Peace and Conflict Studies
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Item 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 carvingsItem Traditional art forms: the question of origin of Esie stone images(Society of Nigerian Artists, 2001) Pogoson, O.I.Item New light on the equestrian figures from ancient Benin(2001-04) Pogoson, O.I.Item Creative endeavour and the Nigerian environment(Rodopi Bv Editions, 2001-12-01) Pogoson, O.I.Item The last of the troubadors: Adieu, Lamidi Fakeye(2009) Pogoson, O.I.Post colonial discussions of African art initially centred on capturing the essence of traditional African arts alongside a new contemporary art that was practically a product of colonial circumstances. Growing side by side these.were to all intents and purposes, other artistic initiatives fashioned after western cultural parameters. Sortie of the new initiatives included attempts to study, understand and as much as possible retain traditional elements, that had more or less been deliberately relegated as a result of missionary colonial contact. And therefore here lies the huge historical contradiction, for it is the same missionary force that later sought to encourage, foster and allow the use of traditional images in the churches. As a result, local and outside initiatives around that time paid some attention to investigating the traditional arts. In doing this and against the background that African wood sculptures were incontrovertibly the best and most widespread of traditional arts to reach the west, the efforts of the Catholic mission to encourage and propagate African images in its churches led to the inadvertent discovery of one of Africa’s greatest and most prolific woodcarvers, in Nigeria, Lamidi FakeyeItem Ifa divination trays from Isale-Oyo(Centro de Estudos Africanos, 2011) 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 iconographic 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 divinationItem A reconsideration of the Ora-Benin relationship(Swift Print Limited, Osogbo, 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 of origin 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 culturefrom 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 OraItem Photography as art: characterizing Dotun Okubanjo as a photographer(Swift Print Limited, Osogbo, 2014-12) Pogoson, O.I.This paper classifies and analyses the creative pictures of one of Nigeria's foremost photographers with formal western training in photography. Dotun Okubanjo used his photographs of the late fifties and early sixties to impact society, then as now. His personal story exemplifies the changing status of the profession within the society thus providing useful insights to the political and social economy of the period. Dotun Okubanjo's photographs eventually catch up with the idea of, and that photography itself is a creative, rather than a mechanistic process simply because it is a product of a technological innovation. Dotun Okubanjo's photographs are incontrovertibly the, product of the creative manipulation of the camera, the creative selection of his .subjects and the creative production of the individual photographs themselves. He shot photographs only in black and whiteItem Interrogating Olu Amoda’s third eye: artist, poet and critic?(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 controlItem 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