MODERNIZATION OF CREATIVE HERITAGE ON A IN MODERN NIGERIAN ART

ABSTRACT

Ona art emerged as a result of series of experiments in media, philosophy and Yorừba aesthetics carried out by five Ife ex-graduates in 1989. The art style,  which was formerly launched at the Institute of African Studies, University of Ibadan on the 29th  of March, 1989, became the toast of many upcoming artists, especially in the southwestern part of Nigeria. Modern Nigerian artists such as Moyo Okediji,  Kunle Filani, Tola Wewe, Bolaji Campbell, Segun Ajiboye and Stephen Folaranmi among others revisited and adapted the use of indigenous motifs as elements of decoration in their art works. They are renowned for their visitation and adaptation of Ona as a style in modern Nigerian art. Without doubt, since the introduction of Ona like many other modern art style it has influenced several artists and the art horizon of Nigeria. Many modern  Nigerian  artists  including  non-Yoruba  speaker  today  fall  back  on  their indigenous culture where they sourced motifs that are used as embellishment in Ona art.  Thus, the researcher believes that Ona art should be defined as the application of indigenous motifs from any culture to enhance the aesthetic qualities of the work of art. Ona artists are numerous but due to the nature of this study, only nine Ona artists were  selected  and studied.  The study has examined  the artists’  use of indigenous motifs, ideologies,  and media against their cultural background.  It also studied  the types  of  themes  used  by the  selected  Ona  artists  who  include:  social,  political, religious  and  cultural.  The  study,  therefore,  examines  how  Ona  art  styles  and practices have affected their creative intellect andconceptual inspiration.

Chapter One

Introduction

Background to the Study

Traditionally, art expressed definite time-honoured ethnic belief and ideals. Patterns and designs were based on classical conventions which were not easily subjected to drastic change or occasional modifications to allow for new experiences. The conventions were  courteously repeated  and  interpreted  by the

The above quotation shows how it is a common practice among ethnic groups in the traditional African societies to use their traditional motifs or symbols, for artistic expressions. For instance, the Hausa, Fulani and other groups in northern Nigeria are well known for their skillful use of traditional motifs in their leather works, calabash decorations, mural sculptures and pattern-dyed fabrics. Similarly, the Ibibio and Igbo peoples of the southeastern Nigeria are also known for their profuse use of traditional motifs such as nsibidi and uli for body and wall paintings (Fig.1). They also use uli and nsibidi symbols and motifs as a medium of communication.2

Also,among the Akan of Ghana, the Dan of Cote d’Ivoire and the Massai of Kenya, indigenous artists use motifs, images, symbols, icons and forms derived from their cultural and religious backgrounds as elements of decoration; like the situation among the Yoruba of Nigeria. The Akan peoples of Ghana and Cote d’Ivoire also use motifs derived from indigenous proverbs, myths and religion in the production of adinkra fabrics (Fig.2).

Thus, the use of traditional motifs as artistic expression, referred to as Ona among the Yoruba artists, is also prevalent among other cultures; it is not peculiar to the Yoruba people of Nigeria alone. It  should be noted, therefore, that the use of traditional or culturally inspired motifs as creative tools is an age long tradition in Africa. The Bambara people of Mali also produce Bogolafini mud dyed fabrics where they explore the use of cultural motifs and symbols that are either traditionally or religiously inspired3(Fig. 3).

The above justifies the essence of Ona art among the Yoruba people of southwestern Nigeria. Ona is a Yoruba word which refers to the design, decoration and aesthetics in art works.4     It makes reference to the application of patterns, ornament, design  and  composition  used  as  an  embellishment  in  Yoruba  traditional  art  and crafts.5Ona simply means ‘style’ which has a wide application.6  The ancient Yoruba people  used  the  word  Ona  to  describe  the  aesthetic  values  and  the  degree  of

embellishment in an art work.7For example, aso-olonáorasooke woven fabrics(Figs. 4&5)

among the Yoruba people of Nigeria literally mean “designed cloth”. Traditionally, the

Yoruba artists use Ona patterns, motifs, symbols, icon, images and lines to express their minds, in response to the aesthetic demands of their patrons and the society in general. On a general term, Onadescribes any form of composition, design, images, symbols, lines or sketches.8

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