ABSTRACT
The creative abilities of humans have allowed them through time to manipulate and control their mental and physical environment. An artefact is what man created or made from the natural recourses around him (Ahmad, 1989).This study is on the Niger State Museum in Minna .The problem of this study therefore, is the contextual articulation of selected material culture of the museum, within the socio-cultural context as well as the creation of enlightenment strategies for the museum. The aim of this study is to articulate the socio-cultural context and significance of selected artifacts in the Niger State Arts and Council Museum, while the objectives are to: Identify and categorize artifacts; examine the socio-cultural context and significance of the selected artifacts;design and create an awareness plan model for the museum.Relevant literature were consulted these authors had conducted earlier studies on artifacts and their categories and significance. Furthermore, a review of museum awareness strategies was also performedand authors like Forde – Johnson (1974),Tansille(1998), Steinback(2013), Hornby (2015), have made useful contribution in the literature. Historical and descriptive methods of research which had been used by earlier scholars were adopted. It also involved instruments like oral interviews observation and photography. After the application of the aforementioned, the data was analysed and categorized based on the socio-cultural significance of the selected artifacts. An enlightenment strategy was also designed to enable the public participation in museum activities. The findings were documented based on the aim and specific objectives of the study.
TABLE OF CONTENTS
Title page – – – – – – – – – – – i
Declaration – – – – – – – – – – ii
Certification – – – – – – – – – – iii
Dedication – – – – – – – – – – iv
Acknowledgements – – – – – – – – – v
Abstract – – – – – – – – – – vi
Map of Niger State – – – – – – – – – vii
Table of contents – – – – – – – – – viii
CHAPTER ONE
Introduction – – – – – – – – – – 1
Background of the Study – – – – – – – – 2
Statement of the Problem – – – – – – – – – 5
Aim and Objectives of the Study – – – – – – – 6
Conceptual Framework – – – – – – – – 6
Research Questions – – – – – – – – 6
Justification of the Study – – – – – – – – – 7
Significance of the Study – – – – – – – – – 7
Operational Terms and Abbreviations – – – – – – 8
CHAPTER TWO
Literature Review – – – – – – – – – – 10
A Review of Artifacts and their Categories – – – – – – 10
A Review of the Significance of Artifacts- – – – – – 15
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A Review of Museums Awareness Strategies – – – – – 17 CHAPTER THREE: METHODOLOGY
Research Design – – – – – – – – – – 22 Method of Data Collection and Analysis – – – – – – 23 Oral Interview – – – – – – – – – 23 Research Population and Sample – – – – – – – 24 Data Analysis and Discussion – – – – – – – 25 CHAPTER FOUR Analysis and Discussion of Research Findings – – – – – 26 The Identification and Categorization of the Artifacts in Niger State Museum – 26 The Socio-Cultural Significance of the Selected Artifacts – – – – 27 The Awareness Model Plan for the Museum – – – – – – 46 Museum Model Plan – – – – – – – – – 47
CHAPTER FIVE: SUMMARY, FINDINGS AND CONCLUSION
Summary – – – – – – – – – – 50
Findings Based on Specific Objectives – – – – – – 53
Recommendations – – – – – – – – – 54
Contribution to Knowledge – – – – – – – – 55 References – – – – – – – – – – 56 Appendices – – – – – – – – – – 59
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LIST OF PLATES Plate I: Zagbai(Bow and Arrow) – – – – – – – 28 Plate II: Bida Brass Purse – – – – – – – – 29 Plate III: Grave Goods – – – – – – – – 30 Plate IV: Door Panel – – – – – – – – – 31
Plate V: Antelope Shape Kola-nut Box (Okpeubi) – – – – – 33 Plate VI: EpaMask from Eruku – – – – – – – 34 Plate VII: Cowries Basket – – – – – – – – 35 Plate VIII: Koro Masquerade – – – – – – – – 36 Plate IX: Ija-EgungunRoyal Staff – – – – – – – 37 Plate X: Wooden Female Figure “Afo” – – – – – – 38 Plate XI: RiganLayu – – – – – – – – – 39 Plate XII: Tsoede Royal Stool – – – – – – – 41 Plate XIII: Royal Swords – – – – – – – – 42 Plate XIV: Gbunum Musical Pot – – – – – – – 44
Plate XV: Late Dr.LadiKwali Pots – – – – – – 46
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CHAPTER ONE
Introduction
Right from the creation of humans they have been able to usetheir creative ability to solve their challenges. Ahmad (1989) stated that the paleohthic period has been used to articulate the early history of humans, where they evolved from being wanderers to settlers. Within that period also, history has revealed that human started producing tools, which enabled them to cope with their challenges of the environment. Consequently, they eventually found shelter, started hunting and what today is referred to as culture. Culture therefore, evolved through the varied tradition that followed human evolution, with all of its characteristics features.
He further stressed, in Africa for instance, the Egyptian civilization is reputed to be one of the oldest in the world and its culture of life after death has been widely documented, just as its pyramids and mummies. Also in Nigeria, the Nok terracotta’s, Ife bronzes and the Benin court arts, have all been documented and the communities credited with rich cultures. The Nok, Ife and Benin cultures are some of the art cultures that are highly priced around the world. Indeed, Nigeria has a large variety of cultures, which are mostly complemented by unique, diverse and sophisticated artistic traditions. Perhaps, it is as a result of all these, that the Nigeria museum was first established. Primarily, to collect and document, the increasingly evolving traditional arts of the various cultures in Nigeria.
During a visit to the Niger StateMuseum, to source for materials with which to prepare for lecture notes, this researcher observed the limited knowledge of the museum curator. On further probing, the researcher was meant to realize that some of the works were purchasedby the museum, without any attempt to articulate its socio-cultural history
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andsignificance. Also, quite a number were donated by people who felt the works would better kept and appreciated in a museum and some to the museum by another museum. Thus, their histories and socio-cultural significance are also not known and investigated. Hence, there are several works in the museum that need to be investigated, to unearth their socio-cultural context and significance, if they are to be better appreciated.
Background of the Study
The Niger State Council for Arts and Culture (NICAC) wasformed from the Cultural Division of the Ministry of Information, Youths, Sports and Culture. The edit establishing NICAC was promulgated in 1985 andreferred to as edit No11 of 1985 and inaugurated on June 17 1986. The Council (NICAC) was established to statutorily create and coordinate; the establishment and management of Art Theatres, Museums and galleries. In addition, it is to undertake research into aspects of arts and culture, while also publishing the findings of such researches in journals, magazine, newsletters and other periodicals. Information hand book of Niger State (1994). The Niger State Edit that gave force to the Niger State Council for Arts and Culture derived its powers, from the National Cultural Policy of1978, which mandated every State to establish a Museum. This is to ensure the collection and preservation of material culture within the State, and in so doing, also feed the National Collection. Consequently, Col. Ola Oni, the then Military Administrator of the state, set up what has now become the state museum. The museum started in a building donated by the StateMilitary Administrator, with Mr. T. Sokomba as executive Director. The executive Director was then mandated to scout the local government areas of the State, for the purpose to collecting historical artifacts and relics through donations and purchases, where necessary. This accounts for the number of
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donated artifacts in the museum. The museum was charged with the responsibility of care, conservation and preservation, documentation, exhibition.
The Niger State Museum currently has in its collection one hundred and seventy six(176) artifacts, showcasing the different ethnic groups of Niger such as Nupe, Gambari, Koro, Kadara, Hausa, Dakarkari, Gwari among others. In terms of manpower, it has in its employment a Museulogist,Archeologist, Linguist, Metalogist, Educationist, Sociologist and a Curator among other administrative staff. The museum is divided into sections, among which include;
1. Curatorial Unit,
2. Education Unit,
3. Documentation Unit,
4. Field and Monument Unit,
5. Storage Unit
6. Gallery and Exhibition unit,
7. Conservation and Preservation unit Niger state was created on the 3rd February 1976 from the then North -western state during the military regime of General Murtala Ramat Mohammed, the first State Governor,Vice Admiral MurtalaNyako began work on the 1st April the same year with eight (8) Local Government Areas. Between 1979 – 1983, the Second Republic era, AlhajiMuhammedAuwal Ibrahim assumed office as the first executive civilian governor of the state. It was during this period, that the number of Local Governments was upgraded to eighteen (18). This was later
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reversed to eight (8) after a military took over in 1984 by the regime of General MuhammaduBuhari. Subsequently, the number of Local Government was increased to nineteen (19) after a subsequent military takeover of government by General Ibrahim BadamasiBabangida, the number was also increase to 25 in the Abacha’s led regime. The bearing of Niger State lies on latitude 3.20° longitude 30° North, bordered to the North east by Kaduna State and the Federal Capital Territory (FCT) to the South – East by Zamfara State, to the North by KebbiState, towards the North – West by Kogi State,and South – West by Kwara state, and then the Republic of Benin along the North – West border. As at 20th August, 1991 the state covers an area of about 74, 244 square kilometres which is about 8% of the Nigeria’s total land mass, with a merger of the land mass of about 10% of the total land area of Nigeria with a total population of about 3,950, 249 people as at the 2006 population census. The state has a fertile soil of what is describe as “Ku” and the ‘Ya’ soil. The Ku soil with little erosion hazards and Ya with water holding capacity respectively, 85% of the population practice Agriculture and about 15% are involved in one vocation or the other such as white collar jobs vocations, Business, art and craft.
Predominantly, the people are Christians and Muslims; while others practice traditional religion. Though there are three pronounced ethnic groups (Nupe, Gwari, and Hausa) there are other groups living happily together. These areKamuku, Fulani, kadara, kakanda, kambari, koro, Ganagana, Gwado, Babara, Dibo, Dukawa, and Ingwai to mention a few.
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Other attractions include historical monuments, antiquities, art craft centres, and wild life camps, such as the Kanji National Parks,Gurara water fall, Ladikwali pottery centre Suleja.
Statement of the Problem
Museum is an institution that collects studies, exhibit and conserve objects for cultural and educational purposes. These functions have been severally confined in literature like, the encyclopedia American (1980),Effah (1982),Okita (1985) and a host of others. Thus, the Niger State Museum, like other museums around the world,is expected toperform most of these functions, in addition toother peculiar activities that it might initiate.
The reality however, is that, the museum appears to be having difficulties in carrying out some of these core functions, which is to care, preserve, explore, and exhibition of artefacts particularly as it affectsattendance and the exposition of the socio-cultural context of its material collections. On the visit that this researcher recounted in the introductory part of this chapter, theCurator explained EstuTsoede sword, as the sword that was used for the execution of offenders. Also, “Grave good from Rijau” were reported as materials for burial rituals. This type of explanation, among others,does not locate the material culture within its socio-cultural context, neither does it highlight its significance within the historical period in which it was used.
The problem of this study therefore, is the lack of contextual documentation of the artifact in the Niger State Museum, as well as the non-patronage of the museum by the public.
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Aim and Objectives of the Study
The aim of this study is to articulate the socio-cultural context and significance of selected artifacts in the Niger State Arts and Council Museum, while the objectives are to:
i. identify and categorizetheartifacts in the Niger State Museum, Minna
ii. examine the socio-cultural context and significance of selected artifacts
iii. designand create an awareness plan model for the museum.
Research Questions
i. How can the artifacts in the Niger State museums be identified and categorized?
ii. How can the selected artifacts of the Niger State museums be examined in their socio-cultural context?
iii. What possible design and awareness plan can be modelled from this study?
Justification of the Study
Museums all over the world are established to serve specific functions, which in turn, define their values in the society. They play a vital role in the cultural education of the people through their material collection. The Niger State Council for Arts and culture museum has a lot of artifacts whose socio-cultural context and significance are not known.
This study becomes necessary because it will highlight such context and significance for the purpose of enhancing the museum function and thereby fulfilling one of its core functions. The study is also crucial because of the awareness plan it proposes, which is to educate the general public on the need to visit the museum and benefit from the richness of its available material culture and their accompanying histories.
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Significance of the Study
This study highlighted and analysed some of the artifacts in their contextual domain. This study is thus significant for adding to the knowledge of the museum audience specific contextual meaning of the selected artifacts. The awareness plan also adds to the existing mandate of the museum to increase the rate of visit by the public for tourists and educational purposes. It is also significant for adding to the existing documentation on Niger State Museum.
Conceptual Framework
There are no objects without meaning, as there are no meanings without objects. One and the same object may have different meanings in different codes, one and the same meaning may be ascribed to different objects. http://www.switzinski.art.pl/12poits.html. This therefore, means that artifacts have cultural, religious or symbolic significance. This is also applicable to domestic, industrial or craft based purposes that are functional, ornamental or decorative. The museum can improve the regular visitation of the general public through the use of modern media such as social media, film, music and advertisement.
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Operational Terms and Abbreviation Artist: An artist is a term generally used to mean collectively artisans and craftsmen as well as academic trained individuals in the field of the visual arts, producing art works in Minna. Artifacts: This is usually referred Any ancient art work or pre-historic work of art especially those discovered through archaeological excavations such as the popular Nok, Ife Igbo – Ukwu sculpture. Antiquity: This is the term used to describe all ethnographic materials earlier collected by the museum in the colonial period, as well as any object of considerable aged from ancient times. Monuments: Monuments are used to define bigobjects or structures that commemorate history such as buildings of cultural/historical importance. Exhibition: A public show involving the display of art works by artists. Gallery: A gallery is hall that hosts and collect exhibition of contemporary art works and promote contemporary art practice. Cultural Heritage: This is referred to any material product of the past generations regarded as being worthy of preservation.
Museum: A museum is cultural institution which collects, documents, preserves and showcasesantiquities/artifacts either for educational research or for the pleasure of the public.
Art and Craft: This means collectively all contemporary art products.
NICAC: Niger State Council for Arts and Culture
Dauwya: Chief Priest of Shrine in Gwari language
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GejiGejiEstu:- This is the name the stool carrier and executioner of offenders in Nupe language.
Tsachi: Tsachi is the name given to the carver of the bronze stool in Nupe language
Gatsha: Gatsha isthe Estu’s secret informer on all information in Nupe language
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