Browsing by Author "Dr. Morenike Folabalogun"

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    A Critique of Mu’azu Mohammed Sani’s Palette Painting Technique in his work “Swange Dance Steps as Vehicle for Contemporary Expression in Painting
    (GRASPACT JOURNAL OF ARTS AND TECHNOLOGY, 2020) Dr. Morenike Folabalogun
    2 This paper sets out to critique Mu’azu Mohammed Sani’s palette painting technique in his work Swange Dance Steps as Vehicle for Contemporary Expression in Painting. The technique used in the palette painting, year of execution, habitat of works, medium and brief history of artist was also provided. The methodology used in this write up is qualitative which include, analysis, indirect observation, literary texts, and internet resources. The twenty first century ushered in creativity and dramatic individualistic expressions and great imagination of artistic qualities and fantasy in painting in Nigeria and other countries. Mu’azu’s technique of palette painting using the dance feet of the Swange dancers remain relatively new in Nigeria. Swange dance is one of the series of cultural dance steps of Tiv ethnic group from Benue State, Nigeria. This paper examines three of the thirty-one works in this genre of paintings. The aim of the research is to raise awareness on Mu’azu’s palette painting technique in his work Swange dance steps as vehicle for contemporary expression in painting.
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    A photo Essay on Hausa female Embroidered Caps
    (International of Journal of African society, Culture and Traditions, 2024-01-09) Dr. Morenike Folabalogun
    Photo Essay of Female Hausa caps in Zaria, Northern Nigeria is part of their cultural signature and creativity. The methodology adopted for the research is qualitative; which includes non-participant observation, oral interviews, literary, materials, Internet resources and analysis. Pictures of embroidered caps indicated established the existence of female embroidered caps The researcher also concluded that the females work as hard as their male counterparts but face economic, biological and cultural challenges.
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    Art, Symbol and Royalty: A Case Study of the Yoruba Speakers
    (International Journal of Arts and Humanities(IJAH), 2017-01-20) Dr. Morenike Folabalogun
    This paper set out to examine the relationship and importance of Art, Symbol and Royalty amongst the Yoruba speakers in Nigeria. While studies have been done in different areas of this topic, yet this area remains unattended to despite its importance in art history. The aim of this paper is to bring awareness and fill the existing gap. The methodology of research employed is qualitative, through observation, non-observation, intrinsic/contextual analyses. Yoruba culture follows the general patterns of traditions in African societies. The traditional leaders are seen and reverenced as intermediaries to God; the Yoruba traditional heads are custodians of history, religion, tradition, myths, norms and values. Their subjects see them as deities; to wade off the ills within individuals and communities at large. The paper revealed that art; symbol and royalty are inextricably tied together. The unknown artists are still the machines that create the art, symbol and royalty traditionally, amongst the Yoruba speakers.
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    Decay and Challenges of Traditional Cults in the 21st Century Nigeria.
    (International Journal of Humanities and Social Sciences (JHSS), 2020) Dr. Morenike Folabalogun
    Nigeria before the 21st century relied solely on traditional cults for its day to day events, policing, information dissemination, control of ancestral worship and initiation. The geographical ethnic cults taught the norms, values, beliefs, myths and morals to their society. In the 21st century the role of traditional cults was paling out and giving way to modern cults. Modern cults have directly and indirectly affected the beliefs, myths, norms, values, religion, education and cultural values in Nigeria. The positive significance has weaned out, but it is an area where many weaknesses are observed, yet it forms an important cultural foundation of the past. This study therefore investigated the characteristics of traditional and modern cults in Nigeria, and the challenges associated with the cults in the 21st century. The study’s scope is narrowed down to Nigeria. Methodology adopted for this write up is qualitative which includes; non-participant observation, relics, interviews, historical, literary texts, Internet resources and oral tradition.
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    Decline of Ekpe Masquerade Amongst the Efik Speakers
    (Published in Journal of Discovery an International Multi-Disciplinary Publication, 2018-09-01) Dr. Morenike Folabalogun
    Masquerade traditions amongst the Efik speakers in Nigeria, is an interesting theme for discussion in art history. The scope of this paper is to direct attention to that aspect of Efik culture that is deeply rooted in the masquerade traditions and the importance of the masquerade’s cult. This paper examines specifically the Ekpe masquerade, their duties, their regalia, art, symbol and performance. The paper intends to bring awareness and fill any existing gap. The methodology applied in this research is qualitative, which includes oral interviews, analytical; using intrinsic and contextual methods, internet resource materials and literature. Efik culture follows the general patterns of masquerading traditions in African societies. The traditional masquerades are seen, as ancestors and reverenced as intermediaries to God. The masquerades traditionally are regarded as custodians of history, religion, tradition, myths, norms and values. Their subjects see them as deities; to wade off the ills within individuals and community’s at large, unity is established within communities, rules and regulations are adhered to. The dread of been sanctioned by a masquerade cult, culturally is an abomination in tradition and attracts sanctions. Difficult matters arising and sensitive disputes are settled by masquerade cults in the Efik land, the culture and its ideals are reinstated. Their performance brings alive the cultural values of the societies / communities.
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    Trans-Atlantic Slave and the Phenomenon of the Migration of Visual and Performing Arts
    (Published in IOSR Journal of Humanities and Social Sciences(IOSR-JHSS), 2024-01-08) Dr. Morenike Folabalogun
    The Trans-Atlantic slave trade lasted for over 360 years with over 11million Africans traded across the Atlantic over years. The methodology adopted for this write up is qualitative which includes internet resources, historical, literary materials, and relics. This paper examines specifically the medieval contributions of Africa in art history and art that emerged from the descendants of Trans-Atlantic slave trade like the festivals, capoeira martial art dance, foods, use of nsibidi symbols, dance styles, languages amongst others. The author also examined and looked into the importance and the possibility of reparation to African Trans-Atlantic slave trade descendants and the need for tendered apology to African Trans-Atlantic slave descendants in diaspora by Africans first and then the colonial slave masters for the inhuman injustice done and for the wrong committed. Recommendations were also given for possible adaptations in the write up.
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    ) Visual Arts Professionalism and Practice: The Context of Copyright and Creative Authorship.
    (. LIWURAM Journal of Humanities, 2020) Dr. Morenike Folabalogun
    The writer dares to say that the issues of Copyright Act in Nigeria is still not so effective as it should be, and a lot of artists still suffer either because they are not aware of corporeal laws governing issues pertaining to visual arts as an important aspect of expression, or because they lack confidence in the system. Artists’ works are being plagiarized and offenders have not been prosecuted in most cases in Nigeria. The twenty first century ushered in creativity, dramatic individualistic expressions, great imagination of artistic qualities and fantasy. The exposure and access to the use of the internet affected the global world business transactions, Nigeria inclusive. The problem of get-rich-quick syndrome concerning artists and the incursion of internet technology amongst others also affected the corporeal laws and registration of visual artworks. Many visual artists seem not even aware of expiration dates for the genre of their works, however, this is another issue altogether. This paper examines specifically the aims of the Copyright Act, and some rules guiding visual artists in their professional transactions and expiration dates for visual art works. The methodology used in this write up is qualitative; through exploring literary texts, observation and internet resources. The corporeal organization must endeavour to upgrade their data base and expunge outdated laws to meet up with the demand and challenges of the 21st century.