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Arts & Communication Art and culture in Nigeria architecture

A B queen mother head (Iyoba) at the entrance of the Oba Akenzua
Cultural Center, together with the mural and relief sculptures
at the top of the entrance foyer, align with the opinions of
previous studies 12,15 on the importance of decorative and
symbolic patterns or motifs in African historical settings.
The Oba Akenzua cultural center stands out among the
three cultural centers because both the architectural edifice
and the walls of the main entrance depict the traditions,
cultural motifs, and patterns associated with the old Benin
empire, especially the resemblance of the approach elevation
of the building façade to the Oba of Benin’s ceremonial
Figure 11. Indigenous art and craft sparingly expressed in the building. staff. This edifice serves as an archetypal representation of
(A) Wall murals at the entrance. (B) Relief sculpture on the fence and
sculpture in the round exhibition space. Source: Authors’ fieldwork in 2019 cultural development in modern Nigerian societies. The main
building is sculpted with a premonition of creating an edifice
that speaks the artistic language of the place.
are exhibited and displayed to customers for sale, and
customers can also retrieve contact information for artists The entrance of the cultural center at Ibadan, Oyo
for further business dealings. State, to a great extent, showcases the attire and traditional
musical instruments of the Yoruba people. This depiction
The primary construction material used is sandcrete is especially evident at the entrance of the building, where
blocks, with no special finishes on the exterior. However, sculptures of music makers are placed, and on the relief
various materials are used inside the building, including sculptures on the walls of the perimeter fence of the site.
wood, bamboo, ceramic finishes of various kinds, and These artworks depict the art and culture of the traditional
others. The building structure was constructed using the lifestyles of the southwestern people integrated into
most common materials that can be found locally. Despite modern buildings. This observation agrees with Denyer’s
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this, the building does not prominently feature local position that the colonial mentality had eroded the social
materials as major building elements. Except for certain and cultural lifestyles that were reflected in neighborhoods
interior areas where wood is used for flooring and ceilings, and communities. The design of the building fits well
all other materials were not locally sourced. Indigenous art into its environment, as its structure is adapted to the
and craft are sparingly expressed in this building, evident
in the wall murals (Figure 11A) and the relief sculptures site rather than the other way around. The best forms of
(Figure 11B) at the entrance (on the perimeter fence). The architecture are expressed this way, creating a sense of
art shop at the entrance also exhibits a variety of works place. They characterize the landscape by becoming a
by local craftsmen, ranging from textile materials to part of it rather than being imposed as rigid elements. In
sculptures and various graphical illustrations and patterns. addition, a profound architectural feature of the cultural
center in Ibadan is its use of the ancient traditional Yoruba
The activities within the building, rather than its courtyard system/style of construction. This method allows
elements, reveal the local culture. Activities that promote for architectural spaces to be built around a rectangular
and enhance the art and culture of the people are displayed empty space, forming a central courtyard. This represents
within the exhibition spaces within the building. The culture at its peak, and the reintegration of this traditional
primary purpose of the building is to accommodate cultural dimension into the cultural center in Ibadan is a prolific
activities organized by the state or private organizers. architectural language that depicts the cultural heritage
4. Deductions and discussions of the people. The cultural centers at Benin and Ibadan
explicitly represent the art and culture of the Indigenous
This study demonstrates that the art and culture of indigenous people of their respective localities.
traditional lifestyles, which are gradually eroding due to
modernization, can be reintegrated into contemporary The cultural center in Akure only has murals on the
buildings to preserve Nigeria’s local heritage and tradition walls of the perimeter fence, thereby showcasing the
for future generations. This study examines three case studies general features of the Yoruba people’s lifestyles. While
to determine if the art and culture of Indigenous people this may be acceptable due to the features incorporated
were integrated into the cultural buildings in their localities. on the walls, it cannot be compared to the cultural centers
Findings indicate that the integration of art and culture was in Benin and Ibadan. Akure is an old town with a strong
achieved, especially in the cultural center buildings in Benin cultural background, just like Benin and Ibadan; therefore,
and Ibadan. The introduction and integration of the Benin it is expected that its cultural center should showcase much

Volume 2 Issue 4 (2024) 9 doi: 10.36922/ac.0333