Creating Sculptural Forms Inspired by the Ijele Masquerade
Chapter One
Aim and Objectives of the Study
The aim of this study is to create sculptural forms that are inspired by the Ijele masquerade, while the objectives are to:
- identify and produce sculptural relief elements of the Ijele masquerade;
- extract various sculptural forms cladded with coloured fabrics inspired by the Ijele masquerade;
- create female forms from the Ijele masquerade;
- explore the possibilities of producing female and animal forms as they co-exist within the natural environment, extracted from the Ijele masquerade;
- create an outdoor installation sculpture, that is a culmination of all the basic forms extracted from the Ijele masquerade.
CHAPTER TWO
LITERATURE REVIEW
Introduction
This chapter reviewed literature on masquerades and its adoption for art. It highlighted: (a) Concept of universality (b) Mask, masquerade and Igbo Cosmology, (c) Type and Classifications of Igbo Masquerades, such as: Day Masquerades, Night Masquerades, Functions of Masquerades, Masquerades as Source of Entertainment. (d) The Secrecy of Masquerade, Initiation and Practices. It further drew attention to (e) Ijele as a Symbol of Conceit and Authority to the Northern Anambra Igbos, and (f) The Paraphernalia‟s of Ijele and its Significance.
The second part reviewed three-dimensional sculptures of various artists comprising foreign and Nigerian artists that have represented masks, masquerades or ancestral spirits and gods as subject matter, like Atlas (1973) by Lee Lawrie. Chimera of great beauty (2000) by Emeral Magpie.Maiden Spirit (1992) by Ken Okoli.Asa Mask (1995) by Chidi Okoye.Mask I (1995) by Godwin Nwajei.Dialogue of the Wise (2010) by Peter Akinwunmi.Mask of Growth (2007) by Franklin Egwali.Emedjo (1974) by Bruce Onobrakpeya.Adamu Orisha (2005) by Odungide Ekpo.Masquerade (2009) by Ruben Ugbine.Representative (2011) by Philips Nzekwe.Songo (2008) by Lamidi Fakeye.Ancestral Mask (2008) by Cliff Nwanna.Ancestral Masks IV (2009) by Kunle Adeyemi, and Odi(1990) by Sussanne Wenger.
Concept of Universality
The universe is commonly believed to be the totality of existence, which includes planets, stars, and galaxies, contents of intergalactic space, and all matter and energy. In similar terms, the Cosmos is ordered and metaphorically referred to as „the world‟. This cosmos reveals a baffling number of diverse forms of created things. These elements share the same similarities that can be identified within the universe. Contemporary view of the universe evokes a deep sense of its outwardly dense mystery, obviously boundless in space and time. It is dynamic, unfolding, organically interrelated cosmos, marked by some degree of unpredictability together with forms of order (Hayes, 2003).
For man to interact or commune with God and Goddess, there is a fact that there must be that connection between the two distinct dualities (the world of the living and that of the spirit). The traditional African setting provides this clear distinct duality. In traditional African society, all of life is seen as an integrated whole. Nature, living things, humans, the ancestors, and a supreme being or beings all share in one world. There is a hierarchy of being with inanimate objects, continuing through plants, lower animals, and humans to the ancestors and arriving at a supreme being or beings at the top, and not all beings are conceived as equal (Mitchell, 2011).
Campbell (2008) States that, The cosmos in African setting is visualized as a spherical ground with its upper and lower hemispheres fits tightly together or as a divination tray with a raised figurate border enclosing its flat central surface. Among the Yoruba of the Western Nigeria, It consists of two distinct inseparable realms: IleAye (the visible, tangible world of the living) or odeorun, (the invisible, spiritual realm of the departed). These also includes ara/okuorun (primordial and deified ancestors), Orisa (gods and goddesses), and ajogun and ebora (spiritual entities), both benevolent and malevolent.
It is believed that the benevolent and evil spirits are made up of dead ancestors whom during their lifetime either were good or bad to people whom they came in contact with. And it is believed in Africa that how one lives determines which ancestral line one would belong to. The Igbo have a similar perception of the same cosmos. They believe that the world is made up of two planes: the physical and the spiritual world. It abhors the tendency to a digital categorization of things, there is a dual traffic and interaction between the inhabitants of the two worlds, in this way, the understanding among the Igbo is that spiritual beings and cosmic forces are highly intermingled, especially when one transcends to the other world. The activities of spiritual beings and forces often directly impinge on the affairs of humans in the human world(Nwoye, 2011).
The maintenance of social and cosmological balance in the world with both the living and dead becomes, therefore, a dominant pervasive theme in Igbo life, they achieve this balance, for instance,
through divination, sacrifice, appeal to the countervailing powers of their ancestor who are the invincible father figures against the powers of the malignant, and non-ancestral spirits, and socially, through constant realignment in their social groupings. The Igbo religion as of any other religion or ideological system rests with the cosmology (Uchendu, 1966).
Cosmological framework can equally be referred to as a people‟s way of organizing their activities which explain the how and why of daily existence. Symbols give rise to thought or creative intelligence and creative intelligence gives rise, in turn, to the customs and codes of the society, which are so internalized, from childhood onwards, that they go unquestioned as a way of life, and all areas of life are part of an integrated whole. It also assumes the continuity of generations believing that the ancestors do not die out but are re-born through reincarnation, which is called belief and custom of a people.
Nwoye (2011) states that,
CHAPTER THREE
RESEARCH METHODOLOGY
Introduction
This chapter discusses the various methods explored and materials used to actualise the studio exploration and its written component. In the first part of this study, the examination of practice-based methodology and its exceptional nature is highlighted, which gives the reader an insight and understanding on how the practice-based research methodology is applied to current studio art practice. The highlights,include the source of ideas, materials, translation of ideas, use of resource materials and the techniques employed. The third event reference is made to notable artists whose methods of work are major influences in the execution of the art work for this research, and finally the adapting to one or variety of methodologies and systematic illustration of process and procedure.
Art Practice-Based Research
The practice-based research in the field of art and design involves a study of the interplay between a researcher-practitioner and his artistic work in progress. Within practice-based research it is the design process of moving from problem to solution, which is the point of departure for the rhetoric research direction to studio exploration.
The researcher adopts the practice-based research methodology. Sullivan (2005), believes that art practice as research inquiry in the “visual arts can be a form of research”. Scrivener (2002), corroborates this view that,“the art making process is understood as a form of research and the art object as a form of knowledge. The knowledge spoken of here is the written text or component that gives insight to works created”. The research direction of an artist involves a transparent process in which conscious steps are taken, knowledge is used to search for and articulate both the theory and
practice. The idea is more of qualitative in nature, where by the research is not stereotyped and tied to figures and numerical alone. However, its nature is more of being flexible to embrace other areas of the research to arrive at a conclusion (Nimkurat, 2007).
CHAPTER FOUR
DISCUSSION OF WORKS
Introduction
The forms that are found in the Ijele masquerade inspired the researcher to create conceptual sculptures, which defined the philosophy of Igbo world view that is summarised in the Ijele masquerade. It is believed that, for one to adapt from a source, that sourceshould be the same concept,especially in a studio research of this nature, and that idea must be discussed in its own context, this is in relation to the conceptual frame work of this study.
The study discusses the works in the context of the Ijele, guided by the philosophy of natural syntheses of the Igbo Uli. In actualising the five objectives of the study, the works discussed took into considerstion the conceptual frame work of the study, which looked at the total sumary of the Ijele masquerade activity and the nuancies in relation the context of the Ijele‟s essence, this process was also guided by Hans-Geroge Gadamer‟stheory.
CHAPTER FIVE
CURATORIAL STATEMENT
Introduction
Artist Curatorial Statement and Philosophy
The curated exhibition is to help the viewer for a proper insight; the fifth objective of this study is to create an outdoor sculpture installation of the Ijele masquerade, a cumbination of all the studies into one monumental piece.
The production involved various stages such as: developing sketches from reference photographs, welding and construction of the armature, application of paint on the armature, cladding with coloured fabrics/all-purpose adhesive glue, sewing and finishing.
Nwanna (2015) belives that, after completing an Ijele masquerade, sacrifices must be made to consecrate it and after each successful performance, the Ijele is dismantled and stored in boxes, and sacrifices are again made to awaken the spirit-being before another performance. A live bird is tied under the disc platform, prayers and liberations are performed on various parts of the masquerade, first by the master artist who commissions the masquerade. Further prayers and libation are said each time the masquerade will be reassembled for performance and this time it will be coordinated by the village chief-priest or the leader of the community or age grade who now owns the Ijele masquerade.
CHAPTER SIX
SUMMARY AND CONCLUSION
Summary
African ancestral traditional masquerade can actually inspire other artists to create three-dimensional art forms. The masquerade explored here by the researcher is the Ijele Masquerade. The written text, which is the other part of this thesis, the idea of borrowing from the concept of the Ijele masquerade: Creating Sculptural Forms Inspired by the Ijele Masquerade. Scholars like, Marshal (2005), Leavy (2009) and Sullivan (2005, 2008, and 2010) among others, have proven that the studio based research can be successfully undertaken and results achieved by the researcher.
This study looks at the concept of masquerade and the Ijele‟s origin, various classifications and how scholars have called for the need to incorporate African signs and symbols into art. Scholars agree, that the Ijele possesses forms and conceptual ideas that if well analysed and transformed could enhance appreciation of aesthetics in sculpture. The study further looked at artists who have produced the Ijele masqueradein order to find the missing line, which is; Ijele masquerade‟s sculptural form has never been separated by any artist, but rather, they were created and represented in the same clustered form. Hence, the research aims to create single sculpture from the Ijele masquerade which was to emanate from the studio exploration. The study is justified because it takes into account that, the masquerade in question faces extinction because of the dominance of Christianity, over traditional religious practices. It is the hope of this study that, since Ijele masquerade activity incorporates new technology as the world advances, so too, the Ijele culture should be sustained to avoid extinction. The conceptual framework is hinged on the philosophy of Natural synthesis, which is the idea of borrowing from the tradition elements or concept to be infused into art, and notable artists like Yusuf Grillo, Simon Okeke, Uche Okeke, Bruce Onobrakpeya, Demas Nwoko and other notable artist infuse this concept into their works. Hans-George Gadamer‟s philosophy equally guided the theory along with other philosophers.Review of literature was divided into two parts; which are texts and works produced by artists. The review of the text was also classified into various subgroups, while the review of works looked at the works of fifteen artists, their ideas and philosophy. The practice-based research methodology was adopted, which is qualitative in nature, it includes studio approach that helped the researcher understand and also interact with the sculptures,and Action research was also highlighted while engaged in the studio exploration as the works take form. Guided by the Igbo philosophical worldview, the sculptures were categorised into three: Human and their daily activity, spiritual world and animal form.
The works werecarefully produced then, follows the systematic illustration of the processes. The first step is detailed drawings of the forms, both from life observations and the use of photographic images, then the construction of armature, application of paint patina, cladding, sewing, and final finishing. The research creates a series of Muna onye ga abga egwu (who will dance with me). The works produced culminated into an installation sculpture titled Elegance, which also followed a systematic documentation of the processes. A total of twenty-five works emanated from this studio exploration.
Elegance installation sculpture; one is seen interacting with the installed Ijele sculpture. The provision is made for the viewer to walk into the piece. Hamilton in Gbaden (2014) attests to this as art which engages people. The audiences walk into the installation and encounter other works; they hardly need interpreters to run commentaries; they feel the art even before attempting to make meaning of it. In it, viewers are addressed directly by sheer virtue of the fact that this piece is large enough for us to enter into them. Our experience is marked differently from traditional painting and sculpture. Instead of representing light, texture, space and so on. Installation art presents these elements directly for us to experience. This introduces an emphasis on sensory immediacy, on physical participation meaning that the viewer must walk into and around the work (Bishop, 2005).Some works were selected and analysed, which includes discussions centred on content and context of the forms derived from the Ijele masquerade. It also includes the analysis of Uli symbols and motifs as it is replicated on the sculptures derived from the Ijele masquerade. Chapter five includes the curatorial statement and finally the catalogue of works.
Findings based on the five objectives
The forms that are found in the Ijele masquerade inspired the researcher to create an outdoor installation sculpture, which defines the philosophy of Igbo world view that is summarised in the Ijele masquerade. Some works were selected for analysis and were also discussed in the same context.
Research findings: In line with the research objectives, the findings of the study are:
That the Ijele masquerade is divided into two sections, the Mkpu (upper section) and Akpakwuru/Ogbanibe (lower section). The Mkpu is made up of several sculptures, representing a lot of activity, which are representations of the Anambra Igbo world view. While the lower section comprises Uli signs and symbols. The symbols are philosophies of day to day living of the people, this also eases communication. At the middle of the upper and lower sections, the Eke (python) is found to take a prominent position.
The sculptural relief elements found on the Ijele masquerade are mainly symbols inspired by Uli motif elements and at time also; Ijele‟s lower section is also inspired by drawing animal forms, especially the Enyi (elephant), Oko-okpa (rooster) Ngwere (lizard), and Eke (python) motifs. To the Northern Igbo Anambra, these animals are very important in the Ijele masquerade. Enyi represents the king of all the animals in the forest, the Oko-okpa is used for rituals, especially for cleansing the Ijele‟s performer, Ngwere is also used for diabolical means, while Eke, represents the Ijele‟s, messenger.Plate, CV: shows the Eke about to devour a human sacrifice. However, some other key Uli symbols found on the Ijele‟s lower section emanated from the studio exploration such as:Isi nwoji (kola nut line), Akara nndu, Ichi na Mgbi ezi,(circle of life, facial scarification, and door of honour), Kpakpando (star), Ije Nwa Ugo (the eagles movement), plates: LXXXVI, LXXXVII, and CI. Other motifs that were explored during the course of the studio exploration are: Ekwe (stool), AkaIse (five hands), Ojene (gong), Agworoagwo (exoteric pattern), Ichi (scarification), UliNsewa (parallel lines), Okwa Nzu (chalk bowl), Onu Nwa Nnunu (elongated beak of a bird), Ekwe (stool), and Mbo Agu (Leopard‟s claw composition).
Female forms are derived from the Ijele masquerade. This is inspired by the fact that the Ijele is a female masquerade, which is unknown to many, especially non indigins. An encounter with the masquerade does not surggest male or female, because of the physical strcuture. The fact also remains that in the Igbo cosmology, it is believed that everything exist in two. There is also the male Ijele, known as Akwunaechienyi. There areless emphasis on elaborate colours and forms, which is typical to human beings. Women are more adorned and associated with beauty, while the reverse is the case with men. The research created a series of Muna onye ga agba egwu (who will dance with me), titled by the various human emotions that forms part of the experiences which one may experience, following the preparation, and after display of the Ijele masquerade, such as: Egocentric, Celebration 1 and 2, Observance 1 and 2, Prime, Meditation, Helper, and Endowed. Plates: XCIII, XCIV, XCII, XCV, CIV, CV, XCVI, XCVII, and XCVIII
This research creates sculptural forms of human beings and animal as they co-existed within the environment. Plate‟s: CIV, and CV, shows the activity of sacrifices, before and after the enactment of the Ijele masquerade performance, a lot of ritual cleansing are done for both the performer and the entire community. Plate: CIV, depicts the slaughtering of Oko-okpa (Male chicken) while Pate: CV, Shows the Eke (Python) about to devour a human sacrifice. This buttresses the fact that sacrifices are made by the Igbo man either in atonement of offences committed or to ask and seek favour from the gods. This was attested to by scholars such as Arinze (1970), Enekwe (1987) and Jell-Behisen (2014) among others.
Finally, in the fifth objective, the study creates an outdoor conceptual installation sculpture of the Ijele masquerade titled Elegance,Plate: LXIV. It talks of stylishness, grace, sophistication, class, taste, classiness, modishness, refinement and smartness attributed to the female Ijele masquerade when in performance, and also recreated in the Ijele installation sculpture.
Conclusion
The researcher concludes that the Ijele masquerades created by the traditional artists are meant for entertainment and for the Igbo to reaffirm their place in the co-existence between them, the ancestors and the gods. This would explain why there was the need for that link of continuity after creating the masquerade for reassurance. The Ijele masquerade performance is complete when it encounters the audience, in like manner, Elegance(conceptual installation sculpture) 600 cm X 350 cm, created by the researcher opens up a dialogue among the audience.Prominently visible are the domineering colours of Red Mmee, White Ocha, Yellow Edo, Blue Atulu, Black Ojii, Red earth Ajali and Green Nndu were explored and used for cladding the created work which also forms a kaleidoscope of colours. The Mpku (upper section) suggests movement, and in motion with the hand fan, on the left hand swinging to the right hand side, as if also talking back to her admirers. The researcher also, consideres the varying arrangements of colours in terms of its positive and negative spaces.
This study has revealed that,the present-day traditional sculptors are no longer commissioned by villagers and individuals to produce masquerade, primarily because of the advent of Christianity and the introduction of Western cosmetics.Scholars like Okeke (1999), Frank (2008), and Ogbechie (2009) believes that exploring one‟s own indigenous culture is a ready way out of the colonial entrapment that Western art idioms have done to African artistic expression. There should be a growing consciousness amongst artists to use a truly African idiom to relate the African experience,even though the Igbo art infused western idioms into its artistic adventures, like theIjele masquerade activity can be sustained, the dying Ijele, which usually features the Western ideology, can continually be used as a source of entertainment.
Recommendations
In line with the research findings, this thesis recommends that, for forms to be derived from Ijele masquerade; the motif, (Ije Nwa Ugo, Isi Nwoji,Kpakpando, Akara ndu, Ichi na Mbi Ezi) Plates: CI, LXXXII, LXXXIII, LXXXVI, can further be explored by researchers. Other materials can be incorporated to aid in deriving sculptural forms, as a medium of expression in studio exploration.
Elegance head gear was inspired by IsiNwojisymbol. These symbols can further inspire the creation of three dimensional sulptures from the Ijelemasquerade, and the paraphernalia of the Ijele masquerade can also inspire the creation of sculptures if undertaken by researchers.
Areas for further studies
What has been done in this study is by no means exhaustive. Further studies can therefor be carried out on the Ijele masquerade.The Akwunachienyi masquerade (male Ijele) can be explored by resrearchers, despite the fact that the research mentionedthat the said masquerade is beyond the scope of this study, and indeed, other masquerades that are yet to be documented.
Contribution to knowledge
The study established that:
- Deconstructing the forms found in the Ijele masquerade, into isolated relief, and in the round sculptural elements in practice based research, is a way of advancing visual art practice in contemporary Nigerianart.
- The use of synthetic polyester fabrics in a new approach (exploring the use of metal rods, tapoline fabrics, synthetic threads, and adhensives) in creating sculptures that are derivative of the Ijele masquerade, adds to the existing possibility in mixed media approach in sculpture practice.
- A personal mode of expression in the use of metal steel rods, and fabric in advancing the Ijele masquerade motifs (Isi Nwoji, Kpakpando, Akara ndu, Ichi na Mbi ezi) can be explored in similar traditional masqueradeincontemporary Nigerian sculpture expression.
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