Scholarly Works
Permanent URI for this collectionhttps://repository.ui.edu.ng/handle/123456789/5500
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Item Syntheses of cultures and sensibilities: the expressions of Moyo Ogundipe(2011) Pogoson, O. I.; Akande, A. O.Item Indigeneity and eclecticism in Ogori Ovia-Osese festival(League of Ogori Professors (LOP), 2012) Pogoson, O. I.; Anabe, A. T.Item Some utilitarian objects from Edo North and the Northern Edo and Benin artistic relationship(2016) Pogoson, O. I.The history of Northern Edo land, Nigeria has been subsumed in the history of Benin kingdom and indeed, due to oversimplification, northern Edo history has been reduced to the history of Benin. Presently, the only available means to salvage the history of Northern Edo land remains the art objects collected by Northcote Thomas from Edo land, between 1908 and 1914. The collection is now domiciled at the Museum of Archaeology and Anthropology (MAA) of the University of Cambridge, unutilized. The paper therefore undertook a comparative iconographic study of selected objects from the Thomas' collection with Benin art, in an attempt to make some more specific and perhaps categorical statements about a possible Benin-Northern Edo artistic relationship. Some of the works analysed from the collection include kola nut bowls from Otuo, Uzebba decorated kola nut bowls, igbede bowls, and Okpe decorated lad] e out of others: Evidently these artworks are prestigious objects, yet the Edo north community is devoid of such powerful central administrative system that could be in demand of such objects. This raises questions about the peopling of the region. From the available evidential materials, under consideration, it was then postulated that there could have been the possibility of north-south movement and a later south-north movement in that region, which has caused a thinning-out of the culture that produced the Thomas' collection. The paper concluded that the makers of the selected objects from the Thomas' collection might be different from the present day inhabitants of the region.Item Some Benin costumes and their relationships to the costumes on the ancient arts of Benin(Jator Publishing Company, Ibadan, 1999) Pogoson, O. I.Item 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.Item Photography as art: characterizing Dotun Okubanjo as a photographer(Department of Archaeology and Antrhopology, University of Ibadan, Ibadan, 2014-12) Pogoson, O. I.Item 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.Item 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.Item 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.Item The last of the troubadors: adieu, Lamidi Fakeye(2009) Pogoson, O. I.