Adaptation of the Dagi Motif for Painting
Chapter One
Objectives of the Study
The objectives of this research are:
- To explore the rich artistic qualities of the Dagi motif
- To appreciate the artistic forms peculiar to the Dagi motif.
- The study intend to manipulate the Dagi for visual expressions as well as to unfold its aesthetic values and qualities.
- To serve as a resource material for further reference in artistic work.
CHAPTER TWO
REVIEW OF RELATED LITERATURE AND WORKS
Introduction
The Dagi motifs is a pivot with which all other motifs like bayan kunkuru, Baka, Shentu, Fitsarin bijimi, Kayar kifi, Ganyen tsamiya, Wuri, Tafiyar tsutsa, sarka, katantawa, sarka zuma, baka, wutsiyar hawainiya, used in northern Nigeria revolves; there may be however variation and transformation of the Dagi motif. The motif has gone through so many transformations due to socio-cultural interaction between the Hausa and other ethnic groups in the region.
Jefferson (1974) states that certain fundamental geometric designs are used all over the world and it is possible by multiplication, subdivision and interlacement, to produce an endless variety of shapes. The Dagi motif has retained its importance throughout the years, some of them changing somewhat through the intermingling of culture or through gradual stylization.
Like all other areas of human endeavour there is no aspect of art ranging from representational to abstraction that man has not done any study on; it is in acknowledging this fact that some related works on the decorative motifs and symbols used by the Hausa provides a good basis on which to begin this review. This chapter reviews related literature and Post Graduate paintings that possess ideas, which contributed to the development of this study. The chapter is divided into two sections: the first section deals with the general survey of decorative motifs as well as symbols and the artistic view of some authorities about them. The second section reviews paintings of some artists related to this study.
Though, motifs represents the dominant artistic expression of the Hausa, available records reveal that few artists have attempted isolating the Dagi for painting. Most motifs are symbolic, from the information obtained from the series of unstructured interviews and various research findings. Dagi is believed to have been inspired by the star which is considered by astrologers to be the father figure. Fenton, (1991) states that “the sun is a star, but astrologers tend to call everything in the solar system a planet for the sake of convenience. The sun is regarded as the first of the personal planets, representing the active decision making side of a subjects’ nature”. The star is associated with strength, personal achievement leadership qualities, power and authority. It denotes adulthood and grown-up attitude to life. It is concerned with creativity of all kinds, whether this be designing and building an object, a home, a business or a family. The star’s placement also indicates how a person feels about creative endeavours. The star is intensely personal and is strong pointer to the subject’s modus operandi. Each day, the blue sky dominated by sun changes to darkness, from the depths of which the star appears giving a sense of the infinity of the universe.
Frutiger (1989) is of the view that all pictorial representation, with the causes of this heavenly bodies expressed as “paths” and “way”, one can, in fact, say, in a narrow sense, the Dagi, in all its diversity, is loaded with serious emotions pointing to the future by comprising and conserving something of the past.
Related Works
Some artists whose works have been found relevant for the purpose of this study are:-
CHAPTER THREE
METHODOLOGY
Introduction
Nwana, (1992) states that “a research design, is a term used to describe a number of decisions which need to be taken regarding the collection of data” in doing this, the researcher employed various research techniques to arrive at a formidable result.
This chapter also provides information on the various sources of data, methods employed in their collection, and analysis in the conduct of this study. Some of the processes involved in the collection of data for this study include careful observation, and studio experimentation.
Method of Data Collection
This study made a generous use of library material gathered from various sources such as previous projects, magazines and photographs.
Information for this research was gathered through the following methods:
- Photographic documentation/Books/Journals.
- Free hand drawing.
- Interviews
Pictures of various Dagi were taken. Such images served as visual guides made at the scene of the study.
Free hand drawing based on observation and direct visual study of the decorative motifs was done from some of the guides obtained form reference material in the library through sketches and drawings.
Interviews was conducted in Zaria city which is the field of the research where information based on oral source on the motifs was obtained. The origin, socio–cultural significance, meaning and color usage was also ascertained.
Research Design use for the Study
This research study is design in three (3) stages namely:
- The representational stage
- The exploration stage
- The transformed stage.
Methods of Data Analysis
Analysis of data involves the researcher interpreting data through studio experiments and interpretation of phenomena, using the research design for the study, namely representational stage, exploration stage and transformed stage respectively.
CHAPTER FOUR
ANALYSIS OF WORKS
Introduction
In choosing works for analysis, the researchers’ primary aim is to group the finest representative examples of each stage; therefore, the approach adopted in presenting these creative works is a systematic analysis of the researchers handling of varied area in expression.
CHAPTER FIVE
SUMMARY, FINDINGS CONCLUSION AND RECOMMENDATION
Summary
This research made an analytical study of the “Dagi” motif. The paintings display free flow of brush strokes, flexibility, rhythm and easy manipulation of motif to suit the purpose of this research up to the point of stylization which eventually culminated in abstraction.
Findings
Without a consensus artist incorporates the dagi as mere design concept later it became an object of socio-stratification and now it’s a liberal icon among the populace.
A few modern artist have incorporated the dagi into their composition merely as a form of African motif to locate the composition within that setting.
Conclusion
The act of painting in itself, involves technique variants of one form of expression or the other. The outcome of this research work is a new effect which shows that it is possible to marry the Dagi motif with other forms in painting without restriction.
Recommendations
Drawing from the varied research analysis, and literature review in this project, it is pertinent to say by way, of recommendation that:
- The artistic potentials of the “Dagi” is vast and inexhaustic.
- Contemporary painters both within and outside the academia should further explore the “Dagi” for painting.
- It is hoped that this research will succeed in making artist to pay more attention to their environment in search for inspiration for creativity.
- Those who use traditional motif are custodians of culture as to this; guild of such professionals should be encouraged as this will foster national unity
- Contemporary painters both within and outside the academia should further explore the Dagi for painting as this underscores the relevance of Dagi which has continued to inspire painters who are in constant need for iconic inspirational materials.
REFERENCES
- Adeyemi, K. (2009). Fragment of Tradition Exhibition Catalogue – Traditional Och Samtid, Lagos. By Galleri Ashley and Kunle Adeyemi Studio.
- Adolfo, V. (1979). Art and Society. Essay in Marxist Aesthetics (Marlin Press London) pp. 47.
- Afuwape, E.A. (1984). “Northern Grandeur. An Unpublished MFA Thesis, Department of Fine Arts, A.B.U, Zaria.
- Alihonou, D. (2004). “Plus Jamais Ca”. Exhibition catalogue overcoming Map 3, Enugu. The Pan African circle of Artist Pearl and Gold.
- Banjoko, I. (2000). Visual Arts Made Easy. Movic Publishing Company Ltd Lagos pp. 88.
- Buhari, J. (1992). Children of Martyrs. Exhibition Catalogue – “Three from Zaria”, Exhibition-Goethe Institute (German Cultural Centre Lagos)
- Chafe, S. I. (2000). The Adaptation of Selected Decorative motifs used in Dubar Related objects for painting. MFA Thesis Department of Fine Art, A.B.U., Zaria.
- Cheatham, Cheatham, Owens, (1987). – Design Concepts and Applications New Jersey, U.S.A. Prentice – Hall, Inc. A Division of Englewood Cliffs,
- Feldman, E. (1971). Varieties of Visual Experience, Arts as Image and Idea. New York. Harry Abrams, Inc.
