MONUMENTAL SCULPTURES IN PUBLIC PLACES: A STUDY OF KANO STATE NIGERIA

ABSTRACT

Monumental sculpture is an aesthetic art structure meant to improve the appearance of any city or location, especially in cosmopolitan city such as Kano. Most researchers, over time, have focused their studies more on monumental sculptures in cosmopolitan cities of Nigeria like Lagos, Ibadan, Benin, Enugu and Owerri. Very little attention has been given to monumental sculptures in northern broad-based cities as Kano that boasts of quite a number of these monumental sculptures. This study was thus conducted to bridge this gap. The overall objective of this study was to identify monumental sculptures in public places within Kano State, analyse the identified sculptures, establish the art forms, contents and styles used in creating the monuments, and enumerate the motifs reflected to accumulate historical and humanistic  literature  that  explain  their  meanings  and  fundamental  values.  Data  were collected, using primary and secondary sources.  The data collected for this study, were exclusively analysed  and  production  techniques  were fully discussed.  The result  of this research  shows  clearly  that,  monumental  sculptures  in  Kano  exist  with  strictly  Islamic religion perception. Majority of these monuments, were in abstract forms while few were in realism. The existence of art schools in the State encouraged functionality of sculpture. Sculpture representation of monument existed in the historic lineage of Kano Emirate such as Silver jubilee, Nawata and Gawata. Some of the artists who produced these monuments could not be contacted, despite concerted efforts of the researcher. Kano State Government should mobilize necessary stakeholders towards the proper documentation of monuments and other art works of historical relevance in the state for researchers and art historians to access relevant information on art works. The Society of Nigerian Artists (SNA) in Kano State should embark on a campaign to sensitize the sculptors in the state on the need to embrace and explore other media of producing sculptures, apart from cement concrete and metal.

CHAPTER ONE

INTRODUCTION

Background to the Study

A monument is a natural structure or site of historic significance set aside by an individual, a community or the government for public enjoyment and enlightenment. Artistic monuments are creative objects produced for the remembrance or commemoration of particular personages, events or emphasizing ideals of a group of people or corporate body or nation.1  Odey Ikpakronyi defines modern outdoor sculptures as monuments, large sculpture

pieces found in big towns and cities, particularly in the state capitals.2  These works are

generally for beautification and for the celebration or perpetuation of memorable events, persons or values of the society.

Though  artistic  monuments  perform  the  aesthetic  function  of  beautifying  public spaces, their usefulness transcends that of mere objects of aesthetic beautification. Monumental sculptures are a repository of the historical, political and the socio-cultural experiences of the society where they are being erected. Commenting on the use of monumental structures for sustaining political ideologies, creating national identity and a sense of belonging in modern African states, Mark Duerksen, observes that most of the independent monuments erected in many African countries after independence, are often aimed at creating a national identity, and also a reflection of the power aspiration of the

regimes  that  created them.3   He therefore submits  that  monuments  can  be sociologically functional rather than just for beatification of public places.4  Monumental sculptures are generally enormous or massive three-dimensional images that make various social and aesthetic statements. Monumental sculptures are generally enormous or massive three dimensional images that make various social and aesthetic statements. The term monumental is also used in the

field of architecture as regards its perception, function and size. It describes architectural designs that are large or imposing.5 Some of the world‟s most prominent monuments are the sculpture of Liberty in New York, erected as a memorial to commemorate American independence from Britain; the Eiffel Tower in Paris, commemorating the centenary celebration of the French Revolution;6 The Parthenon in Athens, Greece which is regarded as an enduring symbol of Ancient Greece and of Athenian democracy and one of the world’s greatest cultural monuments; The Great Pyramid of Giza, built almost 5000 years ago as a tomb, it is today considered one of the Seven Wonders of the world. 7

In  Nigeria,  one  of  the  earliest  modern  public  monuments,  commissioned  by  the

government, is the bronze statue of Emotan, in Benin City. It was built in the 1940s by an expatriate, John Danford. Presently, the work is part of the belongings of Emotan shrine where daily sacrifices and requests are made by celebrants and some people in Benin8. Today, modern public monuments have become part of the cosmopolitan environment and culture in Nigeria; as seen; in urban centres as Lagos, Kano, Ibadan and Enugu, among other locations9. Out of these, Kano City has become notable and unique in erecting monumental sculptures in Nigeria. Kano City also has a substantial number of monumental sculptures with historical and aesthetic relevance erected in different strategic locations in the city centre. A good example of this is a metal sculpture located at the Jubilee Junction. It is a combination of items such as sword and spear which symbolizes the instruments of authority of the office of the Emir of Kano. However, this study is designed to identify other monumental sculptures in Kano State, with the aim of examining functional significance of their aesthetic forms and contents.

Statement of the Problem

A search through existing literature reveals that a reasonable number of studies have been conducted on monumental sculptures in major cities in Nigeria. It was however discovered  that,  most  of  these  studies  focused  more  on  monumental  sculptures  in cosmopolitan cities in the southern part of Nigeria such as Lagos, Ibadan, Benin, Enugu and Owerri  with  very little  attention  given  to  monumental  sculptures  in  cosmopolitan  cities northern Nigeria. This is considered a serious gap in knowledge, as it concerns research on monumental sculptures in Nigeria. Therefore, the Cities like Kano that possesses a number of these monumental sculptures should be studied to give balance knowledge of monumental scriptures in Nigeria. This study is, therefore, designed to help bridge this gap by focusing on monumental sculptures in Kano State.

Limitations of the Study

The researcher, in the course of conducting this research, was faced with a number of challenges.  One  of  such  was  inability to  access  some  historical  monumental  sculptures situated in some strategic locations in Kano State such as the Emir‟s Palace, the Government House and the State House of Assembly complex; due to the security challenges caused mainly by the on-going Boko Haram insurgency. Another major challenge was inability to locate some of the producers of identified monumental sculptures. Attempts made to locate the creators of have sculptures proved abortive because, most of them had relocated to other states as a result of insurgency.

Furthermore, language barrier undermined effective communication between the researcher and many of those interviewed who were mainly vernacular speakers and could not communicate in English at all. The researcher had to rely solely on interpreters. This is considered  a  limitation  because,  the  researcher‟s  inability  to  speak  Hausa  language constrained his ability to interact freely with the contact persons for additional information.

The Objectives of the Study

The objectives of this research are to:

1.       Identify monumental sculptures within Kano State.

2.         Critically observe the identified sculptures with a view to establishing the art forms and their contents.

3.        Identify the factors (whether religious, historical, aesthetical or socio-cultural) that influenced their forms, styles and contents.

4.        Consider  the  conceptual  imports  of  the  sculptures  and  attempt  to  explore  their historical relevance.

5.         Examine the agencies responsible for maintaining sculptural monuments in Kano.

6.        Identify the contributions of the sculptures to Kano state environmental aesthetics and economy.

Scope of the Study

This study was geographically restricted to Kano State, which comprises of forty four Local Governments Areas. The study was, however, conducted in nine Local Government Areas where monumental sculptures are found. They are Fagge, Dala, Gwale, Kano Municipal,  Tarauni,  Nassarawa,  Bichi,  Ungongo  and  Kumbotso.  The  study  covered prominent monumental sculptures at the following junctions within Kano metropolis: Yan- kura, Centre Hotel, Hadeja, Triumph Newspaper, Kano Club, Kundpa, Kano Guest Inn, Airport/Katsina Road, Silver Jubilee, Government House, Race Course, Bata, Abu Avenue, Sabo Bakin Zuwo, Bumpai, Emir‟s Palace and Makama Museum, and other Local Government Headquarters.

Procedure

In  collecting data for this  research,  the researcher  relied  mainly on  primary and secondary sources. The primary sources of data included interviews with the artists who

produced the monumental sculptures, and the officers of the Kano State Ministry of Urban Planning and Development Authority who are responsible for commissioning and approving the creation and location of monumental sculptures. Local chiefs and elders who are custodians of history as well as scholars from Departments of Fine Arts, History, and other relevant disciplines in tertiary institutions.  Interviews were conducted with camera and tape recorder. Secondary sources included books, journals, exhibition catalogues, unpublished students projects, dissertations, theses, monographs, seminar papers, newspapers, and magazines, among others. The data collected were critically observed and established the art forms, and their contents were fully discussed.

Significance of the Study

The outcome of this study will be of great benefit to artists, geographers, tourists, administrators, advertising agencies, the academia and the general public. It will bring to focus the benefit of   monumental sculpture in public places. The study will open the way for further research into the topic and serve as a resource material to other researchers. It is the researcher‟s hope  that  this  work  would  improve the public view of  public monumental sculptures, and contribute to the growth and development of art in general.

Organization

This study is organised into seven chapters. Chapter one contains the background to the study and the research methodology. The literature review is in chapter two, while in chapter three, the identified sculptures are analysed with a view to establishing the art forms and contents. Chapter four discusses socio-cultural functions of monumental sculptures in Kano State. In the fifth chapter, the analytical study of the motifs discovered on each of the sculptures studied is vividly explained. Chapter six examines the influence of Islam on the art and culture of Kano State, while chapter seven concludes the work.

References

1. Denis Williams (1974), Icon and Image: A Study of Sacred and Secular Forms of African Classical Art, London: The Pitman Publisher, p. 228.

2.  Odey  Ikpakronyi  Simon  (2006),  “Modern  Outdoor  Sculptures  in  Benin  City:  their

Classification and Cultural Relevance”, USO: Nigerian Journal of Art Volume 4. No.

1and 2 Jan 2002- Dec 2005.

3. Mark Duerksen (2012), Monumentalizing Africa’s Momentous Decade: Building Monuments  and  a  Nation  in  Uganda.  An  Unpublished  B.A.  Thesis,  programme  in Political and Social Thought at the University of Virginia, p. 3.

4. Ibid.

5. The Encyclopaedic Americana (2000), Reviewed Edition. Vol. 12. U.K. Wunderkammer

Press, p. 12.

6. Fred S. Klierier (2009), Gardner’s Art Through the Ages (13th ed.), New York: Harcourt Brace Jovanich Publishers, p. 34-35.

7.  The Encarta Encyclopaedia (2009), Premium Microsoft.

8. Odey Ikpakronyi Simon (1997), Contemporary Out-door Sculptures in Enugu and Owerri Metropolis: Form and Content. An Unpublished Dissertation, the Institute of African Studies University of Ibadan, Ibadan, p. 4.

9. George. E. Adelowo, (1999), Out-door Sculptures in Ibadan Metropolis: Form and Content. An Unpublished M.A. Dissertation, the Institute of African Studies, University of Ibadan, Ibadan, p. 28.

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