Indigenous Images in Visual Communication Design: A Definitive

Approach to Rediscovering Cultural Identity in Abia

Okore, Fidelis Nna Kalu

Digitally Signed by: Content manager’s

DN : CN = Weabmaster’s name

O= University of Nigeria, Nsukka

OU = Innovation Centre

Nwamarah Uche

Faculty of Arts

Department of Fine and Appli

Indigenous Images in Visual Communication Design: A Definitive

Approach to Rediscovering Cultural Identity in Abia

Okore, Fidelis Nna Kalu PG/MFA/10/57193

i

: Content manager’s Name

Weabmaster’s name

a, Nsukka

OU = Innovation Centre

ied Arts

Indigenous Images in Visual Communication Design: A Definitive

Approach to Rediscovering Cultural Identity in Abia State”

ii

CERTIFICATION

It is hereby certified that this project report, titled; “Indigenous Images in Visual

Communication Design: A Definitive Approach to Rediscovering Cultural Identity in

Abia State”, by The Rev. Okore, Fidelis Nna Kalu (Registration Number:

PG/MFA/10/57193) has been read and approved as meeting the requirements of the

Department of Fine and Applied Arts, Faculty of Arts, University of Nigeria, Nsukka; for

the award of Master of Fine and Applied Arts (MFA) Degree in Visual Communication

Design and Photography.

…………………………………… …………….

Dr. G.O. Uka Date

Department of Fine and Applied Arts

University of Nigeria, Nsukka

(Supervisor)

…………………………………… …………….

Dr. G. O. Diogu Date

Head, Department of Fine and Applied Arts

University of Nigeria, Nsukka

(Chief Examiner)

…………………………………… …………….

Prof. Cliff Nwanna Date

(External Examiner)

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APPROVAL PAGE

This is to certify that The Rev. Okore, Fidelis Nna Kalu with Registration

Number: PG/MFA/10/57193 of the Department of Fine and Applied Arts, University of

Nigeria, Nsukka, carried out the work contained in this dissertation.

…………………………………. ……………..

Dr. G.O. Uka Date

Supervisor

…………………………………. ………………

Dr. G.O. Diogu Date

Head, Department of Fine and Applied Arts

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DEDICATION

This project report is dedicated to the Almighty God as a gratitude for His

numerous mercies through the period of this research.

And to all graphic artists whose vision is to restore originality of artistic

expression and creative ingenuity that embody the concept of African community

consciousness and solidarity in visual communication design and photography.

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ACKNOWLEDGEMENTS

My first debt of gratitude goes to the Almighty God, whose love and providence

saw me through all odds during this research period.

Also, I am indebted to many people who in spite of their immense contributions,

this work would have remained unfulfilled. First and foremost, is Dr. G.O. Uka, whose

assistance, encouragement and corrections as my supervisor brought the dream to reality.

I am also indebted to Dr. G.O. Diogu, whose effort as the Head of Department worked

tirelessly to ensure that the program lasted for 18 months and for his encouragement. I

appreciate all my postgraduate lecturers, who through their instructions have impacted

and advanced my knowledge. My profound gratitude goes to all my postgraduate

colleagues; George E. Agbo, Maureen Ngo Anike, Edet Sunday Ekanem and others who

through their shared ideas and moral contributions made this research a success.

I am deeply impressed by my spouse and children’s prayers, support and patience,

which boosted my strength during the study. May the good Lord bless all of you, richly.

Amen.

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TABLE OF CONTENTS

Title Page Pages

Certification …………………………………………………………………….. i

Approval Page ………………………………………………………………….. ii

Dedication ………………………………………………………………………. iii

Acknowledgements …………………………………………………………….. iv

Table of Contents ……………………………………………………………… v

List of Plates …………………………………………………………………….. vii

Catalogue of Executed Works…………………………………………………… x

Abstract …………………………………………………………………………. xiii

Chapter One

1.0 Introduction ……………………………………………………………… 1

1.1 Statement of the Problem …….…………………………………………... 5

1.2 Purpose of the Study …………………………………………………….. 5

1.3 Scope of the Study ………………………………………………………. 5

1.4 Limitation of the Study ………………………………………………….. 6

1.5 Significance of the Study ………………………………………………... 6

1.6 Research Methodology ………………………………………………….. 7

1.7 Definition of Terms ……………………………………………………... 9

Chapter Two

2.0 Review of Related Literature …………………………………………. 13

2.1 Visual Communication Design ………………………………………….. 13

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2.2 Signs and Symbolism of Expression and Communication ……………… 15

2.3 Impacts of Modernism on Nigerian Artistic Styles and Expression ……... 17

2.4 Cultural Identity in Visual Communication Design ……………………… 21

2.5 Summary of Review ……………………………………………………… 24

Chapter Three

3.0 Procedure and Presentation of Works ……………………………….. 26

3.1 Technique/Material ………………………………………………………. 26

3.2 Modern Tools and Software …………………………………………….. 26

3.3 Studio Experimentation …………………………………………………. 27

3.4 Presentation of Works …………………………………………………… 28

Chapter Four

4.0 Discussion and Analysis of Works ……………………………………… 44

4.1 Analysis of Executed Works ………….…………………………………. 45

Chapter Five

5.0 Conclusion ……………………………………………………………... 79

References ……………………………………………………………………. 81

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LIST OF PLATES

Plate: Pages

1. Nwa Mgbede………………………………………………………………… 28

2. Ede Ala ……………………………………………………………………… 29

3. Ozo Titled Man …………………………………………………………….. 30

4. Nsibidi/Nsibiri ……………………………………………………………… 31

5. Uli/Uri Door Adornment …………………………………………………… 32

6. Wall Adornment …………………………………………………………… 33

7. Geometric Designs ………………………………………………………… 34

8. Honey Comb………………………………………………………………… 35

9. Ugbu Ekpe ………………………………………………………………… 36

10. Omu Aro …………………………………………………………………… 37

11. Golden Signet……………………………………………………………… 38

12. Royal Regalia ……………………………………………………………… 39

13. Aria Nzu …………………………………………………………………… 40

14. Traditional Marriage ……………………………………………………… 41

15. Igbu Ewu …………………………………………………………………… 42

16. Nkwa ……………………………………………………………………… 43

17. Almanac …………………………………………………………………… 45

18. Arira ……………………………………………………………………… 46

19. Asusu Igbo………………………………………………………………… 47

20. Blessed Hands……………………………………………………………… 48

21. Body Adornment …………………………………………………………… 49

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22. Busy Hands………………………………………………………………… 50

23. Cultural Festival …………………………………………………………… 51

24. Evil Doers ………………………………………………………………… 52

25. Letter Head ………………………………………………………………… 53

26. Image Logo ………………………………………………………………… 54

27. Mgba ……………………………………………………………………… 55

28. Nku di na mba ……………………………………………………………… 56

29. Nkwa II …………………………………………………………………… 57

30. T-Shirt/Face Cap ………………………………………………………….. 58

31. Image Phone ……………………………………………………………… 59

32. Image Tea ………………………………………………………………… 60

33. One Nation ………………………………………………………………… 61

34. One People ………………………………………………………………… 62

35. Unity ……………………………………………………………………… 63

36. Light in the Tunnel ………………………………………………………… 64

37. Sticker ……………………………………………………………………… 65

38. Izu ………………………………………………………………………… 66

39. Isuikwuato ………………………………………………………………… 67

40. Udumeze …………………………………………………………………… 68

41. Celebration ………………………………………………………………… 69

42. Aberration of Culture ……………………………………………………… 70

43. Cultural Identity …………………………………………………………… 71

44. Eke Mbu …………………………………………………………………… 72

x

45. Indigenous Images………………………………………………………… 73

46. War ………………………………………………………………………… 74

47. Clips Package ……………………………………………………………… 75

48. Image Book ………………………………………………………………… 76

49. Disc Label ………………………………………………………………… 77

50. Clips Poster ………………………………………………………………… 78

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CATALOGUE OF EXECUTED WORKS

S/N of

Plates

Work Tile

Size in Inches

Medium

Year

17. Almanac 17”x24” Art Paper and

Flex

March, 2012

18. Arira 24”x36” Flex March, 2012

19. Asusu Igbo 24”x36” Flex March, 2012

20. Blessed Hands 24”x16” Flex March, 2012

21. Body

Adornment

36”x24” Flex March, 2012

22. Busy Hands 36”x24” Flex March, 2012

23. Cultural

Festival

72”x48” Flex March,2012

24. Evil Doers 24”x16” Flex March, 2012

25. Letter Head 8.5”x12” Paper March, 2012

26. Image Logo 8.5”x12” Paper April, 2012

27. Mgba 36”x24” Flex March, 2012

28. Nku di na Mba 24”x36” Flex March, 2012

xii

29. Nkwa II 36”x24” Flex March, 2012

30. T-Shirt & Face

Cap

4.5”x2.5” Wool March, 2012

31. Image Phone 4.5”x3.5” Art Card March,2012

32. Image Tea 4”x2” Art Card March, 2012

33. One Nation 24”x16” Flex March, 2012

34. One People 36”x24” Flex March, 2012

35. Unity 24”x16” Flex March, 2012

36. Light in the

Tunnel

24”x16” Flex April, 2012

37. Sticker 24”36” Flex April, 2012

38. Izu 36”x24” Flex April, 2012

49. Isuikwuato 36”x24” Flex April, 2012

40. Udumeze 36”x24” Flex April, 2012

41. Celebration 36”x24” Flex April, 2012

42. Aberration of

Culture

24”x36” Flex May, 2012

43. Cultural

Identity

24”x36” Flex May, 2012

xiii

44. Eke Mbu 24”x36” Flex May, 2012

45. Indigenous

Images

36”x24” Flex April, 2012

46. War 36”x24” Flex April, 2012

47. Clips Package 5”x5” Art Card May, 2012

48. Image Book 16.5”x11.6” Art Card May, 2012

49. Disk Label 4.6”x4.6 Disk May, 2012

50. Clips Poster 24”x36” Flex June, 2012

xiv

INDIGENOUS IMAGES IN VISUAL COMMUNICATION DESIGN:

A DEFINITIVE APPROACH TO REDISCOVERING CULTURAL IDENTITY

IN ABIA STATE

ABSTRACT

Indigenous Images are scarcely remembered or totally absent in visual media.

This incipient cultural and artistic crisis reminds the Graphic Artist of a neo-colonial

syndrome that made European standard become Nigerian Standard while Nigerian

standard become disdainful experiences. How can we redefine and rediscover the

cultural and artistic heritage and identity?

The objective of this research are set out: to explore indigenous images in Visual

Communication Design; to further extend the frontiers of image data for modern graphic

and artistic expression and documentation; to utilize this research as reference material to

other artists; to resolve the cultural and artistic problems in Visual Communication

Design; to solicit for patronage and support for artistic research; and to consolidate the

gains and impact of modern techniques and media in Visual Communication

Design/Photography.

A step by step procedure was followed in carrying out this study through critical

studies of data. Thus data was analyzed and synthesized in this research report.

Information derived from related literature, physical environment and works served as

sources of inspiration; and foundation for the research proffered adequate solution to the

problems incurred.

The methodology for the actualization of the research objectives was based on

primary and secondary source of information as well as practical studio experimentation

xv

where information were manipulated in diverse manner. The research work was

actualized in two forms namely: exploration and re-creating of data using techniques

suitable with modern equipment. Analysis and cataloguing of works as plates followed

for proper understanding and appreciation. Conclusion and the researcher’s comments

established indigenous images as a harmonious whole in redefining and rediscovering

cultural and artistic heritage and identity in visual communication design and

photography.