ABSTRACT
This study “An Exploration of Vwana Costume for Sculptural Decorative Column” seeks to use costumes from Vwana Berom as source of inspiration to create sculptural decorative columns. Vwana is a traditional first fruit harvest festival practiced among the Berom ethnic group of Plateau State, Nigeria. Different decorative column exists within and outside Nigeria in form of figurative, mask, and geometric shapes. Sculptural forms have also been explored using costumes not as column, but to express artistic ideas. The problem of the study hinge on occurring adaptation of foreign ideas of decorative columns on Nigerian structures and exploring possible ways of filling the gap between costume sculptures as Art expressions and costumes as decorative columns that can be compatible with present trends in contemporary architecture. Hence, the study aims at exploring the female Vwana costumes for decorative columns while, the outcomes were further explored into utilitarian sculptural forms. The aesthetic qualities of Vwana costumes inspired this study because of its rich and finely decorated ornaments compared to costumes of other Berom festivals. The declining state of Vwana festival also motivated the study. The study employs the practice-based research methodology. The researcher made use of photographs that captured images from Vwana festival. Some of the accouterments were also collected and photographed which were translated into sketches. Images of and information of costume sculptures and other forms of decorative columns were gotten from books, internet, dissertations, journals, magazines and videos. The instruments used for the collection of data included photographs and observation while, the tools used for data collection were camera, computer system, video Compaq disc and sketch pads. Modeling and casting technique was employed while, fiber glass and concrete were used as the medium of expression. The studio exploration is an attempt to capture Vwana costumes into sculpture. The works were grouped into five (5), which include Representational Studies: This captures images of female figures dressed in Vwana costumes rendered in naturalistic form, which constitute the preliminary studio explorations. Secondly, cloth costume studies follows which includes; exploration of column using fabric attire (wrapper), captured on the figures. Furthermore, Vwana costume adornments were explored into decorative columns. Some emerging column forms derived from this research were further explored into utilitarian sculptural forms by creating relief platforms atop some composed Vwana columns produced. The final explorations are decorative columns executed in abstract or simplified forms, characterized by chisel cut surfaces. The outcome from the overall exploration resulted in a variety of decorative columns and utilitarian sculptures. In conclusion, the study offers a substantial view of the Vwana costumes into decorative column hence, sculptors and building professionals should collaborate in patronizing indigenous cultural elements to establish original structural design. The study recommends that Vwana Costumes can be explored sculpturally into other architectural components and utilitarian sculptures such as; balusters, Plaster of Paris (P.O.P.) cast ceilings, chairs, garden benches among others.
TABLE OF CONTENTS
Title Page i
Declaration ii
Certification iii
Dedication iv
Acknowledgements v
Abstract vi
Table of Contents vii
List of Figures xi
List of Plates xiii
CHAPTER ONE: INTRODUCTION
1.1 Background to the Study 1
1.2 Statement of Research Problem 5
1.3 Aim and Objectives of the Study 6
1.4 Research Questions 6
1.5 Justification of the Study 7
1.6 Significance of the Study 7
1.7 Scope of the Study 7
1.8 Conceptual Framework 8
1.9 Definition of Terms 9
CHAPTER TWO: LITERATURE REVIEW
2.1 Introduction 12
2.2 Review of Literature 12
2.3 Review of Related Works 18
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2.4 Turning Torso of Santiago Calatrava 18
2.5 The Centennial Statue of Alan Cottrill 19
2.6 Pillar Statue 20
2.7 Caryatid Columns of Maidens 21
2.8 Colossal Atlantids 22
2.9 Tomb of Ponsat by Georges Michel 23
2.10 Grave of Famille Leriche 24
2.11 Figurative Column by Ivan Mestrovic 25
2.12 Hollywood and La Brea Gateway by Jack and West Harl. 27
2.13 Pillar of Justice by Edwina Sandy 28
2.14 Run for your Life it’s the Shredded Newspaper Man by Fabio Lattanzi 29
2.15 The Costume of Queen Elizabeth I by Nikos Floros 30
2.16 Pillar of Inquiry/Supple Column, Sheila Hicks. 31
2.17 Wind Sculptures by Yinka Shonibare 32
2.18 Umu Ada by Godwin Uzoji 33
2.19 Abi- ejumele by Labija Cole Ifitumi 34
2.20 Caryatid Veranda Post by Olowe of Ise 35
2.21 Delegates to the African Union by Ndidi Dike 36
2.22 African Passage Participants of Ndidi Dike 37
CHAPTER THREE: RESEARCH METHODOLOGY
3.1 Introduction 39
3.2 Instruments of Data Collection 39
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3.3 Tools of Data Collection 40
3.4 Sources of Data Collection 40
3.5 Images of some costume accessories from primary source of data 41
3.6 Images of figures in costumes from secondary sources of data 43
3.7 Procedure of Studio Exploration 45
3.8 Sketches 45
Representational studies (Sketches) 46
Cloth Costume Study (Sketches) 47
Composition of Accessories (Sketches) 48
Study of Utilitarian Forms (Sketches) 49
Abstract Study (Sketches) 50
Costume Accessories (Sketches) 51
3.9 Processes and Studio Experience 52
Exploration of Ideas into Sculpture 52
Group One 52
Group Two 52 Group Three 52 Group Four 52 Group Five 52 3.10 Preliminary Studio Exploration 58
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CHAPTER FOUR: CATALOGUE AND ANALYSES OF WORKS 4.1 Introduction 62
4.2 Group I (Cloth Costume Study) 62
4.2.1 Stage Decorative Column I 63
4.2.2 Stage Decorative Column II 64
4.2.3 „Vwana Costume Column I‟ 65
4.2.4 Vwana Costume Column II 66
4.3 Group II (Composition of Accouterments) 67
4.3.1 Chosen Maiden 67
4.3.2 Union of the Chosen Maiden 68
4.3.3 Musical Notes 69
4.4 Group III (Column into utilitarian sculptural forms) 70
4.4.1 Table of Contents 71
4.4.2 Table of Contents II 72
4.5 Group IV. (Exploration of Column Forms in Abstract) 73
4.5.1 Pillar of Harvest 73
4.5.2 Dying Culture 75
CHAPTER FIVE: SUMMARY AND CONCLUSION
5.1 Introduction 77
5.2 Summary 77
5.3 Findings 77
5.4 Conclusion 78
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5.5 Recommendations 79
5.6 Contributions to Knowledge 79
REFERENCES
CHAPTER ONE
INTRODUCTION
1.1 Background to the Study
Culture especially in African society shows itself in art, folklores, poetry, dance, music, drama, architecture and costumes used in festivals are evidences of cultural heritages found in various communities. Wuketits (2012) sees it as “extra-somatic continuum of things and events that depends on intentional behaviour and symbols”, while Holzhausen (2005) defines culture as a means to express and communicate what is going on in people‟s lives using spiritual, intellectual or emotional features. Festivals are among the common elements of a culture that deals with the spiritual, intellectual or emotional lives of a community, usually exhibited in form of music, dance, and dramatic performances, (Adegbite, 2010). However, such performances can be incomplete without appropriate costumes akin to the cultural event.
Vwana is a significant first fruits festival performed in Berom land, which covers Jos North, Jos South, Barkin-Ladi and Riyom local government areas of Plateau State, Nigeria. The festival can be interpreted as being performed to give thanks to God (Dagwi) for protecting the crops and for good yields. In collaborating the above assertion, Da Bot of Sho states that: Vwana is a festival performed;
to thank God (Dagwi) for protecting our crops from all natural disasters such as drought, locusts, manmade disasters and those caused by evil spirits. And also to thank God (Dagwi) for protecting the people throughout the farming season, especially for enabling them to pass the hunger period.
The event annually marks the harvest season of agricultural crops such as Acha, Millet, Sorghum, Pwana and so on. The festival which is usually celebrated in the tenth month of the year is richly endowed with dances, music and performances that attract people from various
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communities. The festival is spearheaded and directed by the Da Gwom (community head) based on the directives of the gods. The festival often features the young and old beautifully dressed in costumes to show appreciation to the gods for a good yield. Vwana festival also serves as avenues where people meet and make new friends, bachelors get maidens for marriage. The king usually sends for three beautiful maidens so that he can choose one for himself and the other two for his sons to marry (Davou, 2014). Vwana festival is of social and agricultural significance to the Berom ethnic group while, the costumes used in the festival are aesthetically inspiring. Thus, both males and females wear costumes and each has their mode of dressing.
Costumes are clothing appropriate for a particular activity. Banjoko (2001) defines costume as a regional or historical dress; traditionally worn in a particular period. He further states that costume of any performing art is the character‟s garment and accessories such as jewelries, hand kerchief, bags, hair dressing, face and body make ups, including mask. The costumes worn in Vwana according to Nyam (2005) includes; smearing their bodies with ti (red ochre) mixed with nnei pwat (olive oil), stone or beaded neck laces, nose and ear rings, millet stalks or porcupine quills worn on their ear lobes and noses. Furthermore, bangles, armlets, fly whisk, leaves, grass skirts, wrappers, rattles, waistbands, headband and feathers are for young girls and married women, while the men also wore (red ochre) mixed with (olive oil). The Gwom Kwi (Preast) wore a leopard skin, hold his staff of office which is a large heavy stick, fly whisk, puts on cross belt, and leather or iron greaves. The elderly men wore (pere) leather cross belt, and greaves made of leather or iron, to cover the legs below the knee. Young boys and other men wore only (mpok) genitals sheath which was made to the size of the genital to cover it. In the post colonial era till date, a thick wrapper (godo) and
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other lighter wrapper were included as part of the costumes. Gyang (1997) points out that with modern civilization, the Beroms adapted the use of wrappers among the women which they tie on their chest and waist down the knee as costume for dancing at festivals and other occasions. The author continued that despite modernization, one could still see that the Berom people have been able to maintain their cultural pattern of dressing, including their accouterments.
Artists have transformed costumes into different sculptural ideas, some of which are in the form of fashion display. A renowned Greek sculptor, Nikos Floros produced a series of costume sculpture one of which he titled “The Costume of Queen Elisabeth I”. According to Floros (2013), the costume sculpture was produce from recyclable soda cans and was inspired by the wedding dress worn by Grace Kelly for her wedding. It is a long sleeve gown with a broadly designed draped skirt from the waist down. The sculpture appears to have been made on an invisible figure to have a natural display of the costume on a body. Similarly, a costume sculpture executed by Fabio Lattanzi Antinori appears to have a different orientation probably inspired by materials. In their work titled “Run for your life, it‟s the shredded newspaper man!” Rodriguez (2011) asserts that the work was constructed using “shredded newspapers found around East London” and is perhaps an unsubtle visual metaphor for the declining state of the traditional print news industry in London. This costume sculpture appeared like a traditional African masquerade in a dance mode by nature of its material and form. Yablonsky (2011) describes Nick Cave as an artist who puts together strips of old cloths, sweaters, thatched twigs, fake flowers, dyed feathers, gaggles of pipe, tall chair or wicker basket and assembles them into costume figurative sculpture.
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A column may be described as an upright pillar in form of a long cylinder used to support a building. Craven (2013) defines column as that vertical and narrow part of a building or other structure which can either be a support or decoration. On the other hand, Sculptural decorative columns are sculpted pillars, better described as pillars made of sculptural ornaments or forms used for support or decorations. Speels (2014) describes sculptural decorative columns as sculptural adornments of mostly classical pillars. The structure of a classical column according to Kleiner, (2011) has three main parts; The Base, Shaft, and Capital. The „Base‟ is a platform on which most columns rest upon. The „Shaft‟ is the longest and largest part of the column. While the „Capital‟ is the top must part of the column that crowns the shaft. He further classified classical columns into Greek and Roman orders, Greek order Includes; Doric, Ionic, Corinthian and Caryatid, while Roman order have; Tuscan, Doric, Ionic, Corinthian, Composite and Solomonic orders (Craven, 2013).
Sculptural decorative columns in traditional Nigerian context are characterised by carved symbolic and decorative patterns in relief forms, mostly on square or round post in the south eastern traditional structures (Okwumabua, 2006). In the Northern region of Nigeria, the mosque and palaces which are considered as most prominent buildings in Hausa towns have columns sometimes decorated into brightly painted and sculpturally molded relief abstract designs (Nura, 2014). In the South South, the Oba‟s palace in Benin (Edo State) has wooden columns for roof supports which are decorated with the rectangular bronze plaques, many of which depicted life at the palace court (Anonymous, 2016). In the South West, decorative columns are characterised by caryatids or figurative forms in traditional Yoruba structures. To support this, Adeyemi (2008) affirms that the sculpted supports along the verandas enclosing the courtyards and palace structures bear images of deities, revered gods
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or personalities, which gives distinctive identity, character and decoration to the architecture. The author further laments regrettably that global acculturation is quietly creeping into the African societies and dangerously replacing the creative genius of the Africans which may lead to creative indolence and cultural impoverishment in the long run.
It is observed that Nigerian contemporary architects and building professionals have dwelt so much on adapting the classical style of decorative column on structural design. Capital (2011) however repined that the current Nigerian architectural ornaments are imported influences of foreign ideas; the façade of the First City Monument Bank (FCMB) building all over Nigeria for example is inspired by Greek Corinthian column. Many columns in worship centres, public structures and residential houses are inspired by either Greek or Roman order of decorative column. Odimayo (2008) made references to the Yoruba sculptural verandah post usually called Opo ile which were largely made for palaces of the Obas and their nobility in the ancient Yoruba country. He further contends that these verandah post produced by great Yoruba carvers served the same purpose as the Doric, Ionic, Corinthian, or Tuscan columns of classical Greek and Roman architecture (to bear load and decorate). However the possibilities of exploring an indigenous cultural costume sculpturally from Vwana festival could be attained and further explored for artistic and utilitarian purpose.
1.2 Statement of Research Problem
It appears that the current Nigerian architectural styles, including structural ornaments as presented by Capital (2011) are strongly imported influences of foreign ideas, in terms of
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designs, material and functionality with little or no interpretations of traditional elements of the indigenous Nigerian society. Secondly, indigenous traditional Nigerian decorative column are executed in different ideas using indigenous forms such as; seated or standing caryatid, figurative and geometric reliefs, mask totem forms and painted motifs, mostly for shrines, royal and worship structures, but no known columns produced depicting any Berom cultural costumes or artifacts. Also, several artists such as; Nikos Floros, Fabio Lattanzi, Nice Cave, Yinka Shonibare among others have explored costumes sculpturally, which are not columns, within and outside Nigeria in different forms and material. The present study therefore, considers the possibility of exploring costumes to create decorative columns. It is in this light that the researcher seeks to explore Vwana costumes to create indigenous decorative columns comparable with the classical Greek and Roman columns.
1.3 Aim and Objectives of the Study
The aim of this study is to explore Vwana costumes for sculptural decorative columns, while the objectives are to;
i. identify Vwana cloth costume for production of sculptural decorative columns.
ii. select some accouterments for the production of sculptural decorative columns.
iii. produce utilitarian forms in sculpture from Vwana costume columns.
1.4 Research Questions
i. How can Vwana cloth costume be identified for the production of sculptural decorative column?
ii. How can the accouterments selected from Vwana costumes be used for production of sculptural decorative column?
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iii. In what ways can utilitarian forms be produced from Vwana costume columns?
1.5 Justification
The aesthetic qualities of Vwana costumes created the drive which the researcher finds worthy of exploring sculpturally. The reason is because the costumes worn at Vwana festival are more elaborate, finely and richly decorated, with more ornamentation compared to costumes of other Berom festivals. Also, it culturally serves as a medium of documenting visually the Vwana Berom festive heritage, and further helps to create a general awareness about the essence and existence of Vwana festival that is forgotten by the present generation due to religious crisis and the present security challenges in Nigeria.
1.6 Significance of the Study
Vwana costumes have not been explored sculpturally; therefore the attempt to capture the costumes into sculpture suggests the strongest point of the significance. Secondly, this study, inspired by Vwana costumes is significant for providing recognised decorative columns that are functional. It will also serves as reference material for researchers, scholars, students and cultural agencies.
1.7 Scope of the Study
This research focuses on exploring costumes of Vwana festival from Jos South Local Government Area of Plateau State. The researcher considered only the female cloth costumes (wrapper), captured on their torso and other ornamental accouterments such as bangles, beaded necklaces, feathers, palm leaf rattles, grass skirts, leaves, flywhisks, armlets,
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headbands and waistbands. This is because the females wear more adornments that reveal interesting figurative curves than their male counterpart.
1.8 Conceptual Framework
The conceptual framework of this study employs Yinka Shonibare‟s idea of creating costume sculptures inspired by print clothing for both outdoor and indoor sculptures. A typical example is the serials of „Wind Sculpture‟ and costume exhibits on mannequins among others.
It also embarked on Santiago Calatrava‟s idea of adapting human figures into possible “build forms” such as structural designs and abstract sculptures. Calatrava produced works inspired by the human form some of which includes: The Turning Torso Apartment Tower, 2001, Malmo, Sweden. 80 South Street Tower, 2000, New York, USA. Climbing Torso, 1990, New York, USA. and The 2004 Athens Olympics Torch, Athens, Greece, amongst other works. It further addresses his concept of asymmetrical composition in stacking together geometric shapes to create architectural and sculptural forms. Calatrava‟s preliminary sketches of figures showed most of his structural designs and non-representational sculptures are inspired by human forms. In a similar vein, this research is inspired by Calatrava‟s adaption of the human torso differently, to capture Vwana costumes on female forms, and also the composition of stacking together Vwana costume accouterments vertically to produce sculptural decorative columns.
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1.9 Definition of Terms
Acha: Tiny white and brown nutritious cereal, (Digitaira spp) also known as Fonio or „Hungry man rice, cultivated in countries such as Gambia, Mali, Sierra Leone, Burkina Faso and Nigeria (Plateau state).
Berom: A major ethnic group in Plateau state, Nigeria
Caryatids: A stone carving of a draped female figure, used as pillar to support a building.
Da Gwom: Community head
Egungun: Family ritual festival, celebrated through outdooring of masquerades in part of the Yoruba region.
Decorative column: An artistic or architectural pillar not merely attractive but functional, usually made of sculptural ornamental embellishments.
Erechtheum: An ancient Greek temple on the north side of Acropolis of Athens in Greece
Erechtheus: The name of an archaic king of Athens in Greek mythology
Erechthonius: A legendary king and early ruler of ancient Athens, Greece who was autochthonous and raised by the goddess Athena according to some myths.
Godo: Weaved piece of fabric worn as attire by the women or girls during Vwana festival, which covers from chest down the knee.
Gwom Kwi: Spiritual Priest in the Berom Vwana festival.
Hathor: An ancient Egyptian goddess (mansion of Horus in Greek) who personified the principles of joy, feminine love and motherhood.
Kadus: Flywhisk, made of horse or cow tail, usually held by both men and women as accouterments.
Mazaram Zawan: A Berom community in Jos South Local Government Area, Plateau State.
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Oba: A hereditary tribal rulers among several African peoples of western Nigeria.
Opo ile: Piller of the house
Osiris: Egyptian gods of the afterlife, underworld, and judge of the dead.
Osiride: A pillar of an Egyptian god Orsiris, who are engaged, and forms part of an architectural element.
Pwana: Tiny black and brown nutritious cereal, traditionally used for making pudding and gruel particularly among the Berom, cultivated in Nigeria (Plateau state).
Riyom: round or oval shape metallic hand bangles usually of bronze, worn by Berom women as adornments.
Tet: weaved grass or palm leaves (Grass skirts), usually worn as part of costume in the pre-colonial era to cover the genitals and buttocks of women, particularly among the (Beroms).
Toltec: A member of the people that dominated central and southern Mexico prior to the Aztecs (Nahuatl-speaking people).
Vwana: First fruit festival of appreciation practiced all over Berom land, Plateau State Nigeria.
Vwana Cloth Costume: The outer garments (wrapper) usually made of a thin and wide piece of fabric worn as attire by the women or girls during Vwana festival, to cover the chest down the knee.
Vwana Costumes: Clothing (wrapper) and accouterments traditionally worn during Vwana festivity.
Vwana Cloth Costume Column: Decorative column form inspired by costume (wrapper), captured on a figurative sculpture as column or its motif.
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Waga: Ankle rattle, usually made of palm leafs and tiny stones, worn on the leg as a musical instrument and adornment.
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