly to the development<br>of the literary and practical aspects of contemporary art in<br>Nigeria. Finally, the study may stimulate research work into the<br>various art activities of Contemporary Nigerian Artists.<br>– 25 –<br>1.5 Justification of the study<br>Notable young artists have made their marks on the<br>Contemporary Nigeria Art scene in a smooth but striking way,<br>which have not enjoy the appreciable attention as those of the<br>pioneering artists, like Aina Onabolu, Akintola Lasekan, Julius<br>Akeredolu, Ben Enwonwu, Erhabor Emokpae and others. The<br>greatest set back to this is that no scholarly work or<br>documentation has been made to their credit. Records available<br>show that Contemporary Zaria artists have suffered<br>considerable neglect over the years from scholars both within<br>and outside Nigeria. To this end, since artistic styles are<br>dynamic and impressions change from time to time, some of the<br>descriptive foreign terms hitherto applied to some artistic<br>presentations in the last few decades in Nigeria may no longer<br>be applicable if we are to keep pace with current artistic<br>changes. Therefore it will be justifiable to present the art works<br>of the new generation artists from 1981-2002.<br>– 26 –<br>1.6 Scope and Limitation of the study<br>This study does not seek to tell the whole story of Zaria<br>Contemporary Artists from 1955. However, the researcher<br>intends to draw a simple profile choosing selected artists from<br>1981 – 2002 because art in Zaria over these years have<br>changed considerably. The researcher will also work in<br>retrospect bringing to light the artist’s days of development and<br>how vibrant and innovative he has been over these years. The<br>researcher however, chose to limit the selection of these artists<br>to the very best, productive artist as the case may be, at least<br>one artist and at most three artists from each class; numbering<br>up to twelve artists who were selected from an initial list of<br>twenty five top artists.<br>– 27 – <br></p>