TRANSPORT BREAKDOWN

SN TAKE OFF/DESTINATION TIME/DURATION FARE #

To

1 Imeko - Abeokuta 500

2 Abeokuta - Igbo-Ora 12:45 -1:27pm (42mins) 400

3 Igbo-Ora - Iseyin 1;35 - 3:05pm (30mins) 700

4 Iseyin - Okaka 3:15 - 4:24pm (69mins) 300

5 Okaka - Otu 4:45 - 5:03pm (18mins) 200

Total 2,100

Fro

6 Otu - Okaka 9:05 - 9:21am (16mins) 200

7 Okaka - Iseyin 9:22- 10:22am (1hr) 300

8 Iseyin - Abeokuta 10:58am - (2:20 igbo-Ora)-1:28 1,000

pm (2hrs 30mins)

9 Within Abeokuta 100

Total 1,600

TOTAL #3,700

OTHER EXPENSES BREAKDOWN

SN AMOUNT #

1 Hotel lodging (2days @#2,000) 4,000

2 Food 2,000

3 Refreshment and entertainment 1,000

4 Calls Recharge 1,000

5 POS charges on withdraw 1,100

TOTAL 9,100
ACTIVITIES/PROCESS/SERVICES/ITEMS BREAKDOWN

SN ACTIVITIES/PROCESS/SERVICES/ITEMS AMOUNT #

A Planting Process

1 Planting + Food 27,000

2 Seeds (we used 4 bags of red seeds & 7 bags of white 6400 + 8550 = 14,950
seeds) total of 11bags for the farm land. (Remaining 3bags
worth 2,550)

3 Transportation 1 (seeds) 1,200

4 Transportation 2 (planters) 1500+400 =1,900

5 Appreciation (Mr. Debare & Mr. Damola) 2000+1500 =3,500

TOTAL 48,550

B Herbicide Application

6 Atrazine 1900 x 8 15,200

7 Contact 1200 x 9 10,800

8 Application+Food+transportation 19,000

9 Water, Jerry cans & transportation 5,000

10 Appreciation (Planters & Mr. Tunde Otunba farm 500+1,000= 1,500

manager)

Total 51,500

TOTAL 100,000

SUMMARY
SN AMOUNT #

1 Transportation 3,700

2 Other expenses 9,100

3 Activities/process 100,000

TOTAL 112,800

4 Amount sent by the company (25,000+40,000)

65,000

5 Deficit to balance (+1,200 balance for 47,800

herbicide application)

S/N AMOUNT #

A 2nd Herbicide Application

1 Keg & water 5000

2 2/4 Dermis (@1950 x 5) 9750

3 Atrazine (@1900 x 3) 5700

4 Application 15000

5 Transportation fare 4200

Sub-Total 39650

B Farm Manager allowance 5000

C Fertilizer Application

1 Super gro (5 liters) 16000

2 Transportation (200+300+1100+1400) 3000

 Sub-total 19000

TOTAL 64,650

UP TO DATE SUMMARY

S/N ACTIVITIES/PROCESS/SERVICES/ITEMS AMOUNT (#)

1 Leasing of land 100,000

2 Picking of land 35,000

3 1st Ploughing 62,500

4 2nd Ploughing 60,000

5 Transportation to the farm (Twice)(5700+7500) 13,200

6 Planting 112,800

7 1st Herbicide (65,000 + 47,800)

8 2nd Herbicide 39,650

9 Fertilizer 19,000

10 Igbojaye's PM + Mr Damola Appreciation 25,000

11 Farm Manager (1st allowance) 5,000

12 Fertilizer application on some part of the farm 6,000+1,000

(5000 fertilizer app+1000 T-fare &
food+1000 FM appreciation)

13 August visitation T-fare 2,300 (+ extra)

TOTAL (336,700 + 144,750)

481,450+
(Amount spent by the company= 336,700

Deficit owe by the company= 144,750)

144,750-19,500(payment of my June & July seeds) = 125,250

4.6 ARGUNGU FESTIVAL Argungu festival is a very popular festival in the Northern part of Nigeria.

Argungu is observed at Argungu village in Kebbi State. It contains agricultural fair, cultural and handcraft
exhibitions. Fishing competition is alse observed at the festival. The person who catches the biggest fish
will be rewarded.

Besides, nationals from other continents witness this festival. Pictures are taken . . . . . . the and various
electronic media like teleVISIon houses, radio, etc broadcast

events of the festival to the audience.

Fishing festival features many people with nets, gourds to catch fish and various music and songs
accompany the events and competitions. Canoe race (Kabanchin displays) is also featured towards the
end of the festival. Canoe racing, swimming, traditional wrestling and boxing also feature during the
festival.

4.7 OGUN FESTIVAL

Ogun Festival is avery popular festival among the Yorubas. Ogun is believed to be the “god of iron”.
Mainly users of iron and automobile

drivers believe in the worshipping of Ogun and they appease him. This is done to

avert the danger of blood shed by Ogun. Mostly, the Ogun festival is very common in Ondo, Ogun, Oyo,
Lagos, Ekiti,
Osun state and other Western Nigeria towns likewise, drivers, blacksmith,

hunters and the likes have pleasure in worshipping Ogun. The festival is normally done between August
and September (during the rainy

season) every year. Mainly, a dog is being used as an object of sacrifice to Ogun and fresh palm-wine,
fresh palm leave, torn cloths, old animal skin and powder are being used as costume by the celebrants. .

The Ogun priest will then officiate by praying for the worshipers while they dance round Ogun shrine.
The dog’s blood is poured on iron and other instruments used by Ogun worshippers. ‘

4.8 EYO FESTIVAL

Eyo Festival is a very popular festival in Lagos State. It is used in celebrating the god of Eyo and famous
ancestors during the rainy season in Lagos. This festival is famous and popular at the lsale Eko and its
environs. each Eyo family has lga such as lga Oluwa, lga Adamu Qrisa, lga Kosoko.

The Eyo participants are usually dressed in white robes and cover all the part of their body and carry
sticks or canes which are usually used to beat the onlookers in a friendly manner.

Eyo usually prays and receives gift from

people through his representativ and the participants do not wear shoes. es. E70

I
4:; 2.3“:

' i 53‘ r

“W

Fig 4.|

4.9 NEW YAM FESTIVAL

New Yarn festival is very popular in the eastern part of Nigeria. Mostly among Edo, lgbira, igbos and a
few Yoruba people. At this festival, the

goddess of the earth who is believed to make the earth fertile and make yams big

and plentiful is worshipped. 111efestival is mostly done by the Obis or heads of each family or clan with
their

people. Cultural dances, prayers and songs are all featured during the yam festival. A new yarn is
sacrificed by the Obi or Chief or head of the family to the god of the new yam. The new yarn is cooked or
roasted with palm oil to the

goddess of earth while prayer are rendered for long life and prosperity, wealth
and bumper harvest.

Besides, it is believed that when this festival is done, there will be a bumper harvest, long life and
prosperity in the land or community. Alcohol and palmwine are drunk during yam festival. Young men
and women also get their choice

of husband or wife during this period.

4.l0 DURBAR FESTIVAL Durbar festival is an impressive festival in the Northern part of Nigeria. The

people who participate in it wear beautiful and colourful dresses and ride on

decorated horses.

4.l l GELEDE FESTIVAL Gelede is a masquerade with the female wooden mask and is popular among the

Egbado people in Ogun State of Nigeria.

I9. I INTRODUCTION Ceramics is also known as pottery like sculpture. it is a three dimensional art. It

possesses length. breadth, and height. The word ceramics comes from a Greek word KERAMOS,
meaning burnt clay object. Ceramics works include using cement, making glass wares and other areas of
human activity where clay and other related raw materials are used for making other products such as
pots. electronics, electrical insulator and re-factory bricks used in building kiln and furnace.

l9.2 PERFORMANCE OBJECTIVES At the end of this chapter. you should be able to:
l. Describe ceramics

2. Identify the types of pottery we have 3. Understand the methods of pottery 4. Mention the firing
process and stages 5. List the materials/tools used

l9.3 TYPES OF POTTERY There are three major types of pottery. These are:

(i) 'Earthenware: It is the type of pottery that is made from the mixture of earthenware clay found in the
soil in all parts of the world. The glaze ones are fired at the low temperature while the less colourful
ones are fired at a high temperature. It breaks more easily than any other types of pottery.

(ii) Stoneware: It is the type of pottery that is made from the mixture 0i stoneware clay. The finished
modelled products are fired at a very high temperature. The heat makes the surface to become glossy. It
is stronger anq heavierthan the earthenware.

(iii) Porcelain: It is the type of pottery that is made from the mixture of flint. feispar and a large amount
of kaolin, (kaolin is a fine white clay). It is the pures‘ and most delicate type of pottery. There are two
types of porcelain, hard and soft, the hard one is fired at a high temperature while the soft ones are iired
at a Very low temperature.

.‘ ' W i I ' 4‘4! ”‘53 j . Fig m

|9.4 TOOLS NEEDED FOR CERAMICS

(i) Clay Cutter: It is used to test the clay, to know if there are particles or air bubbles in the clay. Air
bubbles or particles could cause a iinished clay product to burst during firing process.

(ii) Butter Knife/Fork: It is used to make sgraffito designs on ceramic.

(iii) Spoon: It is used for the burnishing of ceramics.

(iv) Toothpick: It is used to make intricate linear design on ceramics.

(w) Spatula/Knife: It is used as modelling tools

'95 EQUIPMENTS NEEDED FOR CERAMICS (i) Kiln: It is built like an oven with chambers used to fire
finished wares. It is also used for the first firing known as Bisque or Biscuit while the second

firing is known as GLAZE or GLOSS. (1}) jigger lolly: It is the machine made into several moulds that are
used for

mass production of ceramic wares of various shapes according to the shape of mould inserted.

(iii) Pig Mill: It is used for the pouring and mixing of clay.

(iv) Throwing wheel: It is used for the mass production of ceramic wares and for the building up of forms
to any height required.

[9.6 TECHNIQUES OF CERAMICS (i) Coil Method: It is the forming of clay into lumps and rolled on a flat
and smooth surface to give required length and thickness needed for building up of

forms.

(ii) Mould Method: It is the building of form from lumps of clay and dissecting the form to hallow inside,
for effective firing. Hallowing out of the clay must be done when it is leather hard to prevent disfiguring
or shrinking.
(iii) Throwing Method: It is the firm resting of hands on a lump of an already processed clay on the
turner of the throwing wheel, while it rotates slowly to allow a centralization of the clay. There are
manual throwing wheels known as

Kick Wheel and the electric types. Its main objectives are to enhance mass Droduction_

(iv) Pinch Method: it is the cutting ofciay bit by bit to add to the already formed base from the main
vessel. It is squeezed and smoothened into thg desired thickness and height.

(v) Slab Method: it is the rolling out of day like biscuit dough. cut into piecQ and fastened together to
buiidthe required shape.

l9.7 DRYING It is a process whereby clay is stored away in a dry cool place for sometime to

allow it to dry up gradually, until it is bony dry. a stage usually referred to as Green Stage . The process
of drying begins from the day the pot is moulded,

Lots of water are applied to make the clay plastic and also. easy to make_

Therefore, it is essential for the clay works to dry up before firing. ‘ '

I9.8 METHODS OF DECORATION Pots may be decorated in avariety oiways before firing. 4‘ Burnishing: It
is atraditional technique of smoothening a pot in a black hard or leather hard state. A smooth pebble or
spoon is rubbed on the pot untifii’ brings

to shine. Traditional potters are noted for this display of a high degree of artistic ability.

Piercing: it involves the use di sharp objects like knife to pierce holes on the ceramic wares. This method
is mostly applicable to wares used for decoration e.g. lamp shade.
Scratching: It is otherwise known as sgraffito. It involves the use of sharp objects to insert or scratch in
designs on the body of the ceramic wares.

Applique: It is a method of creating a relief design on the body or surface of a ceramic ware as
decoration.

Designs are made out of plastic clay either in ball or coil and are applied to the ceramic ware body

l9.9 FIRING k

Firing is the final di'ying of clay. They are in two stages: (i) Biscuit firing

(ii) Glaze firing ,

The first firing stage, is referred to as biscuit firing, which turns to reddish brown, known as terracotta.

The second firing stage is referred to as glaze firing. Glaze is applied on the terracotta wares and it is
being re-lired in the kiln.

I 9. l 0 METHODS OF FIRING

There are two methods of firing clay works and they are:

(i) Opening Firing: It is the traditional method of firing whereby all clay products are arranged outside in
a pyramid form. Fire woods, dry leaves and grassgs are used to cover the ceramic wares and set on fire.
The result is known as bisque that is, the first stage of firing in ceramics.
(ii) Kiln Firing: It is an electrical process of using oven-like equipment to tire the ceramic wares. There are
chambers where products are arranged in the oven for firing. Kiln firing is more effective and controlled
than the open firing method. In kiln firing, temperature can be regulated and also a spy-hole is provided
to see if the wares have attained the acquired degree of firing. The kiln is equally used for the second
stage of firing known as Glaze or Gloss tiring.

l9.” GLAZING . .. Glazing is the second clay firing with a form of glass. that IS (Silica With add“ oxidee for
colour). Glazing therefore is a liquid coating which has a specialglas1

seals on the surface of the clay so that it becomes nonporous and thus

waterproof. ltgives the clay a glossy shiny look.

Fig l9.4

l9. l2 METHODS OF GLAZING . Dipping: n is the Isimplest method of glazing, clay objects are dipped into
cdaured glaze in a plastic bucket, carefully done to leaving some of the areas 6f 9'9 Obi“! uncoloured to
create a design. Glaze is not applied thickly in order

mmmwmefmishing.

Pouring: It is a method whereb); the eoloured glaze is poured over and round the body of the clay object
quickly to avoid the glaze to become too thick. Also. the inside of the pot needs to be coated with glaze.
This is done by pouring one-. third full of the glaze into the pot, it is shaken very well for the glaze to
rotate and
poured out immediately to avoid forming a heavy coating of glaze. O

Brushing: It is a method whereby glaze is applied to coat the pot with a wide soft brush in various
directions to have an equal application. Designs applied are as well geometric and free-form desigh. Also
brushing hot wax on the object and dipping it into the glaze for resist design, in other words, it can also
be applied through stencil.

Spraying: It is a method whereby glaze is applied by spraying. This is applicable when glazing big ceramic
pieces like the toilet set, or the bath tubes, sinks or

floor tiles in the ceramic industry.

I9. I 3 FUNCTIONS OF POTTERY PRODUCTS I To hold things, examples, pots, bowls, jugs, etc. 2 For
drinking liquids e.g tea cups, mugs. 3. For decoration and beautifying e.g flower vases. 4For roofing
buildings e.g ornamental rooftiles. 5 For cooking e.g pots. 6 For hygiene purpose e.g sinks, bath tubs,
toilet sets. 7

It is also used for mask.

SECOND BOOK

IKENGA FIGURES

Ikenga figures are found among the Idoma, Igbira and Igbo. Ikenga is most popular in Igbo Ia nd.

Ikenga means “Success in life”. It can also stand for fertility, bravery and agriculture. It can also stand for
fortu ne, authority and strength. The figures carved from a block of wood has a horn-like projection. It
may be stylized and at times naturalistic with elaborate hairdo. The normal representation of Ikenga
figure is in siting position holding a cutlass in one hand and on the other hand is a carved horn like that
of Ram. Some figures have carved elephant Tursk . or the head of human being. In Igbo land, Ikenga is
made into persons personality called “CHI”

ULI BODY PAINTING

Uli body painting is practiced among the Igbo people of Nigeria. It is a transient body adornment done
with a type of indigo dye all ovei the body.

Beautiful freehand method of design is adopted for the design.

Apart from body beautification, Uli design may symbolize gods and goddesses or to elevate
theparticipant above ordinary human level.

It may also be done on the body to hide the identity of the wearer.

KANO PIT DYEINThe pit dyeing is peculiar to ‘

kano and the immediate environment. It is an indigo

dye carried out in pits located in an open yard. The materials used are indigo colour , ash and j 3:11-57
potassium. '

Process of Dyeing . The Ash, indigo and potassium are mixed with water ' in a dug well and left to
ferment for four weeks. The longer the solution ferments, the deeper the colour will be.
Plain clothes are tied indifferent patterns and dipped in the solution‘fOr eight hours with the dyer sitting
by the edge of the pit opening it into air and then dipping again until the fabric has completely
absorbed . This is repeated over and over .

On completion, the fabric is hung under the sun, then the thread is removed to inveil the design.

It is later ironed by beating with HUGE , a piece of Mahogany wood.

HAUSA DECORATIVE ART

Hausa decorative arts are for aesthetic purposes. They are seen in some important towns like Kaduna,
Zaria, Kano, Sokoto, Katsina and Bauchh

Architecture:Decorations are made on walls, fences and entrance of the building either in painting, or
embossed or cut-out relief. They are prominent in the Emir palaces and people of high status, especially
in the buildings of the widows of the first world war soldiers at Tundun Wada, Zaria, Houses of wealthy
traders and farmers

Others:

Decorations could also be found in leather works such

as cushions, hand-fan as well in Embroidery.

Motif:. The motif are derived from Ara bIC letters.

The most popular one is called Northern Knot or Gadan dara

Ncmhem Knot

NIGERIAN CULTURAL FESTIVALS

Cultural festivals are celebrated at different times in Africa for various purposes. It attracts people within
and outside the community. It is a form of rejuvenation. An event which is the integrations of visual arts
and performing arts.

Cultural festivals are celebrated for the following purposes. To appease to different gods for prosperity
and well being of individuals and the community at large.

In remembrance of some worthy citizens in the community who have been deified. For example Sango
festival is celebrated in Yoruba land in honour of the deified Yoruba king.

Religious festivals are also ceiebrated whereby the religious leaders are saddled with prayer assignments
for the stability of the community or wipe offevils in the land.

Some festivals are tied to season, for example, New yarn is celebrated in the Eastern part of the country
while fishing festival of Argungu is connected with fishing harvest.

Some festivals are celebrated by occupational group, Example of such is Ogun festival whereby the users
of metal or iron come together to ROLES OF ART AND CULTURAL

FESTIVALS IN NATIONAL , DEVELOPMENT ~ 5’ ii: .

It promotes and preserves cultural heritage “‘3'” f

It fosters national unity ‘ “

It encourages inter-cultural exchange . ,5}:

It promotes tourism

It provides entertainment

It aids economy through foreign excha nge

It encourages healthy rivalry during competions, exhibitions and displays

It serves as a source of inspiration for younger generation who would inherit and also

tra nsmit to their children It gives a cultural identity to the nation It encourages indigenous art as a tool
for nation building.

FESTAC 77

The second festival of Arts and culture took place in Nigeria between January 15th and February 12th
1977.

Meanwhile, the first Black Festival of Arts and . I Culture had earlier taken place in 1966 at Dakar,
Senegal. It was named “World Festival of Negro Art".

FESTAC 77 featured Cultural Music, Dances, Drama and Visual Art. All activities took place in Lagos, the
then capital of the Federal Republic of Nigeria, except Durba which took place in Kaduna.
Aims and Objectives of The Festival To ensure the revival, resurgence, propagation and promotion of
black and African cultural values and civilization.

To present black and African culture in its highest and widest conception.

To bring to light the diverse contributions of black and Africa people to the universal currents of thought

and arts.

To promote Black and African Artists, performers and writers and facilitate their world acceptance and
their access to world outlets.

To promote better International and Inter-racial understa nding

To facilitate a periodic “return to Origin” in Africa by black artists writers and performers uprooted to
other continents.

The Festivai Emblem

A Benin 16‘“ century Ivory mask was adopted as the emblem of the festival. The original artwork was
taken to Britain in 1897 when Oba Ovoranwen was dethroned by the British soldiers

The Festival Flag

A tricolour flag of three equal perpendicular rectangles. Two of the triangles are painted black,
representing black people of the world while the remaining one was painted gold symbolizing wealth of
African culture. The gold also represents non-biack people’s association with the blacks in the festival.
SHARO CULTURAL FESTIVAL 'Sharo' is a display of manhood, bravery and courage among the normadic
Fulani (Boroji and Yagwamawa)

It is a public flogging, a test of manhood for a young man who desires a bride.

Apart from marriage, Sharo is also carried out on the occasion of the naming of a first child of a man
who was a great exponent of Sharo in his youth.

Not these alone, Sharo could be held to honour a chief, to celebrate appointment or succession, at
times, it could be held between communities to settle claims of greater prowess.

A healthy youth who does not participate in Sharo is looked upon with contempts and rega rded as
coward.

The origin of Sharo could be traced to Jafun Fulani where the first Sharo took place.

THE FESTIVAL

The festival takes place twice in a year during the dry season around guinea corn harvest period and
during the salah festival. The game which lasts about one week attracts people from far and near in the

towns and villages. It takes place at a market place or any other open space.

The Event

Youths are stripped to the waist, their bodies glistering with liberan smeared fat, roam about yodeling. y
They wear ornamental leather game kilt over their shorts with charms various sizes of leather bound
meant to absorb blows from Cane. ' It commences with dances, reciting incantation by those taking part
chasing themselves and dancing to the native drums. ' Young girls and newly wedded hold fling dance in
circles, round and swaying patterns to add . a ., ,, glamour to the occasion. Youths undergoing the » " ‘
test are surrounded by the spectators. , Suddenly, the participant gives a pose, leg ii". ' crossed or
stradded, arms aloft, hands clutching, a stave above his head or a mirror or cowries on which he fixes his
gaze as if unconcerned with what is going on around him.

He watches indifferently with contempts on his face. Another youth rushes at him with whip and gives
him strokes under the supervision of other young men acting as referee. The cane lands heavily on him
while his relations and friends shout for joy as he continues to smile without showing any sign of pain.
As the cane is landing on him, he will be calling for more.If he could survive this test, the young lady
would be handed over to him.

Meanwhile, before the test, he would have taken a drug called 'ZAKAMI' to deaden his sense of pain,
and after the event he would take another drug that would make him vomit the blood stored in his
system.

OJUDE OBA FESTIVAL _ ojude Oba Festival is an annual event celebrated ~ ‘ in Ijebu-Ode, Ogun State of
Nigeria and other : . communities in Ijebu Land. The events takes g3 place on the third day of Ed-el-Kabir
p°PU|ar|y calledIleYa_ _ . Though, there IS a traidltlonai festival called Agemo in Ijebu-Odef OJude oba is
associated with the Islamic religion as ahout 80 percent of Ijebu-Ode indigenes are Muslim.

The Essence of Ojude Obe IS to pay homage to the traditional head (Awujaie) and they also receive the
Oba's blessing in return_

“‘4 "14“.: I.

Scene from 2009 QMe-Oba F esnval

THE PROGRAMME The festival is marked with traditionally

well decorated horses riding display by‘, different groups from different quarters passing through major
streets in the town before they hnally arrive at the Oba's kg palace to pay homage and receive Oba's
blessings.

It is celebrated amdist dances, songs and jubilation. It attracts Ijebu indigenes from far and near.

ARGUNGU FISHING FESTIVAL Argungu is located in the present Kebbi state of Nigeria along River

Sokoto. It is an international Fishing festival dated back to 1934 when the first

event took place in honour of the then Sultan of Sokoto, Malam Hassan Den Mu'azu. The essence was to
commemorate the sultan's fondiy vnsut to the emirate after a protracted hostility between Sokoto

caiiphates and Kebbi kingdom.

THE EVENT ‘

It is a four day annual hshing

competition which comes up in the ‘3‘

month of March. ‘ \ ..

Thousands of fishermen plunge into ‘? i

the Argungu Lake in search of the ‘ ‘1 ,_

biggest fish. A weight is placed

beside the river to weigh big catches.

Even though fishing is the main focus

of the events, it is supported by other

localgames.

At the end of the competition the hsherman with biggest Catch I s

rewarded.

EYO MASQUERADE FESTIVAL OF LAGOS 1;; STATE f ,:

Adamu Orisa, otherwise called 'Eyo' is a very prominent cultural festival in Lagos state of Nigeria. It is a
typical masquerade performance dated back to 1854 when the first performance was carried out in
honour of late Oba Akintoye of

Lagos. The significance of the Eyo performance is to honour the deceased Oba

of Lagos or any worthy i ndigene of Lagos during the final bu rial rites ORIGIN OF EYO .

According to oral history, Eyo masquerade was introducedto Lagos b); Ejilu and Malaki brothers who
came to visit Olugbani the Wife (Olori) od Oba Ado. Eyo masquerade followed the three Orisas (Adamu,
Omko an
Ologede) to protect them and control the surging crowd. Today, there are five groups of Eyo i.e. Eyo
Adimu, Eyo Alakete pupa,

Eyo Oniko, Eyo Ologode and Eyo Agere.

EYO'S COSTUME . . h t Eyo Masquerade is usually dressed in white flowmg gown With hat t a

has veil; holding an engraved staff called Opambata. THE PERFORMANCE .

On the day of performance, Eyo led by Adamu, would \ turn out in large number accompanied by
drummers.

They usually walk in large groups in a long processmn,

dancing and chanting Aro verses and bless people,

touches the person being blessed with the ‘Opambata’

staff.

They would call at different places including the Oba’s

palace before they finally arrive at the deceased family

house where prayers would be offered with dances.

TABOOS ATTACHED TO EYO

* No individual person is allowed to set up Eyo group.

* Oba of Lagos is the ultimate owner of Eyo.

* Eyo is forbidden to go across any river or stream.

* Women should remove their head tie while men should Remove their caps on seeing Eyo

* Nobody is allowed to wear shoe at Eyo festival

osun osoaso FESTIVAL ” m osogbo I . celebrated annua y day when

rs around August. It is like a 52:21:, er i people gather at the bank bf hat existe d to celebrate the
relationship t

a river goddess an first monarch of Osggb

lace in 1370 AD. e . r Eacred Osun groove Wthh was gegfced by the A heritage by UNESCO in 2005 as In
u . x 4 2,1” 3 . late Susanne Wenger ,1: ‘. W I 5 , ‘ ,

SIGNIFICANCE OFTHE FESTIVAL a” ,‘ I i ‘ ;

Osun goddess is being celebbrattedsafnefxilit; { ., , i W . . ~ es ow I ‘ I (

as it IS believed that she a , [f .’ E p

prosperity and healing on people. Osun Shrine

Osun 0509b0 is

o. The first ce

the L b Osun festival tak Arug a

rtistic efforts of

THE FESTIVAL . , It is a two week event starting with the traditional cleansmg 0f the town

called’Iwopopo’. This is followed by the lightening Of a 500 years Old 16 points lamp called
‘Atupaolojumerindinlogun’. Three days later, Iboriade the assemblage of the crowns of past rulers takes
place. Four days after the lightening of the lamp, all activities are rounded off with the cultural W
procession of the people to the Osun groove .~. ‘k ‘ ‘3 '3‘ to pay homage to the goddess of Osun in ' " u '
appreciation of her kindness. grey are led by the current traditional ruler ‘

taoja) and the votary maid (Arugba) Y

I,P
Drbpeiied by Yeye Osun, the chief female A!“ priest to offer sacrifices and pra ers at :t'ream iocated in
the heart of the groove w:?ch is 08m demtees I led wuth numerous sculptures of different figures

IGUE FESTIVAL 0F BENIN

Igue festival is an annual event in Beni ' . The festival is in honour of the Oba (Qiggotfhgggpltal of Edo
state. him because the Oba is held as a god in Benin kingdg' to pay homage to It is also held to mark the
end of the year and to m

celebrate the beginning of another according to Benin native calendar. , E \ The ceremony comes up
every December and ‘2,

lasts for about three weeks. 7 c ‘5" " a This affords the Oba and Edo people the i £31551 opportunity to
make rituals to the ancestors for (gmmmff‘f; I 1961 prosperity of the land as well as to remove evil 3,, m

from the land

THE FESTIVAL The Oba is the main focus of attention in this festival. He wears heavily

decorated costumes made up of Beads, Beaded crown of coral with

fringe of coral beads over his forehead as well as heavily beaded

neckiace, beaded shirt made of coral beads, over a big skirt. He wears

bangles of Ivory and Bronze.

There would be royal procession led by the gong player, official

horseride by the seven members of Obas in council (the Uzama), the nineteen town chiefs (Eghaevo
N'ogbe) and the noblemen who must pay respect to the oba at the

‘Q‘ 0’

5% f r . festival.

fa! f ' Court attendants would carry swords’ ada' and

. {3 f t, ‘ebere', the symbols of royalty. I . Oba's wives' hairs are beautifully decorated with ' beads, they
also wear necklaces of coral armlets

ii and anklets of copper. I Eve bod ' ' ObaSolomoriEredwaaallherecen! abox th -y lbs gallly dressed.
Women Wear wrapper ,WMW eir reast leavmg the shoulders bare

After paying homage, the 0

present and pray for the prosperity of the land ba blesses everYbOdY

3'. . Dubar festival is celebrated in the northern 4'13; $3,313; 9

part of N igeria.
It started as a military parade to honor the “r: i} Vt: ‘ t Emir and to showcase the horsemanship, a

preparedness for war and to show solidarity to the Emirate

THE FESTIVAL

Initially, each district and town used to contribute a regiment to the defence of the Emirate during the
war period, as preparation for war Nowadays, Dubar is used to honor important visitors to the Emirate
or to commemorate programmes, such was the Dubar that took place during the FESTAC FESTIVAL in
1977.

Dubar is also used to commemorate Muslim festivals such as Id-ed-fitri, Ide-el kabir (sallah)

THE PROGRAMME It starts with prayers outside the town, this is followed by the procession of
horsemen to the public square in front of the Emir’s

palace. The Emir arrives with his retinue to take sit, the festival then commence

with each group racing across the square in full gallop with sword on their hands.

They then stop abructly in front of the Emir to salute him with sword being raised up.

They come in batches. The last batch is the most interesting group, they are the Emirs regimental guards
(Dongari)

OGUN FESTIVAL ' Ogun is a Yoruba god of Iron; therefore the festival takes places in almost all the
Yoruba towns annually.
However, Ondo town in Ondo state is most popular for the festival. According to oral history, Ogun was
a powerful warrior in his lifetime. He has carried out many exploits in different parts of Yorubaland.

In the olden days, the devotees of Ogun were those dealing with metals in their profession such as
farmers, hunters and blacksmiths. Nowadays, modern professionals like motor drivers, Iron benders,
welders and vulcanizers have joined in the celebration.

THE FESTIVAL

Palm frond is tied to head, waists and other parts of the body, Hunters lead the dancing procession
dressed in their military outfit with charms all over the body and at times hrine of Ogun.

At the shrine, the hunters lay down their hunting implements, chant Ogun's incantation and praise song.

Prayers are offered for the protection and success in their trades, peace and progress of the people.

A dog is used as sacrificial lamb. The leader of the group cuts the head of the dog with a single stroke of
the matchet to the admiration of the onlookers.

This is followed by jubilation and dancing, the dog meat would be prepared and eaten by the devotees,
accompanied by the drinking of palm wine.

EGUNGUN (MASQUERADE) FESTIVALS IN YORUBA LAND Egungun festival is peculiar to Yoruba nation in
general. The Yoruba believe that Egunguns are their ancestors who came down from heaven to visit and
pray for them hence the name “Ara-Orun kinkin”.

It is a kind of reunion between the dead and the living.

There are classes of Egungun according to each community and they

are classiFIed according to their power and might. While Egungun Alagbo is the most dreaded in some
communities,~ Egungun Alarinjo is known for entertainment in dancing and magica| practices.
'Kunduke' or 'Tombolo' is an Egungun for young boys who would engage in the act so as to collect
money from individuals, passersbye and in market places.

THE FESTIVAL

The festival which lasts seven days is commenced with the fixing of the dates. It comes up around July or
August at the approach

of new yam.

From morning, the Egungun in their full costumes parade . l ' the street, visit relatives to bless them
while they also 3 . receive gifts and money in return. 9 In the evening of the third day (Ita) and the
seventh day.5 ‘45‘ (Ije) all Egunguns assemble at the market place and

Oba's palace for general entertainment and blessing of

the king and people in the community.

OFALLA FESTIVAL

Ofalla festival is very importa nt to the Onitsha people of Anambra state. It is an annual traditional
thanksgiving celebration which usually comes up during the new yam harvesting.

THE PROGRAMME
The programme is preceded with Obi's communication with earth and fertility god for four days to pray
for his people's welfare.

A divination service would be conducted by the chief priest of Umuiken, the levites of Onitsha. . Obi‘s
body would be painted with white chalk, he wears only a white loin cloth and a white cap.

He will not attend to any visitor for the four days and will not bath nor shave. He would also meditate,
mourn the departed souls, pray and

perform purification processes. The Ofalla festival proper runs for two days It is celebrated with singing,
dancing, and other social activities.

1‘t Day: On the First day, three gun-shots would be fired at intervals. The first one announces the
commencement of the ceremony, the second one informs them to prepare to come while the third one
would invite them to come to the palace.

They will all come, sing, dance and pay traditional homage to the Obi who would dance while traditional
salutes are performed by Ndichie in their order of seniority.

2"" Day: The Obi wears simple white dress, sits in the middle of Ndichie to enjoy entertainments from
different cultural groups. The activities are rounded off with the Obi blessing his people.

IGOGO FESTIVAL OF 0W0

Igogo festival is celebrated in Owo, Ondo state of Nigeria

Owo was founded by Olowo Imade, the son of Olowo Arere who migrated from Ile-Ife, the Yoruba
Ancestral home. Eating of monkey is forbidden in Owo because oral tradition had it that a Monkey once
assisted the earlier settlers in locating water and therefore monkey became a sacred animal in Owoland.
The name 19090 is derived from Agogo the Yoruba gong which is the only musical instrument used
throughout the festival period.. The festival usually comes up during the season of New Year to
commemorate the mystical disappearance of Oronsen the younger wife of Olowo who was plotted
against by her senior co-wives. It is also to pray for the peace and tranquillity of the land.

TH E FESTIVAL

The festival lasts seven days. It commences with Ighoroli ceremony which usually takes place on Ugbegu
market day.

The activities include paying homage to the Olowo by the chiefs, towns people, king's wives and priests
at different intervals of the seven days programme.

In return, Olowo sacrifices goats, sheep, kolanuts, cocks, fish, birds, eggs and palm wine.

0n the seventh day, the chiefs dance round the town to the sound produced solely from the metal gong
(Agogo). They pay homage to the Olowo who would present them with different gift items.

NWONYO FISHING FESTIVAL The name 'Iwonyo' means “under the locust bean tree” but to the junkum
tribe, Iwonyo means “The abode of sna kes”.

Even though Argungu tishingfestival is the most prominent fishing festival in Nigeria, it is very pertinent
to note ‘ '

that there are several fishing festivals across 1‘ . ' t a the country. ’ pg

Iwonyo fishing festival is celebrated annually .‘5, "

among the Ibi peOple of Taraba state. '

THE FESTIVAL

Though a cultural identity, the festival cuts across social, occupation as well as spiritual life of the
people. The fishing festival is carried out on Iwonyo Lake situated inbetween Ibi and Jibu villages in the
area.

The first organized fishing festival was held in 1931 during the reign of Malam Muhammadu Magaji, the
then chief of Ibi. Before the commencement of the festival, prayers are offered and animals are
sacrificed for protection and bountiful harvest.

Like any other fishing festivals, fishermen who catch biggest fish are

rewarded.

BOAT REGATTA '

Regatta is a Latin word for Boat Race. This is rowing or sailing on water, a festival in riverine area.

_In Nigeria, Regatta is celebrated as

competition among groups, to honour the "v-..

head of a community and to mark some 3,-importantoccasions. #"Vfa‘flif '35 M7,? ,; Notable areas of
Regatta are Badagry, Epe in :“i’r ~ ~ "f" $.56 "“ Vin
Lagos State, Ikene in Ogun State, and Opobo ~_ ~.. in River State.

~n

IKEJI CULTU RAL FESTIVAL

The Ikeji cultural festival comes up annually among the Arc Ndizuagu in Imo state of Nigeria. It involves
twenty eight communities. The Origin dates back to five centuries ago and it has gained international
recognition that brings Igbo speaking community around the world together annually.

The main objective of the festival is to celebrate the harvest of first yam as well as to unify Aro people
who are spread across the Igbo speaking states and parts of Cross-River State.

THE FESTIVAL It is a seven day programme preceded by the CI the entire communities by the indigines
before «

1“, 2"d Day: This is the home coming when all s: x ‘ arrive the community. ‘

3'“ Day (Eke Odu): This is the Masquerades __ ; , market day marks the First day of the week. ' ‘ " Orie
Egbougbu day is the Thanksgiving Day. It involves paying homage, pouring of libation and general
feasting.

After market day is First day of the masq uerades Afor Ndiawa market.

6‘” Day: This is the peak of the festival. It is the highpoint of the festival.

Over 20,000 masquerades would display at Nkwo Acha market square and the streets. ~
The masquerades would engage themselves and other young men they meet in a ceremonial flogging on
the anklets. They will pursue and flog young ladies as fun. It also involves magical displays and fun
making. Finally on the seventh day, people feast, pay homage and round off the

programme.

OLOJO FESTIVAL OF ILE IFE Ile-Ife is in Osun State is believed to be the Ancestral home of the Yoruba
people of Nigeria. Once in a Year, Olojo Festiva|,which began during the reign of the third Ooni is
celebrated to pray to gods and deities of Ile -Ife numbering four

hundred and one(401)

The traditional Ruler, Ooni, would go into

seclusion for five days to commune with these gods and later emerge to bless his people.He ' emerges
wearing Are Crown believed to be the £3

Oldest Crown in IleIfe,

Meanwhile,The ceremony is preceded with Women from Ilare Ruling House Sweeping off evils from the
palace .It is marked with different

traditional drumming and dancing.

NIGERIA ART SCHOOLS AND ORGANISATIONS OYE EKITI CATHOLIC WORKSHOP (informal)

In 1947, the Catholic Mission established a workshop center at Oye Ekiti, Nigeria. The workshop was
jointly run by Reverend Father Kelvin Carol and Sean o'Mahoney, Artists like Lamidi Fakeye, George
Bamidele, Osagie Osifo and others emerged and
achieved their fame through this center. The

participants in the workshop were first led by

Areogun the Father of George Bamidele and later g»

by Bamidele, the son. The major objective of L4 s; Oye-Ekiti workshop was to establish a center for
craftmen who could employ traditional forms of scuipture, weaving, embroidery, leather and beadwork
to help in the worship of the Christian faith. To let the indigeneous carvers express themes the way they
found it. As a result, Father Kelvin Carol Christian stories were interpreted in Yoruba

traditional styles and manner of execution were entirely African similar to the royal figures on the
porche door of the chiefs palaces, with the same characteristics of frontality and deliberate proportions.
The features of traditional style that were common with the carvings in the center were the bulging
eyes, bulging arms, petal shaped nostrils and thicklips.

Vi

ABAYOMI BARBER ART SCHOOL,LAGOS (SEMI-FORMAL) Founded in 1972 at the Institute of Cultural
Studies, University of Lagos, the school is strictly a workshop in the sense that it was set up for the
purpose of cross fertilization of ideas

It was directed at producing hard core professional studio artists who will produce monuments and
historical canvasses. As a deliberate

policy, the center trained students through the informal of method apprentice tradition. Many young
Nigerian artists and non-artists have been nurtured and groomed at this school. Abayomi Barber was the
sole instructor while he was occasionally assisted by some artists in the centre. The uniqueness of the
Barber school are the inspiration derived from African tradition and belief to produce profound
statements and surprising effects. Each symbol is realistically presented in naturalism almost
photographic, but with the aggregate effect of the combination of the symbols within the same spatial
dimension like ritual components. Often created are, repugnance or serenity as intended by the artist
whose greatest quality is the ease with which he establishes empathy. The artists in this center are
noted for creating realistic and photographic portraits. Sometimes such portraits are distorted with the
incorporation of other objects or are idealized, at times giving the subject matter god-like attributes
Some products of this school include Muri Adejimi, Olu Spencer, Olu Amoda, Toyin Alade and Joseph
Okonwe.

THE ZARIA SCHOOL (FORMAL)

Formerly Nigerian College of Arts, Science and Technology, Zaria, now Ahmadu Bello University, Zaria, it
was exercised from Ibadan branch of Nigerian College of Arts, Science and Technology in 1955.It later
received affiliation hrst with Slades School of Art and later the Goldsmith School of Art both in London.
Initially it awards credit diploma in Fine Art with the first set graduating in 1963. The school offers course
in textiles, painting, sculpture and graphics. Three candidates were awarded one year certificate in art
and design and also first masterdegree in 1971.

In 1973, a three year diploma programme was introduced, so also (Phd) in Art education, the school has
turned out numerous graduates who have made marks as studio artists, designers and Art educators,

Prominent among these are: Prof. Rowland Abiodun a renowned art historian Bruce Onobrakpeya a
deep etching technique specialist Kolade Oshinowo reknowned painter, Dele Jegede Popular cartoonist
Funke Ifeta a renowned female sculptor and art historian.

ABUJA POTTERY SCHOOL( INFORMAL)

Pottery has been an age-Iong tradition in Nigeria for centuries. The craft is exclusively preserved for the
women folk. Pottery in Nigeria is used for utilitarian purposes such as cooking and water storage. Some
tribes and cultures also use pots as religious symbol, hence majority of them are ornamental.

In 1950, an English potter Michael Cardew was sent to the Abuja area by the then colonial authority to
establish a pottery school in Abuja with the aim of .54 training local potters in modern techniques and
the use of machines and chemicals in pottery processes. Cardew invited local potters to pa rticipate so
that asymbiotic relationship with local potters " " ‘ would help him to learn local skills from Michael
Cardew them while he in turn would expose them to modern methods, the use of machine and the use
of glazing chemicals. Ladi Kwali, a reknowned local potter was one of the outstanding products of this
school. The school exposed her and created opportunities for her works to be exhibited in Europe in
1958, 59 and 1962.

Method of Teaching This center does not offer formal instruction; trainees acquire craftsmanship
through experience. The center provides opportunities to test clay, build kilns, make potters wheel and
other equipment. The pots were produced in Nigerian styles and talent with technical standard that can
compete favourably with imported wares.

OSOGBO MBARI MBAYO ART SCHOOL (INFORMAL)

The idea of bringing various talents together was First inaugurated

at Ibadan with a name 'MBARI' which means creativity in igbo language. The Ibadan Mbari Club involves
people from various literary world like writers, poets etc. to develop their talents. Ulli Beier, a member
of the group then decided to establish such workshop at Osogbo in 1962. The Osogbo Mbari Mbayo was
an infor mal experimental Art school in form of workshop, ._ . organized by Ulli Beier and assisted by
Sussanne ' ' ' Q Wenger, Denis Williams and Geogina Bretts who 5 . " ' later became Georgina Beier. The
major focus

was to discourage conventional modes of

expression and to introduce them to new

materials and experimentation. The participation

was made voluntary.The First class of the

workshop took place in August 1962 _ UI’iBeierin'hem

and was conducted by Denis " 1‘“. Williams.Participants included “TX? »?4; 7’? professionaisign writers
and one Child. _ 'ggf; 2-qu g}; :2 One of them was Afolabi Jacob I "’1‘"

mtg; OPERATION a "U . W i. There was no theory nor copying , of any masterpiece 1:35;, Petrol stann
Osogbo

ii. There was freedom of expression iii. Themes were drawn from Yoruba oral tradition and folklores

The second experimental workshop took place in 1963 with Denis Williams teaching. Rufus Ogundeie
was an outstanding participant. In 1964, Georgina Beier converted her residence to a permanent
workshop. She was assisted by Jacob Afolabi and Rufus Ogundeie.

Most of the Duro Ladipo theatre group members participated. Some of them are Jimoh Buraimo, Taiwo
Oianiyi, Rufus Ogundeie, Adebisi Fabunmi, Muraina Oyelami and Asiru Olatunde. This time around, they

were introduced to more serious art problems in terms of materials and techniques. They were
commissioned to paint murals in the palaces of traditional rulers, re-decorate Esso petrol station Osogbo
and design sets for theatre production. Later in the year, a Dutch artist Rossem Ruvan of Tilberg
University and Bruce Onobrakpeya were invited to conduct a 10-day print workshop.

SOCIETY OF. NIGERIAN ARTISTS (SNA)

Before the birth of SNA, a student Organization called “Zaria Art Society" was formed by the students of
Nigerian College of Arts, Science and Technoiogy, Zaria. This society folded up in 1961 when most of
their members graduated. By 1963, members of this society who have scattered in different parts of the
country regrouped under a new name, thus gave birth to SNA which was inaugurated in January 1964
with the headquarters in Lagos. Benin Ivory work which was later adopted as FESTAC symbol was chosen
as the logo.
AIMS AND OBJECTIVES ‘1! ' Promotion of interpersonal contacts among ? members

To defend the right of Artists 3 k

To promote Nigerian Artists heritage and culture V within and outside the country 1.) To discover and
assist talented young artists ‘* To represent Nigerian Artists within and outside the

country

To advice government on issues relating to art

To organize seminars, excursion and exhibition for ~ I members W

The first president of the society was Yusuf Grillo, Vice President Tayo

Ayegbusi while T. A Fasuyi was the First Secretary.

The hrst female president was Dr. Chris Funke Ifeta.

The SNA operates on zonal and chapter basis.

Western zone: Delta, Edo, Lagos, Ogun, Osun, Ondo and Oyo state chapters.

Eastern zone: Abia, Akwa Ibom, Anambra, Cross River, Bayelsa, Ebonyi, Enugu, Imo and Rivers state
chapters.
Middle zone: Adamawa, Benue, FCT, Kogi, Kwara, Nasarawa, Niger, Plateau, and Taraba

Northern zone: Bauchi, Borno, Jigawa, Kaduna, Kano, Gombe, Katsina, Kebbi, Sokoto, Yobe and Zamfara
state.

NIGERIAN SOCIETY FOR EDUCATION TH ROUGH ART (NSEA)

Nigerian society for education through art aims at nurturing and promoting art education was formed in
1966 in Lagos. Some art educators decided to have a group that would uplift art education in the
country, advise government, organize exhibition locally and internationally, supervise the learning of art
as well as working on

professionalism for artteachers. l--"-l

CERAMICS/ POTI'ERY

C'ay 90‘ The author in the ceramic studio(OAU 1986)

CERAMICS

The word ceramics was derived from the Greek |anguage“Keramos”. It is an art of fashioning vessels
from clay.

Such vessels include, Pots, tiles, vases, Jugs, bowls and cups.

Ceramics is also called pottery. Ceramics and pottery are used interchangeably but it should be noted
that the production process and the involvement of equipment or chemical determines what it should
be caUed.
While pottery is usually hand built, ceramics is produced mechanically and aided by chemicals.

some CERAMIC TOOLS, EQUIPMENT AND uses ‘ Potter's Wheel: This is a machine designed to roll lump
of clay on its fiat circular part during the building process. It

could be manual or electrical. The main function ~

is to roll the clay so that fingers and other

ceramic tools could be employed to create the ‘ h shape for the ware.

.I-I‘ spatula: Spatula comes in different shapes \

and materials. It may be made from wood, plastic or iron with different pointing edges to scoop, scratch,
cut or design the ceramic wares.

Kiln: Kiln is a heat chamber for firing clay work. It may be traditional (open) or modern (electrical).
Ceramic wares are arranged in the kiln while it generates heat to dry up all the water contents of the
wares. Calipers: An adjustable instrument used to measure size of the ware. It could be made of wood,
plastic or iron

Sieve: Sieve's main function is the removal of unwanted or foreign elements in clay during the
preparation stage.

Harp: Just like the name, the harp-iike shape tool is used to cut or separate the wet ware from the
rolling board of the potter's wheel. After throwing the ware, it sticks to the board and if not cut, the
shape is affected when removing it.
Rolling Pin: Rolling pin is used to press the prepared clay flat on the table.

FUNCTIONS OF CERAMICS

Decoration: Flower vases produced could adorn tables in the homes and offIces. There are some ceramic
pieces that could be hung on the walls.

Storage: Water pots could be used to store and preserve water

Cooking Dishes: Cooking pots are of immense value in our homes. Cooking pots of different shapes and
sizes are produced and used in different homes.

Bricks and Tiles: Floor tiles, wall tiles and bricks are produced from clay. It IS an aspect of ceramic that
involves the use of mould for multiple productions.

CLAY: THE BASIC MATERIAL IN CERAMICS

The major material used In ceramics is clay. In fact, without day, there is no ceramics. Clay is a type of
soil formed from decomposed rock as a result of weathering (organic, mechanical or chemical) and
found in swampy area or riverbanks. Whatever the cause of the clay formation, clays could be classified
into two major groups. [Primary and secondary]

Primary clay. Primary clay otherwise called Residual clay is found at the site of formation where the rock
decomposed. They are non-plastic and porous and as such, require efforts in kneeding while the finished
work should be fired at a very high temperature.
Secondary or Transported Clay. It is called transported day because they are found in another location
outside the site of formation, carried

by erosion or wind. This type of clay is more plastic as it has carried along some impurities, which affects
its originality during the transportation process.

Whatever the category of the clay, it should possess the following properties for it to be suitable for
ceramic production. These are: Plasticity (Ability to bend without cracking) and Pliability (Not too soft
nortoo hard)

CLAY PREPARATION

Clay could not be used directly after the collection from the site. It has to be prepared. This would help
to remove the stones, sticks, grasses and sand that have mixed up with the clay during formation or
during transportation. The preparation includes the removal of the foreign bodies with sieve when the
clay has been dried or has been made watery (Dry or wet method). The clay is thereafter weldged and
kneaded by smashing it on a flat table to remove air pockets so that it could be plastic. This is done
when it is at the leather hard stage, a stage when it could not stick to the hand.

TECHNIQUE OF BUILDING PORTS

Coil Method: Here the clay is rolled in rope like strands and built in layers of coils. When the coiled pot is
nearly dried, it is smoothened and polished. You may also allow the successive layers of coils to remain
as structural ornament.

Slab Method: The clay lump is pressed flat like biscuit'dough, cut. into pieces and fastened together in
recta ngle. The slab also is pressed into a hollow mould or irregular form to produce the ware.

Pinch Method: This is the common method used by traditional potters. It involves pinching from lump of
clay and add in bits until the ceramic shape is formed. In this process, subtraction and addition may be
employed to reduce or add in some areas where the shape is out of proportion.
Throwing Method: This is an age-old art still widely practised. Dating back to at least 4000 be, throwing
method involves the use of machine (potter's wheel) rather than hand built. Potter's wheel is a heavy
flask disc that is rotated by hand, foot or motor. After the day has been prepared and rolled into a ball
like shape, it is then thrown onto the middle of the wheel, which is then rotated.

There are stages in the production of wares through throwing method. The first stage is to place the clay
ball on the center of the wheel,

This is followed by the opening of the lump with both thumbs through the center as the wheel rolls the
ball. The hngers keep it from spreading outside the desired shape.

The third stage is the shaping into cylindrical form using both hands as it progresses.

Lastly, pressing, guiding and opening with the Fingers or spatular in line with the potter's skill,
imagination and taste, produces the vase.

Casting method: Traditionally, castings are made through the use of old existing pots. It is carried out by
turning the old existing pot upside down and rubbing oil on it as separator. Then a lump of prepared clay
is pressed around it. When it is set, the work is turned up while the old pot is removed, thus leaving the
shape of the old pot. Later, other parts are built through pinching while the final finishes are made.

Modern Casting technique

Modern casting involves the use of moulds. The 6: process is based on the use of Plaster of Paris, ‘ which
absorbs water readily. One may use a one

piece mould for a simple shape in which the top is . ,3?the largest dimension. It is turned upside down
while the slip (liquid clay) is poured into it to later ‘

form a thick wall. When it has hardened sufficiently

to remain its shape, the mould is then removed and

dried. The cast pot is removed from the mould while other imperfections are smoothened out. Other
handles or knobs not cast with the main pieces are fastenened on. After thorough drying, the mould can
be used again. The use of jigger and joiley is the process by which cups, bowls, saucers and plates are
formed. It is much like potters wheel but a mould and template are substituted for potter‘s hand and
casting processes are followed.

DRYING AND FIRING:

To prevent warping and cracking, the ceramics ware must be allowed to dry slowly. When the clay work
is yet to be fired, it is referred to as green ware. At this stage, it could not retain water.

When the work is being fired at a low temperature, the stage is referred to as maturing. The type of clay
used determines the temperature or heat needed; this is due to the fact that the temperature suitable
for eaithenware may not be suitable for porcelain. Therefore Firing demands careful control of the
temperature so that it may not be too high or too low. In the traditional setting, open kiln iS US€d for
firingModern technique of firing involves the use Of electronic kiln or 935 kiln. The heat in this type of
kiln is regulated by pyrometric-cone which will suggest the level of the temperature. The First Firing
before glazing is called Biscuit Firing.

GLAZING YOURWARE

Glazing is a glasslike coating fused at high temperature ---~ to the ceramics surface.The main function is
to give the ’ . ceramic objects a hard, durable, easily cleaned and usually waterproof surface. It may also
provide colour and texture while other designs could be introduced.A glaze gives aesthetic pleasure to
ceramic
’l

«a

”w ’ ‘ .

”g \ V i

{ '/ K. @ a \ '5 1‘ V v3 0 WW

(:5? \

e 7% . H 27/ a W Glazed ware unglazed ware ORNAMENTATION

You may go a step further to enrich your ceramic before glazing by introducing some ornaments. This
could be carried out through painting or printing directly on the ceramic. For painting, you may combine
clay with water to a thick-cream consistency and apply thickly with Fingers, sticks or brushes. Mostly in
hand built ceramics printing is done on most

of the mass-produced decorated ware. If the decoration is made before glazing or after the first glazing
and then covered with glaze again, it is referred to as “under glaze decoration.” The outer glaze should
however be colourless or transparent. If no glaze covers the design, it is called “over glaze decoration”
while underglaze decoration is more durable as the glassy coating protects it, overglaze decoration has a
greater colour range. Below are some of the examples