This article looks at how the Niger Delta area of Nigeria has been portrayed in literature and other types of popular culture. The Niger Delta is a region with a rich culture, nature, and tradition, but it has also been thrown into the spotlight of the world due to resource extraction and conflict.
Indigenous peoples, minority
discourse, environmental degradation, climate change, multinational
corporations' avarice, dictatorship, and people's struggle for resource control
are some of the area's pressing concerns that have fueled the artistic
imagination of the region's artists.
This book presents the Arts of the Niger Delta
from literature, the visual arts, and performances, taking a comprehensive
approach to the Niger Delta experience (such as masquerades, dances, and
festivals).
Authors, artists, and performers
including Ben Okri, Ken Saro-Wiwa, Isidore Okpewho, J.P. Clark, and Bruce Onobrakpeya
are discussed in various chapters along with subjects like the well-known Benin
bronze figures and UrhoboUdje dance.
Affirming the wealth and diversity of
the region which continues to inspire creative artistic productions, The
Literature and Arts of the Niger Delta will be of interest to researchers
of African literature, arts, and other cultural productions.
What
is Niger Delta Art?
The
Arts of the Niger Delta people consist of forms and practices that they
transitively learned from the region's ancestors.
These
art forms include visual and performance arts, with creations made of materials
including clay, wood, leather, metal, and fibers, among others. Along with
painting, calabash painting, body painting, and herbalism, the performance arts
also incorporate folders, music, folk songs, and storytelling.
These
artistic disciplines were being practiced in the Niger Delta region even before
the arrival of the Europeans. The Niger Delta art was intended to be a pure
form of expression, but western influences both badly and favorably impacted
it.
A
sort of acculturalization emerged as a result of Western influence. Even in the
face of modernization, the art of the Niger Delta nevertheless keeps its
original identity, despite the introduction of new and foreign media.
Landmark
The
oil-producing nations of Nigeria in West Africa are collectively referred to as
the "Niger delta" by the composite word and moniker that describes
them.
According
to history and geography, it is made up of the states of Bayelsa, Delta, and
River. Imo state, Abia state, Cross River state, Akwa Ibom state, and Undo
state were all decided to be incorporated by the Nigerian government over the
years, or more precisely in the year 2000, under the presidency of President
Obasanjo.
The
Niger Delta area currently consists of nine (9) states. The nine states are
independent of one another yet see themselves as one community. This is true
regardless of how Nigeria's South-South, South-East, and South-West
geopolitical zoning systems are referred to.
The
region measures about seventy thousand kilometres square. And makes up 7.5 of
Nigeria's landmarks. It lies within the southern part of Nigeria. It stretches
from the Nigeria – Cameroon boundary in the east to the undo and Ogun state
boundary in the west. The Niger Delta community is surrounded by the Anambra,
Enugu, Kogi, and Ekiti states respectively.
The
region has about one thousand six hundred communities (1600) and fourthly
ethnic groups in the Niger Delta. The community exercises almost similar
cultures but speaks over 250 dialects in the 9 states of the region and also
intermarries.
Population
Prior
to the 2006 national population commission census, the Niger Delta area had a
population of around 31,224,587 people. Based on growth, it is assumed that the
high birth rate brought on by the government of Nigeria's mandated adoption of
healthcare science must have contributed to the population expansion.
Resources
Inherit
The
Niger Delta region is well-endowed with a variety of natural resources,
including abundant supplies of land, water, mineral reserves, forests, and a
temperate climate. The people have used these resources for their artistic and
creative endeavors as well as means of subsistence.
According
to historical accounts, the Niger Delta's culture and inventive technologies
peaked about the sixteenth century A.D. It is thought that many other
civilizations contributed greatly to the cultural heritage of the people, but
this is disputed due to cultural influence and acculturalization from the
western world culture.
Human
Resources
The
people of the Niger Delta are dedicated and hardworking. Customers and end
users of Niger Delta items have attested that their goods serve several
purposes in addition to aesthetic ones. Many people come to see and buy art
products, but some also come to learn and develop their knowledge and artistic
abilities. By investigating the artistic methods and practices of the first
artists.
Culture,
which is the people's overall way of life, has opened and produced stimulating
works of art of the greatest caliber to encourage people to diversify.
Due
to the abundance of the vase-thick forest, which has given rise to a variety of
artistic expressions in herbal medicine, the Niger delta people produce
farming, fishing, technological instruments, and equipment, as well as herbal
medicine. According to research, the majority of this talent can be learned
through an apprenticeship and some through formal education.
Foreign
Influence on Niger Delta Arts
Native
Niger Delta arts are influenced by foreign cultures in both bad and good ways.
Below is a discussion of the two effects.
Religion
and Social Structure
New Western philosophical ideas, beliefs, and
cultural practices entered Nigeria thanks to Western education. The invention
was the catalyst for Islam and Christianity's rapid growth in Nigeria.
These so-called religions criticized indigenous Nigerian art that was based on
idols, shrines, and rituals, which were the main ideas of the Niger Delta arts
in Nigeria. New concepts and artistic styles that continue to reflect Western
civilization were brought forth by this evolution.
Decrease
In the Practice of Niger Delta Arts
The
Niger Delta Arts were dissuaded from being devoted to the practice of their
indigenous arts by Nigerians' new ideology and beliefs in all spheres of life.
As a result, the majority of artists switched to other professions and began to
pursue art part-time. This decreases the local population's capacity to produce
art.
Changes
in Theme and Style of Indigenous Motif to Style and Subject of Western Art.
The
indigenous topics that Niger Delta artists studied evolved as a result of the
influence of the west, as did the employment of western theme principles,
methodologies, and working skills.
Arts
and design that were previously employed for religious and ritualistic purposes
are now used to embellish everyday objects and adorn dwellings. Lowers the
production and market for Nigeria's native Niger Delta arts.
Changes in Materials
In
the 19th and 20th centuries, colonial missionaries and officials introduced
Nigerian artists, notably those from the Niger Delta, to the use of western
painting supplies.
Chemical
dyes, paint, metals, and glass fiber, among other materials, are used to
replace regional colors and materials like earth tones, charcoal, chalk, and
many others that come from plant and mineral sources.
These
mentioned indigenous materials were employed in the past to adorn homes and
temples, whereas contemporary materials are used to do so in contemporary
civilization. Currently, the Niger Delta has less of a need for locally
obtained materials due to the utilization of modern materials.
Changes
in Production Processes
Some
modifications in the methods used to create art were brought about by Nigerian
artists' exposure to western art supplies. The development and application of
machinery for the mass production of various indigenous artworks in Nigeria
erodes the motivation of Niger Delta artists to engage in original, inventive,
and dynamic artistic practice.
Lower
Value of Arts of the Niger Delta and Artists
Native
Nigerian artists adapted western culture to their production methods and
indigenous art concepts. While the quantity of indigenous art has decreased,
the quality of the pieces and the artists themselves have not.
Patronage
of Indigenous Niger Delta Arts Decreased:
The majority of buyers of arts and crafts from
Nigeria are exposed to western art items, which they view as being superior to
those from Nigeria.
Many of them switched from favoring works of art with entirely indigenous
themes and mediums to those from western cultures. Due to this factor, Nigerian
consumers are no longer interested in locally produced Niger Delta arts.
Positive
Change
1. Western Education:
In
Nigeria, western education was first brought by colonial missionaries and
administrators. To the advantage of philosophy and belief in Christian and
Islamic religions in contemporary culture, Nigerians' philosophy and beliefs in
idols, spirits, and rituals that support Niger Delta arts have altered.
2.
Government Recognition
The
government of Nigeria has acknowledged indigenous art forms and practices as
being more significant than modern arts and activities due to the direction of
western education.
For
instance, the administration of Rivers State has created a talent acquisition
program to train persons in the state who have specialized skills. The
curriculum provides a solid foundation for understanding the need to learn a
skill and contribute to one's community.
Justice
Mary Peter Odili, the wife of the former executive governor of Rivers State,
established the program there. Such a skill-building program is powerful.
In
modern Nigeria, pottery making, cane weaving, blacksmithing, and other Niger
Delta arts are recognized by the government and included in the course of
study.
3.
Access to Improved Materials for Art
Nigerian
artists were introduced to modern art supplies, tools, and equipment through
their western schooling.
Modern
Society benefits from the usage of western-oriented art supplies for
contemporary art forms and activities, including chemical dyes, paints,
brushes, machinery, and fiberglass, among others. That Production generates
space for mass Production.
4. Availability of a Variety of Art Materials
In
Nigeria, indigenous Niger delta artists who converted traditional materials
into media now use a variety of modern art materials, thanks to Western
culture.
The
majority of these supplies and equipment are readily available and reasonably
priced on the market. The artist is frequently motivated by the materials'
accessibility before them. These are traditional materials like canvas, oil
paint, linseed, poster color vanish, etc.
5. Improved
Training Standard
The majority of native Nigerian artists,
particularly those in the Niger Delta region, are now familiar with
conventional concepts and techniques for resolving artistic problems thanks to
the country's western education system.
The abilities gained
through such training have enhanced the artists' personalities as well as the
caliber of their work.
6. Increased Patronage
Western
culture has made the patrons of traditional art (Niger Delta arts) change their
taste for Indigenous arts so those of modem motifs and media of western
culture.
7. Work of Traditional Motifs
Western
education has brought the limelight to indigenous Nigerians to the world,
through art exhibitions, seminars, and workshops from both Private and
government collectors of artworks.
And
the creation of awareness of the importance of traditional arts in Nigeria.
Indigenous Niger Delta arts have become a source of market for indigenous arts
in Nigeria.
8.
Source of Livelihood
Nigerians'
exposure to the West has made them aware of the commercialization of local art.
This benefit has accrued over time to the Niger Delta population.
Many
of them receive government-issued certificates of proficiency in their areas of
specialization after receiving training in various traditional art forms.
They
direct private and group studies in addition to performing art at respectable
private and governmental institutions. Some of them go on to pursue careers as
educators, lecturers, ambassadors, political figures, and many others that pay
the bills.
9. Improved
Production Processes
The
western orientation which creates room for home and foreign trade ushered in
the use of machines in the art industry for quick and mass production of
artworks.
10.
Use of Mechanized Technology for Production
Most
products are produced with the aid of computers, such as printing and the use
of machines like projectors to facilitate drawing which would fasten the
production of works.
In
most cases the artist us spraying machines for paintings. Most Niger Delta
artist mass produces their masterpieces using print so that they could be
affordable to the mass.
11.
Cultural and Creative Arts
To
portray the cultural life of a specific ethnic group to the general public,
cultural and creative arts is the blending or tying together of many activities
such as fine and applied arts, song, music, dance, and theatre. For instance,
the aforementioned activities in the Niger Delta demonstrate the people's
cultural history.
12.
Extant Arts:
These
are the remains of ancient art forms and practices of a particular ethnic
group. Or very old existing art form and practice of a particular ethnic group,
for instance; blacksmithing. folk dance, and many more in the Niger Delta of
Nigeria.
13.
Extinct Arts:
None
functional or discarded art forms and practices of a particular ethnic group;
for example women's festival- "Adni-dni", and women wrestling
"Egugba" of Elele Alimini in Emohua Local Government Area of
Rivers State Niger Delta of Nigeria.
14.
Ethnography:
This
is the study and interpretation of social organizations and cultures in
everyday life. It is also a research methodology for studying and describing
different races and cultures.
15.
Ethnocentric:
Understanding
the ideas and beliefs of a particular culture and using it as a parameter for
judging other cultures.
The
Operational Terminologies to Note in this Study
Art and Craft
Art
Art is the study and creation of things that, via
straightforward compositional techniques, satisfy a person's sense of aesthetic
beauty and expression.
It
is primarily constructed taking into account characteristics like attraction,
admiration, and enjoyment of forms in both animate and inanimate objects.
Instead of providing overall comfort for the body, the study of art primarily
brings joy to the eyes and mind. Art includes creations like sculpture,
painting, decorating, and modeling.
Craft
When anything is made with skill and for a specific
purpose rather than for aesthetic appeal, it is called craft. Craft is the
study and production of things that will benefit man.
Crafted
items primarily fulfill the body rather than the eyes and thoughts. Craft
includes items like farm implements, vases, leather, fabrics, jewelry, and many
more.
Culture
The total way of life including the arts, customs,
institutions, and other instances of human intellectual achievements of a
particular people, nation, or group is Culture.
Cultural
All human activities relating to the culture of a
people are Cultural
Creative
Art
The ability to produce something for its aesthetic
qualities and definite function through imagination or original ideas; for
example, a piece of fine and Applied art, music, and drama (is Creative Art)
The
Value of Cultural and Creative Arts of the Niger Delta
The
religious, social, political, economic, and other contexts of the people's
cultural life are represented in the cultural and creative arts in the Niger
Delta.
The
following are some of the reasons why those activities are highly regarded and
supported by Niger Delta natives:
1. Culture
Preservation
Cultural and creative activities such as folk
music, carnival, festivals, and ceremonies of the Niger Delta Communities show
the ethnic and cultural diversity in Niger Delta.
Those activities show the different concepts of
moral philosophical beliefs and other cultural and historical facts about the
Niger Delta people from generation to generation. For these reasons, the named
activities are greatly valued and are upheld in the area.
2. Culture
Identification/Projection
Many ethnic groups have gained recognition from
others through the wide spread of their names in one form of art or the
other.
Niger Delta has gained this advantage over the
years. She has gained prominence at least in Nigeria because of her involvement
in wood carving, folk music, etc. the discovery of the skillful
16th-century mask produced by Joseph Alufa Igbinovia of Benin in Edo State
in a museum abroad, and its use for the symbol of FESTAC 1977 is an eloquent
testimony of such projection.
Again the popular folk music of Jimmy Counter,
Majority, and Promoter Eze of Ikwerre in Rivers State, among others is another
testimony of such projection. Those named artworks are widely known as
indigenous Niger Delta Arts. For these reasons, the value of cultural and
creative arts in the Niger Delta is obvious.
3.
Religious Value
Sculptural pieces especially miniature sizes such
as folk musical instruments, masks, and Pottery devices for traditional worship
of gods. Other devices include folk songs, regalia, and others.
Those artworks still serve the purpose of a
mediator between the almighty God and his worshippers in modern Nigerian
society.
4. Social
Value
Fine and Applied Arts, music, song, dance, drama
and folk tales, etc are used for the celebration of such activities as
festivals, coronations, marriages, carnivals, anniversaries, competitions, and
other ceremonial activities in the Niger Delta.
5. Economic
Value
Cultural and creative art is lucrative in Niger
Delta. Folk music is a good example of such a trade. The folk musicians in
Niger Delta do not suffer the difficulty of unemployment in Nigeria.
They are often hired to grace occasions. Such trade
helps to reduce the problem of unemployment in the country. In this way, the
need for cultural and creative art in Niger Delta remains obvious.
5. Political
Value
In Niger Delta, fine and applied arts, are the
major devices to achieve befitting political campaigns during elections by
party aspirants. Even the leaders also employ such art for celebration during
their coronations and other ceremonies. So the need for cultural and creative
art in Niger Delta remains.
6. Therapeutic
Purpose
Fine and Applied arts, music, and drama suggest
happiness to the mind. These activities enhance health. Cultural and creative
art constitute one hundred percent of such emotional happiness in man.
Again in Niger Delta, miniature sculptures are used
as ancestral spirits and medicine in the home to give protection against the
occurrence of some dangerous sicknesses, and spiritual attacks, ward off harm,
accident, infertility of the womb, and many more.
All these give rise to the value of indigenous art
in the Niger Delta.
7. Creative/Aesthetic
Value
Creativity is the pivot on which originality
revolves. Cultural and creative arts In Niger Delta create room for innovations
which results in style. The style of work of an artist makes him unique in his
profession and the uniqueness of the style becomes the beauty of the invention.
Festivals
in Niger Delta
Meaning
of Festival
A Festival is a feast, a celebration of
merry-making to commemorate special events in society it is a communal activity
that involves all the inhabitants of a town. Festivals are held for economic,
religious, and social reasons for which they are classified.
Economics
Festival
these are festivals celebrated annually to
commemorate good yields in food crops, fishing, and hunting activities e.g. New
yam festival
Religious
and Ritual Festival
Festivals are celebrated annually in honor
of their gods or ancestors. These festivals are held either to thank their gods
or ancestors for saving them from disaster or defeats in battles or just to
request the protection of the community through prayers. E.g Ime Alusi or Omaba
in Igbo land. Think of any town as an example.
Socio-
Political Festival
Festivals are celebrated annually to commemorate
such traditional rites as taking up a community political leadership such as
(Chieftaincy Coronations) the rite of circumcision, Initiation festivals, and
wrestling festivals. Etc.
Social
Values of Cultural Festivals in the Niger Delta
1. Cultural festivals
promote increased social relationships among the people of the Niger Delta.
2. They create room
for a general reunion of members of each of the communities in the Niger Delta
for planning and making decisions on their respective community projects and
development.
3. They are avenues
for social relaxation and entertainment.
4. They make for the
period of wide communal worship of gods of the land including general
thanksgiving and celebration of a particular festival e.g. the new yam
festival.
5. They make for
the period for paying homage to the community leaders e.g. the traditional
rulers, Monarchs, etc. Sometimes to the helpless and aged members of the
community.
Why Niger Delta Arts and Practice Should Continue in
Modern Nigerian Society
1. The Demand for the
Products is High:
The
nonformal arts and crafts of the Niger Delta people are highly needed by
Nigerians and other lovers of art for various end uses: but the supply in the
market is quite low.
Such
crafts as blacksmithing, raffia wove, and pottery among others highly needed
for household and agricultural activities even in the phase of modernity.
2. The
Art Forms And Practices Create Room For Employment:
Since
the practice of non-formal arts and crafts in the Niger Delta region are
sell-reliant
Occupation,
the occupation has provided employment to people. The involvement of people in
such an occupation has helped to reduce the number of the non-working
population in the country.
Mr.
Emmanuel Okah (wiper) -woodcarver Elele Town in Ikwerre Local Government
Area, Rivers State, and others have enjoyed this advantage over the years.
3. The
Arts and Crafts Contribute to the Beauty of the Nation:
The
non-formal arts and crafts contributed a lot of designs of forms and shapes
that are beautifying the nation today.
The
art form of a blacksmith is an eloquent testimony of this Architecture and sculpture
structures such as houses, bridges, status, and so on beautifying our homes and
Surroundings or blacksmithing.
These
structures are artistically expressed to be attractive. The comfort people
derive from artistic expression cannot be over-emphasized.
4. The Art Form/ Practice Projects
Indigenous Nigerian Art to the World:
Some
Niger Delta arts and crafts are produced and sent to places through private and
government collections. Some are preserved in museums for future use.
One
such work Is the 16th-century mask of Benin-Edo State, Nigerian which was
looted into museums abroad by the early British missionaries and administrators
after the punitive expedition of 1897 on Africa.
Luckily
enough, the mask was chosen as the symbol of FESTAC T7 held in Lagos between
January and February 1977. Again the famous symbol was carved by Joseph Alufa
Igbinovia of Edo State, Nigeria.
5. The Arts and Practice are Sources of Market
for Traditional Artworks:
The existence of the non-formal arts and crafts practice in the Niger
Delta functions as a means
through which traditional art products can be bought
and sold within the home rather than traveling far
and wide to get the same needed products
6. The
Arts and Practice of Cultural Transmission:
Signs
and symbols of tribes are created and made known to people through their kind
of artwork
7. The Arts Preserve the Culture of the
Niger Delta People:
Out
of sight, out of memory, whereas what the eyes continuously see it meditates
on, is a proverb that describes how the culture of the people is preserved and
continued via the creation and marketing of artistic works. The artworks look
after and protect the people's cultural heritage.
Conditions
Favouring the Development and Production of Niger Delta Arts
1. Ecological
Factor:
Niger
Delta communities are naturally blessed with mineral deposits and vegetation
such as water, clay forest, stones, gold and iron field, etc. needed for
production.
These
natural deposits are exploited in such a way to form art such as sculptures.
Architecture, pottery, Painting, weaving, bead making, weaving, decoration, etc.
to make ends meet.
2.
Historical Factor
The
need to preserve the history of some important events of the communities in the
Niger Delta through art is another factor that promotes the production of art
and inspires their concept during production.
3.
The Philosophy of Life of the Niger Delta People:
The
likings and disliking of the region, as well as the norm and belief system
which has affected their culture, especially from environmental factors, has
affected the scenarios and concept the artist
4. Religious
Factor
Niger
Delta Nigerian community in Africa is synonymous with the polytheistic idea of
religion. A number of styles of art forms are made in honor of their gods and
this goes a long way to determine and influence their artistic concepts.
5. Political Factor
Niger
Delta, every community is controlled by community leadership. Artworks are made
to glorify the leaders.
The
leaders have palaces that are decorated with artworks rendered in accordance
with the norms and beliefs of their people, for example, divine kingship, and
its consequent art.
6. Migration:
Indigenous
Niger Delta artists who are privileged to come in contact with foreign artworks
due to their travel from one country to another may adopt the foreign idea in
their works which will result in a change of theme.
7. Educational
Factor:
Indigenous
Niger Delta artists who received western education produce art in
the theme, media, and technique of western culture. This constitutes a major
control in the production of Niger Delta Arts.
8. Trade:
Exchange
of artworks through buying and selling, or other means of exchange; is a
contributory factor to the said influence since taste for traditional art may
change to modern art.
9. Economic
Factor:
The
presence of foreign investors within the Niger Delta region and their huge
patronage has positively encouraged the artist to produce more especially on
indigenous concepts.
10. Social/Ceremonial Factor
Due
to the high level of practice of cultural activities of the region, which
involves the wearing of costumes and cultural regalia the artist, is constantly
engaged in the making of the body decorative wear.
Why
we Study the Arts of the Niger Delta
1. We study indigenous Niger Delta Arts because the
knowledge of it will enable us to be conscious of our tradition, origin,
and the level of creativity enjoyed by the people of the past. Axiomatically,
one cannot appreciate others without first knowing himself.
Studying
Niger Delta Arts is not only important but also mandatory since it builds
people to understand their environment.
2. The study gives us background information about the
cultural heritage of the Niger Delta people. The revival of a people's culture
depends on the level of acquaintance with the existing traditions of the
people.
3. It informs people about the level of technology
(Scientific knowledge) employed by forefathers in their arts. That is the
systematic approach or methods used by people of the past in their inventions.
4. The study creates awareness of the achievements of
the Niger Delta (If any in her cultural heritage.
5. It serves as a stimulant to people's inner self m
their efforts towards improving their love of creativity.
6. It makes for the comparison between the art
tradition of the Niger Delta and the Outside world.
7. The study provides children with the necessary link
between their fathers, grandfathers, great-grandfathers, and mothers.
8. Knowledge serves as a source of inspiration in
people’s efforts to study the arts of modern society.
9. The study makes people understand better the types,
quality, and importance of traditional art materials in modern society.
10. The knowledge serves as a springboard for further
studies of Niger Delta arts in modern society.
Arts of the Niger Delta
Their
art practices include:
· Pottery
· Raffia Weaving
· Leatherwork
· Wood carving: Mask and its related figures
· Canoe carving
· Textiles waving
· Calabash Decoration
· Appliqué and embroidering
· Basketry
· Mat-making.
· Bead Work
· Metal Work
· Hairdressing
· Carpentry.
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