UNIVERSITY OF JOS FINE AND APPLIED ARTS JOURNAL
University of Jos Fine and Applied Arts Journal (UJFAAJ) is a peer reviewed Journal. The journal helps to spread visual arts research findings and reports from the studio, theoretical and empirical works in the field in order to advance the knowledge base of practice led and practice based studies. The Journal is peer reviewed and published twice in a year and welcomes contributions from academics, art connoisseurs, critics and art Entrepreneurs. ISSN: 2705-2923 (PRINT), 3043-5129 (ONLINE)
LIGHT AND LIGHTING AESTHETICS IN SELECTED CONTEMPORARY NIGERIAN PAINTINGS
Light or lighting is a universal element that is natural, as seen in the sun, the moon, the stars and lightning. It is also man-made, as contrived in electricity, lamps, fires and even in representations of illusion by artists. As an instrument of communication and a subject of aesthetic discourse, light(ing) is usually associated with the performing arts. Not much attention is given to it as a vital component in the visual arts where it is used for modelling and projecting three-dimensionality on two-dimensional surfaces. Commonly referred to as “light and shade” or “chiaroscuro”, the artistic functions of light(ing) in some painting genres are to beautify, contrast, emphasize and solidify imagery. While acknowledging light(ing) as a major device of enhancement of art in galleries, this study examines the light(ing) phenomenon globally in artistic civilizations through selected artists and their works; with particular emphasis on some selected contemporary Nigerian paintings of artists like Kolade Oshinowo, Nike Okundaye, Tola Wewe, Abiodun Olaku, Sam Ovraiti and Edosa Ogiugo. The different aesthetic effects and spectacles achieved with the deployment of light(ing) are discussed against the backdrop of some global great masters like Leonardo da Vinci, Caravaggio, Rembrandt, Van Gogh and some Impressionist painters. The study is library-based and involves observation and verbal interrogation of the selected paintings that have been newly typologized through light(ing) categories as: Separation, Symbolicon, Reflection, Illumination and Crystallization. The study submits that, firstly, light(ing) essentiality, in all spheres of the arts, takes different technical formulations, but that it ends ultimately with similar functionalities across cultures and civilizations. Secondly, that the new typological framework will assist an in-depth analysis of art. And thirdly, that with this light(ing) typology, the literary scopes of art research and methodology will be further enriched
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THE INTERSECTION OF ART AND DIGITAL TECHNOLOGY IN NIGERIAN ART PRACTICE
The emergence and application of digital technology have greatly revolutionized the process of design and art practice generally. Digital technologies have become an integral part of contemporary art practice to the degree that traditional techniques are on the verge of less patronage in the age of artificial Intelligence that offers the luxury of speed, precision and reproduction. This integration of technology into art-making results in varied applications locally and globally, giving rise to diverse forms of digital expression. In Nigeria for instance, artists have employed the potential of digital tools to explore and maintain the rich and diverse Nigerian cultural heritage and traditional aesthetics. This paper draws from the works of these artists to advance the creative potential of technology for fostering indigenous aesthetics. Through a literature review and interviews with artists, designers and cultural practitioners, this paper establishes the contributions of selected artists to the ongoing digital revolution. By exploring the intersections and interactions between these domains, the paper seeks to contribute to ongoing scholarly discourse on the role of technology in fostering creativity, innovation, and cultural exchange in contemporary Nigerian society.
AESTHETIC CODING KEYBOARD CHRONICLES: AN ARTISTIC ODYSSEY FROM JOS PLATEAU TO THE GLOBAL STAGE
AN ANALYSIS OF EXPLORATORY PAINTINGS WITH THE DAGI MOTIF
"Dagi is the Hausa word for "feline paw". It is a prominent motif and symbol in northern Nigeria. It is found on the decorated walls of Hausa palaces and homes.it is also found on decorative and utilitarian utensils. The focus of this study is narrowed to this motif which serves as a medium for personal expression for artists. However, this does not prevent it from serving other purposes. The study has already been carried out in postgraduate research, which identified the non-utilisation of the motif as a singular focus of painters. The objectives are to; explore the rich artistic qualities of the Dagi motif, appreciate the artistic forms peculiar to the Dagi motif, transform the Dagi motif forms into compositional purposes in painting, and make the research a source material for further reference in artistic work. The objective of exploring the motif is at this moment focused on through a qualitative analysis of selected paintings. This exploration sets the tone for further paintings creating the transformative stage. The term "exploration" involves a search for artistic ideas for further work in the studio. Notably, Dagi has equivalents in other parts of the world.
ENHANCING ART PRODUCTION THROUGH MODERN TECHNOLOGY: IMPLICATIONS FOR THE NIGERIAN ECONOMY
This study addresses the problem of inadequate skill acquisition among Nigerian undergraduates, stemming from insufficient monitoring and implementation of educational policies, as well as the lack of modern technologies, machines, and equipment in tertiary institution art studios. These deficiencies hinder effective knowledge transfer and practice, resulting in the production of underqualified graduates. The study opines that providing the necessary tools would greatly enhance teaching and learning, which will lead to quicker comprehension and proficiency in creating marketable and internationally recognized art products. Comparative analysis of educational environments in societies with and without modern technological resources revealed that access to up-to-date equipment produces highly skilled professional artists. These artists contribute significantly to the economy, as entrepreneurs in various organizations. The study concludes that implementing and monitoring appropriate policies in Nigeria could alleviate youth unemployment, which is a primary factor in societal insecurity. Modern technological advancements have led to significant innovations in various software and products, which visual artists are increasingly utilizing in their work. This study benefits policymakers, educational administrators, and stakeholders in the Nigerian educational sector by highlighting the importance of modern equipment and effective policy implementation to improve graduate quality, enhance economic growth, and reduce youth unemployment and insecurity.
EXPLORING THE NIGERIAN CREATIVE INDUSTRIES AS CATALYST FOR SUSTAINABLE DEVELOPMENT: CHALLENGES AND THE WAY FORWARD
The Nigerian creative industries have emerged as a powerful tool for sustainable development in recent years. These industries include sectors such as film, music, art, literature, fashion and design. They contribute significantly to the country's economy, job creation and cultural identity. This paper examines cultural and social impacts of creative industries in Nigeria. It discusses their role in generating employment, promoting cultural heritage, fostering innovation and facilitating social inclusion. However, it also highlights the challenges faced by the creative industries such as inadequate copyright protection, piracy, limited access to finance and lack of infrastructure. The paper provers with suggestions for addressing these challenges and outlines a way forward to harness the full potential of the Nigerian creative industries for sustainable development.
THE IMPACT OF GLOBAL TURBULENCE ON VISUAL ARTS
The paper examined the impact of global turbulence era on visual arts. The major purpose is to re-examine the effects of COVID-19 pandemic on the visual artists, and the place of art during the pandemic era. The study is cross sectional in nature and was carried out using descriptive design to collect data from respondents and three respondents were used for the study. Data from both primary and secondary sources were collected using interviews and personal observation and later analysed and presented accordingly qualitative formats. This paper also reviewed the existing literature as obtained from academic research reports and online articles. The study however, concluded that the limitation of social activities led to the changes in the sales and exhibition of arts; mostly conducted via the internet, the art appreciation in exhibition. Activities found in art spaces or galleries also changed and there was a rapid growth in the use of digital communication technologies (social media) in publicizing art. The paper also concluded that the impact of the global turbulence experienced in 2020 affected so many sectors all over the world in which the visual art sector was not excluded. It suggested that artists should intensify use of social media platforms to promote the image of visual arts and sales of art products as well as intensify the use of improvised tools and materials as experienced during the pandemic era in 2020 to promote the use of locally made goods in favour of the nation’s economy as being currently solicited by the Federal Government of Nigeria.
ANIMATION-BASED LEARNING INSTRUCTIONS (ABLI) IN EARLY CHILDHOOD EDUCATION IN HIGHER INSTITUTIONS OF LEARNING IN NORTH-CENTRAL NIGERIA
This study was on the appraisal of Animation for instructions in Early Childhood Education Programmes in higher institutions of learning in North-Central States of Plateau, Nasarawa and Kogi States of Nigeria. The objectives were to appraise the ABLI readiness that is to determine the level of staff knowledge in ABLI and identify the challenges to the effective deployment of ABLI in the study area. The study was carried out in the Early Childhood Education Departments of the higher institutions of learning in North-Central States of Plateau, Nasarawa and Kogi. The 250 questionnaires was administered to relevant teaching staff in ECE Departments, and a total of 219 were received and used in the analyses after putting off incomplete ones. The general response rate after data screening was 87.6 percent. Descriptive statistics based on mean ranking was used to determine the results. Research question 1 was on the level of animation facilities provided in the ECE Department, and the major level is Computer Equipment/Printers, while the least level was reported in Closed circuit television (CCTV) and Cable satellite facilities respectively. Question 2 was to determine the level of staff knowledge with ABLI. The results indicated the highest ranked as Computer Equipment/Printers, while the lowest are loud speakers/Amplifiers/Microphones, Editing/dubbing machines, Floodlights, Closed circuit televisions (CCTV) and Cable satellite facilities respectively. Question 3 was on the challenges encountered in deployment of ABLI. Inadequate animation facilities ranked high, lack of animation instructional applications, inadequate electricity supply, and lack of training among others ranked moderate. The findings show a high level of readiness in ABLI, high level of ABLI usage, very high level of staff knowledge of ABLI and a moderate level of challenges encountered in the deployment of ABLI in the ECE departments. Recommendations were made on how to enhance the deployment of animation facilities for effective teaching and learning.
TRADITIONAL AFRICAN BATIK DESIGN: AN ANALYSIS OF TECHNIQUES, SYMBOLISM AND CONTEMPORARY APPLICATION
African nations' ingenuity and rich cultural past are exemplified by traditional batik. This paper aims to provide analyses of traditional African batik design, emphasizing its use in modern contexts, symbolic meaning, and utility. African Batik design's lasting relevance and adaptability are examined through a thorough review of previous works and literature. Examining the usefulness of traditional batik in contemporary settings, especially in fashion, home décor, and social commentary, is one of the goals. The study's methodology includes case visual analysis and a literature survey. The results highlight African Batik's creative potential and cultural legacy, highlighting the Art form and its ability to connect the past and present.
EXCHANGE OF TRIBAL ATTIRES AMONG NIGERIANS: A TOOL FOR ETHNIC COHESION AND ECONOMIC DEVELOPMENT
Nigerian civil war threw Nigeria into further disunity than was the situation before the crisis that led to the war. It is therefore necessary to garner measures that will stimulate ethnic cohesion in Nigeria today. This study proposes the integration of the exchange of indigenous garments of Nigeria’s ethnic groups amongst ethnic groups into Nigeria’s “National Friday Wear” programme. This is a situation, whereby, on every Friday, every Nigerian will dress to work in a Nigerian outfit that is not of his own ethnicity. For instance, the Hausa-Fulani people will dress in Igbo attire to their offices and terminate the dressing of themselves in Hausa-Fulani fashions. Likewise, the Igbo will dress in Hausa-Fulani gear to their places of work and discontinue kitting themselves in Igbo indigenous garment designs. The same becomes of Yoruba, Bini, Ijaw and other ethnic groups in Nigeria. This effort will encourage friendship amongst diverse ethnic groups. It will generate development in Nigeria’s indigenous textile and fashion design industries and boost in the sales of her indigenous textile and fashion design products. The post-civil war resolution, reunion, reconstruction and restoration of marginalised ethnic groups in Nigeria stand to be achieved if the proposals made here are given a trial. Data that informed this paper were gathered from books, book chapters, magazines, journal articles, newspapers, the internet, oral interviews and observations of the researcher. The method of data interpretation adopted in this study is descriptive as qualitative research methods of data collection and analysis were engaged.
THE RATIONALE FOR USING FLUID RENDITION IN STUDYING WATERMELON PAINTING.
This paper explores the artistic investigation of the watermelon fruit in painting within studio settings. It probes into the logic behind studio research methodologies, particularly in categorizing paintings based on their unique attributes. The paper critiques the arbitrary expressions and terminology often used by studio researchers, highlighting the importance of reason in categorization. Specifically, it aims to justify the use of fluid rendition in depicting the watermelon fruit in painting. Employing a qualitative approach, the paper examines paintings that embody elements of fluidity, analysing studio results inspired by the fluid characteristics of the watermelon. Examples such as “Race of Destiny” “Entangled,” “Paradox” and “Secret Battle” are discussed in the context of contemporary human experiences.
SYNAESTHESIA ART: INTERPRETING FELA ANIKULAPO KUTI’S AFROBEAT MUSIC AS A VISUAL COMMENTARY IN PAINTING.
Music-centred visual art interpretation, otherwise known as synaesthesia art, remains largely a territory rarely charted. This contemporary art practice lends credence to the interface of music and visual art as forms of interpretation connecting cognitive centres, such that the sense of hearing arouses the sense of sight. In context Fela Anikulapo Kuti‘s Afrobeat music experience and interpretation, into paintings, mirrors existential issues, exploring artistic conceptual creative style and content. The paper explores cross-modal correspondences derivative of perception, connecting music and visual art referred to as synaesthesia in art. The idea of Fela’s Afrobeat music serves as a trigger for inducing conceptual creation aligns with conceptual art practice in developing an emergent creative process. A review of literature analyses antecedent music-centred explorations by Kandinsky (1866-1944), Klee (1879-1940), Albers (1888-1976), and McCracken (b-1990) among others, comparatively assessing disparate process-based styles, forms, and content. Visual art creative strategy adapts Jung‘s four-fold cognitive functions. Jung’s cognitive function is an observation process connecting archetypes of sensation, feeling, intuition, and thinking as channels for creativity. A question contributing to objectives includes: How would Triptych forms adaptation conceptualise Fela Anikulapo Kuti’s Sorrow Tears and Blood song? What potential forms can evolve from fabric colour tesserae forms interpretation of Suffering and smiling songs? How can spiral installation string tesserae forms allegory conceptualise rhythm and movement of forms in Yellow Fever song interpretation? This Paper recommends that further contemporary art exploration of disparate forms of music genre, and adaptation of Jung’s cognitive function as a strategic process of creative unfoldment. Development of mobile installation art forms. The study findings contribute to knowledge of novel art forms. It promotes the idea of Music and visual art connection, Triptych form and Mobile installation string tesserae. Spiral fabric tesserae forms. Validation of Jung’s four-fold cognitive function as creative strategy.
A SYNTHESIS OF GBAGYI FEMALE FORMS AND THEIR SYMBOLS IN SCULPTURE
The Gbagyi people over the years have developed and sustained an enduring culture where the women carry the load on their shoulders; this has drawn the attention of various artists showing that the female forms remain an interesting theme for exploration in sculpture. Therefore, the problem of this study is the synthesis of Gbagyi female forms and their symbols in sculpture. Three objectives that led to the studio explorations were captured in this study. The first objective was to produce different representational postures of Gbagyi female forms in three-dimensional form, secondly; to create stylised sculptures of Gbagyi female forms and lastly, to synthesise the Gbagyi female forms and their symbols in sculpture. This study is justified because it has incorporated the Gbagyi traditional female forms with their material culture into abstract sculpture. The end of this study will give a new perspective to the Gbagyi female forms in abstract sculpture and will visually document the Gbagyi female forms and their cultural symbols in three dimensions as an act to further buttress the existing relationship between sculpture and culture. This research is rooted in the concept of “Natural Synthesis” fussing two or more forms, components, symbols and concepts into one piece. To the knowledge of the researcher, there is a gap in an attempt to synthesise Gbagyi female forms and their symbols into abstract sculpture while there appears to have been no attempt by sculptors to synthesise these forms in sculpture and documented.
DELINEATING THE JOS BURNT MARKET IN COLOURS.
This paper aims to explore the vibrant history, significance, and aftermath of the Jos Burnt Market, focusing on the role that colours play in its delineation. The Jos Burnt Market, located in Jos, Plateau State, Nigeria, has been a central hub of commerce and cultural exchange for many years. Tragically, it suffered a devastating fire in February 2002, leading to its devastation and degeneration. Throughout this paper, we will delve into the historical context, cultural significance, and the role of colours in marking the resilience and revival of the Jos Burnt Market.
UNIVERSITY OF JOS FINE AND APPLIED ARTS JOURNAL (UJFAAJ) University of Jos Fine and Applied Arts Journal (UJFAAJ) is a peer-reviewed Journal. The journal helps to spread visual arts research findings and reports from the studio, theoretical and empirical works in the field in order to advance the knowledge base of practice led and practice based studies. The Journal is peer-reviewed and published twice in a year and welcomes contributions from academics, art connoisseurs, critics, and art Entrepreneurs.
UNIVERSITY OF JOS FINE AND APPLIED ARTS JOURNAL (UJFAAJ) Department of Fine and Applied Arts Faculty of Environmental Sciences University of Jos Jos – Plateau State. VOLUME 3, NO.2 All rights are reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of the Editor-in-Chief, University of Jos Fine and Applied Arts Journal (UJFAAJ). June, 2023 CopyrightUJFAAJ Printed by: Department of Fine and Applied Arts Press Cover Design: Shamang Ishaya and Jacob Enemona Onoja Published by: Department of Fine and Applied Arts, Faculty of Environmental Sciences, University of Jos, Jos – Nigeria. ISSN: 2705-2923
EXAMINING THE CAPABILITY AND CHARACTERISTICS OF TWILL WEAVE FABRIC WITH DIFFERENT WEAVING MANUFACTURING
This examination was carried out to advance the fabric structure for the array regarding the capability and properties of fabric woven on a sword carry-less weaving machine by utilizing twofold yarn with twill weave patterns. Add up to seven unique sorts of weaves viz. plain, 2/2 matt, twist rib, 3/1 twill, herringbone twill, satin, and crepe were concentrated to research the solace and different properties. Cotton yarn was utilized as a part of the twist for all weaves. Cotton, polyester/cotton, and bed-look polyester yarn was utilized as a part of the weft to research the impact of weft mterial on fabric properties. Completing therapeutics like burning, desizing, mercerizing, fading and pitch completing were done on the fabric. All the fabric examples in the dark and in a completed state were tried in standard climatic conditions for capability attributes. Subsequent to testing acquired outcomes were dissected utilizing Minitab factual programming. It was discovered that a list of interlacements assumes an imperative part in changing fabric properties. Completed plain weave fabric with P/C mixed weft will offer ideal execution regarding the durability and serviceability of the array.
EFFECTS OF INFORMATION AND COMMUNICATION TECHNOLOGY (ICT) ON TEACHING AND LEARNING OF GRAPHIC DESIGN
The indispensability of a new technology to teaching has necessitated the use of a new approach in our current educational system, for efficient and effective outcomes. The teaching and learning of graphic design for instance cannot be effectively administered and achieved without the use of information and communication technology (ICT). Similarly, utilization of such ICT equipment/apparatus is often determined by the status of individuals, and policymakers which is entirely the role of government in power. Therefore, this paper examines the technological effect of Information Communication and Technology on the teaching and learning of graphic design. It further reveals the concepts of both graphic design and information communication technology, significance, and challenges and proffers possible solutions to the identified challenges.
CHALLENGES IN ART EDUCATION PROGRAMME IN NIGERIAN INSTITUTIONS OF LEARNING: AN OVERVIEW OF ITS DEVELOPMENTAL CHANGES BEFORE AND AFTER THE 18TH CENTURY
Art Education programmes in Nigerian institutions of Learning have experienced a number of changes since the inception of modern education in the late 18th century. It is on these bases that educational developmental changes started. The changes, therefore affected the characteristic features of the programmes. The changes came with different educational policies, innovative methods of teaching and learning, as well as curriculum innovation and implementations. Thakur and Ezenne in Mbahi 1999 affirm that “Educational programmes started with Islamic education from the North and Christian education from the South”. Prior to these periods, the system of education practised in Nigeria was the African type, which is known as traditional education. The formal education programme started with the introduction of Western Education in Nigeria from 1842 to 1948 of which the Formal art education curriculum was designed and developed, respectively, to favour the Western culture. The changes were necessitated when the issue of the modern education system was presented and discussed at different periods in Nigeria. During those periods, the major issue that was in the mind of the then educationists and policymakers, according to Imonikebe (2012), there was the need for changes in Nigerian art education.
Innovative methods of teaching and learning
ADAPTATION OF SARS_COV-2 MICROSCOPIC IMAGERIES INTO ABSTRACT PAINTING
Corona virus disease (COVID-19) is an infectious disease that has been a global health concern since 2019. It is caused by Severe Acute Respiratory Syndrome Coronavirus 2 (SARS_Cov-2) and the microscopic images of this dreaded virus adorn the screens of many mass media worldwide. These images are a dichotomy of the harmful and deadly nature of the virus. They appear aesthetically fascinating and display interesting patterns; motivating the researchers to carry out this study. This study, therefore, attempts to adapt the images to create painting compositions. Such has been attempted by artists like David Goodsell who composes microscopic data of viruses mostly for scientific advancement. The study adopts the notion of biomimicry. It also adopts the concept of abstract expressionism as derived from the works of Nigerian artist Gani Odutokun. The practice-based research methodology was employed for the study and data was garnered from secondary sources such as the Internet, journals, and magazines. The study concludes that the microscopic world has been explored marginally for artistic innovations and adds that studies such as this can narrow the gap between art and science and result in unique ideas.
DOWNTREND OF CERAMICS PRACTICE IN NIGERIA AND EFFORTS AT ITS RESUSCITATION
The ceramic industry in contemporary terms has undergone strategic transformations thereby making it a prospective catalyst for the potential growth and development of the Nation’s economy. The basic rudiments of ceramics development, which are raw material research, identification, characterization, exploitation, and formulation of bodies and glazes, are necessary for contemporary ceramics practice. Nigeria has some deposits of solid mineral resources that could hasten the growth of ceramics activities largely but there are constraints in the attainment of the set goals. Technical and managerial knowledge to adopt, replicate and simplify imported processing technology by the functioning ceramic industries seems to have no end in sight. The market potentials of ceramic products such as tableware, electrical insulators, refractories, and tiles (wall and floor) are very promising. The upgrading of the existing ceramic plants in order to achieve cost-effectiveness and competitiveness in terms of quality and reliability is a much-needed factor. Therefore, the gap in refractories and advanced ceramic production can be harmonised. Concerted efforts should also be geared towards the revamping of ailing ceramic industries by provision of funds and material processing technologies within their reach to ensure the much- anticipated growth.
DEVELOPMENTS IN THE VISUAL ARTS: A DOCUMENTARY FROM CRUTECH ART SCHOOL
This paper reports developments from the Visual Arts School of Cross River University Nigeria. Visual Arts in Nigeria has evolved through varied phases of growth with records of Technical, proficient, vocational, and self-reliant artists. Although art is as old as human existence, art schools are relatively new. Contemporary art schools are part of liberal art education. Multi-specialism is an added advantage to the arts and to economic and cultural advancements. The visual arts as a subject had suffered relegation, only a few students had interest in the course; parents even refused their children to study arts. However, the story is different as research has it that the art school has graduated a huge number of artists who are currently practising and own studios in their various specializations; such as graphics, textiles, painting, ceramics, and sculpture. Findings also indicate professional development in academic positions in various educational institutions and creative/cultural sectors. Consequently, the study adopts a qualitative research approach using interviews, observations, literature, and photographs. The study recommends research on emerging art studios, art galleries, and other art institutions in Cross River State.
Department of Fine and Applied Arts, University of Jos: The Axiom, Nexus and Historiology.
The establishment of the Department of Fine and Applied Arts in 2013 also known as the Jos Art School, bears credence to a long-standing historical antecedence in Plateau State. From earlier traditions of the establishments of art academies across the globe and Nigeria in particular, art sages stand on given philosophies on which they propagate and build their academies on. The Zaria Art Society and Nsukka Art School are some cases in view of the natural synthesis of indigenous forms with Western ideas (Dike & Oyelola, 1998) and the adaptation of Uli traditions respectively. The Jos Art School draws from the rich Nok culture and unique landscapes which started with the slogan “avant-gardes in creativity” on a philosophy geared to prepare staff and students to be creative and critical thinkers, artists, and patrons in the visual arts through dedicated teaching and practical demonstrations. This is achieved through fostering creativity and the dissemination of information through exhibitions, art-historical documentation, cultural displays, and all-around aesthetic engagements. One of the projections of the pioneering staff of the department is to have a department in today’s bustling, marketable world, the need for art programmes in the University of Jos to create compelling forms for objects seen in almost anything visual and engage in academic dialogues (Undergraduate Student Handbook, 2019). The department has had three Heads of the department from inception till date with landmark aesthetic visual culture showing in the various tenures and ongoing. This article views the axiom of Jos as a creative hub, the nexus between what was and now, and a historiology of the trends from inception till date. Projections and recommendations were also gleaned from the article to fill the lacuna of the art practice of Nigerian art space.
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Between Conventional and Unconventional Styles:
Women’s social identity has been changing rapidly in Christian-dominated southern parts of Nigeria due to the influences of globalization and new media culture. This paper engages the local practice of female figures in conventional and unconventional dress styles in Nigeria. The nonconforming modern mode in reference is trousers while non-bifurcated styles primarily associated with the female gender constitute the conventional styles. The paper adopts both discourse analysis and visual analysis methods. It reveals two broad categories of Nigerian artists. The first and mainstream, beginning from Ben Enwonwu, has the general tendency to depict women in conventional female dress. The second, exemplified by Obi Nwaegbe, portrays women in trousers. This paper extends key arguments raised by my recently concluded post-doctoral fellowship project on female cross-dressing in Southeastern Nigeria. The paper hinges on the conceptual frame: the social responsibility of the artist. The argument is that the prevalence of skirts, gowns, and other purely female styles in more general art practice is based on their longstanding feminine characteristic and some moral stance. Local artists are more frequently representing them and this tends to obscure the appearance of female trousers in artworks by home-based Nigerian artists.
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