APPRAISAL OF 2005 AND 2006 EXHIBITION OF CERAMIC ASSOCIATION OF NIGERIA (CerAN) HELD AT NSUKKA AND AKURE - NIGERIA

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APPRAISAL OF 2005 AND 2006 EXHIBITION OF CERAMIC ASSOCIATION OF NIGERIA (CerAN) HELD AT NSUKKA AND AKURE - NIGERIA

 

 

Chronological Trend in Ceramic Development in Nigeria:

 

Examining the contemporary pottery in Nigeria Fowowe (2004:4) highlights its development to early 1920’s in Nigeria with gradual changing phases of tradition, due largely to the contact with western civilization.  The production of traditional pottery among different ethnic groups in Nigeria have been culturally unique because of their contribution to material culture of the people and excellence of its practice, beauty of its forms and its africanistic symbolic surface finishes.

In 1952, Micheal Cardew, a British master potter, at the instance of the Northern Nigerian Government established the Abuja Pottery Centre which assembled local potters and introduced them to modern ceramic practice.  This led to the production of pottery on the potters wheel and use of high temperature kilns enhanced with the best of Gwari traditional design that places emphasis on incised decorations.  Prominent among the traditional potters of repute from the Centre was Ladi Kwali (1924 - 1984).  This workshop has no doubt made significant contributions to the economic welfare of the people.

The institutions that were established from the early 1960’s are Zaria and Nsukka Art School.  They are now Department of Fine Art and Industrial Design, Ahmadu Bello University, Zaria and Department of fine Arts, University of Nigeria, Nsukka. From 1970’s to date other institutions where ceramics are offered were established.  Among them are Yaba College of Technology, Lagos, now City University Lagos, Department of Fine Art of Universities of Benin and Ife, to mention a few.  These institutions have transformed pottery from its normal traditional role to more unique items of both functions and value.

Emergence of Ceramic Association in Nigeria:

 

The contemporary ceramics and ceramists were faced with avalanche of problems that border on prospecting and processing of ceramic materials, accessibility to modern equipment like the blungers, pugmills, jaw-crushers, ball-mills, kilns, good and effective burners, and government attitude towards entrepreneurial endeavors in areas boardering on solid mineral utilization as a result of over-dependence on revenue from the oil sector of the economy.  In an attempt to keep afloat in pottery and ceramic production, potters have assumed a lot of roles that have been so diversionary and reduce productivity level.

Onuzulike (2004:43) states that the above situation have forced ceramist in Nigeria to perform singularly as artist, geologist, chemists, engineers, mason, carpenter and marketer, thereby making a lot of Nigeria business investor impatient with return on their huge investment in ceramic cottage and large industries.  An effort to seek for solution to these technical problems led to the formation of professional associations like Craft Potters Association of Nigeria (CPAN) in 1995 and Ceramic Association of Nigeria (CerAN) in 1986.  The objective of the association, according to Ahuwan (1999:37-8) are to promote the advancement of ceramics and allied sciences, organize seminars, conferences, exhibitions and workshops to booster technical interaction and exposure among members.  This paper, therefore, is intended to appraise 2005 and 2006 Ceramic Association of Nigeria (CerAN) exhibition with the aim of highlighting some prominent ceramist work for discussion as a result of the exceptional qualities of their exhibits in terms of styles, concept and thematic expression that are cultural to Nigeria.

The exhibition for 2005 was held at the Department of Fine and Applied Art, University of Nigeria, Nsukka from October 26 - 29 with 34 participants while in 2006, the Department of Industrial Design, Federal University of Technology, Akure hosted the conference and exhibition with 42 participants from various parts of the country, most of who are academicians from various institutions.

At the 2005 Nsukka conference pioneer member who are patrons were present among who are Professor Abbas Ahuwan, Dean, School of Environmental Design, Ahmadu Bello University, Zaria; Prof. B. N. Igwilo who retired from Department of Fine and Applied Art, University of Nigeria, Nsukka; Prof. O. K. Oyeoku, current Dean, School of Art and Social Sciences, University of Nigeria, Nsukka.  Others are Mr. Eddy Obiako, Head of Ceramics, Project Development Institute, Enugu.  The 2006 exhibition at Akure was well attended and Prof. Oyeoku read the opening speech on behave of Prof. Ahuman, who is the Chairman of the Association with the 42 participants from all the geo-political parts of the country.

Exhibits: “Symbol of Nigerian Cultural Identity”

 

There are very many participants but few works are singled out for discussion from the two years exhibits, especially those that have some expressions that are exceptional in theme, craftsmanship and intrinsic values that are of African content.  Oyeoku (2005:2) expresses that Nigerian ceramics have come of age in the expression of its identity in forms and design reflecting contribution to socio-cultural life of the country.

 

 

(1)        The Desire to Fly Again: Gladys Udeh

 

This is a pot which was presented in multi-coloured glazes ranging from buff to polished top and a base made in shade of dark glaze.  The upper portion abstractically takes after a fish while the tail bottom is represented with coil.  A lot of harmony in the contrast was achieved in the distribution of light and shades and her ability to effectively use lines and coil to represent scales and fins which created illustration on the surface is highly commendable.

(2)        Uyai Offiang (Moonlight Play): Nsewtip Udom

 

This was a linear pot made of coils and super imposed on a linear sliced of wood assembled and painted with black lines.  It is a symbolic representation of the glamouring for moon light, starting from moon crescent to full round moonlight that brighten from night to early morning.  The brightness of the night moon allow children and adults alike to take advantage for long night plays, a recreational activities among marriageable adult that results in marriage proposals.  The work represents a typical night setting among the Calabar people of Cross River State in Nigeria.

(3)        Yam Casualities: Ozioma Onazulike

 

Onazulike is a lecturer with University of Nigeria, Nsukka, a prolific historian and a ceramic critic.  In the exhibition, he displayed yam in its broken form which he titled orthopedic hospital.  It is a high-fired terra-cotta piece in yam form that was bone-fired to create a smoothy sooth impression on the surface.  The smoothy surface impression gave the yam a feel of reality.  Yam is one of the popularly grown tuber crop among all ethnic groups in Nigeria.  It is popularly used for celebration and as traditional presentational offer in ceremonies that has to do with marriages, burial rites and local festival such as egungun (masquerade), ogun (god of iron) and osun (god of water).

(4)        My Grandfathers Gourds: Dipo Akano

 

Dipo Akano is a lecturer at Yaba College of Technology, now City University, Lagos.  He made a gourd in clay, which originally are calabash containers used for storage of liquid that have to do with either magical concoctions or water or palm-wine (a local drink tapped from palm tree).  The gourd was made of stoneware using tenmaku glaze with surface embellishment in geometric shapes with visible intertwined coil representing the point of carriage.  Colour stains were splashed on the opening point of the container to give the foaming impression of the palm-wine drink.

(5)        Handcrafted Glasswares:AKomolafe I.I.

 

Komolafe is a graduate of glass technology from Ahmadu Bello University, Zaria.  He has a master degree in glass technology from the same institution.  He is the current Head, Department of Glass and Ceramic Technology, Federal Polytechnic, Ado-Ekiti.  He specializes in aspect of glass forming, building of furnaces and incinerators.  He had a display of an interesting wine set and glass paperweight.

(6)        The National Colour: Onu, Cains Chukwudi

 

This is a representation of more than 70 miniature terra-cotta birds hung on a chicken net were flying at different directions restlessly.  It was used to express Nigerian national colour symbolizing survival of the fittest, that is a country with plenty and yet plenty of its common population struggle day and night for survival.  Chukwudi displayed good sense of patience and skill at executing the concept with good realistic representation of forms.The exhibit is been appreciated by the president of  Ceramic Association of Nigeria(CeRAN) and the representative of the vice-chancellor of University of Nigeria, Nsukka.

(7)        Wazobia:Shuibu Al-Hassan

 

This exhibited symbolizes the three major tribes in Nigeria, that is, the Hausa (zo), Ibo (bia) and Yoruba (wa) meaning come.  It was well reflected in their facial expression and types of traditional attire they wear with caps to match.  The tribes are the major ethnic groups in which the unity and oneness of the country relies upon.  They are seated on a stool that acts as a lamp shade with multi-coloured glazes double dipped on one another.  It was well fired stoneware and the level of glittering attracts attention easily. Shuibu is a lecturer in the Department of Fine and Applied Art of Auchi Polytechnic, Auchi in Edo State of Nigeria.

(8)        “Embrace”: Ngozi Omeje

 

The flower pot was designed showing two figures of human beings hugging themselves to a warm reception radiating a lot of emotional feeling of warmth.  The figure built in coil shows feeling running through the nervous system when one comes in contact with someone he had like to welcome and appreciate.  It is an affection displayed according to the ceramist to reach out to ones guests, friends, clients, and customers.  It expresses “that affection runs deeper than just to make money”.  Embrace was intended for making guest at ease and show sign of welcome in any office reception.  Ngozi is a graduate of University of Nigeria, Nsukka, did her National Youth Service at University of Benin.  She has other exhibits like tea sets, jug and cups that are beautifully accomplished with good textural surface finish in butter coloured glaze contrasted with blue stain.  She made and exhibited a traditional bottle with intricate thin coils used to embellish the surface titled “heritage”.

(9)        Porcelain Collections: Kashim Isah Bolaji

 

Kashim has a display of whitewares made 100% of local contents from Nigeria. They include ball-mill pebbles and linings, laboratory pestle and mortar.  But of particular interest is the Benin traditional mask which takes a resemblance after the symbol of “FESTAC 1977”, that is, the emblem of celebration of Festival of Arts and Culture hosted by Nigeria in 1977.

(10)      “Stoneware Flower Vase”: Babafemi Ajayi

 

This flower vase is an embodiment of colourful display of linear incisions that are well complimented with over lapping flow of interactional effect of different glazes without showing stress or boredom.  The surface colour interaction with the glossy effect gave the pot an outstanding physical outlook that captures public interest easily.  Babafemi is a graduate of University of Nigeria, Nsukka and hold a masters degree from Ahmadu Bello University, Zaria.  He lectures at the Department of Ceramics and Glass Technology, Federal Polytechnic, Ado-Ekiti.

Both Craft Potters Association (CPAN) and Ceramic Association of Nigeria (CerAN) have continued to be a gap-bridging organization through annual conferences where common problems and solutions are being discussed.

 

REFERENCES

 

AHUWAN, A. M. (1999) “Trends in Contemporary Ceramics in Nigeria”.  Environ: Journal of Environmental Studies. 1(2 & 3), 32 - 49.

 

FOWOWE, M. O. (2004) Changing Phases in Tradition: The Origin and Growth of Contemporary Pottery in Nigeria.  CPAN Journal of Ceramics.  1 (1), 4 - 13.

 

ONUZULIKE, O. (2004) Towards Professional Visibility: THE HISTORY OF CERAMIC ASSOCIATIONS IN NIGERIA.  CPAN Journal of Ceramics. 1 (1), 43 - 54.

 

About the Author

KASHIM, ISAH BOLAJI            

 

Department of Industrial Design,

 

School of Environmental Technology,                       

 

Federal University of Technology,

 

P.M.B. 704, Akure,                                     

 

Ondo State, Nigeria.                             

 

 

 

 

E-mail: ibykash@yahoo.com   

 

Mobile Phone:  08033517742

 

 

 

 

 

 

 

            Academic and Professional Qualifications with Dates:

 

            Primary School Leaving Certificate                    1973

            West African School Certificate                        1978

            Grade II Teachers’ Certificate               1979

            B.A. Industrial Design (2^nd Class Upper)           1985

            M.A. Industrial Design                          1993

            Ph.D. Industrial Design                                     2005

            Membership of Professional Organizations and Learned Societies:

 

            (a)        Society of Nigerian Artists (SNA)

            (b)        Member, Craft Potters Association of Nigeria (CPAN)

            (c)        Member, Ceramic Association of Nigeria (CerAN)

            (d)        Member, Association of African Industrial Designers (AAID)

 

 

 

 

            University Teaching and Research Experience:    10 years (1997 to date)

            Present Academic Position:  Senior Lecturer in Industrial Design (Ceramics)

            Current Research/Teaching Areas:  General Drawing, 3D Design, Industrial Ceramics, Architectural Ceramics, History of African Design, and Throwing.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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