Browsing by Author "Pogoson, O. I."

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The aberrant Esie head as model: an insight into the styles and origin of the Esie stone carvings
(2000) Pogoson, O. I.
lfe is incontrovertibly the most important Yoruba town in terms of art, religion and culture, it is therefore advantaged as a possible source place to solve the problem of the enigma surrounding the Esie stone carvings.This hypothesis is pursed to the conclusion that lfe is the most likely place that could have conditioned the Esie stone carving in their present location. An aberrant stone head, the largest among the over 800 stone carvings found in Esie is stylistically and culturally compared and linked with other Yoruba stone carvings from lfe and indeed a group of naturalistically carved stones also identified among the Esie corpus. This leads to conclusion of an lfe impetus for the creation of the Esie stone carvings.
Another reconsideration of the origin of the tsoede bronzes
(1998) Pogoson, O. I.
Discerning Northern Edo, Benin and Yoruba linkages: wood and metal staffs in Northern Edo
(2011) Pogoson, O. I.
Dyeing in Osogbo township
(Institute of African Studies, University of Ibadan Ibadan, 1995) Pogoson, O. I.
The Esie stone carvings in the art history of Southwestern Nigeria
(1991) Pogoson, O. I.
Ifa divination trays from Isale-Oyo
(2011-06) Pogoson, O. I.; Akande, A. O.
This paper is a study of the images and patterns on ifa divination trays from Isale-Oyo. The paper also explains some ifa paraphernalia. The paper establishes that ifa trays from Isale-Oyo bear distinctive features when compared with other ifa trays in Yorubaland such as those of Ijebu and Osogbo. Central to this study is the monographic description and interpretations of Isale-Oyo divination trays. Data were collected through direct interviews with divination tray owners. Photographs of the trays were also taken. The investigation revealed that:• Divination trays from Isale-Oyo combine features found on both Ijebu and Osogbo trays.• The Esu figure continues to occupy the top central position on Oyo divination trays, even though with representational variations elsewhere in Yorubaland.• Some divination trays in Oyo carry no decorations on their borders, and in some recent cases, ceramic plates are now used for divination.
The image of the (afro) comb in contemporary Nigerian art
(2013) Pogoson, O. I.
Indigeneity and eclecticism in Ogori Ovia-Osese festival
(League of Ogori Professors (LOP), 2012) Pogoson, O. I.; Anabe, A. T.
Interrogating anthropomorphism in Benin and Northern Edo art: some tentative notes for historical clarifications
(2015) Pogoson, O. I.
This paper interrogates a rare anthropological collection from Edo North gathered together between 1908 and 1910 by Northcote W. Thomas, first colonial government anthropologist in Nigeria. After collection, the objects have been stored up, largely ignored, at the University of Cambridge, Museum for Archaeology and Anthropology. The paper questions the resultant long time de- contextualisation and isolation of these objects that have, over the time, made it remote to link these evidential materials and their producer culture and neighboring cultures. In an attempt to re-contextualize the objects, a comparison is made, of highly anthropomorphic Benin court art, which has for a long time, politically, dominated Northern Edo land but its character is not represented in Northern Edo art and selected anthropomorphic objects from the Thomas collection. The idea underlying Benin artistic production is basically anthropomorphic, revolving around the Benin king and hierarchy and hence a court art, whereas there is paucity of human representations in Northern Edo land which intriguingly also doesn't have the political structure to support it. Using the older language age evidence of forms of Edo language spoken in Northern Edo land, the paper queries the possibility of a south-north movement to create the works under reference. Perhaps there had been an earlier north-south movement and then a later south-north returnee movement whereby the works in the Thomas collection would represent those of the earlier northern Edo autochthons and ancestors of present day occupants. The Thomas collection may be remnants of an earlier tradition before Benin suzerainty gained full grounds in the 19th Century.
Interrogating Olu Amoda’s third eye: artist, poet and critic?
(Department of English, University of Ibadan, Ibadan, 2015) Pogoson, O. I.
This essay explores the question of naming as a springboard for delving into some of the deeper issues of the process of artistic production as exemplified in the works of Olu Amoda, one of the most prominent producers of art in the Nigerian scene. It is a perennial issue in art history whether a work of art can stand meaningfully alone, or whether it requires a name for its meaning to become discernible, and for its identity to be established. This essay, from the standpoint of an insider engagement with the social and historical conditions that inform the naming strategies of the artist under study, puts forth the argument that artists have the ultimate responsibility to decide how to situate their works through naming, and that whether or not they situate their works through naming or titling, the works remain situated somewhat. For an artist like Olu Amoda, naming is a necessary part of the process of producing art. And in the classification of his works provided in this essay, it is demonstrated that similar strategies and concerns inform the decisions he makes in terms of selecting materials for producing his sculptures and in terms of naming the works he produces. In his use of naming strategies to locate his works, it is the same vision, the same third eye, that is in control.
The last of the troubadors: adieu, Lamidi Fakeye
(2009) Pogoson, O. I.
lroke: icon, instrument and insignia of ifa
(Department of European Studies, University of Ibadan, Ibadan,, 2008) Pogoson, O. I.; Akande, A.
New light on the equestrian figures from ancient Benin
(2001-04) Pogoson, O. I.
New perspectives in Edoid studies: essays in honour of Ronald Peter Schaefer
(The Centre for Advanced Studies of African Society, 2002) Pogoson, O. I.; Egbokhare, F. O.
Ogori culture and people: Ovia-Osese and beyond
(League of Ogori Professors, 2012) Pogoson, O. I.
On the origin of two bronze dwarfs in the museum fur Volkerkunde, Vienna, Austria
(1998-10) Pogoson, O. I.
Photography as art: characterizing Dotun Okubanjo as a photographer
(Department of Archaeology and Antrhopology, University of Ibadan, Ibadan, 2014-12) Pogoson, O. I.
Photography: a tool for historical records in Nigeria
(University of Cape Coast Press, Cape Coast, Ghana, 2012) Pogoson, O. I.; Akande, A. O.
History is either oral or written. Whichever of these forms it assumes, one thing is clear; it brings to memory records of past or present events, places or situations. The question of two or more people experiencing the same or somewhat similar graphic imagery of oral or written history becomes pertinent. This situation is improbable. However, with the aid of photographs, the graphic representation of an event is frozen in time and space, thereby making it possible for a number of people to view the record of a past event that they may not have witnessed. With video, we can even hear voices and experience life in such events. Using pictures from old newspapers, published books and from private collections, this essay attempts a pictorial social, cultural and political history of the country. It also appraised the development of photography in Nigeria. This essay avers that photography is a veritable tool for documenting historical records for posterity and an endeavour that should be encouraged and communalised.
The question of outside origins for the esie stone carvings
(Institute of African Studies, University of Ibadan, Ibadan, 1990) Pogoson, O. I.
A reconsideration of the Ora Benin relationship
(Department of Archaeology and Antrhopology, University of Ibadan, Ibadan, 2014-06) Pogoson, O. I.
The relationship between the Edo people of Ora and the Edo people of Benin dates back to ancient times. It is taken for granted in the accounts of the origin of this relationship that the Ora are the descendants of Uguan, son of Oba Ozolua of the Benin Kingdom. However, a painstaking dissection of certain aspects of the traditions oforigin provides grounds for exploring some of the issues that may have been forgotten or become unremembered in the historical accounts. Whereas the Edo people of Benin place the beginning of their relationship with the Ora in the aftermath of the rule of Ewuare the Great in the 15th century, Ora remembrance of its Benin affiliation goes back as far as the reign of Eweka I in the 13th century. While it is not to be doubted that waves of migration from Benin led to the peopling of the Ora area, it also stands to reason that the Benin migration met an autochthonous element from which has been handed down some of the distinctive and longstanding features of Ora culture still in evidence today. These features include, but are not limited to, the Ora gerontocratic system of traditional governance and the absence of royal art in the Ora area, which mark major departures from the Benin way. In addition, there are extant contributions to Ora culture from the nearby culture of lle-Ife, and these contributions appear to predate the Benin migration, even though the latter dominates accounts of the origin of the Ora.