DEPARTMENT OF CREATIVE ARTS

UNIVERSITY OF LAGOS

SELECTED TOPICS IN ARTS AND CRAFTS

TOPIC:

CONTEXTUAL ANALYSIS OF TRADITIONAL WOOD CARVING

IN NIGERIA: A CASE STUDY OF LAMIDI FAKEYE

BY:

ABILAWON RIDWAN WANDE

MATRIC NUMBER:

209018024

LECTURER IN CHARGE:

DR. ESEAGWU

September 30, 2021.

 CONTEXTUAL ANALYSIS OF TRADITIONAL WOOD CARVING IN NIGERIA: A

CASE STUDY OF LAMIDI FAKEYE

INTRODUCTION

Nigeria is known to be rich in sculpture tradition with a long history of different mediums

ranging from terracotta, bronze, metal, stone and wood. Prior to the beginning of twentieth

century, different sculpture traditions such as Nok, Igbo-Ukwu, Ife, Benin, stone carving

(especially that of the Yoruba and Ekoi) flourished and ceased to exist in Nigeria, but traditional

wood carving has existed for immemorial generations. Though, its perishable nature makes it

difficult to ascertain where and when it actually began, it is believed to be dated back to the 12th

century A.D. through the Dogon Tellem figures and 17th century through the Yoruba Ifa

divination tray (Adepegba, 1995). Wood carving, till date still flourishes and remains a relevant

art and craft tradition in Nigeria which has been an integral art form for expressing the culture

and traditions of the people. Despite its relevance in sculpture tradition, it is only restricted to the

southern part of the country, especially among the Yoruba, Benin and Igbo. According to

Adepegba 1995, apart from the south, few ethnic groups in the north of the Niger/Benue

confluence, the Nupe, Basa Nge, Afo, Montol, Bachama and Waja are identified with sculptures

in wood. The restriction can be traced to the fact that the Hausa, Fulani and the Gwari in the

north are strong Islam colonies having a great repugnance to figural arts.

In the south-western part of Nigeria, there is no where the art of wood carving flourished

to such an extent as among the Yoruba people. Traditional wood carvings of all descriptions such

as beautifully carved posts, door panels, masks, wooden staves, stools, definition trays, figurines
and other items can be found among them. The Yoruba spiritual beliefs and traditional rites made

wood carving widely accepted among the tribe, as they either make the carvings for rituals,

festivals or for physical functions (Anistoriton, 2017). For instance, the trays are made for ifa

divination, figures for the spirit and ancestors, carved stools for royalty and eminent personality

and some other items for propitiation.

Though, there are signs that this art is dying (Meyerowitz, 2012) due to external factors

especially the embrace of Christianity and civilization. Nevertheless, there are lineages of

traditional carvers who are outstanding in the art of carving wood. Such carvers include

Bagunjooko (c. 1800-70), Dada (1830-98), Fakeye Akobi-ogun (1870-1946), Arowoogun (1880-

1954), Bandele (1910-1945), Lamidi Fakeye (1925-2009) among others. Of all the carvers,

Lamidi Fakeye is easily the most reknowned wood carver of the twentieth century (Ibigbami R.

I. & Campbell B., 1994). He is a carver of international repute with so many outstanding works

to his account. It is therefore pertinent to make a proper examination of his life and works

contextually, to contribute to the existing literatures on this icon and his works.

LAMIDI FAKEYE (HISTORICAL BACKGROUND AND WOOD CARVING LINEAGE)

Lamidi Fakeye was born into the family of wood carvers in Ila-Orogun, Osun State, in

1925 (Caroll, K. 1967). He is the fourth son of Akobi Ogun (c. 1870-1946) and belongs to the

fifth generation of “Fakeye Woodcarving Dynasty” which is traced to Olawoyin the progenitor

of the family wood carving genealogy (Edewor, 2018). Perhaps, he is the most celebrated neo-

traditional carver in Africa whose fame has spread far and wide from his home to France, and

several parts of the United States of America (Adeyanju 1994). Lamidi Fakeye’s attempt at wood
carving started at the age of ten in 1938. That attempt amplified his given name “Olonade”

which means “the carver has come” and provided a pedestal for his future consuming interest for

wood carving practice (Edewor, 2018).

In 1948, he was apprenticed to Bandele; the son of Areogun. According to Frank Willet,

2003, He was not a willing apprentice, though eventually after five years with his father, he set

up in the town of Oro. He eventually met Father Carrol and Bandele there and was invited to

become Bandele’s apprentice where he learned how to carve in different styles for three years

(Willet, 2003). In an attempt to resuscitate traditional art, the catholic mission established an

experiment workshop in Oye Ekiti in 1947 run by Father Kelvin Carroll. Lamidi Fakeye was one

of the carvers brought up in the workshop (Adepegba, 1995). He was later transferred in 1955 to

Father O’ Mahoney’s workshop at Ondo before he established an independent studio in Ibadan in

1960 (Okunola et al, 2015).

Between 1962 and 63, Lamidi was awarded a French scholarship for Diploma in Stone

carving at Ecole Nationale Superieuxe des Beaux-Art in Paris, France in recognition of his

outstanding performance in the series of exhibitions. On completion of the Diploma Programme

in 1963, he went to Michigan, U.S.A. for his first Residency at the Institute of Art Kalamazoo

and had his first U.S exhibition there in 1963 (Edowor, 2018). He has since then executed many

important commissions, especially carved doors. He was a Resident Art Fellow in many many

universities both within the country and abroad teaching traditional wood carving techniques. He

finally retired at the Obafemi Awolowo University, Ile Ife before his death on Friday, 25th of

December 2009 (Bounty, 2015).

CONTEXTUAL ANALYSIS OF HIS WORKS

According to Edewor, 2018, in an interview with His Royal Majesty, Oluwole

Ademolaju (Adugbole III, Oloye of Oye Kingdom) in 2012, he said: “You cannot discuss Lamidi

Fakeye without mentioning Oye-Ekiti”. Lamidi Fakeye’s works share a lot of resemblance with

the work of his masters, especially Bamidele. As a result of Bamidele’s involvement and full

participation in Oye – Ekiti, he transferred the style that has been in existence right from the time

of Olowe of Ise (1875 - 1937), Dada Areogun (1880) into the experiment in Oye – Ekiti, hence

Lamidi’s works share a lot of common themes and attribute with that of his masters. The style

that characterized his works is expressive power of his design marks (plate 16). His works are

always having a great deal of fine detailing or complexity and compact agreement of forms

configuration (C.C Chukueggu (2009)

He has a great deal of carvings to his credit, synthesizing traditional African art with

Christian art/modern art. Some of his popular carvings such as door panels, statues, reliefs and

figurines include “Christ among the elders”, “Oduduwa statue” (plate 15), “Stations of the

Cross” (plate 1-14), “Justice”, “a Yoruba chief; Oba” (plate 17), “Mother and child” (plate 16)

among others.

In other to understand Lamidi’s contextual trend, there are some identified periods by

Edewor (2018). The identified periods are; Pre Oye-Ekiti Period (1938-1948), Oye-Ekiti Period

(1949-1961), Early Post Oye-Ekiti Period (19611996) and Late Post Oye–Ekiti Period (1997-

2009). The Pre Oye-Ekiti Period (1938-1948) witnessed his early stage in wood carvings under

his father and brother (Adewuyi). This early stage grounded him in the Igbomina formal style

while expressing himself through simple Omolangidi (play dolls) and Ere Ibeji (twin) figures.
The Igbomina style has characteristics such as bulbous face with serrated eyelids, large but flat

feet, patterned pubic section, and details for finger and toenails. On a general note, the

composition is simple with plain surface quality (Edewor, 2018).

Oye-Ekiti Period (1949-1961) spanned through his training under Bandele and the Oye

Ekiti art workshop ran by Father Kelvin Carroll. The works of Lamidi in this period, while

retaining forms that replete Igbomina/Ekiti traditions, inculcated Christian themes in addressing

the expectations of his employer-patron. ), Early Post Oye-Ekiti Period (19611996) and Late

Post Oye–Ekiti Period (1997-2009) account for his European exposure, formal education and

professional career that brought him into limelight. Lamidi’s themes in this period can best be

described as expressions of cultural values and systems bounded by traditional religious formal

lexicons, The periods represents the climax of Lamidi’s formalism and astuteness as one of the

finest and consistent wood sculptors Nigeria has ever produced (Edowor, 2018).

Virtually all the works produced by the Lamidi are very solid and rigid in form. In fact,

works made on wooden panels and doors that are in high relief have the same forms with those

that are not relief, this is an evident in Lamidi Fakeye’s wooden panels depicting the ”Stations of

the Cross” (plate 1-14). The figures are not proportional: The head is one third of the body and

the eyes are conical in form (plate 16).

The intricacy of form is another characteristics his works, this is evident in the fine

detailing and complexity of forms in Lamidi Fakeye’s “Oduduwa (plate 15). The iillusion of

depth and distance are also created as a result of the juxtaposition of forms (plate 17). Animals in

his works are always in profile and this is peculiar to some figures too (plate 17).
 Motif is known to be an integral part of African art. Despite the fact that the Oye – Ekiti

workshop is an indigenous Christian experiment, the use of Yoruba traditional motif was adhered

to by the workshop carvers. Hence, the use geometric shapes such as triangle, angle, rectangle,

and square etc in Lamidi’s works. The lines that made up the motifs are always intricate (plate

15). Thick and thin lines were used to form motifs such as birds, tortoise and other animal

motifs.

CONCLUSION

Lamidi Fakeye lived an exemplary life worthy of emulation. This study reveals that his

works are basically inspired and influenced by his immediate environment and his encounter

with the western world. Despite his exposure to the outside world, he still maintained cultural

styles and traditional technique. His works generally, are very robust, peaceful and characterized

by clarity of details, (Adepegba, 1995). Lamidi has greatly contributed to raising the bar of wood

carvings not only in Nigeria and Africa but globally.

It is therefore suggested that wood carvers should be encouraged by making efforts to

hold exhibitions that concentrates not only in painting and sculpture (that not wood carvings) but

solely on wood carvings. Workshops in wood carvings should also be held from time to time as

well like that of Oye Ekiti, so as to breed new generations of wood carvers who will continue

from the standard laid by Lamidi Olonade Fakeye.

Plate 1: The condemnation Plate 2: Jesus carries His Plate 3: Jesus falls the
of Jesus to death (wood Cross (wood first time (wood
carving)Lamidi Fakeye , carving)Lamidi Fakeye , carving)Lamidi Fakeye ,
1949. 1949. 1949.

Plate 4: Jesus meets His Plate 5: Simon of Cyrene Plate 6: Veronica wipes the
mother (wood helps Jesus carry His Cross face of Jesus (wood
carving)Lamidi Fakeye , (wood carving)Lamidi carving)Lamidi Fakeye ,
1949. Fakeye ,1949. 1949.

Plate 7: Jesus falls the Plate 8: Jesus meet the Plate 9: Jesus falls the third
second time (wood woman of Jerusalem time (wood
carving)Lamidi Fakeye , (wood carving)Lamidi carving)Lamidi Fakeye ,
1949. Fakeye ,1949. 1949.

Plate 10: Jesus is stripped Plate 11: Jesus is nailed to Plate 12: Jesus dies on the
off his garment (wood the Cross (wood Cross (wood
carving)Lamidi Fakeye , carving)Lamidi Fakeye , carving)Lamidi Fakeye ,
1949. 1949. 1949.
Plate 13: Jesus is taking Plate 14: Jesus is layed in
down from the Cross the tomb (wood
(wood carving)Lamidi carving)Lamidi Fakeye ,
Fakeye ,1949. 1949.

Plate 15: Lamidi, Oduduwa statue Plate 16: Woman and Child. 17”.
of Obafemi Awolowo University, Lamidi Fakeye.1960.
Ile-Ife, Iroko Wood, 13ft x 4ft
(1987)

Plate 17: Yoruba Chief; Oba. 17 7/8 x 17

5/8 x 2 inches.Lamidi Fakeye, 1967.
REFERENCES

Adepegba C.O. (1995) Nigerian Art. Its Traditions and Modern Tendencies. JODAD Publishers,

Ibadan.

Adeyanju, J.L. (1994). Techniques and Practice of Yoruba Wood Carving. The Proceedings of

the Father Kelvin Caroll Seminar 1994.

“Africanizing Christian Art” exhibition in Tenafly, NJ June 7, 2014.

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Thesis submitted to the Fine and Applied Arts Department, Delta State University, Abraka.
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