A contextual analysis of muyideen adio jaji’s stunted sculptures

• Title Page – – – – – – – – – – – i Declaration – – – – – – – – – – – ii Certification – – – – – – – – – – – iii Dedication – – – – – – – – – – – iv Acknowledgements – – – – – – – – – – v Abstract – – – – – – – – – – – vi Table of Contents – – – – – – – – – – vii List of Figures – – – – – – – – – – x List of Plates – – – – – – – – – – – xi

Chapter ONE

INTRODUCTION

• • Introduction – – – – – – – – – – 1 • Background of the Study – – – – – – – – 6 • Statement of the Problem – – – – – – – – 9 • Aim and Objectives of the Study – – – – – – – 9 • Research Questions – – – – – – – – – 10 • Justification of the Study – – – – – – – – 10 • Significance of the Study – – – – – – – – 10 • Scope of the Study – – – – – – – – – 11 • Conceptual Framework – – – – – – – – 11

Chapter TWO

LITERATURE REVIEW

• • Review of Related Literature – – – – – – – – 14 • Sculptures and the Styles Evolved by Artists – – – – – – 14 • Materials and Styles in Sculpture – – – – – – 20 • Ideas and Philosophies that Accompany Sculptures – – – – – 31 • Literature on Muyideen Adio Jaji – – – – – – – 37

Chapter THREE

RESEARCH METHODOLOGY

• • Research Methodology – – – – – – – – 40 • Research Design – – – – – – – – – 40 • Sources of Data – – – – – – – – – 41 • Population and Sampling Technique – – – – – – – 42 • Field Work – – – – – – – – – – 42

Chapter FOUR

DATA PRESENTATION AND ANALYSIS

• • Data Analysis and Discussion – – – – – – – – 44 • The Stunted Sculptures of Muyideen Adio Jaji and their Categories – – – 44 • The Materials and Styles Employed By Muyideen Adio Jaji – – – 53 • The Ideological and Philosophical Basis for the Stunted Sculptures – – – 60 • Socio-Political Ideas – – – – – – – – – 62 • Socio-Religious Ideas – – – – – – – – – 69 • Ghanaian Influenced Stunted Sculptures- – – – – – – 79

Chapter FIVE

SUMMARY, CONCLUSION AND RECOMMENDATIONS

• • Summary, Findings And Conclusion – – – – – – – 88 • Summary – – – – – – – – – – 88 • Findings – – – – – – – – – – 94 • Conclusion – – – – – – – – – – 96 • Recommendation – – – – – – – – – 98 • References – – – – – – – – – – 100 • Appendix I: Draft-Interview Questions – – – – – – 107 • Appendix II: Interview Questions and Answers – – – – – 108 • Appendix III: The Researcher with the Artist During Fieldwork – – – 115LIST OF FIGURES i: Alberto Giacometti ‘Four women on a pedestal’ – – – – – – 17 ii: Ben Enwonwu ‘Anyanwu’ – – – – – – – – – 18 iii: Demas Nwoko ‘The Woman’ – – – – – – – – 19 iv: Chris Echeta Politician I’- – – – – – – – – 22 v: Elizabeth Catlett ‘Mother and Child’ – – – – – – – 23 vi: Wilhelm Lehmbruck ‘Bust of the Ascending Youth’ – – – – – 23 vii: Marcel Duchamp ‘Fountain’ – – – – – – – – 25 viii: Pablo Picasso ‘Bull’s Head’ – – – – – – – – 25 ix: Martin Hill ‘Embodied’ – – – – – – – – – 27 x: Kumi Yamashita ‘Clouds’ – – – – – – – – – 27 xi: Wolfgang Laib pouring the milk for ‘Milkstone,’ – – – – – 29 xii: Artist Unknown ‘Ooni of Ife & Wife’ – – – – – – – 35 xiii: Artist Unknown ‘Oba on Horseback’ – – – – – – – 36 xiv: Muyideen Adio Jaji, ‘Destitute’ – – – – – – – – 38 LIST OF PLATES i: Odeya – – – – – – – – – – – – 47 ii: Ayo – – – – – – – – – – – – 49 iii: The Detached Version ‘Ayo’ – – – – – – – – 52 iv: Obokun – – – – – – – – – – – 54 v: Bobajiroro – – – – – – – – – – – 57 vi: Iyalode I – – – – – – – – – – – 63 vii: Iyalode II – – – – – – – – – – – 65 viii: Eshu – – – – – – – – – – – 60 ix: Sango – – – – – – – – – – – 74 x: Sango 1986 – – – – – – – – – – – 76 xi: Oheneba – – – – – – – – – – – 81 xii: Ashantehene – – – – – – – – – – 84