Transforming Nigeria Through Movies, Music, Arts
Oil Exploration And Niger Delta Environment
How ICT Can Push The Envelop In National Dev
Rivers, Safest State In Nigeria
Sports: Still A Long Way To Greatness
Nigeria’s Economy: More Pains, Less Gains
We Have Our Indivisibility To Celebrate -Wonwu
Finding A Place For Rule Of Law
Nigeria: A Failed State At 60?
Nigeria At 58: Anything To Celebrate?
Four Ships With Raw Sugar, Others Arrive Rivers Ports, Today
Illegal Migrants’ Activities At Liverpool, Falomo Jetties Bother NIS
GOG Records Drop In Piracy, Zero Kidnapping
Truckers’ Decline, Cargo Drop Threaten Unemployment In Transport Sector
MWUN Wants NIMASA, NPA To Intensify Security At Jetties
Lingering ASUU Strike And Way Forward
Lingering ASUU Strike And Way Forward
Adulterated Petrol : Between Apology And Accountability
Single Parenthood And Future Of Our Society
Rivers NUJ 2022: The Storm, The Calm, The Expectations
NFF Awaits FIFA’s Ruling Over $1m Rohr’s Compensation Claim
National Baseball Championship: Rivers To Tackle Niger, Today
PH Mini Marathon Is To Achieve Peace, Hospitality – GMD
AFCON Qualifiers: Ex-Internationals Warn S’ Eagles Not To Underestimate Opponents
‘AFCON 2023 Qualification Won’t Come Easy For Nigeria’
Presidency Defends Pardon For Dariye, Nyame
Only Wike, Another Presidential Aspirant Mean Well For Nigeria – Clergyman
2023: Katsina Deputy Gov Resigns As Agric Commissioner
First Lady Invites PDP, APC Presidential Aspirants To Dinner
2023: Northern Elders, Ohanaeze Reject Call For Interim Govt
SIM-NIN: Telecom Consumers To Sue FG …Seek Policy Suspension
Edo Clamps Down On Street Traders
FCCPC Directs DisCos To Charge Hourly
Minister Blames Ukraine War For Nigeria’s Deficit
‘Tokumbo’ Dealers Threaten Shutdown Over 15% NAC
Job Searching Tips for Recent College Graduates
Foreign Capital Imports in Nigeria drop by 78%
The inflation rate in Nigeria on an all-time high
Ugandan Appointed Managing Director In Nigeria
Become Job-Ready With a National Criminal History Check
N69.4bn Debt: AMCON Seizes Properties, Freezes Accounts Of Jimoh Ibrahim
Land Use Charge: Stakeholders Call For More Property Valuation
Housing Deficit: LASG Completes 360 Homes In Ikorodu
ICPC To Investigate Ownership Of Unoccupied Houses In Abuja
UK Real Estate Sector To Bounce Back In 2020
New Flyover Projects Excite PH Residents
Is CCT Right In Slamming Asset Declaration Charges Against CJN?
Rivers Residents Dissociate Wike From APC Crisis
PH Residents Hail Wike’s Dev Strides
Fruit Garden Market Traders Appreciate Wike
How to deal with unexpected summer costs
Job Searching Tips for Recent College Graduates
Nigeria is Surging in Forex Traders
5 Tips for Getting Your Credit Utilization Rate in Check
How to deal with unexpected summer costs
What are Stock Options and Are They Right For You?
Role of attracting Private Finance for Africa’s economic growth
Why the UK’s Exit from the EU could Represent a Golden Opportunity for Nigeria
How to improve PC aim in Warzone
AWS Security Audit: Things To Keep In Mind, Checklist, and Tools
6 Steps to Ensure WordPress Security
NITDA To Develop Multi-Billion Naira Data Privacy Sector In 2021
Parents Task RSG On Virtual Learning In Public Schools
‘Invisible Energy Highways Could Usher In New Era Of Shared Power’
‘AKK Gas Pipeline’ll Boost Upstream, Downstream Activities’
‘Take Advantage Of Energy Transition To Attract Investment’
NSML Gets First Sub-Saharan Africa Terminal Environmental Certification
NSCDC Arrests Eight Suspects, Trucks Over Oil Theft
Interesting Things to expect in Soccer Betting in 2022
The English Premier League Teams With The Most Nigerain Players
Cartoon Based Video Slots Games
The story of the beginning of the creative foraging in art in Nigeria is never much different from what is obtainable in various parts of the inhabited world. The story of art could be simply put as the story of civilization and evolution of man. Most of the materials and clues employed by ethnographers and anthropologists in reconstructing the story of the early man are largely based on the artistic objects and instruments left behind by the early man. Therefore, to study the art of the political entity known as Nigeria today, one must seek first to keep abreast of the peoples that make up Nigeria and their cultural origins prior to the coming of British colonialism which signaled the beginning of the formal historic recording of the heterogeneous people that was later brought under one umbrella called Nigeria mostly for the purpose of effective governance by the British imperialists. Consequently, since Nigeria today is more of a political sovereign entity rather than a singular culturally uniform group of people, it is important to study the arts of the different people that were brought together to answer Nigeria, since the country is made up of over 250 ethnic groups and languages. Art in Pre-Colonial Nigeria Almost all the ethnic people that make up Nigeria practise one form of art or the other. Like in most African societies, to the early Nigerians, art is inseparable from their religion. Art is seen as the agency through which their religion is given expression; it carries the essence of their religion. Therefore, prior to the coming of the colonial masters, Nigeria was a melting pot of artistic explorations, since they practised their traditional religion to the fullest and without hindrance. The early Nigerians used their art to interpret their world as they saw it, as well as using it to concretize their cosmological views on life and esoteric ideas. They employed art in the various cultural celebrations and ceremonies and special commemorations because of the Pantheist nature of the traditional religion. The early Nigerian society produced a large collection of ancestral images and gods while spirit entities, natural forces and elements such as wind, fire, water and land were given recognition as possessing spiritual authority and required reverence. They, therefore, made art objects to represent the essence and attributes of these supposed forces. This they did with hope of subduing or at least appeasing them and in some cases, harness this power and by so doing be able to bring them under some sort of control or form some kind of pact with them. This practice is not far different from the magical meanings adduced to the cave paintings discovered in Lascaux, France. Therefore, for the purpose of this article, it will be best to stick to a selected number of artistic media generally used by the major artistic flashpoints in the country. Fortunately, these flashpoints also represent in no particular order, the major cultural groups with the most extant collection of traditional works of art. A close study of the traditional art in Nigeria shows that most of the artifacts and cultural pieces produced by the different cultural groups are largely grouped within the boundaries of these mediums: stones, terracotta, woods, bronze, paintings and crafts. Esie and Ikom Stone Sculptures: Though Esie is a predominantly Yoruba community, the origin and identity of the makers of the stone sculptures have remained in obscurity crystallising into different mythological stories by the community. Therefore, in a bid to unravel the mystery behind their identity, ethnographers, anthropologists and archeologists have made concerted efforts in different directions in order to explain the works. The findings of many researchers have, however, established the following facts; the Esie stone sculpture is a composition of about a thousand soap stone sculptures depicting both human and zoomorphic features. The human figures represent people engaged in various human daily activities. The stone sculptures represent a cosmopolitan collection of different cultures with features such as sophisticated hair styles, dresses, tribal marks, necklaces and bracelets with multiple cultural traits that connect them with different ethnic groups surrounding the area. The Esie stone works are also recognised as the largest collection of stone carving in Africa. Ikom monoliths of Cross River State represent the second yet known largest collection of a handful stone sculptures. The stone works are found in an area inhabited by the Ekoi people along the bank of Cross River. The Ikom figures are generally that of humans and are highly geometricised. Measuring between 2 to 6 ft, the appearance of beards in all the figures clearly shows that most of them are males. Scientific researches on this works date them to around 200AD. Terracotta Culture In Nigeria, almost every cultural group possesses one form of terracotta art or the other. In fact, most parts of Nigeria have one form of sculptural tradition or another especially around the southern part of the country. Nevertheless, the picture starts changing as one gradually moves towards the Northern part of the country. The Nok culture is dated to have flourished between the years 2000BC and 300AD, making it the oldest form of traditional art not just in Nigeria but West Africa. The followings are the stylistic characters of Nok Art: complicated coiffure, high geometricism with cylindrical heads, perforated eyes, nose, mouths and ears, semi-circular and triangular eyes and lids and so on. Asides from the Nok culture, the Ife-Terracotta works are another notable ancient traditional art emanating from South Western Nigeria. Dating as far back as 12-15 century A.D. Ife art is located at the heart of Yoruba ancestry. Wood Carvings Scholars have for long established that Nigeria possesses the largest collection of sculptural works in sub-Saharan Africa. Most of these art works are done in wood and are applied to different uses. Also, this was possible due to the diversity in cultural abundance and most importantly as a result of the surplus abundance of timber made possible by the country‘s location within the tropical rainforest region of Africa. Therefore, almost all cultural groups in Nigeria possess one form of wood carving tradition with notable styles and characteristics particular to them. Ancestral Figures Most ethnic groups in Nigeria have a tradition of carving ancestral figures. In Yoruba land, they have Ibeji figures. These figures are done to celebrate the birth or death of twins in Yoruba tradition. It is backed by the people’s belief that twins are powerful spirits who are capable of bringing wealth to their families or misfortune to those who do not honour them. To the Igbos of the South-Eastern Nigeria, one of the most popular and significant ancestral figures come in the form of Ikenga wood carvings. Ikenga is usually used to denote the power of a man’s right hand and his accomplishments. It is represented usually by a figure holding different things such as horns and swords. This practice of Ikenga carving has penetrated other cultures around the Igbos, such as the Edo who call it Ikengaobo and the Igala who call it Okega. Doors & Wooden Posts The Yorubas have a rich tradition of carved wooden posts and carved chip doors. This style of carving was so highly developed that guild of carvers and artists was developed around it. It was through this informal system of traditional art society education that gave birth to 20th century artists like the famous Olowo of Ise who many scholars have acclaimed as the most important Yoruba artist of the 20th century because of his virtuosity and dexterity in the niche of carved wooden doors and house posts. Similarly, the Igbos also have a developed system of wood carving of doors and house posts. In the past, the houses of highly placed individuals and the affluent were embellished with these works. In fact, it was used to identify the extent of wealth and social importance of individuals. The Awka guild of carvers was found in Anambra State. Igbo-Ukwu, Ife and Benin Bronze Traditions The Igbo-Ukwu bronze tradition is, unarguably, one of the most celebrated contributions of the Igbo race to African artistic and technological heritage. The origin of the technology and knowledge of metal working as displayed by the complicated and intricate designs employed in Igbo-Ukwu bronze findings still baffles scholars till date. The Igbo-Ukwu art heritage is reputed to be the oldest bronze sculpture tradition in Sub-Saharan Africa, dated to about 9th century A.D. The ancient city of Ife is widely acclaimed by the Yorubas as the birth place or the ancestral home of the Yoruba people. Many of the ancient Ife artefacts today have been traced to the dynasty of the Ife King, Oba Obalufon II who is highly regarded as patron of the arts. One notable characteristic of the Ife art is the emphasis on the size of the head as being the centre of knowledge, symbol of ego and destiny and so on. The Ife artists therefore do not observe the rules of proportion in producing their figures but rather the heads usually are made a little larger than the rest of the body; sometimes in the ratio of 1:4. Another notable characteristic of the Ife art is in the use of small holes to indicate beards and hairlines of the masks and faces, and the presence of prominent scarification lines running vertically across the whole face. The Ifes were also adept in their mastery of copper and its alloys and they produced a handful of works using the material. They also produced terracotta works. Because the Ifes strived to produce art works that pleased the Obas, great effort was put into their production to achieve striking naturalism. This naturalism is one of the most notable attributes of the Ife copper heads which have their facial features well articulated to true representation of the individuals depicted. Of all the bronze casting traditions found in Nigeria, Benin ranks as the most popular, known world over. They are most famous for the great attention to details, masterly craftsmanship and dexterity with which they were executed. The inventiveness of the Benin civilization and art was first brought to Western public view following the infamous punitive British invasion of the kingdom in the year 1897, which saw a great number of Benin artefacts carted away by the British soldiers as war booties. The ancient Benin people, like their Yoruba counterparts placed great importance on the head as a chief part of the body; they therefore believe that the head is imbued with spiritual energy (ehi) deposited by the creator; Osanobua and his eldest son, Olokun. This is probably the reason why the Benins have a massive repertoire of bronze heads of their Obas donning their royal regalia. The art of the Benin people, like most Nigerian cultures, is not without the influence of neighbouring tribes. Consequently, the Benins trace their bronze casting origin to the great Yoruba town of Ife, from where a man came and taught them different bronze casting techniques. Also, the Benin art was influenced by the naturalistic style of the Ifes. Contemporary Nigerian Art Following the dawn of independence in Nigeria, artistic foraging has continued to flourish, leading to the flowering of a multiplicity of contemporary styles in art production. Through the acquisition of formal Western art education, and drawing inspirations from the rich cultural motifs, Nigerian art scene has become more individualised, detribalised and universal with little common traditional traits still noticeable in the corpus of works addressed today as contemporary Nigerian Art. Globalisation influences and current socio-cultural and political issues have contributed to a proliferation of styles and techniques. Nevertheless, the state of contemporary art in Nigeria is in a continuous flux and remains ever vibrant, opening up more vistas for artistic expression in a world resplendent with multiplicity of media and styles.
By: Moses Njoku Njoku is of the Affinity Art Gallery, Lagos.
A Journey Into The World Of Nigerian Art
This is the concluding part of the interview published last week. What and who are your inspiration? My main source of motivation is the woman I aspire to be. I have had a glimpse of her and I know she will be great. I have to keep doing all I can to actualise my purpose and potential, and in doing this, I am constantly encouraged and strengthened by my source, the Holy Spirit. Closely related to this is my inclination for success, influence, and affluence. If I must make a change in my time, then, I have to find a spot at the top and spread the tentacles of my influence from there. Bearing this in mind, I am resolved never to settle for failure or mediocrity. I am always motivated to keep trying, working hard, and smashing my goals till I get there. My parents (Ven. Dr. Ben Onu and Mrs Florence Onu) are another major source of inspiration. They have invested so much in me that I can’t afford to allow their labour go to waste. I am resolved to make them proud and keep the family legacy going. Another key motivation I had in aiming for a first class is my desire to further my studies abroad. My sister, who is also one of my mentors, Dr. Adanma Chrys-Chikere, advised me early enough to aim for a grade that would position me for scholarship opportunities and give me a better chance of being admitted to further my education outside Nigeria. This stood as a motivation, and I’m grateful to God for the success so far, believing that in due time, this dream will materialise. Did you have a mentor/role model? Yes, I did. Napoleon Richman Thommanuel (Esq) has been my mentor from Year 2 till date. As a senior colleague, he made it a point of duty to prepare me for each new level, session, and even semester. He was available to allay all my fears. There were times he would insist I go off the media to focus on my books, and sometimes I had to spend my holiday studying. I also had some other senior colleagues along the line that were very helpful and supportive in boosting my morale and staying focused on the goal. One of them is Blessing Ohaka (Esq). She always and greatly fuelled my possibility mindset. The earliest role model I have had is my aunt, Barr. (Mrs) Blessing Eddie-Amadi who is the first close image of a lawyer I conceived. Her drive and passion for success and humanity is highly admirable. She is one of the bravest and most daring women I know, as well as a goal-getter. She definitely fulfills the description of a woman of the people. Everything she does will always be for the greater good of those around her. She is the epitome of love, giving, and support. She is, without a doubt, a mother to me. I’m positive she’s on a road I’d like to pursue and even improve on. For worldwide relevance, I also look up to Oby Ezekwesili, our Nigerian Idol. She exemplifies tenacity and virtue, and her quest for more inspires me every day. She is intelligent and ambitious. These are qualities I’m striving to emulate and instill. Her notion that there is more to being a woman inspires me, and I am determined to fully embrace my feminine power and potentials. Ebizi Eradiri (Esq) is someone I also look up to, especially as a young lawyer. She changed a narrative and is now forging her own path through hard work and academic excellence. As a double first-class lawyer, she was one of my mentors while at the Nigerian Law School, and today, she is an evidence of every word of encouragement and possibility she instilled in me. As much as I celebrate her wins, I also aim to not just fly as she is but even higher. She has broken a number of biases, and she has inspired me to not limit myself by any self-inflicted or societal-based bias. As someone who aspires to someday to be in the political sphere of influence, I admire people like Michelle Obama and Mrs Parker Odochi. I’ve seen ambition, support, and vigour for societal influence among these women. They exude an aura that I admire greatly. What is your advice to anyone who wants to make it? First and foremost, believe in yourself and your ability to accomplish everything you set your mind on. You are distinct, one-of-a-kind, and not empty, and it all begins with your mindset. You must cultivate a positive attitude toward yourself, your values, and your goals. I’ve always believed in myself as a trail blazer and this perspective will continue to drive me to never settle for less when I have everything it takes to be more. I remember back in secondary school when I was appointed the Head Girl. It remains one of my high moments in life because this was a position usually occupied by science students. But then, there was me, a student of the Arts Department, who changed the narrative. Even after being appointed, I had to remind myself that the legacy I owe those who come after me is to promote the notion that hard work and excellence pay. This is what I continue to do till this day. Again, I’d say it all starts with how you think about yourself and your future. Failure will never be an option for you if you have a vision of who you want to be tomorrow. How far you can go or become is often determined by your mindset. Develop an attitude that corresponds to who you want to be and what you want to accomplish. Cultivate an attitude of possibility and reject any mindset that undermines your self-esteem. On the days when things don’t go as planned, you’ll need to rely on your burning passion to get you through. It is not enough to simply believe or have the appropriate mindset. You must do the work and pay the price. Success does not always come cheap. You could lose friends, displease your pleasures, go MIA, leave your comfort zone, take on difficult tasks, abandon habits, and so on. Understand your timing too and quit unhealthy competitions. Find your niche and explore as much as you can, avoid procrastination and get to work right away. Regardless of how depressing our country’s educational system appears to be, keep in mind that there are some doors that only academic excellence can open for you. Some people have made it because of their academic achievements. I’ve had a taste of it, and I’m currently working my way through it to the wider picture of my success. Never stop developing yourself. Grab the degree excellently, but you will also need the know-how to apply your degree to profitability. As an undergraduate, go for internships during your holidays to embrace the practical side of your course. If you can handle it, take up leadership positions to boost your CV. Thank God for the era of online courses. Take up as many relevant ones as you can enrol in during your spare time. In addition to capacity building, remember to make strategic networks. Attend conferences and connect with successful people in your field; learn from them. What do you aspire to be now? My aspirations have not exactly changed. They have only become bigger and clearer. I still look forward to building a career in the legal profession and maybe end up as a Senior Advocate of Nigeria. This is not a static aspiration, though, as I am still at the early stage of my career and still exploring its nitty-gritties. might develop an interest in the Bench over time. I am also enthusiastic about teaching. Despite the fact that the Nigerian educational system is rather disheartening, I still hope to maybe become an academic someday. Maybe if the Bench doesn’t have me, I can double as an academic and a practising lawyer. This is why I am currently looking to further my studies with a Master’s Degree and, afterwards, take up a PhD in Law. Finally, as the woman of influence I aspire to be, I am also interested in my entrepreneurship goals. I am open to establishing an entrepreneurial source of income over the years. The goal is to amass enough wealth to sponsor personal and humanitarian dreams. It has always been my aspiration to live a life that has an impact on my generation and the generations to come.I’d like to take this opportunity to express my gratitude to everyone who has supported me throughout the years. My family, both nuclear and , especially Ezirim Ucheoma and a long list of friends.
Radiance Ovuoma Onu Esq, an indigene of Rumuekini in Obio/Akpor Local Government Area of Rivers State, is a legal practitioner with a technology- specialised law firm. An Associate of the Institute of Chartered Mediators and Conciliators, she is also a fashion designer, a digital forensics examiner and a content creator. Born 15th July,1997, she is a First Class Law graduate of the Rivers State University. Passionate about humanity and giving back to society, she founded The Hill’s Beam Foundation, which is focused on grooming young people through the journey of purpose, through the instrumentality of charity and outreaches centred on academic excellence, self actualisation and other areas. She is also the convener of the Soul Sister’s Network, a forum for the sharpening, mentoring and nurturing of young ladies. In this interview with Ibinabo Ogolo, she talks about how she pursued and achieved academic excellence, how clarity and mapped-out plans for what she really wants to be in life have actualised her ambition and more. Excerpts. How did you start your law profession? My scholastic experience began as a pupil of the University of Port Harcourt Day Care Centre (now Gladys Cookey Resource Centre). After that, I went to the University of Port Harcourt Demonstration Primary School and then to the University of Port Harcourt Demonstration Secondary School, where I received my West African Secondary School Certificate with distinction. I studied Law at the prestigious Rivers State University between 2014 and 2019. I was particularly in the Private and Property Law department of the Faculty of Law. I was called to the Nigerian Bar as a Barrister and Solicitor of the Federal Republic of Nigeria in July 2021 upon the successful completion of the mandatory one-year vocational training at the Nigerian Law School, Lagos campus. What motivated you to aspire to become a Lawyer? Revisiting memory lane on how the idea was conceived, I remember listening to the usual evening news with my family on this particular day. I was still in primary school, as far as I recall. A procession of lawyers was shown on television as part of the news, and I was enthralled by the wigs they wore. I told my mother right away that I liked the wig and would want to wear it. My mum, at this point, told me that if I wanted to wear that wig, I’d have to be a lawyer. That was it! That was how the notion of becoming a lawyer was conceived and I have run with it till date. Growing up and becoming more aware and knowledgeable about my choice, I became more intentional about the profession. This growing passion fuelled my interest in pursuing academic excellence because I was indoctrinated that in order to get into a university to study law, you had to be intellectually sound and enjoy reading. Despite the fact that I fared well in my high school science subjects, being a lawyer remained my ambition. However, some other options were put before me along the line, like medicine. I remember my school counsellor back in SS1 calling me to be sure it was really my will to pursue a career in law because my grades, while all great, tipped me towards being a science student because I scored higher in those areas. Notwithstanding, my desire to become a lawyer remained strong, and at this point, I had a better understanding of the fundamentals of the profession and was eager to give it my all. I was mentally and academically prepared to study law to a significant extent, and this informed my drive for academic excellence and the development of charisma. I believe I was particularly determined to put on the wig I had fantasised about as a child, and I am overjoyed that I was able to do it.. Can you recount your step by step journey towards bagging a First Class degree, which is not an easy feat? I would start by mentioning that I began my first year with the right orientation. I was surrounded by people who believed in me. From the moment I got my admission, I had access to the right counsel and motivation. Barr (Mrs) Blessing Eddie-Amadi, my aunty, who is like a mother to me, was and still is one of my biggest supporters. She kept telling everyone we met in my first year how well I did in my JAMB( 258) and Post-UTME exams(84/100). With all of the anticipation, I knew I could not let her down. Also noteworthy is the advice I received after my admission from Hon. Justice Agbara Rtd (now of blessed memory). In his words, “Ovuoma, make sure you aim for a First Class and nothing less, so that if things go wrong and you have to drop, you will be dropping to a 2.1”. Till date, these remarks have continued to inspire me in setting my goals. With these motivating forces behind me, inclusive of my immediate and extended family, I started with a goal-getting and possibility mindset. At the end of Year 1, a good number of my course mates finished with a 5.0 CGPA, but I had a 4.7. This was the first hurdle. The thought that I may not reach my goal began to pervade my mind, especially as I realised that the higher you go in academics, the more difficult it becomes. However, some senior colleagues with whom I became acquainted reminded me that I still had a lot of semesters to make up for year 1. All I had to do was make sure I never fell below a 4.5 CGPA in any semester or session, as they instructed. I got into year 2 and I must say this was the year I had my best grades. I had a 5.0 GPA in one of the semesters. This level taught me that your efforts will always match your results if you study not just hard but smart. First, I had a very intentional mentor at this level. I never missed classes because I am a better listener than a reader sometimes. Also, the library had the bulk of my time as I would always go there for my personal research. All of these efforts made me enjoy the courses even more. I ensured my notes were always up to date. In fact, I had class notes, study notes, and case notes. I had a target, so I made sure to stay on course This was also the level where I started to make strategic friendships and I made sure my circle was made up of people with similar goals as me. That way, I had people to study with, revise with, and encourage myself with. My circle was really helpful in my year 2 as well. I also remember being strategic in my studying. My mentor taught me to have a hierarchy when drawing up my study plan. The courses that were bulky and/or seemed difficult to get an A in (which was the law of contract at the time) were my top priority, so I allocated more of my study time and research to make sure that I was able to break down every seemingly difficult topic to the barest minimum of understanding. One challenge I faced at this level was with one of our borrowed courses.I know for a fact that I did not do so well in that course because I was not completely receptive to the teaching. It took me so long to fathom why I was learning Python programming instead of citing cases. Having a C in the course affected my CGPA, as that was the first time I recorded a C in my result. I concluded year 2 with a 4.81 CGPA. Year 3, did not start on such a good note as I was started off the level with a deteriorated health. I recall missing the first weeks of resumption on health grounds. However, I owed it to myself to make up for the lost weeks with intense studying and note making. One significant story I will like to share about my 300 level is with a particular course, it is almost impossible to get an A in.That was the case of the almighty Commercial Law. As much as I did not like the personality of the lecturer, I had to like him for the purpose of that course. I listened attentively to him, augmented with my textbooks and other materials. In the end, it was an A grade in both semesters. I also had a challenge with one of the borrowed courses in the first semester, as Economics is one subject I have struggled with since high school. Having a C in this course earned me a 4.78 GCPA. I must confess that my fourth year was the most difficult. Again, the session began with me missing the first few weeks due to a surgery from which I needed to thoroughly heal before returning to the classroom. I was also saddled with a number of responsibilities that took my time. In all honesty, I had quite a number of distractions at the moment, but I knew I still had to give this level my best game. Year 4 taught me that in achieving excellence, if you cannot sacrifice some of your responsibilities, then you must adequately learn the art of time management and balance. As the courses became tougher, the grades became even more difficult to attain, and some of our lecturers made this really discouraging. I got really discouraged, but I was surrounded by people who still believed I could achieve my goal. My response was to go back to my drawing board, amplify my strengths, downplay my weaknesses, and cut down on some responsibilities. Final year came with all the necessary butterflies. It was definitely an exciting feeling to get to the finish line. Since I had laid a solid foundation over previous levels, I had a bit of a relaxed final year. I maintained the fire and I worked as hard as always, but there was this relief that I was very close to achieving my dream. I was so confident that even when my grade for my dissertation (30 units) was changed from an A to a B,I was not scared because even with the B, I was still going to graduate with a first class. This feeling was only possible because I started on a strong pedestal. Eventually, after all the deductions and setbacks, I graduated with a 4.6 CGPA. Summarily, my journey was characterised by first, a belief and determination to graduate with a first-class and practically starting early to achieve this so that no matter how difficult it gets over the years, my background remains sufficient. If I had had such a bad start, at the difficult levels, I would have fallen off my goal. This feat was greatly influenced by God’s mercies, but I also had to do my part by working hard and smart. I understand that some students still fall victim to vindictive lecturers. However, my opinion is that if you distinguish yourself as an A student from the beginning, you will be confident enough to dispute any instructor or outcome that does not meet your expectations. You become their prey the instant you settle for mediocrity, and you further rob yourself of the courage to contest a poor grade. Be brave enough to stand up to a vindictive system, but make sure you have done your bit by identifying yourself as a serious student. Lastly, I was that student who always set my target scores and grades at the beginning of the semester. Since Continuous Assessment (CA) will usually take place when the course content is not yet bulky, I always aimed for a 25/30 minimum. Sometimes it was higher, sometimes it got a little lower. The logic is that if Iam able to get 20/30 at least, I will only have to struggle for 50/70, which is easier to achieve than 60 or 70/70 in the exams. This tactic really helped me, and with this, I never took any CA for granted. I will prepare for it as though it were the main exam. I was also that student that liked to check her results and know her grades. Knowing this always helped me plan and strategise better. To be continued.
What/who is your inspiration? My main source of motivation is the woman I aspire to be. I have had a glimpse of her and I know she will be great. I have to keep doing all I can to actualize my purpose and potential, and in doing this, I am constantly encouraged and strengthened by my source, the Holy Spirit. Closely related to this is my inclination for success, influence, and affluence. If I must make a change in my time, then I have to find a spot at the top and spread the tentacles of my influence from there. Bearing this in mind, I am resolved never to settle for failure or mediocrity. I am always motivated to keep trying, working hard, and smashing my goals till I get there. My parents (Ven. Dr. Ben Onu and Mrs Florence Onu)are another major source of inspiration. They have invested so much in me that I can’t afford to allow their labour go to waste. I am resolved to make them proud and keep the family legacy going. Another key motivation I had in aiming for a first class is my desire to further my studies abroad. My sister, who is also one of my mentors, Dr. Adanma Chrys-Chikere, advised me early enough to aim for a grade that would position me for scholarship opportunities and give me a better chance of being admitted to further my education outside Nigeria. This stood as a motivation, and I’m grateful to God for the success so far, believing that in due time, this dream will materialize. Did you have a mentor/role model? Yes, I did. Napoleon Richman Thommanuel Esq. has been my mentor from Year 2 till date. As a senior colleague, he made it a point to prepare me for each new level, session, and even semester. He was available to calm all my fears. There were times he would insist I go off the media to focus on my books, and sometimes I had to spend my holiday studying. I also had some other senior colleagues along the line that were very helpful and supportive in boosting my morale and staying focused on the goal. One of them is Blessing Ohaka Esq. She always and greatly fueled my possibility mindset. The earliest role model I’ve had is my aunt, Barr. (Mrs) Blessing Eddie-Amadi who is the first close image of a lawyer I conceived. Her drive and passion for success and humanity is highly admirable. She is one of the bravest and most daring women I know, as well as a goal-getter. She definitely fulfills the description of a woman of the people. Everything she does will always be for the greater good of those around her. She is the epitome of love, giving, and support. She is, without a doubt, a mother to me. I’m positive she’s on a road I’d like to pursue and even improve on.
For worldwide relevance, I also look up to Oby Ezekwesili, our Nigerian Idol. She exemplifies tenacity and virtue, and her quest for more inspires me every day. She is intelligent and ambitious. These are qualities I’m striving to emulate and instill. Her notion that there is more to being a woman inspires me, and I am determined to fully embrace my feminine power and potential. Ebizi Eradiri Esq. is someone I also look up to, especially as a young lawyer. She changed a narrative and is now forging her own path through hard work and academic excellence. As a double first-class lawyer, she was one of my mentors while at the Nigerian Law School, and today she is evidence of every word of encouragement and possibility she instilled in me. As much as I celebrate her wins, I also aim to not just fly as she is but even higher. She has broken a number of biases, and she has inspired me to not limit myself by any self-inflicted or societal-based bias. As someone who aspires to someday be in the political sphere of influence, I admire people like Michelle Obama and Mrs Parker Odochi. I’ve seen ambition, support, and vigour for societal influence among these women. They exude an aura that I admire greatly.
What is your advice to anyone who wants to make it?
First and foremost, believe in yourself and your ability to accomplish everything you set your mind to. You are distinct, one-of-a-kind, and not empty, and it all begins with your mindset. You must cultivate a positive attitude toward yourself, your values, and your goals. I’ve always believed in myself as a trail blazer and this perspective will continue to drive me to never settle for less when I have everything it takes to be more. I remember back in secondary school when I was appointed the Head Girl. It remains one of my high moments in life because this was a position usually occupied by science students. But then there was me, a student of the Arts department, who changed the narrative. Even after being appointed, I had to remind myself that the legacy I owe those who come after me is to promote the notion that hard work and excellence pays off. This is what I continue to do to this day. Again, I’d say it all starts with how you think about yourself and your future. Failure will never be an option for you if you have a vision of who you want to be tomorrow. How far you can go or become is often determined by your mindset. Develop an attitude that corresponds to who you want to be and what you want to accomplish. Cultivate an attitude of possibility and reject any mindset that undermines your self-esteem. On the days when things don’t go as planned, you’ll need to rely on your burning passion to get you through. It isn’t enough to simply believe or have the appropriate mindset. You must do the work and pay the price. Success does not always come cheap. You could lose friends, displease your pleasures, go MIA, leave your comfort zone, take on difficult tasks, abandon habits, and so on. Understand your timing too and quit unhealthy competitions. Find your niche and explore As much as you can, avoid procrastination and get to work right away. Regardless of how depressing our country’s educational system appears to be, keep in mind that there are some doors that only academic excellence can open for you. Some people have made it because of their academic achievements. I’ve had a taste of it, and I’m currently working my way through it to the wider picture of my success. Never stop developing yourself. Grab the degree excellently, but you will also need the know-how to apply your degree to profitability. As an undergraduate, go for internships during your holidays to embrace the practical side of your course. If you can handle it, take up leadership positions to boost your CV. Thank God for the era of online courses. Take up as many relevant ones as you can enrol in during your spare time. In addition to capacity building, remember to make strategic networks. Attend conferences and connect with successful people in your field; learn from them.
What do you aspire to be now?
My aspirations have not exactly changed. They have only become bigger and clearer. I still look forward to building a career in the legal profession and maybe end up as a Senior Advocate of Nigeria. This is not a static aspiration, though, as I am still at the early stage of my career and still exploring its nitty-gritties. might develop an interest in the bench over time. I am also enthusiastic about teaching. Despite the fact that the Nigerian educational system is rather disheartening, I still hope to maybe become an academic someday. Maybe if the Bench doesn’t have me, I can double as an Academic and a practicing lawyer. This is why I am currently looking to further my studies with a Master’s Degree and, afterwards, take up a PhD in Law. Finally, as the woman of influence I aspire to be, I am also interested in my entrepreneurship goals.I am open to establishing an entrepreneurial source of income over the years. The goal is to amass enough wealth to sponsor personal and humanitarian dreams. It has always been my aspiration to live a life that has an impact on my generation and the generations to come.I’d like to take this opportunity to express my gratitude to everyone who has supported me throughout the years. My family, both nuclear and , especially Ezirim Ucheoma and a long list of friends.
The story of the beginning of the creative foraging in art in Nigeria is never much different from what is obtainable in various parts of the inhabited world. The story of art could be simply put as the story of civilization and evolution of man. Most of the materials and clues employed by ethnographers and anthropologists in reconstructing the story of the early man are largely based on the artistic objects and instruments left behind by the early man. Therefore, to study the art of the political entity known as Nigeria today, one must seek first to keep abreast of the peoples that make up Nigeria and their cultural origins prior to the coming of British colonialism which signaled the beginning of the formal historic recording of the heterogeneous people that was later brought under one umbrella called Nigeria mostly for the purpose of effective governance by the British imperialists. Consequently, since Nigeria today is more of a political sovereign entity rather than a singular culturally uniform group of people, it is important to study the arts of the different people that were brought together to answer Nigeria, since the country is made up of over 250 ethnic groups and languages. Art in Pre-Colonial Nigeria Almost all the ethnic people that make up Nigeria practice one form of art or the other. Like in most African societies, to the early Nigerians, art is inseparable from their religion. Art is seen as the agency through which their religion is given expression; it carries the essence of their religion. Therefore, prior to the coming of the colonial masters, Nigeria was a melting pot of artistic explorations, since they practiced their traditional religion to the fullest and without hindrance. The early Nigerians used their art to interpret their world as they saw it, as well as using it to concretize their cosmological views on life and esoteric ideas. They employed art in the various cultural celebrations and ceremonies and special commemorations because of the Pantheist nature of the traditional religion. The early Nigerian society produced a large collection of ancestral images and gods while spirit entities, natural forces and elements such as wind, fire, water and land were given recognition as possessing spiritual authority and required reverence. They, therefore, made art objects to represent the essence and attributes of these supposed forces. This they did with hope of subduing or at least appeasing them and in some cases, harness this power and by so doing be able to bring them under some sort of control or form some kind of pact with them. This practice is not far different from the magical meanings adduced to the cave paintings discovered in Lascaux France. Therefore, for the purpose of this article, it will be best to stick to a selected number of artistic media generally used by the major artistic flashpoints in the country. Fortunately, these flashpoints also represent in no particular order, the major cultural groups with the most extant collection of traditional works of art. A close study of the traditional art in Nigeria shows that most of the artifacts and cultural pieces produced by the different cultural groups are largely grouped within the boundaries of these mediums: stones, terracotta, woods, bronze, paintings and crafts. Esie and Ikom Stone Sculptures: Though Esie is a predominantly Yoruba community, the origin and identity of the makers of the stone sculptures have remained in obscurity crystallizing into different mythological stories by the community. Therefore, in a bid to unravel the mystery behind their identity, ethnographers, anthropologists and archeologists have made concerted efforts in different directions in order to explain the works. The findings of many researchers have, however, established the following facts; the Esie stone sculpture is a composition of about a thousand soap stone sculptures depicting both human and zoomorphic features. The human figures represent people engaged in various human daily activities. The stone sculptures represent a cosmopolitan collection of different cultures with features such as sophisticated hair styles, dresses, tribal marks, necklaces and bracelets with multiple cultural traits that connect them with different ethnic groups surrounding the area. The Esie stone works are also recognised as the largest collection of stone carving in Africa. Ikom monoliths of Cross River State represents the second yet known largest collection of a handful stone sculptures. The stone works are found in an area inhabited by the Ekoi people along the bank of Cross River. The Ikom figures are generally that of humans and are highly geometricized. Measuring between 2 to 6 ft, the appearance of beards in all the figures clearly shows that most of them are males. Scientific researches on this works date them to around 200AD. Terracotta Culture In Nigeria, almost every cultural group possesses one form of terracotta art or the other. In fact, most parts of Nigeria have one form of sculptural tradition or another especially around the southern part of the country. Nevertheless, the picture starts changing as one gradually moves towards the Northern part of the country. The Nok culture is dated to have flourished between the years 2000BC and 300AD, making it the oldest form of traditional art not just in Nigeria but West Africa. The following are the stylistic characters of Nok Art: complicated coiffure, high geometricism with cylindrical heads, perforated eyes, nose, mouth and ears, semi-circular and triangular eyes and lids and so on. Asides from the Nok culture, the Ife-Terracotta works are another notable ancient traditional art emanating from South Western Nigeria. Dating as far back as 12-15 century A.D. Ife art is located at the heart of Yoruba ancestry. Wood Carvings Scholars have for long established that Nigeria possesses the largest collection of sculptural works in sub-Saharan Africa. Most of these art works are done in wood and are applied to different uses. Also, this was possible due to the diversity in cultural abundance and most importantly as a result of the surplus abundance of timber made possible by the country’s location within the tropical rainforest region of Africa. Therefore, almost all cultural groups in Nigeria possess one form of wood carving tradition with notable styles and characteristics particular to them. Ancestral Figures Most ethnic groups in Nigeria have a tradition of carving ancestral figures. In Yoruba land, they have Ibeji figures. These figures are done to celebrate the birth or death of twins in Yoruba tradition. It is backed by the people’s belief that twins are powerful spirits who are capable of bringing wealth to their families or misfortune to those who do not honour them. To the Igbos of the South-Eastern Nigeria, one of the most popular and significant ancestral figures come in the form of Ikenga wood carvings. Ikenga is usually used to denote the power of a man’s right hand and his accomplishments. It is represented usually by a figure holding different things such as horns and swords. This practice of Ikenga carving has penetrated other cultures around the Igbos, such as the Edo who call it Ikengaobo and the Igala who call it Okega. Doors & Wooden Posts The Yorubas have a rich tradition of carved wooden posts and carved chip doors. This style of carving was so highly developed that guild of carvers and artists was developed around it. It was through this informal system of traditional art society education that gave birth to 20th century artists like the famous Olowo of Ise who many scholars have acclaimed as the most important Yoruba artist of the 20th century because of his virtuosity and dexterity in the niche of carved wooden doors and house posts. Similarly, the Igbos also have a developed system of wood carving of doors and house posts. In the past, the houses of highly placed individuals and the affluent were embellished with these works. In fact, it was used to identify the extent of wealth and social importance of individuals. The Awka guid of carvers was found in Anambra State. Igbo-Ukwu, Ife and Benin Bronze Traditions The Igbo-Ukwu bronze tradition is, unarguably, one of the most celebrated contributions of the Igbo race to African artistic and technological heritage. The origins of the technology and knowledge of metal working as displayed by the complicated and intricate designs employed in Igbo-Ukwu bronze findings still baffles scholars till date. The Igbo-Ukwu art heritage is reputed to be the oldest bronze sculpture tradition in Sub-Saharan Africa, dated to about 9th century A.D. The ancient city of Ife is widely acclaimed by the Yorubas as the birth place or the ancestral home of the Yoruba people. Many of the ancient Ife artefacts today have been traced to the dynasty of the Ife King, Oba Obalufon II who is highly regarded as patron of the arts. One notable characteristic of the Ife art is the emphasis on the size of the head as being the center of knowledge, symbol of ego and destiny and so on. The Ife artists therefore do not observe the rules of proportion in producing their figures but rather the heads usually are made a little larger than the rest of the body; sometimes in the ratio of 1:4. Another notable characteristic of the Ife art is in the use of small holes to indicate beards and hairlines of the masks and faces, and the presence of prominent scarification lines running vertically across the whole face. The Ifes were also adept in their mastery of copper and its alloys and they produced a handful of works using the material. They also produced terracotta works. Because the Ifes strived to produce art works that pleased the Obas, great effort was put into their production to achieve striking naturalism. This naturalism is one of the most notable attributes of the Ife copper heads which have their facial features well articulated to true representation of the individuals depicted. Of all the bronze casting traditions found in Nigeria, Benin ranks as the most popular, known world over. They are most famous for the great attention to details, masterly craftsmanship and dexterity with which they were executed. The inventiveness of the Benin civilization and art was first brought to Western public view following the infamous punitive British inversion of the kingdom in the year 1897, which saw a great number of Benin artefacts carted away by the British soldiers as war booties. The ancient Benin people, like their Yoruba counterparts placed great importance on the head as a chief part of the body; they therefore believe that the head is imbued with spiritual energy (ehi) deposited by the creator; Osanobua and his eldest son, Olokun. This is probably the reason why the Benins have a massive repertoire of bronze heads of their Obas donning their royal regalia. The art of the Benin people, like most Nigerian cultures, is not without the influence of neighboring tribes. Consequently, the Benins trace their bronze casting origin to the great Yoruba town of Ife, from where a man came and taught them different bronze casting techniques. Also, the Benin art was influenced by the naturalistic style of the Ifes. Contemporary Nigerian Art Following the dawn of independence in Nigeria, artistic foraging has continued to flourish, leading to the flowering of a multiplicity of contemporary styles in art production. Through the acquisition of formal Western art education, and drawing inspirations form the rich cultural motifs, Nigerian art scene has become more individualized, detribalized and universal with little common traditional traits still noticeable in the corpus of works addressed today as contemporary Nigerian Art. Globalization influences and current socio-cultural and political issues have contributed to a proliferation of styles and techniques. Nevertheless, the state of contemporary art in Nigeria is in a continuous flux and remains ever vibrant, opening up more vistas for artistic expression in a world resplendent with multiplicity of media and styles.
By: Moses Njoku Njoku wrote this piece for Affinity Art Gallery
FG Probes Indorama, Total, 10 Others Over Expatriate Quota
Navy Nabs 12 Boats, Three Trucks With N200m Stolen Products
‘AKK Gas Pipeline’ll Boost Upstream, Downstream Activities’
Customs Facilitates N56.2bn Export At Tin Can Port
NSML Gets First Sub-Saharan Africa Terminal Environmental Certification
‘Invisible Energy Highways Could Usher In New Era Of Shared Power’
2023: PDP Stakeholders Root For Wike
‘Take Advantage Of Energy Transition To Attract Investment’
© Copyright © 2009-2022 The Tide Newspaper Corporation