tag:blogger.com,1999:blog-9811583210974953532024-03-16T18:53:25.765-07:00artwriteups Art History, Designs, Political Cartoons, Exhibitions, Art Info etcJimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.comBlogger32125tag:blogger.com,1999:blog-981158321097495353.post-44156143618685486842023-01-19T19:22:00.001-08:002023-01-21T15:53:56.215-08:00<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbyRiEalgP0Hd2Y2QC1kImV-ri1Pt2vN413HSkblF7lB9m8k7SmVN4XE7o5lXV9jxO8XXvsoH1aBS3FEH-RHWNV7PligolUzJVQZzYBA9OV2_--akv9cXFRnrfIXTfYgku5wa0oY7QuQBom6K2XKQSELDDg3Elfy11maPTqfemUFQHDXedPIjhxaK0/s2025/lorenzo-lanfranconi-romain-jouandeau-romain-jouandeau-no-ai.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2025" data-original-width="1920" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbyRiEalgP0Hd2Y2QC1kImV-ri1Pt2vN413HSkblF7lB9m8k7SmVN4XE7o5lXV9jxO8XXvsoH1aBS3FEH-RHWNV7PligolUzJVQZzYBA9OV2_--akv9cXFRnrfIXTfYgku5wa0oY7QuQBom6K2XKQSELDDg3Elfy11maPTqfemUFQHDXedPIjhxaK0/s320/lorenzo-lanfranconi-romain-jouandeau-romain-jouandeau-no-ai.jpeg" width="303" /></a></div><br /><p></p><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xdj266r x126k92a" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, "system-ui", ".SFNSText-Regular", sans-serif; font-size: 15px; margin: 0px; overflow-wrap: break-word; white-space: pre-wrap;"><div dir="auto" style="font-family: inherit;"><b><span style="color: black; font-family: Times; font-size: medium; white-space: normal;"> Is art</span><span style="font-family: inherit;"> dead? </span>AI-generated Art and Human Artistic Expressions - </b></div><div dir="auto" style="font-family: inherit;"><b>Matters Arising.</b></div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, "system-ui", ".SFNSText-Regular", sans-serif; font-size: 15px; margin: 0.5em 0px 0px; overflow-wrap: break-word; white-space: pre-wrap;"><div dir="auto" style="font-family: inherit;"> In 2018 when the first artwork created by artificial intelligence, Portrait of Edmond Belamy, was sold for US$432,000 at Christie's in New York, many of us marveled at the collapsing gulf between technology and human creativity. It's often assumed that no artificial intelligence algorithm could be capable of human imagination and postulations. Little did we know that a few years after, the AI <span style="font-family: inherit;"><a style="color: #385898; cursor: pointer; font-family: inherit;" tabindex="-1"></a></span>would be capable of creating visual pieces from text inputs and also acquire high proficiency in depicting the verisimilitude of forms, styles, and mannerisms of other artists - with just a click!</div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, "system-ui", ".SFNSText-Regular", sans-serif; font-size: 15px; margin: 0.5em 0px 0px; overflow-wrap: break-word; white-space: pre-wrap;"><div dir="auto" style="font-family: inherit;">Portrait of Belamy was part of a group of imaginary Belamy family created by a Paris-based collective to explore the interface between art and artificial intelligence.</div><div dir="auto" style="font-family: inherit;">In creating this portrait, about 15,000 portrait paintings by the 14th and 15th centuries artists were fed into the system with the algorithm making a new portrait based on integrating elements from each. Today, the fundamentals of AI art have not changed much, only with millions of data sets (artworks converted to digital pieces) from artists without consent. It has also become a threat to the creative industry as many artists feel endangered by the proliferation of phone-based apps that could produce digital portraits at great levels of realism within minutes. In view of these, artists continue to protest the inclusion of AI-generated art on digital art platforms. </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, "system-ui", ".SFNSText-Regular", sans-serif; font-size: 15px; margin: 0.5em 0px 0px; overflow-wrap: break-word; white-space: pre-wrap;"><div dir="auto" style="font-family: inherit;">As an artist and a scholar of digital art, I have been confronted with several questions: Do I also think AI has come to replace humans in artistic production? Do I think artists would lose their jobs now that everyone could easily create their imaginations through the use of text-to-image applications like DALL.E2 or phone-based Dawn-AI Avatars? I think my answer would not be in the affirmative, especially for the first question based on historical antecedents of artistic movements and their patterns. </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, "system-ui", ".SFNSText-Regular", sans-serif; font-size: 15px; margin: 0.5em 0px 0px; overflow-wrap: break-word; white-space: pre-wrap;"><div dir="auto" style="font-family: inherit;">As an artist, like many others, I feel offended by AI companies’ mode of harvesting, archiving, and coding artists' styles into algorithms with open-ended fluid applications without artists’ consent. On that premise, I would join the No AI Art Movement for unconsented ripping of artists, both living and dead, on the use of their works without honor or honorarium. However, I would not join the wagon on the eradication of AI-generated art because that is an effort in futility. AI art is not an accidental discovery of some gigs whose mission is just to disrupt the visual art sector for its sake. AI art is a child of its reality - an art form of its time.</div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, "system-ui", ".SFNSText-Regular", sans-serif; font-size: 15px; margin: 0.5em 0px 0px; overflow-wrap: break-word; white-space: pre-wrap;"><div dir="auto" style="font-family: inherit;">It would be counterproductive to imagine that the development in technology in the 21st century would not have a disruptive manifestation in artistic production. That is not possible; history has never shown otherwise. In this century, humans have become more machine-dependent than ever – we are all robots, to echo Delinda Collier and Marshal McLuhan. The amputation of senses brought by the new media has provided physical/virtual realities within which we commute daily, every hour, every minute, and every second through our computers, phones, TVs, and VR goggles. A larger percentage of our productivity is managed and controlled by algorithms. </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, "system-ui", ".SFNSText-Regular", sans-serif; font-size: 15px; margin: 0.5em 0px 0px; overflow-wrap: break-word; white-space: pre-wrap;"><div dir="auto" style="font-family: inherit;">Through art history, we know that the invention of the camera, coupled with Industrialization in the early 19th century, brought about the inevitable disruption and chaos which almost rendered “academic art” irrelevant. Photographs were like the AI arts of today; there were several questions on copyright, ownership, and authenticity - who owns the image, the photographer or the photographed? Photography suffered ostracization from mainstream art, and photographers were seen as lazy impostors who had come to steal artists' means of livelihood – some critics even predicted that photography would die a natural death and labeled it “new media” in perpetuity. However, the non-conformists among visual artists at the time understood that actual human creativity lies in continually seeking a novel mode of expression and representation by pushing boundaries of visual perception & expression in the face of realities and incorporating the same reality in producing what it couldn’t give at the time. As Achebe opines, providing sustainable alternatives to undesirable experiences in a given period. Then, the likes of Claude Monet, Pierre-Auguste Renoir, and Alfred Sisley, among others, provided what photography or academic art couldn't at that time - Impressionism. Their ingenuity piloted a new era of artistic representation, which later defined an epoch in modern art, and the rest is history. </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, "system-ui", ".SFNSText-Regular", sans-serif; font-size: 15px; margin: 0.5em 0px 0px; overflow-wrap: break-word; white-space: pre-wrap;"><div dir="auto" style="font-family: inherit;">In 1964, When Arthur C. Danto encountered Andy Warhol's Sculpture in a New York gallery and proclaimed “the end of art,” he did not mean that artists would cease to produce art, but art would not continue to evolve along a clear path as observed by historians from the Renaissance through the late 20th century. It would branch off into a multitude of directions through means and modes of representation and engagement, as later observed in post-modern and contemporary visual vocabularies. </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, "system-ui", ".SFNSText-Regular", sans-serif; font-size: 15px; margin: 0.5em 0px 0px; overflow-wrap: break-word; white-space: pre-wrap;"><div dir="auto" style="font-family: inherit;">For me, regardless of the media, style, or thematic concerns - one thing remains constant throughout human creative endeavors – engagement with the reality of a particular period in pushing the norm. Algorithms are part of us now. As long as we celebrate AI in medicine, computing, aviation, industrial production, etc., I do not think we should fence it out of cultural productions. We can’t even succeed at that anyway. That being said, I also firmly believe that technology will never replace the innate expressive ability of man but challenges to set new paradigms. Though we quickly forget that humans are actually behind the codes in algorithms that generate AI art, AI art cannot and will not still replace human creativity, which is not static but organic and capable of empathy. AI’s creativity is limited to the “depth” of its data set and the “width” of its logic gates. In fact, my current preliminary studies on digital art from Africa and AI show that it is currently exclusionary, hence exposing broad lacunae to be filled both theoretically and in praxis. </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, "system-ui", ".SFNSText-Regular", sans-serif; font-size: 15px; margin: 0.5em 0px 0px; overflow-wrap: break-word; white-space: pre-wrap;"><div dir="auto" style="font-family: inherit;">I believe if history is anything to go by, AI art will help contemporary art advance from its current inertia. Artists who are motivated by the need to advance what Panofsky called “artistic intention or volition” based upon the Psychology of a period, - would lead us into the much-awaited new era. </div><div dir="auto" style="font-family: inherit;">To this end, I say… Art is dead; long live Art.</div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, "system-ui", ".SFNSText-Regular", sans-serif; font-size: 15px; margin: 0.5em 0px 0px; overflow-wrap: break-word; white-space: pre-wrap;"><div dir="auto" style="font-family: inherit;">Ganiyu Jimoh (Jimga)</div><div dir="auto" style="font-family: inherit;"><a href="http://www.jimgatoons.com">www.jimgatoons.com</a></div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, "system-ui", ".SFNSText-Regular", sans-serif; font-size: 15px; margin: 0.5em 0px 0px; overflow-wrap: break-word; white-space: pre-wrap;"><div dir="auto" style="font-family: inherit;"><span style="font-family: inherit;"><a class="x1i10hfl xjbqb8w x6umtig x1b1mbwd xaqea5y xav7gou x9f619 x1ypdohk xt0psk2 xe8uvvx xdj266r x11i5rnm xat24cr x1mh8g0r xexx8yu x4uap5 x18d9i69 xkhd6sd x16tdsg8 x1hl2dhg xggy1nq x1a2a7pz xt0b8zv x1qq9wsj xo1l8bm" href="https://www.facebook.com/hashtag/noaiart?__eep__=6&__cft__[0]=AZWx9w8CmLKpv8yxFlE4I51BHWVqRG8qAYHsvOWRpM9Z29aS_Z2O_ZNdDw_whcyWvhVnBnOz2NFVyNqDMgNH9SEIgxRBdMALw5YyZp1BDFG0u5sUjd7O-R4R0NbvwUlo6gHYShaGFXNszAJS8geO_PUBE-70fOoheBBo2fzs43cTdy0l3mTl2JJmCuqptD73Ets&__tn__=*NK-R" role="link" style="-webkit-tap-highlight-color: transparent; background-color: transparent; border-color: initial; border-style: initial; border-width: 0px; box-sizing: border-box; cursor: pointer; display: inline; font-family: inherit; list-style: none; margin: 0px; outline: none; padding: 0px; text-align: inherit; text-decoration-line: none; touch-action: manipulation;" tabindex="0">#noaiart</a></span> <span style="font-family: inherit;"><a class="x1i10hfl xjbqb8w x6umtig x1b1mbwd xaqea5y xav7gou x9f619 x1ypdohk xt0psk2 xe8uvvx xdj266r x11i5rnm xat24cr x1mh8g0r xexx8yu x4uap5 x18d9i69 xkhd6sd x16tdsg8 x1hl2dhg xggy1nq x1a2a7pz xt0b8zv x1qq9wsj xo1l8bm" href="https://www.facebook.com/hashtag/aiart?__eep__=6&__cft__[0]=AZWx9w8CmLKpv8yxFlE4I51BHWVqRG8qAYHsvOWRpM9Z29aS_Z2O_ZNdDw_whcyWvhVnBnOz2NFVyNqDMgNH9SEIgxRBdMALw5YyZp1BDFG0u5sUjd7O-R4R0NbvwUlo6gHYShaGFXNszAJS8geO_PUBE-70fOoheBBo2fzs43cTdy0l3mTl2JJmCuqptD73Ets&__tn__=*NK-R" role="link" style="-webkit-tap-highlight-color: transparent; background-color: transparent; border-color: initial; border-style: initial; border-width: 0px; box-sizing: border-box; cursor: pointer; display: inline; font-family: inherit; list-style: none; margin: 0px; outline: none; padding: 0px; text-align: inherit; text-decoration-line: none; touch-action: manipulation;" tabindex="0">#aiart</a></span> <span style="font-family: inherit;"><a class="x1i10hfl xjbqb8w x6umtig x1b1mbwd xaqea5y xav7gou x9f619 x1ypdohk xt0psk2 xe8uvvx xdj266r x11i5rnm xat24cr x1mh8g0r xexx8yu x4uap5 x18d9i69 xkhd6sd x16tdsg8 x1hl2dhg xggy1nq x1a2a7pz xt0b8zv x1qq9wsj xo1l8bm" href="https://www.facebook.com/hashtag/digitalart?__eep__=6&__cft__[0]=AZWx9w8CmLKpv8yxFlE4I51BHWVqRG8qAYHsvOWRpM9Z29aS_Z2O_ZNdDw_whcyWvhVnBnOz2NFVyNqDMgNH9SEIgxRBdMALw5YyZp1BDFG0u5sUjd7O-R4R0NbvwUlo6gHYShaGFXNszAJS8geO_PUBE-70fOoheBBo2fzs43cTdy0l3mTl2JJmCuqptD73Ets&__tn__=*NK-R" role="link" style="-webkit-tap-highlight-color: transparent; background-color: transparent; border-color: initial; border-style: initial; border-width: 0px; box-sizing: border-box; cursor: pointer; display: inline; font-family: inherit; list-style: none; margin: 0px; outline: none; padding: 0px; text-align: inherit; text-decoration-line: none; touch-action: manipulation;" tabindex="0">#digitalart</a></span> <span style="font-family: inherit;"><a class="x1i10hfl xjbqb8w x6umtig x1b1mbwd xaqea5y xav7gou x9f619 x1ypdohk xt0psk2 xe8uvvx xdj266r x11i5rnm xat24cr x1mh8g0r xexx8yu x4uap5 x18d9i69 xkhd6sd x16tdsg8 x1hl2dhg xggy1nq x1a2a7pz xt0b8zv x1qq9wsj xo1l8bm" href="https://www.facebook.com/hashtag/digitalartist?__eep__=6&__cft__[0]=AZWx9w8CmLKpv8yxFlE4I51BHWVqRG8qAYHsvOWRpM9Z29aS_Z2O_ZNdDw_whcyWvhVnBnOz2NFVyNqDMgNH9SEIgxRBdMALw5YyZp1BDFG0u5sUjd7O-R4R0NbvwUlo6gHYShaGFXNszAJS8geO_PUBE-70fOoheBBo2fzs43cTdy0l3mTl2JJmCuqptD73Ets&__tn__=*NK-R" role="link" style="-webkit-tap-highlight-color: transparent; background-color: transparent; border-color: initial; border-style: initial; border-width: 0px; box-sizing: border-box; cursor: pointer; display: inline; font-family: inherit; list-style: none; margin: 0px; outline: none; padding: 0px; text-align: inherit; text-decoration-line: none; touch-action: manipulation;" tabindex="0">#digitalartist</a></span></div></div>Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com0tag:blogger.com,1999:blog-981158321097495353.post-72256907435374210352019-02-17T07:33:00.003-08:002019-02-17T07:33:53.283-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="background-color: rgba(255, 255, 255, 0.8); color: #666666; font-family: "Open Sans", sans-serif; font-size: 16px;"><b>In Memoriam: Bisi Silva (1962-2019) </b></span><br />
<span style="background-color: rgba(255, 255, 255, 0.8); color: #666666; font-family: "Open Sans", sans-serif; font-size: 16px;">By Peju Layiwola </span><br />
<span style="background-color: rgba(255, 255, 255, 0.8); color: #666666; font-family: "Open Sans", sans-serif; font-size: 16px;">Photo by Ayo Adewunmi</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCanT5KXMw8bcgvRwf3mfb5I0W0d79rJmHtsCW2qIU2zZYAsAHgWE2YeFa-eJimVds0nDOuvMMKTTrN3zzJHwi089-SiGf5wYIWa2To9keEa1hcR6nLOWiM0HAXPtrILHWgOPzVUCubC4/s1600/51863735_2085824461494013_4441966228197605376_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1295" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCanT5KXMw8bcgvRwf3mfb5I0W0d79rJmHtsCW2qIU2zZYAsAHgWE2YeFa-eJimVds0nDOuvMMKTTrN3zzJHwi089-SiGf5wYIWa2To9keEa1hcR6nLOWiM0HAXPtrILHWgOPzVUCubC4/s320/51863735_2085824461494013_4441966228197605376_o.jpg" width="259" /></a></div>
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<span style="background-color: rgba(255, 255, 255, 0.8); color: #666666; font-family: "Open Sans", sans-serif; font-size: 16px;"> It is difficult to speak about Bisi in the past tense! Bisi Silva was born in Lagos in 1962 and died on the 12th of February, 2019. She was the founder and artistic director of the Centre for Contemporary Arts, Lagos established in 2007. In the 11 years of its existence, her Centre became ‘the’ Centre of art in Nigeria. Bisi centred the discourse on contemporary African art on the continent and brought several international scholars, artists and curators to Nigeria. Her Centre became a gateway for establishing connections between local artists and international audiences. It brought joy, laughter and professional fulfilment to many. Bisi lived a short but purposeful life. She brought to the art scene a high-level of professionalism and impacted both young and old artists through her unique exhibitions and artists talks/programmes. She was a scholar and curator extraordinaire and internationally recognised for her immense contribution to art scholarship. She developed the art of photography, video art and other aspects of new media which were largely underserved in Nigeria at the time. She transformed the careers of a good number of artists and curators from all over the world. She will be fondly remembered for the Asiko curatorial school. At home, Bisi made it possible for young art graduates to think of establishing careers as curators. She supported several art programmes in different parts of Nigeria and endowed prizes for the best entries in the arts at national competitions. She made donations to many art programmes and projects. Bisi curated several local and international exhibitions and biennales, too numerous to mention here. Bisi was simple, kind hearted and generous. She was beautiful, well spoken, talented, focused, bold and fearless. She spoke strongly against mediocrity and disrespect for women and expressed her views freely. She was a lover of books. She developed the most comprehensive library of art books in the country. The Centre and library located in Yaba, Lagos was in close proximity to the major art schools in Lagos which made it assessible to many college students. Indeed, the Centre benefited from this pool of students who served in different capacities in administering it. Despite her busy schedule, she found time to give lectures in schools, carry out portfolio reviews and visit exhibition and talks. Here was a scholar who gave her all to the development of art in Nigeria. What a life full of achievements! She will be missed by the global community of artists. Asiko, the name of her curatorial project means time. Her time is up, but her legacy continues! </span></div>
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<span style="background-color: rgba(255, 255, 255, 0.8); color: #666666; font-family: "Open Sans", sans-serif; font-size: 16px;">Olabisi Silva, Odigba, Sun re o. Rest in peace.</span><br />
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<a href="https://www.jimgatoons.com/detail_read.php?sel_id=79&tid=4" target="_blank">www.jimgatoons.com</a></div>
Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com0tag:blogger.com,1999:blog-981158321097495353.post-30686877649237131202018-05-07T00:31:00.000-07:002018-05-07T00:31:06.390-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="border: none; font-family: georgia, palatino, serif; font-size: 18pt; margin: 0px; padding: 0px; vertical-align: baseline;"> The Arts & Civics Table (TACT) Organisation and the Cartoonists Association of Nigeria (CARTAN) kicked off a cartoon campaign themed “Drawing Blood”, in commemoration of World Press Freedom day on May 3, 2018.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlYwNEAYwZkx0HmWzAT-lHzS_P861scTspNMeiaBhUHdzaDN4-6P70P_bbe_OzBCqJrMhSQ3EEvqYvldK4jTZl5GfZavZPzNuqi_UYL6SmLD6sP2DdRk1T9lwPkPcB70ml_UlgG1RdHpY/s1600/fulani+herdsmen+killings.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="787" data-original-width="1062" height="473" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlYwNEAYwZkx0HmWzAT-lHzS_P861scTspNMeiaBhUHdzaDN4-6P70P_bbe_OzBCqJrMhSQ3EEvqYvldK4jTZl5GfZavZPzNuqi_UYL6SmLD6sP2DdRk1T9lwPkPcB70ml_UlgG1RdHpY/s640/fulani+herdsmen+killings.jpg" width="640" /></a></div>
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<img alt="dRAWINGBLOOD" class="size-medium wp-image-316 alignleft" height="232" sizes="(max-width: 300px) 100vw, 300px" src="https://tactnigeria.org/wp-content/uploads/2018/05/dRAWINGBLOOD-300x232.png" srcset="https://tactnigeria.org/wp-content/uploads/2018/05/dRAWINGBLOOD-300x232.png 300w, https://tactnigeria.org/wp-content/uploads/2018/05/dRAWINGBLOOD-768x595.png 768w, https://tactnigeria.org/wp-content/uploads/2018/05/dRAWINGBLOOD-1024x793.png 1024w, https://tactnigeria.org/wp-content/uploads/2018/05/dRAWINGBLOOD-972x753.png 972w, https://tactnigeria.org/wp-content/uploads/2018/05/dRAWINGBLOOD.png 1374w" style="border: none; float: left; height: auto; margin: 5px 20px 20px 0px; max-width: 100%; padding: 0px; vertical-align: baseline;" width="300" /></div>
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<span style="border: none; font-family: georgia, palatino, serif; font-size: 18pt; margin: 0px; padding: 0px; vertical-align: baseline;">The campaign will promote the use of blood-red themed cartoon and art as instruments of protest against the violence and bloodshed in different parts of Nigeria. The alarming spate of bloodshed in the country is of grave concern to everyone, with the news media overflowing daily with reports of kidnaps, robbery attacks, violent communal attacks etc., often leading to the loss of precious lives. The #DrawingBlood campaign is thus a call, to those saddled with the responsibility of maintaining peace and protecting lives, that the dire security situation needs to be urgently addressed.</span></div>
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<span style="border: none; font-family: georgia, palatino, serif; font-size: 18pt; margin: 0px; padding: 0px; vertical-align: baseline;">Over the next six months, and leading up to The Nigerian Satire Festival in November 2018, the #DrawingBlood campaign will promote artists and cartoonists utilizing RED as the main colour theme in their work. The campaign will also feature satirical art works in other formats.</span></div>
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<span style="border: none; font-family: georgia, palatino, serif; font-size: 18pt; margin: 0px; padding: 0px; vertical-align: baseline;">In addition to publishing these #DrawingBlood cartoons in newspapers, cartoon and art exhibitions will be held at various dates over the campaign period. Dates for the exhibitions will be announced via our social medial pages and on www.TACTNigeria.org.</span></div>
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<span style="border: none; font-family: georgia, palatino, serif; font-size: 18pt; margin: 0px; padding: 0px; vertical-align: baseline;">All cartoonists and other satirists are encouraged join in this campaign by using the colour RED in their work from today, and by posting their cartoons online and offline using the hashtag #DrawingBlood.</span></div>
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<span style="border: none; font-family: georgia, palatino, serif; font-size: 18pt; margin: 0px; padding: 0px; vertical-align: baseline;">It is our way of saying “We have had enough of bloodshed in Nigeria”.</span></div>
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<span style="border: none; font-family: georgia, palatino, serif; font-size: 18pt; margin: 0px; padding: 0px; vertical-align: baseline;">For information on how you can exhibit your artworks at any of the #DrawingBlood exhibitions, or to submit your work for online promotion, please send an email to<span style="border: none; margin: 0px; padding: 0px; text-decoration-line: underline; vertical-align: baseline;">drawingblood@thenigeriansatirefestival.com</span> or follow @tactnigeria and @satirenigeria on Twitter.</span></div>
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Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com0tag:blogger.com,1999:blog-981158321097495353.post-17485026790573035572018-04-13T13:46:00.004-07:002018-05-07T00:32:17.905-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">Tayo Fatunla: Nigerian Cartoonist in the
Diaspora.<o:p></o:p></span></b></div>
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<span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">Interview
by Ganiyu Jimoh Ph.D.<o:p></o:p></span></div>
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<span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">Nigerian,
Tayo Fatunla, is an icon and an award-winning international cartooning artist. Going
recently through a catalogue of ancient African empires at the British Museum,
I came across his illustrations of artistic impressions of what transpired in ancient
African kingdoms. <span style="mso-spacerun: yes;"> </span>The illustrative
prowess of Fatunla are vivid and enigmatic. Many of Fatunla’s works have been commissioned
by great cultural and educational organisations across the globe. <o:p></o:p></span></div>
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<span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">Tayo was
born in Wimbledon, England in 1961 and has had over three decades of cartooning
experience. Having practiced in Nigeria for several years, he went further to
study cartooning at the</span><span style="background: white; font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;"> prestigious
Kubert Art School in Dover, New Jersey in the early 1980s,</span><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;"> becoming
their first international student from Africa. <span style="mso-spacerun: yes;"> </span><span style="background: whitesmoke;">Tayo is presently
a member of the Cartoonists Association of Nigeria (CARTAN), <span style="mso-bidi-font-weight: bold;">National Union of Journalists U.K.</span>,
and Cartoon Arts International. </span>During the snowy meteorological
conditions of February 28, 2018, in his studio at Dartford, Kent in England,
Tayo spoke with Ganiyu Jimoh Jimga on his background, career, influences, and
aspirations for cartooning in Nigeria. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;"><o:p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA4-UsUsY7OVdja0xenEv2vcD5h0knOp1_WGKgO7Xz5Zi0q7mcISTaDqoZg0LzuM9PhWXwz4UNJso0jSsYEeZngBJgjgoXbfYJQtJCx7rtovmT6xAh-3B0ucN6T7SqcOWYIkf1uiuNwzo/s1600/eee.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="577" data-original-width="769" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA4-UsUsY7OVdja0xenEv2vcD5h0knOp1_WGKgO7Xz5Zi0q7mcISTaDqoZg0LzuM9PhWXwz4UNJso0jSsYEeZngBJgjgoXbfYJQtJCx7rtovmT6xAh-3B0ucN6T7SqcOWYIkf1uiuNwzo/s320/eee.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tayo and Jimga in his studio. 2018</td></tr>
</tbody></table>
</o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">Ganiyu Jimoh Jimga:</span></b><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;"> How did
you start creating cartoons; what were your motivation and influence? <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">Tayo Fatunla:</span></b><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;"> The
journey has been a long, successful and an ongoing one, and I give thanks to my
Creator who made me a creator in art as well. <span style="mso-spacerun: yes;"> </span>Right from when I was young, I knew I wanted draw
and become a cartoonist and comic artist; I wanted to be an illustrator as well
as I was a fan of British and American comics. It is important to note that if you
do not have artistic talent in you, becoming an artist might be a struggle. You
must be gifted to be creative and I know that being creative brings out the
best of you. I can remember very well that my interest in cartoons began when I
was in primary school at <i style="mso-bidi-font-style: normal;">Surulere Baptist
School</i>, Lagos. My mum was working at the <i style="mso-bidi-font-style: normal;">Lagos University Teaching Hospital </i>(LUTH) then. <span style="mso-spacerun: yes;"> </span>She would buy British comics from the hospital’s
bookstore for us to read. Some of the comics then included Buster, Battle,
Beano, Tiger, and Roy of the Rovers comics. Later, I came across <i style="mso-bidi-font-style: normal;">Marvel</i> superhero comics, the first being
the Mighty Thor. It was a pocket book. I was intrigued by the main character
flying in the air with a hammer as a weapon. As fate would have it, I was fortunate
to be in Art Class in my secondary school, Lagos Baptist Academy. Then, along
came my friend, Toyin Akingbule, who was into drawing cartoons as well. In fact,
Toyin Akingbule and another schoolmate, Dapo Akintunde were always drawing
cars. They have been drawing most of the modern car designs I see today, right
from when we were in school. <o:p></o:p></span></div>
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<span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">I got
better in drawing comics over time. At some point, I would draw comic books and
charge my schoolmates a small amount of money to read them. Eventually, I was inspired
to join the <i style="mso-bidi-font-style: normal;">Punch </i>Newspaper as a
cartoonist. <span style="mso-spacerun: yes;"> </span>Prior to working for the <i style="mso-bidi-font-style: normal;">Punch</i> newspapers, I drew for the <i style="mso-bidi-font-style: normal;">Daily Times</i>, <i style="mso-bidi-font-style: normal;">Daily Express, Lagos Weekend and Evening Times</i>. At the time, I was
a great fan of <i style="mso-bidi-font-style: normal;">Benbella</i> by David
Lasekan, and Moses Osawe’s Pa Johnson cartoon column in the <i style="mso-bidi-font-style: normal;">Evening Times</i>. At <i style="mso-bidi-font-style: normal;">Punch</i>, I met Dotun Gboyega from whom I took over the drawing of the
Omoba back-page cartoon. I also met legendary Kenny Adamson and Femi Jolaoso (now
Jolaolu). With these great inspirations around me, I was eager to publish my
cartoons as well.<o:p></o:p></span></div>
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<span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">I first drew
cartoons for a Children’s magazine called <i style="mso-bidi-font-style: normal;">Apollo</i>,
which was published by the late governor of Ogun State, Olabisi Onabanjo. The
opportunity came through being class mate with his son Seyi Onabanjo. This was
before he went into politics. At the time, Nigeria was far ahead of other African
nations in cartoons and indigenous comics publication. For my first cartoon in <i style="mso-bidi-font-style: normal;">Apollo,</i> I was paid 5.00 Naira. It made
me feel satisfied getting my work published. It was very encouraging. I then
had the urge to do more drawings and my work and I eventually grew in
recognition.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">Ganiyu Jimoh Jimga:</span></b><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;"> How did
you come about your unique style of cartooning? <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">Tayo
Fatunla: </span></b><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">Because of many influences on my works, I struggled to create
a unique style for myself. Once people look at your cartoons and they start to compare
them with another cartoonist’s style, then it is obvious that you need to be
original in your style and technique of drawing. I began to develop my own
style of drawing cartoons. I was employed as a full-time cartoonist (you don’t
see much of that anymore), drawing the PAGE THREE cartoon column for the <i style="mso-bidi-font-style: normal;">Punch </i>newspaper. When Dotun Gboyega left
for <i style="mso-bidi-font-style: normal;">Concord </i>Newspapers, Managing
Editor, Uncle Sam Amuka Pemu, asked me to take over drawing of the <i style="mso-bidi-font-style: normal;">Omoba</i> Cartoon column. That was an
interesting challenge for me and I lived up to the challenge. After doing that
for about two and half years, I decided to attend an art school to study art,
formally. Subsequently, I was admitted into </span><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">the
Kubert Art School in New Jersey, United States of America, in the early
1980s. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBeUechZNjaC6O55AiN8CmhhJZgt08nMvfqZ8Z8CNMTnHgkdH5rNQDcCP9MtUUXb-OKwBWW3BaBcZ8FhB-n629oJZp0iCXIJy2ZcgBIaRzs02a0-7IlrhceWXUdPovWiTxDZLP0SF9CW4/s1600/TAYO+FATUNLA+-+Image+1+for+Jimga.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1243" data-original-width="1600" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBeUechZNjaC6O55AiN8CmhhJZgt08nMvfqZ8Z8CNMTnHgkdH5rNQDcCP9MtUUXb-OKwBWW3BaBcZ8FhB-n629oJZp0iCXIJy2ZcgBIaRzs02a0-7IlrhceWXUdPovWiTxDZLP0SF9CW4/s320/TAYO+FATUNLA+-+Image+1+for+Jimga.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX92blzEp9sr3oqCC6G2DYHOzCu9KuFZMy7ntJJuyjPraVAfUZD4-_v4Qf1Tzwi1Lv6ITLJAPAHcXpXocEJEQwX5skG3Q6vbeFSVoBbMPvZMl4AJCzjIjOpowmFkChNkCihNQEpQ5fiHc/s1600/OUR+ROOTS++Sketchbook+-+For+Jimga.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="653" data-original-width="992" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX92blzEp9sr3oqCC6G2DYHOzCu9KuFZMy7ntJJuyjPraVAfUZD4-_v4Qf1Tzwi1Lv6ITLJAPAHcXpXocEJEQwX5skG3Q6vbeFSVoBbMPvZMl4AJCzjIjOpowmFkChNkCihNQEpQ5fiHc/s320/OUR+ROOTS++Sketchbook+-+For+Jimga.jpg" width="320" /></a></div>
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<b style="text-align: justify;"><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;"><br /></span></b></div>
<div class="MsoNormal" style="line-height: 200%;">
<b style="text-align: justify;"><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">Ganiyu Jimoh Jimga:</span></b><span style="font-family: "cambria" , serif; font-size: 12pt; line-height: 200%; text-align: justify;"> What was
the experience like in the Art School and how did that influence your art?</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">Tayo Fatunla: </span></b><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">Awesome!
The school was where I learnt basic ways to draw cartoons with better outcomes,
using functional styles and techniques. I also learnt from tutors who were professional
artists in their own right and who taught at the school. It was at the school I
learnt to teach <i style="mso-bidi-font-style: normal;">How to Draw cartoons</i>
which I have continued to do till today. The skill to teach <i style="mso-bidi-font-style: normal;">Drawing Cartoons </i>has allowed me to hold
cartoon workshop sessions locally and internationally as far as Nigeria and
Ethiopia and Ireland<i style="mso-bidi-font-style: normal;">.</i> <o:p></o:p></span></div>
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<span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">After my
art education in the US, I returned to Nigeria. I was reinvigourated because I
had acquired a lot from my studying at the art school in the U.S. Thereafter, I
worked for several Nigerian news publications, namely, <i style="mso-bidi-font-style: normal;">Concord, Punch </i>and<i style="mso-bidi-font-style: normal;"> THISWEEK </i>magazine.
Working with <i style="mso-bidi-font-style: normal;">THISWEEK </i>magazine paved the
way for producing my cartoons in colour, as they were always in black and white
prior to that time. The magazine rivaled the U.S. based <i style="mso-bidi-font-style: normal;">Time </i>magazine in terms of production, contents and quality because
it was being printed in London and flown to Nigeria for distribution. <o:p></o:p></span></div>
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<span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">While at THISWEEK,
I freelanced for the now defunct <i style="mso-bidi-font-style: normal;">Nigerian
Herald </i>newspaper under the pen name <i style="mso-bidi-font-style: normal;">SEYI,</i>
to hide my identity. The cartoon I created, called TIROGO, was for a different
readership and locality and was very popular at that time. <span style="mso-spacerun: yes;"> </span>Later, I relocated to the United Kingdom,
working for <i style="mso-bidi-font-style: normal;">African Concord</i> which was
being published in the UK. <span style="mso-spacerun: yes;"> </span>I then worked
with <i style="mso-bidi-font-style: normal;">WEST AFRICA</i> magazine owned by <i style="mso-bidi-font-style: normal;">Daily Times of Nigeria</i>, in London, for
thirteen years as its Resident Artist. When <i style="mso-bidi-font-style: normal;">Daily
Times</i> became defunct, I became a Freelance Artist. I had the opportunity to
visit the Helsinki Festival by invitation. I was given a Cartoon exhibition
slot called “Tayo’s<i style="mso-bidi-font-style: normal;"> NIGERIA,” </i>depicting
the transition period between the end of the military regime and the beginning
of Olusegun Obasanjo’s civilian reign in 1999.<span style="mso-spacerun: yes;">
</span>Since then, I have been invited to several Cartoon Festivals in various </span><!--[if gte vml 1]><v:shape
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</v:shape><![endif]--><!--[if !vml]--><!--[endif]--><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">nations. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<b><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">Jimga:</span></b><span style="font-family: "cambria" , serif; font-size: 12pt; line-height: 200%;"> Can you tell me more about “OUR
ROOTS,” the educational cartoon feature?</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">Tayo:</span></b><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;"> The <i style="mso-bidi-font-style: normal;">OUR ROOTS</i> project began at the Kubert Art School. It was an end-of-school
project preparing students for the real world. Initially, I only drew faces of
people in the strip. To syndicate it in the US, Mr. Jerry Robinson, who created
the Joker and drew Batman, under his then <i style="mso-bidi-font-style: normal;">Cartoonists
and Writers syndicate</i> requested that I add more to the strip by having some
kind of visual story next to the headshots. So, I did and it made sense. I also
had legendary US artists like Joe Kubert (Tarzan and Sgt. Rock artist), and Hy
Eisman (Popeye cartoonist) who assisted me while in school and professionally
to develop <i style="mso-bidi-font-style: normal;">OUR ROOTS </i>and make it what
it is today. <i style="mso-bidi-font-style: normal;">OUR ROOTS</i> began as AFRICAN
SKETCHBOOK because I knew I was going back to Nigeria, and I wanted it
published in African publications. It was first published as <i style="mso-bidi-font-style: normal;">AFRICAN SKETCHBOOK</i> in <i style="mso-bidi-font-style: normal;">Flight Africa</i> magazine in Lagos, but
when I came over to the UK, the editor of the Voice newspaper asked if the title
could be changed, so that black people, men and women in the diaspora would be recognised
as well. That was when I changed the name to <i style="mso-bidi-font-style: normal;">OUR ROOTS</i>.<span style="mso-spacerun: yes;"> </span>And with <i style="mso-bidi-font-style: normal;">OUR ROOTS,</i> it made more sense to
spotlight black people all around the world, presenting an opportunity to educate
people young and old about Black history of sung and unsung heroes. Someone
asked if I would run out of Black achievers to draw in the strip, my response
was that as long as there is the black race, there will always be black
achievers to document. OUR ROOTS is in recognition of contributions of Black
people around the world through art journalism to racial understanding. Without
Africa, there couldn’t have been <i style="mso-bidi-font-style: normal;">OUR
ROOTS that</i> paved way for so many similar projects; the British Museum, Spirit
of Lagos comic, HOOKED, a digital comic for the BBC, and many more.<span style="mso-spacerun: yes;"> </span>It was a feature in Nigeria’s Sunday Times
newspaper for a while. It has been syndicated in US newspapers and features in
New York Amsterdam News, Sacramento Observer, Atlanta Voice and the Chicago
Defender. <span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">ThisDay</i> newspaper once used <i style="mso-bidi-font-style: normal;">OUR
ROOTS</i> format as <i style="mso-bidi-font-style: normal;">OUR NIGERIA. </i>Many
were in need of a similar format like <i style="mso-bidi-font-style: normal;">OUR
ROOTS.</i> It has been used numerous times to educate people on black history,
in schools, libraries, in books and magazines and at events. While comics seem
to have a short life-span, educational comics never go into extinction. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijze5ebAqeMbSFqSboOCuu9WGzOdIAwL9kxgOaPfpHcW5foaHqk8plyYFo4JOIiVDw93goL0_eDalJDpC_-XoY9lyei_Ar9ajfyM-VRIb3gs2Y9HpMtrsGKzvUF0hrLDtEJ6XxgEbZdfY/s1600/Mad+Cow+-+For+Jimga.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1149" data-original-width="1600" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijze5ebAqeMbSFqSboOCuu9WGzOdIAwL9kxgOaPfpHcW5foaHqk8plyYFo4JOIiVDw93goL0_eDalJDpC_-XoY9lyei_Ar9ajfyM-VRIb3gs2Y9HpMtrsGKzvUF0hrLDtEJ6XxgEbZdfY/s400/Mad+Cow+-+For+Jimga.jpg" width="400" /></a></div>
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<span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;"><br /></span></div>
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<span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<b><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">Jimga: </span></b><span style="font-family: "cambria" , serif; font-size: 12pt; line-height: 200%;">I want you to talk about
Cartooning in Nigeria, since as you said earlier, Nigeria was at the fore-front
of cartoon publication in Africa, but the state of the art does not reflect
that. The Cartoonists Association of
Nigeria (CARTAN) has recently been resuscitated, and the main aim of the
association is to bring Nigerian cartoonists together to form a formidable
force against our challenges. You have experienced cartooning in Nigeria and
the Diaspora; what is the way forward?</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">Tayo</span></b><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">: <span style="mso-spacerun: yes;"> </span>Well, I commend you for bringing Cartoonist
friends, colleagues, and younger cartoon and comic enthusiasts together, through
the social media tool you created. That is very good, and I am also happy that
Professor Dele Jegede (Kole the Menace) is part of CARTAN too. I remember that
the first ever cartoonists’ gathering I went to in Nigeria was convened by Professor
Jegede and was called Cartoon Association of Nigeria (CAN). Given the state of
cartooning in Nigeria, more could and should be done. As it is now and though
sad to express, apart from a few cartoonists who continue to keep the momentum
going, it is not that impressive. It is sad to note that Nigeria was indeed at
the forefront of cartoons in Africa, before the likes of Zapiro (Jonathan
Shapiro; South African political cartoonist), Kenya-based Gado (</span><span style="background: white; font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">Godfrey Mwampembwa)</span><span style="background: white; font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">, and Popa, a Tanzanian political
cartoonist</span><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">, came around. Even Gado in one of his interviews, mentioned
my name as an inspiring person that he looked up to in terms of cartooning. <span style="mso-spacerun: yes;"> </span>Today, he is a superb African cartoonist. The
state of cartooning in Nigeria now is tainted by politics. It could be much
better than what it is. I am so surprised the <i style="mso-bidi-font-style: normal;">Omoba </i>comic column does not exist anymore. There could be many
reasons for this. Perhaps someone saw no need for the cartoon character or did
not have the enthusiasm that Uncle Sam Amuka brought into the Nigerian media
with cartoons. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">There is
still hope for cartooning in Nigeria. The media, print and electronic media need
to encourage more use of cartoons by Nigerian cartoonists. When I was with the <i style="mso-bidi-font-style: normal;">WEST AFRICA </i>magazine here in London, I
was contributing to other magazines as well. I would clutch my portfolio with
my artworks to deliver to various magazines for use in their publications.
Along came technology, and I realized that if I did not move with the times and
embrace computer technology and the Internet, I would be left behind.
Cartoonists in Nigeria should embrace digital technology and have their works,
cartoons, etc., published on the internet as well. If people want you to work
for them, the first thing they do is to <i style="mso-bidi-font-style: normal;">Google
</i>you. If you are nowhere to be found online, they would not want to do
business with you. Cartoonists should also have a broader scope. They should
address international themes as well, to be able to participate in international
cartoon festivals, which bring better exposure. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">I must
say that cartooning is going through hard times globally. What is happening now
is that cartooning is evolving from print media to social media and that cannot
be stopped. People can now read comics on their various devices. I also feel
that Nigerian cartoonists are treading carefully; they want their cartoons
published, so they do not wish to upset anyone. They seem not to fully express
themselves, holding back their thoughts and that of the masses. As a result, some
cartoons being published in Nigeria today appear to be watered-down and are not
bold enough. Nigerian cartoonists cannot be complacent; rather they must strive
to improve. To be a cartoonist, someone or someone’s work should inspire you.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">Jimga:</span></b><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;"> What about our comic books?<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">Tayo: </span></b><span style="font-family: "cambria" , serif; font-size: 12.0pt; line-height: 200%;">I have seen good comics being
produced in Nigeria. It is possible to deviate from using the <i style="mso-bidi-font-style: normal;">Marvel</i> and <i style="mso-bidi-font-style: normal;">DC Comics</i>’ formats of drawing superheroes. We should not be reading
about more superheroes in Africa. There are so many of them in America. I would
love to see Nigerian cartoonists create graphical comics about Africa, which
include true stories of the past and present. I am aware of one on Nelson
Mandela and Patrice Lumumba. <span style="mso-spacerun: yes;"> </span>Japan has
its Manga style of comics selling bucket loads, Africa can have hers. It is
getting difficult selling hard copies of comic and they are now becoming easier
to read them online and reach a wider audience. Africans are good storytellers
and should be able to tell Africa’s various stories and history through visual
communication.<o:p></o:p></span></div>
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<br /></div>
</div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "cambria" , serif; font-size: 12.0pt;">Ganiyu Jimoh Ph.D.
lectures at the Department of Creative Arts, University of Lagos, Nigeria. He
is also a Research Associate in the SARChI Chair of the Department of Fine Art,
Rhodes University, South Africa. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "cambria" , serif; font-size: 12.0pt;"><a href="mailto:jganiyu@unilag.edu.ng"><span style="color: black; text-decoration: none;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">jganiyu@unilag.edu.ng</span></span></a> <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "cambria" , serif; font-size: 12.0pt;">www.artwriteups.blogspot.com<o:p></o:p></span><br />
<span style="font-family: "cambria" , serif; font-size: 12.0pt;"><br /></span>
<span style="font-family: "cambria" , serif;">https://africacartoons.com/interview-with-tayo-fatunla-nigerian-cartoonist-in-the-diaspora/</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<br /></div>
Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com0tag:blogger.com,1999:blog-981158321097495353.post-58795810305393432882017-09-19T04:02:00.001-07:002017-09-19T04:02:12.750-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
<h2 class="post-title">
Report: Transnational Graphic Narratives Summer School </h2>
<div class="date">
<div class="bg">
<span class="day">18</span>
<span>Sep</span>
</div>
</div>
<h2 style="text-align: justify;">
University of Siegen, Germany. July 31<sup>st</sup> – August 5<sup>th</sup> 2017</h2>
<h2 style="text-align: justify;">
<em>-Report-</em></h2>
<h2 style="text-align: justify;">
<span style="font-size: x-small;">culled from <a href="https://comicsforum.org/2017/09/18/report-transnational-graphic-narratives-summer-school/#more-8325" target="_blank"> https://comicsforum.org/2017/09/18/report-transnational-graphic-narratives-summer-school/#more-8325 </a></span></h2>
<div style="text-align: justify;">
<strong><u>Authors</u></strong>: Amadeo Gandolfo, Pablo Turnes, Laura Nallely Hernández Nieto, Lia Roxana Donadon</div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
<strong><u>Introduction</u></strong></div>
<div style="text-align: justify;">
The first Transnational Graphic
Narratives Summer School (abbreviated TGN) was held at the University of
Siegen, Campus Unteres Schloß, from July 31<sup>st</sup> to August 5<sup>th</sup>
of 2017. The participants included the following scholars (in
alphabetical order): José Alaniz (University of Washington, USA), Benoît
Crucifix (Universitè de Liége, Belgium), Veronica Dean (University of
Los Angeles, USA), Subir Dey (Indian Institute of Technology Guwahati,
India), Harriet Earle (Sheffield Hallam University, England), Franca
Feil (University of Frankfurt, Germany), Moritz Fink (Academy for Civic
Education Tutzing, Germany), Amadeo Gandolfo and Pablo Turnes (National
University of Buenos Aires / CONICET, Argentina), Isabelle Guillaume
(Universiy of Bordeaux Montagne, France), Olivia Hicks (University of
Dundee, Scotland), Ganiyu A. Jimoh (University of Lagos, Nigeria),
Kernan Koçak (Bilecik Şeyh Edebali University, Turkey), Sarah Lightman
(University of Glasgow, Scotland), Suraya Md Nasir (Kyoto Seika
University, Japan), Laura Nallely Hernández Nieto (National University
Autonomous of Mexico), Barbara Postema (Concordia University, Canada),
Johannes Schmid (University of Hamburg, Germany), Pfunzo Sidogi (Tshwane
University of Technology, South Africa), Simon Turner (Sainsbury
Institute for the Study of Japanese Arts and Culture, England), Jocelyn
Wright (University of Texas, USA), Tobuas Yu-Kiener (University of the
Arts London, Great Britain), Giorgio Buzzi Rizzi (University of Bologna,
Italy), Lia Roxana Donadon (University of Siegen, Germany).</div>
<span id="more-8325"></span><br />
<div class="wp-caption alignnone" data-shortcode="caption" id="attachment_8343" style="width: 1290px;">
<img alt="TGN_Photo 1, Group Shot by Jimoh Ganiyu" class="alignnone size-full wp-image-8343" data-attachment-id="8343" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="TGN_Photo 1, Group Shot by Jimoh Ganiyu" data-large-file="https://comicsforum.files.wordpress.com/2017/09/tgn_photo-1-group-shot-by-jimoh-ganiyu-e1505727440829.jpg?w=645?w=645" data-medium-file="https://comicsforum.files.wordpress.com/2017/09/tgn_photo-1-group-shot-by-jimoh-ganiyu-e1505727440829.jpg?w=645?w=300" data-orig-file="https://comicsforum.files.wordpress.com/2017/09/tgn_photo-1-group-shot-by-jimoh-ganiyu-e1505727440829.jpg?w=645" data-orig-size="1280,961" data-permalink="https://comicsforum.org/2017/09/18/report-transnational-graphic-narratives-summer-school/tgn_photo-1-group-shot-by-jimoh-ganiyu/" src="https://comicsforum.files.wordpress.com/2017/09/tgn_photo-1-group-shot-by-jimoh-ganiyu-e1505727440829.jpg?w=645" /><div class="wp-caption-text">
Group Shot by Jimoh Ganiyu</div>
</div>
<div style="text-align: justify;">
<strong><u>Organization</u></strong></div>
<div style="text-align: justify;">
Prof. Dr. Daniel Stein and Dr. Lukas
Etter (University of Siegen) were in charge of the organization of the
TGN Summer School, with logistical support of student assistants Katja
Dosztal and Yvonne Knop (University of Siegen). The Summer School was
generously funded by the Volkswagen Foundation.</div>
<div style="text-align: justify;">
<strong><u>Contents</u></strong></div>
<div style="text-align: justify;">
The Summer School/Conference included in
the following formats: Keynotes, Seminars, Project Presentations,
Cartoonist’s Workshop, Skype Interview, and Plenary Discussions. These
formats were spread across the week and complemented with a Day Trip to
Frankfurt am Main, where we visited the Institut für Jugendbuchforschung
(Department for Children’s and Young Adult Literature Research).</div>
<div style="text-align: justify;">
Every day at the Summer School started with a <strong>Keynote Address</strong> and <strong>Seminar Discussion</strong>,
where distinguished scholars from the field of Comics Studies spoke
about their current research and points of view on Graphic Narratives.
The Keynotes, listed here in the order they were presented, covered a
broad range of phenomena: Casey Brienza (City University London) spoke
about “Domesticating Manga? Japanese Comics and Transnational
Publishing,” Stephan Packard (University of Cologne) about “Imagining
Other Audiences: Popular Ideologics of Fiction in Transnationally
Published Comics,” Michael A. Chaney (Dartmouth College) about
“Para-caption and <em>March</em> Covers, or (Mis)Reading with the
President,” and Astrid Böger about “Transnational Graphics Narratives
from Down Under: An Overview.”</div>
<div style="text-align: justify;">
The <strong>Cartoonist’s Workshop</strong>
was conducted by the French-Congolese artist and author Fifi Mukuna.
The organizers said that such a thing was “highly experimental” and,
truthfully, we had not encountered such an experience in other
conferences, but we believe it worked really well. We were divided into
groups and asked to produce our own six-panel comic. Through a process
of free association, collective thinking, and random selection of ideas
the entire Summer School came up with a character, a place, and an
object to be used in the story. Then each group was left to its own
devices to develop the rhythm, frames, and level of detail they deemed
necessary for the story to work. The workshop functioned as a
socializing space in which people got to know each other a little
better. Moreover, it worked as a relaxation space where we could unwind
from the discussions and thinking. Many of the participants were skilled
artists, and the final product was a fun and diverse encapsulation of
our many, diverse personalities.</div>
<div class="wp-caption alignnone" data-shortcode="caption" id="attachment_8344" style="width: 2058px;">
<img alt="TGN_Photo 2, Group with Cartoonist Fifi Mukuna" class="alignnone size-full wp-image-8344" data-attachment-id="8344" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="TGN_Photo 2, Group with Cartoonist Fifi Mukuna" data-large-file="https://comicsforum.files.wordpress.com/2017/09/tgn_photo-2-group-with-cartoonist-fifi-mukuna.jpg?w=645?w=645" data-medium-file="https://comicsforum.files.wordpress.com/2017/09/tgn_photo-2-group-with-cartoonist-fifi-mukuna.jpg?w=645?w=300" data-orig-file="https://comicsforum.files.wordpress.com/2017/09/tgn_photo-2-group-with-cartoonist-fifi-mukuna.jpg?w=645" data-orig-size="2048,1536" data-permalink="https://comicsforum.org/2017/09/18/report-transnational-graphic-narratives-summer-school/tgn_photo-2-group-with-cartoonist-fifi-mukuna/" src="https://comicsforum.files.wordpress.com/2017/09/tgn_photo-2-group-with-cartoonist-fifi-mukuna.jpg?w=645" /><div class="wp-caption-text">
The Cartoonists Workshop with Fifi Mukuna</div>
</div>
<div style="text-align: justify;">
The Summer School also included two <strong>Plenary Discussions</strong>:
one on comics studies in Germany, featuring Astrid Böger, Christina
Meyer (University of Hannover, Gemany), Joachim Trinkwitz (University of
Bonn, Germany) and Stephan Packard; the other one on transnational
comics studies, with José Alaniz, Casey Brienza, Michael Chaney, Sarah
Lightman, Suraya Md Nasir, and Pfunzo Sidogi.</div>
<div style="text-align: justify;">
The first plenary discussion outlined the
current situation of comics studies in Germany, noting a growing
network of comics scholars developing but encountering similar problems
as the rest of the world: lack of funding, difficulties getting a
teaching position related to comics studies, lack of definition inside
universities’ departments, etc. It also brought up the question of
translation and the need to communicate findings and research results
across languages, as well as the possibilities and limitations of
English as a <em>lingua franca</em> for the field. The panel further
raised the important issue of the value of comics studies. Even though
there is still so much to do and discover in the field, institutionally,
we still have a hard time demonstrating the value of what we do. This
sparked questions on how to better communicate our activities to a mass
audience, in which other professional areas we might put our expertise
to work, and how our specialization might link to our teaching posts,
which are usually related to other fields of knowledge. We received
additional input on these questions from Jared Gardner (Ohio State
University), who was unable to participate in the summer school but
outlined his perspective via email. The second plenary discussion
brought the discussion of these topics to a global stage, highlighting
the differences between research in different universities across the
world and introducing the necessity and possibility of an international
network for comic scholars to communicate about their work and figure
out ways to collaborate across national and disciplinary borders.</div>
<div style="text-align: justify;">
The <strong>Project Presentations</strong>
were delivered by each participant of TGN and formed the larger portion
of the Summer School activities. We were given 45 minutes in total,
with 15-20 minutes allotted to the presentation itself and the rest
reserved for questions. The objective of this approach was to meld a
conference-based approach with a seminar-like approach in order to spark
an open and thoughtful discussion/feedback on each topic by the
scientific community present at TGN. Each presentation generated a
significant amount of debate and questioning. As Daniel Stein said at
the end of the week, “I believe we ran out of discussion time for each
single presentation,” with the sponsored dinners offering additional
opportunities to continue these discussions into the evening.</div>
<div class="wp-caption alignnone" data-shortcode="caption" id="attachment_8345" style="width: 5162px;">
<img alt="TGN_Photo 3, Sarah Lightman" class="alignnone size-full wp-image-8345" data-attachment-id="8345" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"3.2","credit":"","camera":"Canon IXUS 175","caption":"","created_timestamp":"1501584947","copyright":"","focal_length":"5.966","iso":"640","shutter_speed":"0.016666666666667","title":"","orientation":"1"}" data-image-title="TGN_Photo 3, Sarah Lightman" data-large-file="https://comicsforum.files.wordpress.com/2017/09/tgn_photo-3-sarah-lightman.jpg?w=645?w=645" data-medium-file="https://comicsforum.files.wordpress.com/2017/09/tgn_photo-3-sarah-lightman.jpg?w=645?w=300" data-orig-file="https://comicsforum.files.wordpress.com/2017/09/tgn_photo-3-sarah-lightman.jpg?w=645" data-orig-size="5152,3864" data-permalink="https://comicsforum.org/2017/09/18/report-transnational-graphic-narratives-summer-school/tgn_photo-3-sarah-lightman/" src="https://comicsforum.files.wordpress.com/2017/09/tgn_photo-3-sarah-lightman.jpg?w=645" /><div class="wp-caption-text">
Sarah Lightman (Glasgow University) discusses Jewish women’s comics </div>
</div>
<div style="text-align: justify;">
The breadth and depth of topics addressed
by the project presentations were truly encompassing and engaging. From
South African superheroes seen through a postcolonial and pan-African
lens, to the difficulties of importing and publishing <em>yaoi</em>
manga in the UK due to its ambiguous legal status as pornography, to the
use of sound effects in Indian comics written in Indian dialects and
the need to develop a tool that enhances them, to the representation of
the <em>banlieue</em> and the experiences of immigrants’ children in
French comics: each project attested to the transnational scope and
expressive potential of graphic narrative. Further subjects included the
difficulties with comics censorship in Malaysia and the learning of the
“proper way” to draw manga in Japan; political cartooning in Nigeria
and South Africa; the way British script-writers changed the American
comics landscape in the early 1990s, and unknown and bizarre British
superheroines framed in an intelligent critique of the way academia has
dealt with issues of gender in superhero comics. Another round of
presentations examined the representation of the British in early-20<sup>th</sup>-century
Turkish comics, the ways in which Armenian comics depict the Armenian
genocide; the ways in which cartoonists imagined the City of Mexico
during the post-Mexican Revolution modernizing process; how modern
independent cartoonists employ the history of the medium as a
legitimizing tool and as a means of commenting on their own careers and
their links to the past.</div>
<div style="text-align: justify;">
All of this research suggests the value
of graphic narratives and their individual interpretations, and it
points to the need to study comics as representatives of particular
periods and contexts. This brief summary only covers a small part of the
topics addressed, all of whom were fascinating and offered a mixture of
theoretical and methodological approaches that illustrate the richness
and diversity of our field of study.</div>
<div style="text-align: justify;">
<strong>Skype-Interview with John Lent</strong>:
On Thursday, the TGN did a Skype interview with John Lent, one of the
founding fathers of comics studies in the United States. The interview
started with a discussion about the future of the <em>International Journal of Comic Art</em>,
the pioneering journal founded and still published by Lent and, as we
discovered to our surprise, a publication that had run many of the
participants’ articles. The interview then moved to a wide range of
topics concerning the current and future status of comics in academia.
Lent explained what he viewed as some lacunas in the field: research on
political cartooning, on the political economy of the comics’ industries
around the world, on comic strips of the early 20<sup>th</sup> century,
on the comics production of overlooked countries. He also stressed that
we should try not to focus too much on researching superheroes. He
further maintained that the field of comic studies should remain
interdisciplinary and avoid trying to define its boundaries too much.
While this probably hampers our ability to “sell” our research as
something unique and to carve out academic territory, it gives us much
more freedom to use tools from different disciplines and intellectual
traditions.</div>
<div style="text-align: justify;">
<strong>Day Trip to Frankfurt</strong>:
This outing allowed the TGN participants to get to know the activities
and research linked to the Comics Archive affiliated with the Institut
für Jugendbuchforschung at Goethe University Frankfurt. Bernd
Dolle-Weinkauff, who is a noted expert on comics and in charge of the
archive, gave an introductory presentation about the manga market and
its readership in Germany (“Manga in Germany”). Then he took groups of
ten to the portion of the archives that are preserved at the University
building (the larger portion of the archive is stored elsewhere). We
were able to discuss potential avenues of research related to the
contents of the Comics Archive, its history, and the prospects for its
digital preservation in the future. In the archive, he showed us
different copies of German comic books of different epochs, and the
participants could appreciate the general collection integrated by
titles from different countries.</div>
<div class="wp-caption alignnone" data-shortcode="caption" id="attachment_8346" style="width: 4138px;">
<img alt="TGN_Photo 4, University of Frankfurt" class="alignnone size-full wp-image-8346" data-attachment-id="8346" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"1.9","credit":"","camera":"SM-A310F","caption":"","created_timestamp":"1501676623","copyright":"","focal_length":"3.7","iso":"80","shutter_speed":"0.03030303030303","title":"","orientation":"1"}" data-image-title="TGN_Photo 4, University of Frankfurt" data-large-file="https://comicsforum.files.wordpress.com/2017/09/tgn_photo-4-university-of-frankfurt.jpg?w=645?w=645" data-medium-file="https://comicsforum.files.wordpress.com/2017/09/tgn_photo-4-university-of-frankfurt.jpg?w=645?w=300" data-orig-file="https://comicsforum.files.wordpress.com/2017/09/tgn_photo-4-university-of-frankfurt.jpg?w=645" data-orig-size="4128,3096" data-permalink="https://comicsforum.org/2017/09/18/report-transnational-graphic-narratives-summer-school/tgn_photo-4-university-of-frankfurt/" src="https://comicsforum.files.wordpress.com/2017/09/tgn_photo-4-university-of-frankfurt.jpg?w=645" /><div class="wp-caption-text">
During the Trip to the University of Frankfurt</div>
</div>
<div style="text-align: justify;">
In addition, we had the opportunity to visit two museum exhibitions: one by Marc-Antoine Mathieu (<em>Mapping Dreams: The Art of Marc-Antoine Mathieu</em>) at the Museum für Angewandte Kunst and another concerning French lithographs from the 19<sup>th</sup> Century (<em>Gericault to Toulouse-Lautrec, French Lithographs of the 19<sup>th</sup> Century)</em> at the Städel Museum.</div>
<div style="text-align: justify;">
<strong><u>Transfer / Profit</u></strong></div>
<div style="text-align: justify;">
The Summer School represented the opening
of a multitude of perspectives and the encounter with a wider world of
comics’ studies. This meant not only a fruitful intellectual and
academic exchange, but also a vital social exchange. We learned so much
about different comics traditions and industries from all over the world
that we had not previously heard about, but we also got to know the
people behind the research and their cultures. We also found the
diversity of perspectives and approaches to comics studies refreshing
and enriching. This has to do with the high quality of the projects
presented, which of course has a lot to do with the sterling selection
process. Whether from a sociological, artistic, historical,
semiological, political, or literary studies perspective, each person
brought something unique to the table and helped us envision what comics
studies are right now and what they could be. This was also very
noticeable in the selection of keynotes, each of which had different
corpuses, objects, methodologies, and theoretical frameworks, while at
the same time being engaged enough to incite discussion from all sides
of the aisle.</div>
<div style="text-align: justify;">
Moreover, the discussions after each
project presentation were smart, informed, and constructive. We think
everyone took something useful that will help improve their projects.
This experience has allowed us to optimize our personal academic
research, stimulate intercultural and transnational collaborations, and
create new horizons in the research field of comics studies. In
addition, the summer school provided us with tools to approach from a
new perspective the comics of our respective countries; it further
allowed us the exchange of methodological texts that we do not find in
Latin America.</div>
<div style="text-align: justify;">
Finally, and this might seem like a small
thing but for us it’s vital: this experience helped us feel a little
bit less alone, as comics scholars, in the current scientific research
landscape of Latin America in general – and Argentina and Mexico in
particular – and to put in perspective the difficulties and trials our
discipline has to endure all over the world. The establishment of a
worldwide network of like-minded individuals all striving for the
recognition and growth of comics studies should be a primary objective.</div>
<div style="text-align: justify;">
<strong><u>Future / Projection</u></strong></div>
<div style="text-align: justify;">
The Summer School left our heads brimming
with ideas for the future. As we mentioned before, the formation of a
worldwide network of comics scholars that stems from this type of
experiences and conferences would be wonderful. Even the strengthening
and enlargement of the networks we found out about in the Summer School
(ComFor, ICAF, Comics Forum, Comics Studies Society) would be very
welcome. We also have been thinking about how to implement a similar
approach to the organization of conferences in our countries of origin.
We came back from the experience believing that it is an optimal way of
developing discussions and ideas. The Summer School also made us believe
in the importance of transnational perspectives and the inclusion of
more diverse points of view, which also help to improve the quality of
the research.</div>
<div class="wp-caption alignnone" data-shortcode="caption" id="attachment_8347" style="width: 2116px;">
<img alt="TGN_Photo 5, Laura Nallely Hernández Nieto, Pablo Turnes, Lia Roxana Donadon, Amadeo Gandolfo" class="alignnone size-full wp-image-8347" data-attachment-id="8347" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"2.2","credit":"","camera":"iPhone 6","caption":"","created_timestamp":"1501945930","copyright":"","focal_length":"4.15","iso":"125","shutter_speed":"0.03030303030303","title":"","orientation":"1"}" data-image-title="TGN_Photo 5, Laura Nallely Hernández Nieto, Pablo Turnes, Lia Roxana Donadon, Amadeo Gandolfo" data-large-file="https://comicsforum.files.wordpress.com/2017/09/tgn_photo-5-laura-nallely-hernc3a1ndez-nieto-pablo-turnes-lia-roxana-donadon-amadeo-gandolfo.jpg?w=645?w=645" data-medium-file="https://comicsforum.files.wordpress.com/2017/09/tgn_photo-5-laura-nallely-hernc3a1ndez-nieto-pablo-turnes-lia-roxana-donadon-amadeo-gandolfo.jpg?w=645?w=300" data-orig-file="https://comicsforum.files.wordpress.com/2017/09/tgn_photo-5-laura-nallely-hernc3a1ndez-nieto-pablo-turnes-lia-roxana-donadon-amadeo-gandolfo.jpg?w=645" data-orig-size="2106,1974" data-permalink="https://comicsforum.org/2017/09/18/report-transnational-graphic-narratives-summer-school/tgn_photo-5-laura-nallely-hernandez-nieto-pablo-turnes-lia-roxana-donadon-amadeo-gandolfo/" src="https://comicsforum.files.wordpress.com/2017/09/tgn_photo-5-laura-nallely-hernc3a1ndez-nieto-pablo-turnes-lia-roxana-donadon-amadeo-gandolfo.jpg?w=645" /><div class="wp-caption-text">
The authors of this review: (left to right) Laura Nallely Hernández Nieto, Pablo Turnes, Lia Roxana Donadon and Amadeo Gandolfo</div>
</div>
<div style="text-align: justify;">
Concerning the circulation of our own
work, we are very excited about the possibility of publishing and
presenting our major findings for an international audience in some of
the journals and conferences that were mentioned during our days in
Siegen. We believe the Latin American tradition of comics has not been
integrated into the vast tapestry of world comics for too long, and we
would like to help, in what little ways we can, to change this.
Likewise, we will start working to foster the same kind of exchange in
the other direction, translating and bringing some of the voices we met
in Siegen to Latin America.</div>
<div style="text-align: justify;">
Finally, we believe that it would be very
desirable if the Summer School could be given continuity. Perhaps with a
biannual frequency, so that it transforms into an established
institution that drives cultural exchange and an international network
of collaboration on the subject of comics studies. Periodicity will show
how research projects have advanced after TGN and how participants are
applying their newly gained knowledge.</div>
</div>
Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com0tag:blogger.com,1999:blog-981158321097495353.post-9836909225229326262015-09-25T13:23:00.002-07:002015-09-25T13:23:30.280-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
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<div align="center" class="MsoNoSpacing" style="line-height: 115%; text-align: center;">
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<div align="center" class="MsoNoSpacing" style="line-height: 115%; text-align: center;">
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State University, East Lansing, MI </span></div>
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October 1<sup>st</sup> and 30<sup>th </sup>2015.</span></div>
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<span style="font-family: "Cambria",serif; font-size: 8.0pt; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">* There will be a light reception from 4-6pm
in room 204 of the International Center on October 1<sup>st</sup>, where Jimga
will introduce his book and discuss the exhibit.</span></div>
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Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com0tag:blogger.com,1999:blog-981158321097495353.post-41635457270523077052015-07-09T07:43:00.000-07:002015-07-09T07:43:32.525-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span><span lang="EN-GB">I <span style="mso-spacerun: yes;"> </span>Voted Only for the Head Too; Visual Satire and
Democratic Governance in Africa.</span></span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif";">Jimoh, Ganiyu Akinloye</span></b></div>
<h6 style="background: white; line-height: 13.5pt; margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<span lang="EN-GB" style="color: #494848; font-family: "inherit","serif"; mso-fareast-font-family: "Times New Roman";">International Journal
of Comic Art</span></h6>
<h6 style="background: white; line-height: 13.5pt; margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<span lang="EN-GB" style="color: #494848; font-family: "inherit","serif"; mso-fareast-font-family: "Times New Roman";">Jun 16, 2014</span></h6>
<h6 style="background: white; line-height: 13.5pt; margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<strong><span lang="EN-GB" style="border: none windowtext 1.0pt; color: #494848; font-family: "inherit","serif"; mso-border-alt: none windowtext 0in; mso-fareast-font-family: "Times New Roman"; padding: 0in;">Keywords</span></strong><strong><span lang="EN-GB" style="border: none windowtext 1.0pt; font-family: "inherit","serif"; mso-border-alt: none windowtext 0in; mso-fareast-font-family: "Times New Roman"; padding: 0in;">:<span style="mso-spacerun: yes;"> </span></span></strong><span lang="EN-GB" style="font-family: "inherit","serif"; mso-fareast-font-family: "Times New Roman";"><a href="https://www.academia.edu/Documents/in/Art_and_Politics"><span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Art and Politics</span></a>,<span class="apple-converted-space"> </span><a href="https://www.academia.edu/Documents/in/Zapiro"><span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Zapiro</span></a>,<span class="apple-converted-space"> </span> <a href="https://www.academia.edu/Documents/in/Mike_Asukwo"><span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Mike Asukwo</span></a>, Goodluck Jonathan, Nigerian politics,
South African politics</span><span lang="EN-GB" style="font-family: "Helvetica Neue"; mso-fareast-font-family: "Times New Roman";"></span></h6>
<div class="MsoNormal">
<br /></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span>Abstract</span></b></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Editorial
cartoons are visual images with or without captions that comment on
socio-political occurrences in the society and are usually published on
editorial page of newspapers. As an integral part of editorial commentaries, political
or editorial cartoons form an essential part of journalistic tools in mass
media, through which masses are enlightened on governmental policies. Studies
have revealed that editorial cartoons affect public opinions and can serve as
framing device to re-present or construct political realities.</span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">This
paper takes a critical look at the role of editorial cartoon in African
democratic governance. It investigates how the important media tool; cartoon, is
being used as an opinion-moulding devise to serve as contemporary form of
putting checks on governmental policies and how this aids in democratic
governance in Africa.</span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">By
employing the theory of visual semiotics, selected editorial cartoons are
qualitatively analysed within the context of the political happenings in the
society.</span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>From the analysis of forms, visual elements
and contexts of each cartoon, the study concludes that it is apparent that
editorial cartoons have pushed and enlarged the boundaries of freedom of
expression in African democratic setting. It reveals that much, which would not
have been said about governmental policies were brought to the fore through
satire. African cartoonists like traditional palace jesters enjoy certain
freedom to lampoon the power brokers and alert the public about salient issues.</span></div>
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<br /></div>
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><br clear="all" style="page-break-before: always;" />
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<div class="MsoNormal" style="line-height: 200%; tab-stops: 111.75pt; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Introduction</span></b></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Art
plays a significant role in the society. From the prehistoric<span style="mso-spacerun: yes;"> </span>era <span style="mso-spacerun: yes;"> </span>through <span style="mso-spacerun: yes;"> </span>the Greek, Roman, medieval and renaissance
periods down to the contemporary times, artistic representations have mirrored
the society in an attempt to document, beautify, inform, and reform some
aspects of societal realities.<span style="mso-spacerun: yes;"> </span>Artists
play major role in politics of their various societies not necessarily as
politicians but as the lens not to only reflect the political happenings, but
to also refract the rays towards a desired course. </span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Among
the genre of visual art that comes handy and proofs potent in putting checks on
the political class in the contemporary society is the art of political cartooning.
Cartoonists are like traditional palace jesters, who lampoon the political
class using satire as tools. Political cartoons which can also be referred to
as editorial cartoons are stylised illustrations with socio-political themes
often published on the editorial page of newspapers. According to El Refaie
(2003:185)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 10.0pt; margin-left: 70.9pt; margin-right: 70.9pt; margin-top: 0in; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">These
illustrations are usually in single panel with visual symbolic elements to
express the cartoonist’s views on societal issues in humorous or subtle ways.
Most commonly, cartoons address a current political issue or event, a social
trend, or a famous personality in a way that takes a stand or presents a
particular point of view. Although political cartoons are not always humorous,
they do generally contain an element of irony or at least something incongruous
of surprising (<i style="mso-bidi-font-style: normal;">Multiliteracies; how
readers…</i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 10.0pt; margin-left: 70.9pt; margin-right: 70.9pt; margin-top: 0in; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Cartoons
as an integral part of newspaper can influence public opinion about salient
issues, hence set public agenda (Wyk, 2012:53). Political cartoons, through
careful investigation can also reveal a lot of underlying facts about certain
issues in the society at a particular time. El Refaie (2003:186) illustrates
that political cartoons function as communicative tools in the society; they
form a distinctive media genre with its own history, specific styles,
conventions and communicative purposes. Political cartoon is a unique mode of
communication that combines the imagined and realities of social and political
subjects (Anogwih, 2013:9).</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">African
continent apart from being endowed with natural resources is also ‘blessed’
with autocratic leaders. These leaders rule with iron fists, violate human
rights, embezzle national coffers and do all sort of atrocities that only
staying put in power for ever is the only option for them to evade the
consequences of their actions. Examples of these abound in Africa from north to
south, east to west, most African leaders are the slave masters whose salves
are their own people. Though most African states have democratised, the type of
democratic governance being exhibited calls for scrutiny because it fosters on
gross election rigging, corruption, fraud, manipulation among others. </span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">The
purpose of this paper therefore, is to illustrate the role played by political
cartoons in democratic governance in Africa using selected political cartoons
by South African cartoonist Jonathan Shapiro also known as Zapiro and Nigerian
Etim Bassey Asukwo polpularly known as Mike Asukwo. Employing the theory of visual
semiotics, this study takes qualitative approach in its analysis and situates
cartoon thematic clusters within the context of the realities in which they are
created. The study hence contributes to the existing body of knowledge on the
role of art in politics within cartooning paradigm.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Historical Background
of Cartooning</span></b></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">The
origin of cartoon as a concept of graphic communication tool can be traced back
to the pre-historic times when early man began expressing his artistic impulse
on the walls of caves. In ancient Egyptian, Greek and Roman sculptural and
decorative traditions, pictorial narratives reflected historical events and
legends (Aigberia,2001:33). According to Gombrich, political cartoons are
composed of caricature, which lampoons the individual, and allusion, which
creates the situation or context in which the individual is placed (Gombrich,
1985:127). </span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Caricature
as a western discipline is credited to Leonardo da Vinci (1452-1519) through
his artistic explorations into understanding the concept of beauty by
appreciating the grotesque-“the ideal type of deformity”. However, the first
true caricatures are credited to the Bologonese painter, Augustino Carrci, with
his sketch of “A Captain of Pope Urban VII” in the late sixteenth century (Hofmann,
1957).<span style="mso-spacerun: yes;"> </span>Cartoon as visual propaganda tool
was employed during Martin Luther’s socio-religious reforms in Germany.
Consequent upon the high level of illiteracy among the majority of the people,
there was a sheer need to disseminating defiant message against the Pope and
Clergy through visual satire. Consequently, Lutheran artists in Wittenberg and
Nuremberg produced dozens of broadsheets and pamphlets satirising Catholic
beliefs.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">The
term ‘cartoon’ was first used in its current meaning in the mid-19<sup>th</sup>
century, when the British satirical monthly magazine <i style="mso-bidi-font-style: normal;">Punch </i>used it as a title for a series of humorous illustrations
lambasting the government’s plans for a new lavish parliamentary building . The
cartoonists visually juxtaposed this lavishness with the extreme poverty of
many ordinary citizens in the society (Kleeman, 2006).Since that period till
today cartoonists are regarded as influential and highly respected political
commentators.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Development of
Cartooning in Africa</span></b></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">According
to Eko (2007:4), African newspaper cartoons are critical journalistic texts
that are among the most visible manifestations of post-Cold War African
political liberation. Cartoonists have spearheaded the struggle for freedom of
expression on the continent since the early 1990s. Though the medium of
cartooning is perceived not to have any indigenous provenance and was part and parcel
of colonial modernity (Olaniyan; 2002:125). However, the concept of using
satire as a form of checking excesses of the political class by the people is
well-entrenched in African tradition society long before the advent of
colonialism (Onipede; 2007:2). The rock paintings in Birnin Kudu and Geji near
Bauchi in Northern Nigeria and other parts of Africa according to Abejide serve
not only ritual purposes, they express some forms of humorous<span style="mso-spacerun: yes;"> </span>graffiti. Other variants of satire found
expression in verbal and visual elements such as abusive and mocking songs
during traditional festivals (Gelede, Oke’Badan, Bolojo etc) and sculptural
mocking images on helmet and facial masks. These images are intended to serve
corrective roles in traditional settings (qtd in Onipede; 2013:13).</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">The present mode of cartooning in Africa, as elsewhere are
driven primarily by the political and socio-economic environment.<span style="mso-spacerun: yes;"> </span>According to Jegede</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 10.0pt; margin-left: 70.9pt; margin-right: 70.9pt; margin-top: 0in; text-align: justify;">
<span lang="EN-GB" style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt;">…the principles that sustain their creation and enjoyment-exaggeration,
robust witticism and humour, and the simple and effective mode of graphic
presentation—are the same in Africa as they are in other parts of the world (Jegede,
1990:2). </span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Even though the concept of political satire is well
entrenched in Africa before colonial imperialism, however, cartooning in its
contemporary state is a recent development. Its development was a predictable
component of the print media that missionaries set up in the second half of the
nineteenth century as part of their proselytizing agenda (Jegede, 2004:5).</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span>In 1859 a weekly
newspaper,<span class="apple-converted-space"> </span><em>Iwe Irohin,</em><span class="apple-converted-space"> </span>was established in Abeokuta, south-western
Nigeria. In 1883, the Christian community in Ghana successfully established the
Presbyterian Press. Due to educational, economic, cultural, and political
factors, media organizations in colonial Africa had a fledgling and remarkably
difficult beginning. In colonial and postcolonial Africa, newspapers were
established by various interest groups: inspired African nationalists and
political activists; expatriate entrepreneurs; and newly independent
nation-states desirous of projecting the voice and views of government. The
current media efflorescence in many parts of Africa is a development that
became noticeable only in the last two decades of the twentieth century. In the
colonial era, most published cartoons were not geared towards political
commentary that questioned the colonial authority and were not even produced by
indigenous cartoonists. However, there were few newspapers like Nigeria’s<span class="apple-converted-space"> </span><em>West African Pilot</em><span class="apple-converted-space"> </span>that “bravely employed cartoons to
advance anticolonial views and lambaste political lackeys” (Jegede, 2004:6).
Except Akinola Lasekan the first Nigerian and probably the first African
indigenous cartoonist, cartoons produced by African cartoonists did not become
a regular staple of the print media until the third-quarter of the twentieth
century.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Literature Review</span></b></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">In
recent years, there has been a significant increase in research out puts on
political cartooning across disciplines and this makes </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 10.0pt; margin-left: 70.9pt; margin-right: 70.9pt; margin-top: 0in; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">…political
cartoons a potent interdisciplinary research field crossing different research
boundaries such as education, sociology, psychology, health research, political
sciences, philosophy , art history and communication studies (Sani et al.2012:53
). </span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-fareast-language: EN-GB;">Published studies on political cartoons have
focused on their nature and functions (Klyukovski, McHale, & Airne, 2001). Morrison
(1969) investigates the unique features of political cartoons; Medhurst and
DeSousa (1981) focus on the rhetorical form of political cartoons; Cahn (1984)
studies editorial cartoons as implements for communication. Morris 1992 and 1993;
Delporte, 1995; Feldman1995; Edwards 1997; Ure, 2001 and Olaniyan, 1997 look at
the visual power of political cartoons in reflecting social and political
issues in society. On the use of visual rhetoric, El Refaie (2003) examines the
use of visual metaphors in political cartoons in Australian newspapers. Udoaka
(2003) investigates the perceptions of audiences on Nigeria political cartoons.
Conners (2007)explores political cartoons and the popular culture in the 2004
presidential campaign in US. Edwards and Ware (2005) focus on how political
cartoons represent public opinions in campaign media. Han, (2006) explores
political satire, investigating Japanese Cartoon Journalism and its pictorial
statements on Korea. Eko (2007) investigates how some African newspapers cartoons
dehumanized and deterritorialized four African leaders. Mazid (2008) explores
political and ideological representations in Bush and bin Laden’s cartoons depictions.
Reflecting on political commentary Townsend, McDonald, and Esders (2008) examine
how political cartoons illustrated Australia’s work choices debate on civil
service policies. El Refaie (2009) conducted a research on how the public
interpret editorial cartoons and proffer remarkable advice on visual literacies.
Adejuwon and Alimi, (2011) studies cartoons as illustration of political
process in Nigeria, their study reveals the importance of the visual
communication genre as an indispensable aspect of political journalism. Willems
(2011) examined satirical depictions of Zimbabwean president to portray the
political climate of the country. Sani et al. (2012) and Van Wyk, (2012)
investigate the Political cartoons as a vehicle of setting social agenda, using
Nigerian and South Africa newspaper cartoons respectively as case studies;
their studies contributes immensely to cartoon scholarship through the use of
agenda setting theory. </span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-fareast-language: EN-GB;">Most importantly, the review of literature
demonstrates that although there has been considerable research done on political
cartoons, however little research has focused on the role of political cartoon
in democratic African governance. This study therefore, contributes to the body
of existing knowledge on editorial cartooning and democratic governance in
Africa.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-fareast-language: EN-GB;">Theoretical Background</span></b></div>
<div style="background: white; line-height: 200%; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: 4.8pt; text-align: justify;">
<span lang="EN-GB">In
this paper the theory of ‘semiotics’ is utilised; extending to visual
semiotics. This theory is employed to investigate the forms of visual elements
and the context underlying the use of these elements in selected cartoons.
According to Barthes, cartoons like photographs and drawings should be analysed
for multiple meanings because they are polysemous (qtd. in El Refaie; 2003:80).
<span style="mso-spacerun: yes;"> </span></span></div>
<div style="background: white; line-height: 200%; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: 4.8pt; text-align: justify;">
<span lang="EN-GB">The
study of<span class="apple-converted-space"> </span><a href="http://en.wikipedia.org/wiki/Semiotics" title="Semiotics"><span style="mso-fareast-font-family: "MS Mincho";">semiotics</span></a>, or semiology,
originated in a literary or linguistic context and has been expanding in a
number of directions since the early turn-of-the-century work of<span class="apple-converted-space"> </span><a href="http://en.wikipedia.org/wiki/Charles_Sanders_Peirce" title="Charles Sanders Peirce"><span style="mso-fareast-font-family: "MS Mincho";">Charles
Sanders Peirce</span></a><span class="apple-converted-space"> </span>in the
U.S. and<span class="apple-converted-space"> </span><a href="http://en.wikipedia.org/wiki/Claude_L%C3%A9vi-Strauss" title="Claude Lévi-Strauss"><span style="mso-fareast-font-family: "MS Mincho";">Claude
Lévi-Strauss</span></a><span class="apple-converted-space"> </span>and<span class="apple-converted-space"> </span><a href="http://en.wikipedia.org/wiki/Ferdinand_Saussure" title="Ferdinand Saussure"><span style="mso-fareast-font-family: "MS Mincho";">Ferdinand
Saussure</span></a><span class="apple-converted-space"> </span>in France ( Sonesson,
1989). It is a philosophical approach that seeks to interpret messages in terms
of their signs and patterns of symbolism. <span style="mso-bidi-font-weight: bold;">Visual semiotics</span><span class="apple-converted-space"> </span>is
a subdomain of semiotics that analyses visual signs. It comprises the study of
pictorial art including advertising, cartooning and mass media communication
images. It investigates all kinds of meanings conveyed by means of the visual
senses through analysis of visual elements and underlying context. </span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-fareast-language: EN-GB;">Methodology</span></b></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">This
study employs qualitative paradigm in analysing the political cartoon images.
According to Altheid, qualitative content and document analysis is a useful
tool for the study of cartoons and other visual texts because it enables
researchers to discover, compare and contrast ‘relevant situations, settings,
styles, images, meanings and nuances’ ( qtd in Eko: 2007: 226 ).<span style="mso-spacerun: yes;"> </span>Selected cartoons by South African cartoonist
Jonathan Shapiro and Nigerian Mike Asukwo are retrieved from newspapers and
online archives for analysis. The unit of analysis is the cartoon. The
following items are coded: the main theme of the cartoons, the newspaper in
which the cartoons were published, and the date of publication are identified
and coded. In all fifty published editorial cartoons are studied, however, for
the purpose of illustration only six cartoons are discussed in the analysis
section of this paper due to limitations placed on the numbers of pages for the
report.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Cartoon
scholars and audience are also interviewed on their interpretation of basic
visual symbols used in the selected cartoons.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Analysis of selected
cartoons by Asukwo</span></b></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Etim
Bassey Asukwo popularly known as Mike Asuwo is a household name in Nigerian
political cartoon scene. A graduate of Yaba College of Technology, Lagos,
Asukwo has been using the cartoon genre as a tool of activism and propaganda
since 2001. In his works he targets the power-brokers and often responds to
governmental policies in satirical form. Mike is currently a senior editorial
artist at BusinessDay media limited.<span style="mso-spacerun: yes;"> </span>He
employs the use of visual imageries that are highly connotative and
intellectually demanding in his cartoons. He is one of the few cartoonists in
Nigeria, according to Olaniyan (2002), who construct their artistic themes
around visual metaphors. </span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal">
<img align="left" alt="Description: Cartoon%205%20May%202011" height="495" hspace="12" src="file:///C:\Users\DEPTOF~1\AppData\Local\Temp\msohtmlclip1\01\clip_image002.jpg" width="622" /><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif";"></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif";">Fig. 1</span></b><span lang="EN-GB" style="font-family: "Times New Roman","serif";"> “Riding out the
storm”</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman","serif";">By
Mike Asukwo, published in BusinessDay, 2011, 10.5 x 5.5 cm</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Cartoonists
use symbols and visual metaphors to simplify and communicate complicated ideas
and concepts (Eko, 2010:221). One of the powers of cartoon lies in ‘its ability
to crystallise complex issues into a simple metaphor’ (Harrison, 1981:14)</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">This
editorial cartoon portrays the state of Nigeria at a particular period in time.
Though the setting of the cartoons is placed within the context of President
Goodluck Jonathan’s assumption of power, however, the broader context is
entrenched in the history of 1914 amalgamation of the Northern and Southern
protectorate into one entity called Nigeria. By situating the realistic space
in an imagined state using visual symbols, the cartoonist has been able to
express the tribal ideological differences inherited right from colonial
administration in Nigeria. By employing animal metaphor, representing the south
with a Dinosaur (extinct animal) and the north with camel (an animal synonymous
with desert), like a Siamese twins with delicate suture in the middle. Asukwo
is telling the audience that the unity of Nigeria is faulty right from
inception and obviously no significant movement can be achieved, even though
the land is green, with these animals moving towards opposite directions. Another
important issue to consider in this presentation is the intention of the rider;
Jonathan, who symbolically represents the rider of this strange being
(Nigeria), it should be noted that Jonathan comes from the South-South region,
a region which is believed to have being marginalised in the central power
scene even though it produces higher percentage of the country’s revenue.
Jonathan decides to face the direction of the North despite his affinity with
the south and aggressiveness of the ‘southern’ beast. This may also indicate
reality of Nigerian political system. By default since the colonial era, the
north has highest numbers of<span style="mso-spacerun: yes;"> </span>seats in
the houses (upper and lower), this positioned it as a strong political bloc in
national affairs as the region through its representatives can influence a lot
of decisions without major alliance with the south which is even divided into
three separate regions (West, East and South). In view of this, it is crystal
clear that no single region from the south can win with a clear majority in
national elections; therefore, they have to lure the north. Its manifestations
abound; 1959, 1964, 1976, 1979,19831999,2003, 2007 and 2011 presidential
elections show the ruling party’s affinity with the north.<span style="mso-spacerun: yes;"> </span>The on-going merger of the major oppositions political
parties (ACN and CPC) into APC to break PDP monopoly still attest to this fact.
The cartoon is ‘impregnated’ with codes that comment and reflect the realities
of Nigerian democracy. It shows that by default a particular region is more
powerful politically than the other regardless of its physical strength and
little can the ‘rider’ do about that. However, the inequality of power impedes
progress. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<img align="left" alt="Description: Cartoon%203%20May%202011" height="430" hspace="12" src="file:///C:\Users\DEPTOF~1\AppData\Local\Temp\msohtmlclip1\01\clip_image004.jpg" width="591" /><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif";"></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif";">Fig. 2</span></b><span lang="EN-GB" style="font-family: "Times New Roman","serif";"> “Voting for the head”</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman","serif";">By
Mike Asukwo, published in BusinessDay, 2012, 10.5 x 5.5 cm</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif";">The metaphoric
combination of the real and imaginary is one of the features of cartoons that
distinguish them from other newspaper images such as press photographs and
illustrative drawings (El Refaie, 2009:186). Cartoon visual elements are
metaphors that ‘develop out of and reflect specific political, cultural and
social context…cartoons can be political chronicles, editorial, satire,
creative cultural productions and moral statements all rolled into one’ (Eko,
2007:222). This cartoon fig.2 unarguably summarises people’s opinion about
President Jonathan and his administration. It dwells around the citizens’
perception of the president before coming to power as the commander in chief
and during his tenure. It indicates feelings of betrayal, mistrust and
disappointment as can be seen on the expressions of the two figures on the
right. By drawing from different sources; religious, historical, political,
etc. the cartoonist ‘constructs’ a particular phase of reality which creates an
imaginary space for its comments. Jonathan is presented as a holy, just,
amiable man but in the devil’s image. Drawing from biblical iconography, the
ruling political party which Jonathan belongs; PDP is personified into the
devil, biblical being that symbolises vices, chaos etc. describes in the Bible
as ‘the wicked one; Matthew 13:19, Angel of bottomless pit; Revelation 9:11,
The Tempter; 1 Timothy 3:5, Matthew 4:3’. The symbolic positioning of ‘halo’ on
the presidents head which is surgically sutured to the ‘condemned one’ is
indicative of ‘Godly’ endowment<a href="https://www.blogger.com/blogger.g?blogID=981158321097495353#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></span></span></span></a>.
</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif";">Meanwhile a major
point to note in this visually stimulating cartoon is that one of first visual
imageries of the devil as dragon was illustrated in <i style="mso-bidi-font-style: normal;">The Codex Gigas,</i> the largest extant medival manuscript in the
world. This illuminated manuscript is also known as the <i style="mso-bidi-font-style: normal;">Devil’s Bible </i>because of a large illustration of the devil in
dragon form on the inside cover and the legend surrounding its creation. It is
thought to have been created in the early 13<sup>th</sup> century by a monk who
sold his soul to the devil in order to create his image. Taking a cue from
that, the cartoonist may have associated the President with the monk by selling
his soul through presidential ambition to the devil ‘PDP’ in order to execute
the devil’s agenda; a reality that manifested during the fuel subsidy removal
glitches in January 2011. A lot of Nigerians decried the president’s
insensitivity towards the plight of common man on the street and relates his
decision to remove fuel subsidy on New Year’s Day (when the majority were in
festive mood) as a satanic move and most religion leaders describe him a devil
incarnate. </span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<img align="left" alt="Description: Cart12APRIL 06b" height="487" hspace="12" src="file:///C:\Users\DEPTOF~1\AppData\Local\Temp\msohtmlclip1\01\clip_image006.jpg" width="623" /><span lang="EN-GB" style="font-family: "Times New Roman","serif"; mso-no-proof: yes;"></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif"; mso-no-proof: yes;">Fig. 3 </span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif";"><span style="mso-spacerun: yes;"> </span>“Shooting Wide”</span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman","serif";">By
Mike Asukwo, published in BusinessDay, 2012, 10.5 x 5.5 cm</span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">This
cartoon captures the state of anti-corruption campaign in Nigeria. Corruption
is an endemic disease that has eaten up every facet of most African society.
Nigeria is ranked 139<sup>th</sup> out 0f 176 countries in <i style="mso-bidi-font-style: normal;">Transparency International’s 2012 corruption perceptions index</i>.
When the present President assumed political duties in 2011, one of his
‘many-points-agenda’ is to fight corruption in all capacities (</span><span style="mso-ansi-language: EN-US; mso-no-proof: yes;">Ayobulu, 2013.)</span><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">.
However, his administration is drenched with allegations levelled against his
officials and allies. The Independent Corrupt Practices and other Related
Offences Commission (ICPC) as well as Economic and Financial Crime Commission
(EFCC) have been described by the public as ‘toothless dogs’ that only bark. On
incompetence of EFCC Ayobulu opines that;</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 10.0pt; margin-left: 70.9pt; margin-right: 70.9pt; margin-top: 0in; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">…it
is very obvious that not only is the government of the day merely playing lip
service to the critical issue of corruption in Nigeria, but the agencies set up
to fight corruption, as well as the personnel are more corrupt and rapacious
than those they claim are corrupt. In the true sense, those that are fighting
corruption do not only lack the moral right and legitimacy to fight corruption,
they have been compromised and therefore, they don’t know what corruption is (Ayobulu,
2012:4) </span></div>
<div class="MsoNormal" style="line-height: 200%; margin-right: 70.9pt; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Falaiye also posits that; </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 10.0pt; margin-left: 70.9pt; margin-right: 70.9pt; margin-top: 0in; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Corruption
is a symptom of a deeper malaise. Fighting corruption without first addressing
the issues that give rise to it is a waste of time and energy. There is a great
deal wrong with a system that allows a few people to be so rich and the
majority, so poor.<span style="mso-spacerun: yes;"> </span>(Falaiye, 2012:41).</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Positions
of these scholars and many others on the state of governmental policies toward
corruption are well-captured visually in the cartoon. The cartoonist shows that
the Judiciary which is vested with power of litigation refuses to aim for the
target and puts the blame on EFCC while the culprit smiles away, knowing fully
well that the bullet will go astray. On the symbolic use of hierarchical
representation in the cartoon; a style in art whereby the most important figure
is portrayed larger than the less significant ones, the cartoonist shows the
superiority of the culprit over EFCC and Judiciary by portraying him as big as
combining the size of the other figures together in two folds. It reveals the
flaw in the system where certain individuals are above the law, and the level
of distrust among the institutions charged with power of litigation. </span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Analysis of selected
cartoons by Zapiro</span></b></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">Jonathan
Shapiro, also known as Zapiro, is South Africa's most influential and widely
published political cartoonist. His works are featured in several national and
international daily and weekly newspapers. A member of the anti-apartheid
movement in South Africa in the 1980s, his work touches upon the history of
oppression, the reactions of those in and now out of power, and, in more recent
years, on the issues that arise from governmental policies in South Africa. In
the last few years, Zapiro has engaged himself with a series of cartoons about
the trials and tribulations of the South African president, Jacob Zuma (Koelble
and Robins, 2007:315). </span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">Wasserman,
in his public lecture remarks<span style="mso-spacerun: yes;"> </span>that; “…just
like a good textual columnist, Zapiro is not afraid to put forward provocative
and controversial ideas...his drawings make one<span style="mso-spacerun: yes;">
</span>thinks differently about issues of the day” ( qtd in Van Wyk, 2012 ). </span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<img align="left" alt="Description: m_080907st" height="325" hspace="12" src="file:///C:\Users\DEPTOF~1\AppData\Local\Temp\msohtmlclip1\01\clip_image008.jpg" width="466" /><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;"></span></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif"; mso-fareast-language: EN-GB;">Fig.4
Rape of Justice, </span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; mso-fareast-language: EN-GB;">By Zapiro, published in Sunday Times on 07 Sep 2008</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<br /></div>
<div style="background: white; line-height: 200%; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: 4.8pt; text-align: justify;">
<span lang="EN-GB">In
the late 2005, while still the vice-president Jacob Zuma was accused of raping
a family friend who is HIV positive in his house in Johannesburg. Initially,
Zuma strongly denied sexual contact with the plaintiff, claiming that these
charges were part of the conspiracy against him, however once arrested and
charged for the crime, he admitted to having sex with the woman on a consensual
basis without condom!. The rape trial which began in March and ended on May 8,
2006 in favour of Zuma, provided the stage for an extra ordinary national drama
about sex, gender, and HIV/AIDS, and a lens onto the authoritarian culture of
patriarchy, misogyny, and sexual violence in the new South Africa (Koelble and
Robins, 2007:316). In this cartoon, Zapiro building on the antecedents of the
rape trial re-enacts how Zuma raped a family friend in another context. Here he
is depicted <span style="mso-spacerun: yes;"> </span>ready to engage in a rape of
Lady Justice and <span style="mso-spacerun: yes;"> </span>being egged on to “Go
for it, boss” by ANC secretary-general Gwede Mantashe, who — along with
alliance leaders Julius Malema, Zwelinzima Vavi and Blade Nzimande — is shown
pinning the Lady of Justice to the ground. While this cartoon has certainly
created a growing furore from the Tripartite Alliance (three part alliance
between the African National Congress (ANC), the Congress of South African
Trade Unions (COSATU) and the South African Communist Party (SACP) it has
started more public discussion than ever before on the subject of Jacob Zuma
and the South African Justice system ( Shapiro, 2012.). The imageries in this
cartoon show how the president is accused of manoeuvring the justice system to
his cabinet’s gain. The symbolic use of shower faucet on Zuma’s head represents
his sexual prolificacy.<span style="mso-spacerun: yes;"> </span>In 2006 trial,
when Zuma was asked the reason for making love with the plaintiff without
condom, Zuma angered AIDS activists by testifying that he had shower after
making love to minimise the risk of infection. So, according the cartoonist’s reasoning,
it would be better if he carries the shower head around to minimise the risk of
infection from his numerous ‘concubines’. This work satirises manipulation of
the judicial system at the expense of the common man on the street. The representation
of Justice as a lady is not actually new in art historiography. <span style="mso-bidi-font-weight: bold;">Lady Justice</span><span class="apple-converted-space"> </span>(<a href="http://en.wikipedia.org/wiki/Latin_language" title="Latin language"><span style="mso-fareast-font-family: "MS Mincho";">Latin</span></a>:<span class="apple-converted-space"> </span></span><i><span lang="LA" style="mso-ansi-language: LA;">Iustitia</span></i><span lang="EN-GB">, the Roman
goddess of<span class="apple-converted-space"> </span><a href="http://en.wikipedia.org/wiki/Justice" title="Justice"><span style="mso-fareast-font-family: "MS Mincho";">Justice</span></a>, who is
equivalent to the Greek goddess<span class="apple-converted-space"> </span><a href="http://en.wikipedia.org/wiki/Dike_(mythology)" title="Dike (mythology)"><span style="mso-fareast-font-family: "MS Mincho";">Dike</span></a>) is an<span class="apple-converted-space"> </span><a href="http://en.wikipedia.org/wiki/Allegory" title="Allegory"><span style="mso-fareast-font-family: "MS Mincho";">allegorical</span></a><span class="apple-converted-space"> </span><a href="http://en.wikipedia.org/wiki/Personification" title="Personification"><span style="mso-fareast-font-family: "MS Mincho";">personification</span></a><span class="apple-converted-space"> </span>of the moral force in judicial systems<a href="https://www.blogger.com/blogger.g?blogID=981158321097495353#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[2]</span></span></span></span></a>
(Hamilton, 2005:296 ). </span></div>
<div style="background: white; line-height: 200%; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: 4.8pt; text-align: justify;">
<img align="left" alt="Description: m_120628mg" height="362" hspace="12" src="file:///C:\Users\DEPTOF~1\AppData\Local\Temp\msohtmlclip1\01\clip_image010.jpg" width="507" /><span lang="EN-GB">Drawing from these historical sources in addressing contemporary
issues, Zapiro portrays Zuma as the one who is not only above the law, but also
power drunk to have attempted to rape the goddess of divine order, law and
justice.</span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif"; mso-fareast-language: EN-GB;">Fig.5.
Second Transition</span></b><span lang="EN-GB" style="font-family: "Times New Roman","serif"; mso-fareast-language: EN-GB;">, </span></div>
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<span lang="EN-GB" style="font-family: "Times New Roman","serif"; mso-fareast-language: EN-GB;">By Zapiro, published in </span><span lang="EN-GB" style="font-family: "Times New Roman","serif"; mso-bidi-font-weight: bold;">Mail
& Guardian on 28 Jun 2012</span><span lang="EN-GB" style="font-family: "Times New Roman","serif"; mso-fareast-language: EN-GB;"></span></div>
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<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">This
political cartoon satirises president Zuma in the context of his campaign for
second term. Representing a leader naked before his subjects, exposing his
private ‘domains’, is not only derogatory but a taboo in African traditional
and contemporary ethics. In the cartoon, though Zuma’s attentive posture and
concentration on what he is presenting connotes his ignorance of the nakedness.
Employing archetypal shower head, it seems Zapiro is bent on creating a ‘randy’
image of the president as we could see that right from the rape trial in 2006.
Zapiro has been representing the president with shower heads; a reminiscence of
his statement concerning AIDS prevention. Iconographic perspective of this
cartoon suggests that the president is actually telling his audience ‘an open
lies’; he feels he is hiding the context of his second term agenda, whereas the
audience; African National Congress members, as Zapiro suggests can see the
truth before them. </span></div>
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<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">The
cartoon is situated within the backdrop of <span style="background: white;">Jacob
Zuma's much vaunted thesis - the second transition. This came under intense
attack at the ANC policy conference being held iat the Gallagher Estate. ANC
members opposing a second term for President Jacob Zuma won a psychological
victory by forcing the party to change the name of the hotly contested
“Second Transition” document to “Second Phase”. The Second Transition document
dominated discussions at the four-day ANC policy conference as it
essentially became a proxy debate to test the support for Zuma and his likely
challenger for the ANC presidency, Kgalema Motlanthe ( Shapiro, 2012). </span><span style="mso-spacerun: yes;"> </span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-language: EN-GB;">Fig.6 <span style="mso-spacerun: yes;"> </span></span></b><span class="apple-converted-space"><b><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"> </span></b></span><b><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Double
talk</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-language: EN-GB;"> </span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";"></span></b></div>
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<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-language: EN-GB;">By Zapiro, published in </span><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-weight: bold;">Sunday Times on 1 Jul 2012</span><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"></span></div>
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<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">This
two-panel editorial cartoon comments on Jacob Zuma’s equivocal stands on tackling
poverty in South Africa. Few days after he was reportedly warned of growing
frustration among the country’s poorest citizens over the government’s failure
to improve their lives, he was in talks to buy </span><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">a £165m
presidential jet. The first panel presents Zuma as a president who is concerned
with the problems of the masses; poverty. His down casted posture with stress folds
over his brow is indicative of a genuine immersion in deep thought about the
state of the country. His remarks however dwell on pun. He is actually thinking
about the solution to what poverty is giving him; sleepless nights, and not the
solution to poverty. In Zapiro’s expression in the second panel, Zuma finally
solved the problem of sleepless nights by acquiring a multi-million dollar Jet;
a visual paradox.<span style="mso-spacerun: yes;"> </span>Zapiro is one of the
few cartoonists that combine humour through visual elements and words to
portray an imagined state in commenting about realistic space. This cartoon
criticises most African leaders’ misplaced priorities. Instead of formulating
policies to ensure low cost of living with high standard, they usually embark
on white elephant projects. </span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Findings and Conclusion</span></b></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">This
study has revealed certain issues that are mostly portrayed by editorial
cartoonists in their works toward having desirable democratic governance.
Prominent among these are the issues of corruption, human right abuse,
unemployment, distrust, justice, negligence among others. African cartoonists
have used their cartoons as counter-discourse aimed at denouncing and ridiculing
the excesses of authoritarian leaders and regimes (Eko, 2010:<i style="mso-bidi-font-style: normal;">2</i>22). These cartoons as observed in the
qualitative analysis drew on African mythologies and archetypes to disseminate
their messages across to the public. African cartoons like other genres of
artistic representation in African rely heavily on different assumptions which
include cultural, political, religious, and social norms among others for their
symbolism. </span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Most
importantly, African cartoonists employ a technique of ‘deterritorialization’
in their works. This involves breaking down well-marked political, cultural,
biological and social boundaries or territories in other to metaphorically
disseminate message to the audience. In art, to ‘deterritorialise’ is to take
slices of reality and recreate them in imaginary territories or contexts in
order to pass ethical or moral judgement on individuals, groups and
institutions. A fish out of water is ‘deterritorialised’; human beings in
imagined animal space are ‘deterritorialised’. The President’s head on devil’s
body is a ‘deterritorialised’ piece (qtd in Eko, 2010:<i style="mso-bidi-font-style: normal;">2</i>25).</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">This
paper has attempted a qualitative analysis of selected political cartoons by
Jonathan Shapiro and Mike Asukwo. From the analysis of forms, visual elements
and context of each cartoon, it is apparent that the cartoons have pushed and
enlarged the boundaries of freedom of expression in African democratic setting.
It reveals that much, which would not have been said about governmental
policies were brought to the fore through satire. African cartoonists like
traditional palace jesters enjoy certain freedom to lampoon the power brokers
and alert the public about salient issues. Nagori in ‘<i style="mso-bidi-font-style: normal;">Art Under Dictatorship</i>’ posits that; </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 10.0pt; margin-left: 70.9pt; margin-right: 70.9pt; margin-top: 0in; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">…in
art some artists are interested in solving the problems of style and techniques
while others use style and techniques to express their socio-political views
and in the process undertake artistic responsibility (2008:51)</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-right: 70.9pt; text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Cartoonists belong to the set of artists that see
the moral obligation in reflecting the ills in their society. </span></div>
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><br clear="all" style="page-break-before: always;" />
</span>
<div class="MsoNormal" style="line-height: 200%; margin-right: 70.9pt; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif";">References <span style="mso-tab-count: 1;"> </span></span></b></div>
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<div class="MsoNormal">
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<div class="MsoNormal">
<b><span lang="EN-GB" style="font-family: "Times New Roman","serif";">Short
Bio</span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman","serif";">JIMOH,
GANIYU AKINLOYE is a Graduate Fellow at the Department of Creative Arts,
University of Lagos, Nigeria. He is a cartoonists and cartoon scholar; his
research focuses on African editorial cartooning and political
re-presentations.</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman","serif";"><a href="mailto:jimgaconcept@yahoo.com">jimgaconcept@yahoo.com</a></span></div>
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<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<a href="https://www.blogger.com/blogger.g?blogID=981158321097495353#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></span></span></span></span></a><span lang="EN-GB"> </span><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 9.0pt; line-height: 200%;">Halo also known as nimbus, aureole,
glory, or gloriole is a ring of light usually placed directly on the heads of
sacred figures in art. They have been used in the iconography of sacred art of
many religions; Ancient Greece, Ancient Rome, Hinduism, Buddhism, Islam and
Christianity, among others.</span></div>
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<div style="background: white; line-height: 200%; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: 4.8pt; text-align: justify;">
<a href="https://www.blogger.com/blogger.g?blogID=981158321097495353#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[2]</span></span></span></span></span></a><span lang="EN-GB"> </span><span lang="EN-GB" style="font-size: 9.0pt; line-height: 200%;">The
personification of justice balancing the<span class="apple-converted-space"> </span></span><span lang="EN-GB"><a href="http://en.wikipedia.org/wiki/Balance_scales" title="Balance scales"><span style="font-size: 9.0pt; line-height: 200%; mso-fareast-font-family: "MS Mincho";">scales</span></a></span><span class="apple-converted-space"><span lang="EN-GB" style="font-size: 9.0pt; line-height: 200%;"> </span></span><span lang="EN-GB" style="font-size: 9.0pt; line-height: 200%;">dates back to the Goddess<span class="apple-converted-space"> </span><a href="http://en.wikipedia.org/wiki/Maat" title="Maat"><span style="mso-fareast-font-family: "MS Mincho";">Maat</span></a>, and later<span class="apple-converted-space"> </span></span><span lang="EN-GB"><a href="http://en.wikipedia.org/wiki/Isis" title="Isis"><span style="font-size: 9.0pt; line-height: 200%; mso-fareast-font-family: "MS Mincho";">Isis</span></a></span><span lang="EN-GB" style="font-size: 9.0pt; line-height: 200%;">, of ancient Egypt. The<span class="apple-converted-space"> </span></span><span lang="EN-GB"><a href="http://en.wikipedia.org/wiki/Greek_mythology" title="Greek mythology"><span style="font-size: 9.0pt; line-height: 200%; mso-fareast-font-family: "MS Mincho";">Hellenic</span></a></span><span class="apple-converted-space"><span lang="EN-GB" style="font-size: 9.0pt; line-height: 200%;"> </span></span><span lang="EN-GB" style="font-size: 9.0pt; line-height: 200%;">deities<span class="apple-converted-space"> </span></span><span lang="EN-GB"><a href="http://en.wikipedia.org/wiki/Themis" title="Themis"><span style="font-size: 9.0pt; line-height: 200%; mso-fareast-font-family: "MS Mincho";">Themis</span></a></span><span class="apple-converted-space"><span lang="EN-GB" style="font-size: 9.0pt; line-height: 200%;"> </span></span><span lang="EN-GB" style="font-size: 9.0pt; line-height: 200%;">and<span class="apple-converted-space"> </span></span><span lang="EN-GB"><a href="http://en.wikipedia.org/wiki/Dike_(mythology)" title="Dike (mythology)"><span style="font-size: 9.0pt; line-height: 200%; mso-fareast-font-family: "MS Mincho";">Dike</span></a></span><span lang="EN-GB" style="font-size: 9.0pt; line-height: 200%;"> were later goddesses of justice.<span class="apple-converted-space"> </span></span><span lang="EN-GB"><a href="http://en.wikipedia.org/wiki/Themis" title="Themis"><span style="font-size: 9.0pt; line-height: 200%; mso-fareast-font-family: "MS Mincho";">Themis</span></a></span><span class="apple-converted-space"><span lang="EN-GB" style="font-size: 9.0pt; line-height: 200%;"> </span></span><span lang="EN-GB" style="font-size: 9.0pt; line-height: 200%;">was the personification of divine order, law, and custom, in her aspect
as the embodiment of the divine rightness of law. Ancient Rome adopted the
image of a female goddess of justice, which it called<span class="apple-converted-space"> </span><span style="mso-bidi-font-weight: bold;">Iustitia</span>. Since Roman times, Iustitia has frequently been depicted
carrying<span class="apple-converted-space"> </span></span><span lang="EN-GB"><a href="http://en.wikipedia.org/wiki/Weighing_scale" title="Weighing scale"><span style="font-size: 9.0pt; line-height: 200%; mso-fareast-font-family: "MS Mincho";">scales</span></a></span><span class="apple-converted-space"><span lang="EN-GB" style="font-size: 9.0pt; line-height: 200%;"> </span></span><span lang="EN-GB" style="font-size: 9.0pt; line-height: 200%;">and a<span class="apple-converted-space"> </span></span><span lang="EN-GB"><a href="http://en.wikipedia.org/wiki/Sword" title="Sword"><span style="font-size: 9.0pt; line-height: 200%; mso-fareast-font-family: "MS Mincho";">sword</span></a></span><span lang="EN-GB" style="font-size: 9.0pt; line-height: 200%;"> wearing a </span><span lang="EN-GB"><a href="http://en.wikipedia.org/wiki/Blindfold" title="Blindfold"><span style="font-size: 9.0pt; line-height: 200%; mso-fareast-font-family: "MS Mincho";">blindfold</span></a></span><span lang="EN-GB" style="font-size: 9.0pt; line-height: 200%;">. Her modern<span class="apple-converted-space"> </span></span><span lang="EN-GB"><a href="http://en.wikipedia.org/wiki/Iconography" title="Iconography"><span style="font-size: 9.0pt; line-height: 200%; mso-fareast-font-family: "MS Mincho";">iconography</span></a></span><span class="apple-converted-space"><span lang="EN-GB" style="font-size: 9.0pt; line-height: 200%;"> </span></span><span lang="EN-GB" style="font-size: 9.0pt; line-height: 200%;">frequently adorns<span class="apple-converted-space"> </span></span><span lang="EN-GB"><a href="http://en.wikipedia.org/wiki/Courthouse" title="Courthouse"><span style="font-size: 9.0pt; line-height: 200%; mso-fareast-font-family: "MS Mincho";">courthouses</span></a></span><span class="apple-converted-space"><span lang="EN-GB" style="font-size: 9.0pt; line-height: 200%;"> </span></span><span lang="EN-GB" style="font-size: 9.0pt; line-height: 200%;">and<span class="apple-converted-space"> </span></span><span lang="EN-GB"><a href="http://en.wikipedia.org/wiki/Courtroom" title="Courtroom"><span style="font-size: 9.0pt; line-height: 200%; mso-fareast-font-family: "MS Mincho";">courtrooms</span></a></span><span lang="EN-GB" style="font-size: 9.0pt; line-height: 200%;">.</span><span lang="EN-GB" style="color: black;"></span></div>
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Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com0tag:blogger.com,1999:blog-981158321097495353.post-47064250237462240232014-08-29T05:09:00.004-07:002014-08-29T05:10:21.223-07:00UNILAG/OYASAF WORKSHOP 2014<div dir="ltr" style="text-align: left;" trbidi="on">
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: red; font-family: "Times New Roman","serif"; font-size: 18.0pt; mso-bidi-font-size: 16.0pt;">UNILAG/OYASAF
WORKSHOP 2014</span></b></div>
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<span lang="EN-US" style="color: #365f91; font-family: "Cambria","serif"; font-size: 16.0pt;">Department
of Creative Arts</span></div>
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<span lang="EN-US" style="color: #365f91; font-family: "Cambria","serif"; font-size: 16.0pt;">University
of Lagos</span></div>
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<br /></div>
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<br />
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<span lang="EN-US" style="font-family: "Cambria","serif"; mso-no-proof: yes;">The Department of
Creative Arts, University of Lagos will be conducting its third art entrepreneural
workshop for students and professional artists alike from within the Lagos
area. The workshop, scheduled to hold from<span style="mso-spacerun: yes;">
</span><b style="mso-bidi-font-weight: normal;"><span style="background: yellow; mso-highlight: yellow;">20<sup>th</sup> -24<sup>th</sup> October, 2014</span></b>,
will emphasize the teaching of participants skills, so that they can then produce
affordable, sellable and market-driven art. Participants will acquire an entreprenueral
advantage, often demphasised in the art school curriculum. Some of the
processes to be taught will include craft procedures that could be translated
into critical artistic statements for the future.<span style="mso-spacerun: yes;"> </span>The selected areas for this first workshop
are: </span></div>
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<br /></div>
<div class="MsoListParagraphCxSpFirst" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 144.0pt; margin-right: 0cm; margin-top: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt;">
<span style="background: yellow; font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol; mso-highlight: yellow;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><b style="mso-bidi-font-weight: normal;"><span style="background: yellow; font-family: "Cambria","serif"; mso-highlight: yellow;">Ceramics</span></b><span style="background: yellow; font-family: "Cambria","serif"; mso-highlight: yellow;"> </span></div>
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<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 144.0pt; margin-right: 0cm; margin-top: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt;">
<span style="background: yellow; font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol; mso-highlight: yellow;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><b style="mso-bidi-font-weight: normal;"><span style="background: yellow; font-family: "Cambria","serif"; mso-highlight: yellow;">Bead
and wire works</span></b></div>
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<br /></div>
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<span style="background: yellow; font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol; mso-highlight: yellow;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><b style="mso-bidi-font-weight: normal;"><span style="background: yellow; font-family: "Cambria","serif"; mso-highlight: yellow;">Photography</span></b><span style="background: yellow; font-family: "Cambria","serif"; mso-highlight: yellow;">. </span></div>
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<br /></div>
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<span style="background: yellow; font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol; mso-highlight: yellow;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><b style="mso-bidi-font-weight: normal;"><span style="background: yellow; font-family: "Cambria","serif"; mso-highlight: yellow;">Drawing</span></b></div>
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<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 144.0pt; margin-right: 0cm; margin-top: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt;">
<span style="background: yellow; font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol; mso-highlight: yellow; mso-no-proof: yes;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><b style="mso-bidi-font-weight: normal;"><span style="background: yellow; font-family: "Cambria","serif"; mso-highlight: yellow;">Silk
Painting</span></b><span style="background: yellow; font-family: "Cambria","serif"; mso-highlight: yellow; mso-no-proof: yes;"></span></div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
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<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "Cambria","serif";">Ato Arinze and Ojetunde Oluseyi
(Ceramics), Boye Ola and Ariyo Oguntimehin (Photography), Temilola Marindotin
and Adedamola Runsewe (Bead and wire works), <span style="mso-no-proof: yes;">Sola
Ogunfunwa (Drawing and Silk Painting) and a few other professional artists will
be directing each workshop area.</span></span></div>
<div class="MsoListParagraphCxSpLast" style="line-height: normal; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: red; font-family: "Cambria","serif"; mso-no-proof: yes;">VENUE</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Cambria","serif"; mso-no-proof: yes;">The New Creative Arts
Complex, beside Faculty of Social Sciences, University of Lagos, Akoka, Lagos.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: red; font-family: "Cambria","serif"; mso-no-proof: yes;">Date:</span></b><span lang="EN-US" style="font-family: "Cambria","serif"; mso-no-proof: yes;"> <span style="color: black;">20<sup>th</sup> -24<sup>th</sup>
October, 2014</span>, Open day/Exhibition of finished works will hold on<span style="mso-spacerun: yes;"> </span>24<sup>th</sup> October, 2014.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: red; font-family: "Cambria","serif"; mso-no-proof: yes;">Time:</span></b><span lang="EN-US" style="font-family: "Cambria","serif"; mso-no-proof: yes;"> 9:00 am daily.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Cambria","serif"; mso-no-proof: yes;">ELIGIBILITY AND
PROCEDURE FOR APPLICATION AND DEADLINE</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Cambria","serif"; mso-no-proof: yes;">Applications are invited
from interested participants. Certificate of Participation will be made
available for all participants and prizes will be awarded for the best work in
each category.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Cambria","serif"; mso-no-proof: yes;">An application letter
indicating only <u>one</u> area of interest, email address, Web site (if any),
telephone number, three images of recent works or links to website containing
the works and a recent one-page resume should be sent by email to</span><span class="email"><span lang="EN-US" style="font-family: "Cambria","serif";"> <b style="mso-bidi-font-weight: normal;"><span style="color: red;">unilagoyasaf2013@gmail.com</span></b></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span class="email"><span lang="EN-US" style="font-family: "Cambria","serif";">For further enquiries call 08033316729
/ 08033533469<b style="mso-bidi-font-weight: normal;"> (9am-5pm only, No SMS) </b></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span class="email"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="background: silver; font-family: "Cambria","serif"; mso-highlight: silver;">Deadline for submission of application<span style="mso-spacerun: yes;"> </span>30 September 2014</span></b></span><span class="email"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Cambria","serif";"></span></b></span></div>
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<span class="email"><span lang="EN-US" style="font-family: "Cambria","serif";">Successful candidates will be
notified by 7 October, 2014. </span></span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Cambria","serif"; mso-no-proof: yes;">(note that
each image should not exceed 500 KB and must be saved in jpeg format, any
anomaly may disqualify your application)</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Cambria","serif";"></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: red; font-family: "Cambria","serif"; mso-no-proof: yes;">FINANCIAL CONDITIONS</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Cambria","serif"; mso-no-proof: yes;">Participation in the
workshop is free. All art supplies, tools, equipment and work spaces will be
provided.<span style="mso-spacerun: yes;"> </span></span></div>
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<span lang="EN-US" style="font-family: "Cambria","serif"; mso-no-proof: yes;">This workshop is
generously supported by the Omooba Yemisi Adedoyin Art Foundation (OYASAF) and
cordinated by Akin Onipede of the Department of Creative Arts, University of
Lagos. However, accomodation, feeding and transportation expenses to the venue
of workhop will be borne by the participants. </span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: red; font-family: "Cambria","serif"; mso-no-proof: yes;">Note:</span></b><span lang="EN-US" style="font-family: "Cambria","serif"; mso-no-proof: yes;"> If you have submitted application before August 19, 2014,
you still need to indicate interest by resending your application. We are sorry
for this incoveniences.</span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt; mso-no-proof: yes;"></span></i></div>
</div>
Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com0tag:blogger.com,1999:blog-981158321097495353.post-29415541565010770642014-07-28T06:45:00.002-07:002014-07-28T06:45:52.604-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<h1 class="col-md-12">
Protect Yourself</h1>
<div class="subheader">
There are a few things to protect yourself and your family.<br />Don't mess around with this advice; remember, Ebola has no cure!
</div>
<div class="col-md-12">
<div class="col-md-3">
<div class="thumbnail">
<img src="http://www.ebolafacts.com/assets/images/prevent-17.png" />
</div>
<h4>
Wash Your Hands with Soap</h4>
Do this a lot. You can also use a good hand sanitizer. Avoid unnecessary contact!
<br />
</div>
<div class="col-md-3">
<div class="thumbnail">
<img src="http://www.ebolafacts.com/assets/images/prevent-18.png" />
</div>
<h4>
No Bush Meat & Suya</h4>
Bush meat may be carrying the virus. Also avoid suya. Better to restrict yourself to food you prepared yourself.
<br />
</div>
<div class="col-md-3">
<div class="thumbnail">
<img src="http://www.ebolafacts.com/assets/images/prevent-19.png" />
</div>
<h4>
Disinfect Your Surroundings</h4>
The virus cannot survive disinfectants, heat, direct sunlight, detergents and soaps. Clean up!
<br />
</div>
<div class="col-md-3">
<div class="thumbnail">
<img src="http://www.ebolafacts.com/assets/images/prevent-20.png" />
</div>
<h4>
Fumigate If you Have Pests</h4>
Rodents can be carriers of Ebola. Fumigate your environment & dispose of the carcasses properly!
<br />
</div>
</div>
<div class="col-md-3">
<div class="thumbnail">
<img src="http://www.ebolafacts.com/assets/images/prevent-21.png" />
</div>
<h4>
Don't Touch Carcasses</h4>
Dead bodies can still transmit Ebola. Don't touch them without protective gear or avoid them altogether.
<br />
</div>
<div class="col-md-3">
<div class="thumbnail">
<img src="http://www.ebolafacts.com/assets/images/prevent-22.png" />
</div>
<h4>
Protect Yourself </h4>
Use protective gear if you must care or go near someone you suspect has Ebola.
<br />
</div>
<div class="col-md-3">
<div class="thumbnail">
<img src="http://www.ebolafacts.com/assets/images/prevent-23.png" />
</div>
<h4>
Report</h4>
Report any suspicious symptoms in yourself or anyone else <strong>IMMEDIATELY</strong> you notice them. Don't delay!!
<br />
</div>
<div class="col-md-3">
<div class="thumbnail">
<img src="http://www.ebolafacts.com/assets/images/prevent-24.png" />
</div>
<h4>
Educate Everyone</h4>
Tell your neighbours, colleagues and domestic staff. You're safer when everyone is educated about Ebola.<br />
www.ebolafacts.com <br />
</div>
</div>
Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com0tag:blogger.com,1999:blog-981158321097495353.post-35424584618776635182014-07-05T16:30:00.002-07:002014-07-05T16:32:02.497-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-US"><b><span style="color: #b45f06;">Walker and the Restitution of Two Benin Bronzes.</span> </b><b> </b></span><br />
<span lang="EN-US"><b>By Peju Layiwola </b> <br />
</span><br />
<br />
<span lang="EN-US">June 20, 2014 would go down in history as a memorable day for the
people of Benin and advocates for the return of looted Benin artefacts taken
during the infamous 1897 British expedition to Benin. About 4,000 objects were
reportedly stolen from Benin, by the British while some were destroyed during
the imbroglio that occurred in 1897. The King of Benin, Oba Ovoranmwen was
exiled to Calabar where he later died in 1914.<span style="mso-spacerun: yes;">
</span>This important return comes on the centennial commemoration of his
passing.<span style="mso-spacerun: yes;"> </span></span></div>
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<span lang="EN-US"><span style="mso-spacerun: yes;"> </span>I arrived the Benin Palace at
about 10am, two hours before the presentation ceremony was to begin on that
fateful day. As I alighted from the car, I could hear Christian choruses blaring
from the direction of the harem. It was difficult to reconcile the choruses and
the shrines I just saw as I came onto the palace grounds.<span style="mso-spacerun: yes;"> </span>There was a huge tree tied with red and white
cloth with chalk configurations at the entrance to the palace. I later found
out that the music was emanating from a music shop located along right behind
the palace.<span style="mso-spacerun: yes;"> </span>I had wondered- in a
postmodern and postcolonial society, there could be many possibilities.<span style="mso-spacerun: yes;"> </span>The possibility that came to my mind was
stretching the imagination too far. <span style="mso-spacerun: yes;"> </span>As
is usual of large events, the palace grounds were filled with several canopies
and chairs.<span style="mso-spacerun: yes;"> </span>From the quality of chairs
under a particular canopy, it was obvious where the distinguished visitors were
to sit.<span style="mso-spacerun: yes;"> </span>From afar, Segun Alile, a
popular Edo musician and his band were setting up for the day. Cars were
beginning to arrive. All of a sudden a black jeep arrived with armed policemen literally
flying out from the doors. The car stopped close to the shelter under which the
several wall plaques and cement statuary made by an Edo artist, Ovia Idah were mounted.<span style="mso-spacerun: yes;"> </span>Very gently, a tall slim ‘Oyinbo’ man, suave
and impeccably dressed in a suit alighted from the car accompanied by two other
men. This was the man everyone had been waiting to see in Benin, Dr Adrian Mark
Walker.<span style="mso-spacerun: yes;"> </span></span></div>
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<span lang="EN-US">In the past two weeks television stations had been announcing the event
of the return.<span style="mso-spacerun: yes;"> </span>Posters of the event were
pasted in front of the palace and around the central part of the city. The last
time such an event had occurred in Benin was seventy eight years ago when the
British returned the regalia of Oba Ovoranmwen to Oba Akenzua II in 1936. <span style="mso-spacerun: yes;"> </span>There were armed police men everywhere-
understandably so.<span style="mso-spacerun: yes;"> </span>Two priceless works of
art were about to be unveiled to the pubic.<span style="mso-spacerun: yes;">
</span>It was difficult to tell if anyone had a different plan.<span style="mso-spacerun: yes;"> </span>It was safer to have these fierce looking officers
around and about to scare away kidnappers or thieves in a city where the duo gangsters,
Lawrence Anini and Osunbor had held sway in the mid 1980s. </span></div>
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<span lang="EN-US">History was about to be made again with the return of two looted Benin
bronze works looted.<span style="mso-spacerun: yes;"> </span>Amidst fanfare and
emotionally-laden speeches by government functionaries, Edo personalities, the
Oba and members of the Benin royal family the guest was heartily welcomed Dr
Adrian Mark Walker is a grandson of Captain Herbert Sutherland Walker.<span style="mso-spacerun: yes;"> </span>His grandfather was not primarily a fighter
but was a Special Forces agent, otherwise known as a spy attached to the
British Expeditionary forces that conquered Benin. On seeing the mammoth crowd
that had gathered in the Benin palace he remarked to the King ‘I would like to
stress how very honoured I feel to be invited here by you and how very humbled
I am by the warmth and enthusiasm that my colleagues and I have been
given.<span style="mso-spacerun: yes;"> </span>It makes me feel that this is a
very special occasion and not just for me… I was very aware of the importance
of this myself but I had no idea that it would cause so much excitement.<span style="mso-spacerun: yes;"> </span>Seeing all these proves to me that this is
the right thing to do’. <span style="mso-spacerun: yes;"> </span>He presented the
king with two bronze works – a bird (Ahianmwen Oro) and a bell (Egogo) looted
by his grandfather.<span style="mso-spacerun: yes;"> </span>The works had been
in the possession of the Walker family since 1897. He also donated a copy of
Captain Walker’s war dairy to the king. I would be discussing Adrian Mark Walker’s
return in the context of contemporary Benin history as it relates to the restitution
of looted Benin artifacts objects. <span style="mso-spacerun: yes;"> </span>Restitution
being the willful return of artifacts that have been looted, or taken by force and
had been in possession of an institution,<span style="mso-spacerun: yes;">
</span>museum or<span style="mso-spacerun: yes;"> </span>Individual to the rightful
owners.<span style="mso-spacerun: yes;"> </span></span></div>
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<span lang="EN-US"><span style="mso-spacerun: yes;"> </span>Adrian Mark Walker is the son
of Richard Sutherland Walker. Captain Walker, his grandfather, was a specialist
in discovering potential enemy strains and had spent many years in East
Africa.<span style="mso-spacerun: yes;"> </span>After the Benin expedition he
went off to Ghana to continue with his profession as a spy. As a young boy, Captain
Walker was born and had lived in India for thirty-five years.<span style="mso-spacerun: yes;"> </span>This perhaps gave him the opportunity of
living with people of different classes and appreciating them for whom they
were.<span style="mso-spacerun: yes;"> </span>His own father had been a surgeon
attached to the Indian army. On his return from his sojourn in Africa, Captain
Walker rose to the rank of a Lieutenant Colonel and later became the Chief
Constable of Worcestershire until he retired in 1902.<span style="mso-spacerun: yes;"> </span>He died in 1934 and was buried in a
churchyard at Powick, Worcestershire, UK. </span></div>
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<span lang="EN-US">Adrian Mark Walker is a retired medical doctor.<span style="mso-spacerun: yes;"> </span>He spent a sizeable part of his childhood in
South Africa, having done his primary education in Johannesburg. After the Sharpeville
Massacre, he moved over to England where he studied at Leighton Park, Quaker School
in reading and Cambridge University. He later studied medicine at the Middlesex
Hospital in London after obtaining a degree in natural sciences from
Cambridge.<span style="mso-spacerun: yes;"> </span>Inspired by the earlier
donation of a carved Benin 6 ft tusk by his grandmother, Josephine Walker, to
the Jos museum, in 1957, Mark Walker believes that the two works be returned to
Benin where they are likely to be of the greatest cultural and historical
significance. </span></div>
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<span lang="EN-US">He narrates a long personal history of
how he came to return the Benin objects. </span></div>
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<span lang="EN-US">‘These objects have come on a rather long journey.<span style="mso-spacerun: yes;"> </span>These objects only came into my formal
possession recently with the death of my mother.<span style="mso-spacerun: yes;"> </span>I remember seeing them in my grandmother’s
house fifty-five years ago and really coveting them.<span style="mso-spacerun: yes;"> </span>I thought I would really be proud to own such
beautiful objects.<span style="mso-spacerun: yes;"> </span>However, as soon as
they came into my possession, I realized that if they meant a lot to me because
of their connection with my grandfather, they must mean a lot more to the
people of the place from where they have come.<span style="mso-spacerun: yes;">
</span>Before my mother died I took the precaution of asking her if I could
take care of them… I knew that she would not consent to my returning them at
that stage because she is one from a very materialist generation.<span style="mso-spacerun: yes;"> </span>My children on the other hand had no such
materialist ambition.<span style="mso-spacerun: yes;"> </span>I was very pleased
to be in possession of them because they reminded me of my grandparents.<span style="mso-spacerun: yes;"> </span>But when I heard from my children that they
were not interested in the stuff (Objects), I knew that I had to do something
to protect their future’. </span></div>
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<span lang="EN-US">I have quoted Walker <i style="mso-bidi-font-style: normal;">in extenso</i>
to understand and appreciate the commitment Walker has to correct the ills of
the past.<span style="mso-spacerun: yes;"> </span>Paraphrasing would lose the
strength of his convictions. It becomes obvious that his urge to make peace
overrode his desire to keep the Benin objects for their artistry and links to
his family ties.<span style="mso-spacerun: yes;"> </span>Furthermore, <span style="mso-spacerun: yes;"> </span>Mark is convinced that neither his children nor
himself would be judged by posterity since he had done the right thing by
coming to Benin to return works that were stolen one hundred and seventeen
years ago.<span style="mso-spacerun: yes;"> </span>He remarked ‘I will not be
condemned as the grandson of a racist’. He went an extra mile to prove this by extracting
excerpts from his grandfather’s diary.<span style="mso-spacerun: yes;">
</span>Walker remarked that his grandfather was far ahead of his time in the civil
manner he referred to the Benin natives. Although accounts by ‘white men’ at
that time used derogatory words in describing the natives, he on the contrary,
had described them as gentlemen as much as his own country men and women and
showed them milk of human kindness particularly natives at his mercy. <span style="mso-spacerun: yes;"> </span>In welcoming Mark Walker to Benin, the Iyase
of Benin, Chief Igbe, remarked that by this kind gesture, he has become a
friend of the city and was welcome anytime. More importantly, he added that he was
free of age-long curses the Edo people had placed on the looters.<span style="mso-spacerun: yes;"> </span>The Oba remarked: ‘Walker would now have
peace having done what is expected of him’.</span></div>
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<span lang="EN-US">The unending debates over Benin looted treasures have thrown up
obnoxious theories emanating from the west. Kwame Opoku, a lawyer, known as one
of the most vocal advocates for the return of stolen objects to countries of
origin has consistently responded to some of these theories.<span style="mso-spacerun: yes;"> </span>The proponents of a shared and universal
heritage, acquiesce to the keeping of illegally acquired works in foreign so-called
‘encyclopedic’ or ‘universal’ museums.<span style="mso-spacerun: yes;">
</span>Their claim is to keep the art of the world in trust for mankind- a view
popular amongst directors and curators of these universal museums.<span style="mso-spacerun: yes;"> </span>It is important to note that these Universal
museums are all located in the Western world. Benson Osadolor, a History
lecturer at the University of Benin describes them as the<span style="mso-spacerun: yes;"> </span>‘Museums of Loot’ following the ‘Declaration
on the Importance and Value of Universal Museums’ signed in 2002.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>This concept
has become very popular amongst curators of western museums and help propagate
and legitimize the continued keeping of looted works. To better appreciate the
brazenness of this argument, it is important to quote excerpts from the
declaration.</span></div>
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<span lang="EN-US">‘Whether (acquired) by purchase, gift ,or partage- (the
artifacts)have become pat of the museums that have cared for them, and by
extension part of the heritage of the nations which house them’ </span></div>
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<br /></div>
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<span lang="EN-US">In other words, since the Benin objects were first looted and then
sold to collectors, the buyers of these looted objects now have the right to
own them because they have so ‘graciously’ cared for them. <span style="mso-spacerun: yes;"> </span>Being able to pay for them gives a buyer of
stolen objects the right to own them.<span style="mso-spacerun: yes;"> </span>Additionally,
the nations who have acquired these objects or house buyers or museums with
illegally acquired objects are now by this declaration free to assimilate the
objects as part of their national heritage. <span style="mso-spacerun: yes;"> </span>It has been noted that almost all the
signatory museums to this preposterous declaration belong to the nation states
that signed the final document of the 1884/1885 Berlin Africa Conference. <span style="mso-spacerun: yes;"> </span>On the other hand, there are those who argue
for works to be retained within their national jurisdictions. They are often
referred to as nationalist retentionists. The British government has been
constantly reminded of its need to return looted objects. <span style="mso-spacerun: yes;"> </span>Nigeria and Greece have been constistently
demanding for the return of their objects housed in the British Museum. The
Greek’s demand for the Elgin marbles has gone on for a long time, the same way
the Benin monarchy have been on the case for the return of their heirloom. </span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">In support of the nationalist retentionist’s position,<span style="mso-spacerun: yes;"> </span>Walker clearly states </span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">‘I believe the international community is guilty of double standards
with regards to such artifacts.<span style="mso-spacerun: yes;"> </span>When for
example at the end of Second World War came, looted works of art where
discovered in Nazi home, we went through a great deal of trouble to return them
to the families from which they had come. I cannot understand what the difference
is between Nazi and looted objects of Benin… If you ask the British Museum they
would say ‘well, they are only custodians’.<span style="mso-spacerun: yes;">
</span>If you ask (British) politicians they say ‘it is the business of the
British Museum’. So, we go round in a circle. We need to persuade not just the
British public, but the international community that it is unethical and immoral
to be holding on to items which were not legally acquired.<span style="mso-spacerun: yes;"> </span>To this end I think, this event is important particularly
if it achieves publicity not just here but also in Britain. I am confident that
within another generation we should see a lot more of these objects returned to
Benin.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">While this return has come out of a private collection in the UK, it
is pertinent to add that several thousands of looted Benin works still remain
in public museums in the UK, Germany and the US.<span style="mso-spacerun: yes;"> </span>Soon after the invasion of Benin, the works
were first collected in the courtyard of the king from where they were later
shipped to Britain.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>On arrival in London, the Admiralty auctioned
them.<span style="mso-spacerun: yes;"> </span>Later in 1897, the British Museum
exhibited well over three hundred bronze plaques loaned from the Foreign
Office. Charles Read the curator of the British Museum at the time facilitated
the auction of the pieces, which got into several British, and other foreign private
and public collections.<span style="mso-spacerun: yes;"> </span>Today, a large
number of looted Benin works can be seen in the galleries of the British Museum
as well as many other museums across Europe and America.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Ever since,
there has been no return made to Nigeria from the British Museum despite
several requests from Nigeria for the objects in their kitty.<span style="mso-spacerun: yes;"> </span>In 1977, the British government turned down
the request made by the Nigerian Government to loan the popular Queen Idia mask
stolen from the bedchamber of the king which later became the symbol of the Second
World Black and African Festival of Arts and Culture (FESTAC ‘77) in Lagos. This
mask along with four other similar pectoral masks can be found in the Linden
Museum, Stuttgart, The Metropolitan and Seattle<span style="mso-spacerun: yes;">
</span>pMuseums in the US and the most popular one at the British Museum. The
fifth mask in a private collection surfaced at the Sotheby auction in 2010. <span style="mso-spacerun: yes;"> </span>After the 1977, request came another, this
time on the occasion of the 30<sup>th</sup> anniversary commemoration of
FESTAC.<span style="mso-spacerun: yes;"> </span>In February, 2007 Professor Tunde
Babawale, director of the Centre for Black and African Arts and Civilization
(CBAAC) made a fresh request to the British Museum for the mask.<span style="mso-spacerun: yes;"> </span>The director of the British Museum, Neil Mcgregor,
glossed over his request replying that the British Museum had been invited by
the NCMM to offer assistance and advice on the development of the Lagos Museum.
<span style="mso-spacerun: yes;"> </span>Previously, Bernie Grant MP, British
House of Commons made a request to the Director Art Gallery and Museums in
Glassgow in 1897. As a follow up to this letter, Emmaneul Arinze, Chairman West
African Museums also wrote letters of request for Benin objects. By 2000, Prince
Edun Akenzua, the Enogie (Duke) of Obazuwa and brother of the Oba (king) of
Benin gave testimony before the British House of Commons. In 2008, I hand
delivered a letter from Prince Edun Akenzua to the Art Institute of Chicago on
the same request. In all of these cases, there has been no response to mails. The
lack of response has however not dissuaded people from reacting to this historical
injustice. Fresh requests and responses occur as often as the issues of the
looted artifacts resurface. One of such was the sale of Benin artifacts by
Sotheby in 2001.</span><span lang="EN-US" style="mso-ansi-language: EN-GB;"> </span><span style="mso-ansi-language: EN-GB;">A 16<sup>th </sup>century Benin ‘Oba’ mask was
to be auctioned for about 4.5<span class="msoIns"><ins cite="mailto:Julia%20Binter" datetime="2014-04-06T11:38"> </ins></span>million pounds sterling. <span style="mso-spacerun: yes;"> </span>The consignee was a descendant of Lieutenant
Colonel Sir Henry Gallwey, Deputy Commissioner and Vice Consul in the Oil
Rivers Protectorate in 1891 who took part in the infamous British Expedition.
Protests organized by civil society groups and Nigerian intellectuals<span style="color: #00b050;"> </span>against this sale spread from the streets of
London to social network sites.<span style="mso-spacerun: yes;"> </span>The
consignee was forced to pull down the work from the auction. It is no longer
business as usual to profiteer from the loot - a loot which was forcibly
removed during a very bloody contest between British soldiers and Benin
defenders. At another occasion, Nigerians living in Chicago protested in 2007
when news came that the Art Institute was selected as a venue of the travelling
exhibition of Benin art titled Benin Kings and Rituals : Court Art from
Nigeria.<span style="mso-spacerun: yes;"> </span>In 2013, the controversial
donation of 32 Benin objects by the Lehman Brothers to the Boston Museum of
Fine Arts, USA and the Museum’s search for legitimacy from the Benin Royal family
caused another stir. </span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>It is
important to mention here that the British expeditionary soldiers had a field
day picking some of these Benin objects for themselves as mementoes. </span><span style="mso-spacerun: yes;"> </span><span lang="EN-US">Captain Egerton took for
himself about half a dozen objects. Admiral Harry Rawson, the commander of the
expedition and Sir Ralph Moor, the Consul General of the Niger Coast
protectorate, sent to Queen Victoria a pair of exquisitely carved leopards and
well as two carved ivory tusks as gifts from the troupe.<span style="mso-spacerun: yes;"> </span>It was in this context that Captain Walker
acquired his own pieces. While descendants of Sir Henry Gallwey have resorted
to making money from the loot of their grandfather, Walker has decided to
return to the original owners what his father himself described as ’loot’ in at
least three entries in his diary.<span style="mso-spacerun: yes;"> </span>This
act of honour is the reason Edo people came out in large numbers to show
immense gratitude to a man who has followed the path of nobility and conscience.<span style="mso-spacerun: yes;"> </span>He has resisted the temptation of
profiteering from works that were taken forcibly from a people who defended
their kingdom with their lives. One can only hope that other individuals and
descendants of British soldiers and particularly, foreign museums and
institutions keeping Benin works return them and in good time too. </span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US"><b>Peju Layiwola</b> is Associate Professor of Art History and currently Head
of Department of Creative Arts, University of Lagos</span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
</div>
Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com0tag:blogger.com,1999:blog-981158321097495353.post-14725835280280184062014-02-23T12:36:00.001-08:002014-02-23T12:36:33.394-08:00For the records: Full text of Sanusi Lamido Sanusi`s suspension letter<div dir="ltr" style="text-align: left;" trbidi="on">
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That Kano-born financial expert, Mallam Sanusi Lamido Sanusi was suspended from office as Governor of the Central Bank of Nigeria on Thursday February 20, 2014, is no longer news.</div>
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However, the development has continued to generate reactions both within and outside the country, and has become a topic that would be discussed for a very long time to come.</div>
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For the record, DailyPost hereby reproduce the suspension letter through which the Nigerian government communicated its decision to Mallam Sanusi.</div>
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Reference:</div>
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Mallam Sanusi Lamido Sanusi Governor,</div>
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Central Bank of Nigeria, Abuja.</div>
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SUSPENSION FROM OFFICE</div>
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1. Following the Report of the Financial Reporting Council of Nigeria on the Audited Financial Statements of the Central Bank of Nigeria (CBN) for the year ended 31st December 2012, and other related issues, I write to convey to you His Excellency, Mr. President’s decision that you be suspended from office as Governor of the Central Bank of Nigeria with effect from Thursday 20th February 2014.</div>
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2. The decision is predicated on the loss of confidence in your ability to lead the Apex Bank towards the achievement of its statutory mandate. Of particular concern is the fact that, under your watch, the bank has carried out its functions in a manner characterised by disregard for due process and accountability.</div>
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3. This is exemplified by various acts of financial recklessness and unprofessional conduct which are inconsistent with the administration’s vision of a Central Bank propelled by the core values of focused economic management, prudence, transparency and financial discipline.</div>
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4. The particulars of the infractions are highlighted below:</div>
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5. Persistent Refusal and/or Negligence to comply with the Public Procurement Act in the Procurement Practices of the Central Bank of Nigeria</div>
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(a) By virtue of Section 15(1) (a) of the Public Procurement Act, the provisions of the Act are expected to apply to all ‘procurement of goods, works and services carried out by the Federal Government of Nigeria and all procurement entities.’ The definition clearly includes the Central Bank of Nigeria.</div>
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(b) It is however regrettable the Central Bank of Nigeria under your leadership, has refused and/or neglected to comply with the provisions of the Public Procurement (PPA). You will recall that one of the primary reasons for the enactment of the PPA was the need to promote transparency, competitiveness, cost effectiveness and professionalism in the public sector procurement system.</div>
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(c) Available information indicates the Central Bank has over the years engaged in procurement of goods, works and services with billions of naira each year without complying with the express provisions of the PPA.</div>
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(d) By deliberately refusing to be bound by the Provisions of the Act, the CBN has not only decided to act in an unlawful manner, but also persisted in promoting a governance regime characterised by financial recklessness, waste and impunity, as demonstrated by the contents of the 2012 Financial Statements.</div>
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6. No responsible government will tolerate this blatant disregard for its laws and procedures by any person or institution. The Central Bank, by its unique position, ought to show good example and be the leading light in the promotion of the culture of observance of due process.</div>
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7. Unlawful Expenditure by the Central Bank of Nigeria on ‘Intervention Projects’ across the country,</div>
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(a) The unacceptable level of financial recklessness displayed by the leadership of the Central Bank of Nigeria is typified by the execution of ‘Intervention Projects’ across the country. From available information, the Bank has either executed or is currently executing about 63 (sixty-three) such projects across the country. Please find attached hereto as Annexure I, a letter dated January 7th, 2014 from the CBN confirming the list of projects across the country to which the CBN has committed N163 Billion (One Hundred and Sixty Billion Naira).</div>
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(b) It is inexcusable and patently unlawful for any agency of Government to deploy huge sums of money as the CBN has done in this case, without appropriation and outside the CBN’s statutory mandate. It is trite that the expenditure of public funds by any arm of government must be based on clear legal mandates, prudent costing and overriding national interest.</div>
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(c) Cognisant of the attendant negative consequence of the CBN’s action, a review of the Central Bank (Establishment) Act 2007 does not disclose any legal basis for the huge expenditure on intervention projects in default of appropriation.</div>
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8. Financial Infractions and Acts of Financial Recklessness Committed by the Central Bank as reflected in its Audited Financial Statements for 2012.</div>
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(a) Pursuant to Section 50 of the CBN Act 2007, a copy of the Audited Financial Statement of the Central Bank for the year ended 31st December 2012 was sent to Mr. President (Please, find a copy attached hereto as Annexure II). Based on the issues raised in the financial statement, a response was requested from Sanusi to enable a proper appreciation of the nation’s economic outlook. (Please, find attached a copy of the letter dated 4th May, 2013 as Annexure III).</div>
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(b) Your response to this query (Annexure IV) was further referred to the Financial Reporting Council by a letter of 12th April, 2013, for review (Annexure V).<br />The review of the Financial Reporting Council of Nigeria, rather than allay the fears of Government, further confirmed concern about the untidy manner in which you have conducted the operations of the CBN (Annexure VI).</div>
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9. Some of the salient observations arising from the review are highlighted below:</div>
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(a) In a most ironical manner, it has become obvious that the CBN is not able to prepare its financial statements using applicable International Financial Reporting Standards (IFRS) whereas Deposit Money Banks that the CBN is supervising have complied with this national requirement since 2012. Undoubtedly, this laxity on the part of our apex bank, apart from calling to question its capacity for proper corporate governance, is capable of sending wrong signals to both domestic and international investors on the state of the Nigerian economy.</div>
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(b) The provisions of the Memorandum of Understanding (MoU) signed by the CBN and other Deposit Money Banks (DMBs) on Banking Resolution Sinking Fund have been breached in a material manner. For example, a Board of Trustees (BOT) to manage the Fund has not been constituted since 2010 when it was established. The CBN has however continued to utilise the Fund for certain operations without the approval of the said BOT.</div>
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(c) Contrary to Section 34(b) of the CBN Act 2007 which provides that the CBN shall not, except as provided in Section 31 of the Act, inter alia, purchase the shares of any corporation or company, unless an entity set up by the approval of the authority of the Federal Government, CBN in 2010, acquired 7% shares of International Islamic Liquidity Management Corporation of Malaysia to the tune of N0.743 Billion. This transaction was neither brought to Mr. President’s attention nor was a Board approval obtained before it was entered into.</div>
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(d) The CBN has failed or refused to implement the provisions of the Personal Income Tax (Amendment) Act 2007. Accordingly the Pay-As-You-Earn (PAYE) deductions of its staff are still being computed in accordance with the defunct Personal Income Tax Act 2004, thus effectively assisting its staff to evade tax, despite the generous wage package in the CBN, relative to other sectors of the economy.</div>
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(e) The CBN had an additional brought forward to General Reserve Fund of N16.031 Billion in 2012 but proceeded on a voyage of indefensible expenses in 2012 characterised by inexplicable increases in some heads of expenditure during the year. Examples include:<br />(i) The bank spent N3.086 Billion ‘promotional activities’ in 2012 (up from N1.084 Billion in 2011). The bank spent this sum even when it is not in competition with any other institution in Nigeria;</div>
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(ii) The CBN claimed to have expended N20.202 Billion on ‘Legal and Professional Fees’ in 2011, beyond all reasonable standards of prudence and accountability;(iii) Between expenses on ‘Private Guards’ and ‘Lunch for Policemen’, the CBN claimed to have spent N1.257 Billion in 2012;</div>
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(iv) While Section 6(3) (c) of the CBN Act 2007 provides that the Board of the CBN is to make recommendations to Mr. President on the rate of remuneration to Auditors, the Bank has consistently observed this provision in the breach and even went to the extent of changing one of its Joint External Auditors without notifying the office of the President.</div>
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(f) In the explanations offered by the CBN pursuant to Presidential directives, it offered a breakdown of ‘Currency Issue Expenses’ for 2011 and 2012. Interestingly, it claimed to have paid a total of N38.233 Billion to the Nigerian Security Printing and Minting Company Limited (NSPMC) in 2011 for Printing of Banknotes’. Paradoxically however, in the same 2011, NSPMC reported a total turnover of N29.370 Billion for all its transaction with all clients (including the CBN)</div>
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(g) It is significant to note that the external audit revealed balances of sundry foreign currencies without physical stock of foreign currencies in the CBN Head Office.</div>
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10. Questionable write-off of N40 billion naira loans of bank<br />You may wish to specifically not Annexure VII which highlights a number of transactions and breaches, which include the write-off of loans totalling N40 billion</div>
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11. The above issues are only few of the infractions highlighted by the review and which point to the gross incompetence and recklessness which characterised the operations of the CBN in the period under review.</div>
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12. In light of the foregoing, and pursuant to the provisions of Section 7 (2) (a), Section 8 (1) (k), Section 62 (1) (c) and 62 (3) of Financial Reporting council of Nigeria Act, a copy of this letter is being forwarded to the Executive Secretary of the Council for his notification and further necessary action with a view to addressing the urgent need to reposition the bank for the effective discharge of its statutory mandate.</div>
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13. You are, by this letter, directed to hand over to most senior Deputy Governor, Dr. Sarah Alade who will act as Governor till the conclusion of the investigation into these far reaching breaches.</div>
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Please accept, as always, the assurances of my highest regards and esteem.</div>
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Anyim Pius Anyim, GCON<br />Secretary to the Government of the Federation</div>
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culled from </div>
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http://dailypost.com.ng/2014/02/22/records-full-text-sanusi-lamido-sanusis-suspension-letter/</div>
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Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com0tag:blogger.com,1999:blog-981158321097495353.post-44377814918537859682014-02-17T00:53:00.002-08:002014-02-17T00:54:44.767-08:00Cartoons and socio-political realities by Jimga-Jimoh Ganiyu<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 32px;">'The political cartoon has been one of the most powerful weapons through the ages .</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 32px;">.. dictators of the right and the left fear the political cartoonists more than they do the atomic bomb. No totalitarian government can afford to be ridiculed (DeSousa & Medhurst, 1982). ' </span></div>
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<a href="http://1.bp.blogspot.com/-IJAUT4z6Xb4/TdrHTDMuC3I/AAAAAAAAAGc/oM36VMfoWXM/s1600/sqautters+on+rampage.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-IJAUT4z6Xb4/TdrHTDMuC3I/AAAAAAAAAGc/oM36VMfoWXM/s320/sqautters+on+rampage.jpg" height="232" width="320" /></a></div>
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Squatters on Rampage , Jimga, May 2011</div>
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see comments about this cartoon here</div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 32px;">Editorial cartoons are single panel graphics that comment on political events and policy, and serve both to define the significant topics of political discourse and record them, thus creating a “snapshot” of the political climate in a given time period. Cartoons have been seen from the humorous perspective and generally have not been studied for their rhetoric capabilities (Vinson, 1967), however, the recent <i>Jyllands-Posten’s </i>Muhammad cartoons controversy in Denmark, which sparked violent protests around the world, speak to the continuing importance and potential power of cartoons as a medium of political communication.</span></div>
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<a href="http://2.bp.blogspot.com/-BWyFAEKUBIM/TdrHW-bNq3I/AAAAAAAAAGg/JD1GiasOJpM/s1600/education.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-BWyFAEKUBIM/TdrHW-bNq3I/AAAAAAAAAGg/JD1GiasOJpM/s320/education.jpg" height="232" width="320" /></a></div>
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cut the rope sir! Jimga, May 2011</div>
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see comments about this cartoon here</div>
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<a href="http://www.facebook.com/jimgaconcept#%21/photo.php?fbid=10150189146953883&set=a.395710718882.172771.598628882&type=1&theater">http://www.facebook.com/jimgaconcept#!/photo.php?fbid=10150189146953883&set=a.395710718882.172771.598628882&type=1&theater</a></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 32px;">Some scholars see cartoons as an important medium for the formation of public opinion on salient social issues (Agberia, 2001; Adekanmbi, 1997; Everette, 1974; Vinson, 1967). They are seen as "both opinion-molding and opinion-reflecting" (Caswell, 2004:14), and they provide subtle frameworks within which to examine the life and political processes of a nation (DeSousa & Medhurst, 1982). Cartoons are intended to transform otherwise complex and opaque social events and situations into quick and easily readable depictions that facilitate comprehension of the nature of social issues and events (Agberia, 2001:33). In doing so, they present society with visually palpable and hyper-ritualized depictions (selectively exaggerated portions of 'reality') that attempt to reveal the essence and meaning of social events.<o:p></o:p></span></div>
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<span lang="EN-US">Editorial cartoons, a genre of Graphic art, are the most extreme form of expression found in newspapers, as they are not bounded by norms of journalistic objectivity (Koetzle & Brunell, 1992; Lamb, 2004) or even the domain of objective reality that encompasses literary newspaper editorials. As such, they have historically been a source of satirical critique of the political status quo.<o:p></o:p></span></div>
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<span lang="EN-US">Defined as "a graphic presentation typically designed in a one-panel, non-continuing format to make an independent statement or observation on political events or social policy" (Edwards & Winkler; 1997: 306), the editorial (or political) cartoon often employs humor or irony to point out shortcomings or hypocrisies within the political system. While many studies (including this one) use the terms "political cartoon" and "editorial cartoon" interchangeably, some do differentiate between comic strips with political content, and single panel cartoons that make commentary on politics and policy. The latter would generally appear on the editorial page of a printed newspaper, and are the focus of this study. </span></div>
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<span lang="EN-US">This posit features some of the cartoons i drew recently on the socio-political state of our dear Nation Nigeria.</span></div>
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<span lang="EN-US"><b>National Youth Slauthering Council ( NYSC</b>)</span></div>
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<a href="http://4.bp.blogspot.com/-BMLREwNPokY/TdrHOoBJ-sI/AAAAAAAAAGY/oyZP3wCDxR4/s1600/nysc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-BMLREwNPokY/TdrHOoBJ-sI/AAAAAAAAAGY/oyZP3wCDxR4/s320/nysc.jpg" height="320" width="232" /> </a></div>
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This cartoon satirizes the realities of the scheme NYSC National Youth Service Corp, that was intentionally formed in the 70s to foster unity among Nigerian youths after the civil war of 1967/70. It is ironical that the scheme has become a 'slauthering' council where our youths are being slaughtered like 'cow' in some part of the country. Despite the annual festival of blood by this particular region in Nigeria. The council still posts innocent graduates to these hostile environments. As a visual commentator I have captured the NYSC as a terrible scheme, where the youths have to serve the nation with their heads. </div>
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please see more comments here </div>
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Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com0tag:blogger.com,1999:blog-981158321097495353.post-52864640074201468572013-06-23T08:50:00.000-07:002013-06-23T08:50:01.999-07:00warming up for 2015<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhacH5vPlcAFP2XYPS7yFjVr0shTyKgKOTcKZJnvK8VvGaixrQYfZ0KSW7wpkt2nSqdgExDBS4dG46wnEDUeFVHRB-VK8B4qFevc_u8tnhhHTE9mke3nku55GEGC3Cwz8sTZK4X_wk-HAA/s1600/slim-fit+political+parties.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhacH5vPlcAFP2XYPS7yFjVr0shTyKgKOTcKZJnvK8VvGaixrQYfZ0KSW7wpkt2nSqdgExDBS4dG46wnEDUeFVHRB-VK8B4qFevc_u8tnhhHTE9mke3nku55GEGC3Cwz8sTZK4X_wk-HAA/s640/slim-fit+political+parties.jpg" width="640" /></a></div>
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Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com0tag:blogger.com,1999:blog-981158321097495353.post-35885564739190299662013-05-07T15:06:00.000-07:002013-05-07T15:06:09.112-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiILD6TR_kh6JPvzm3iYY9zIC89X7bXL4uI6UF73KbW0UyArhWtGoXOjpZE-CfPj1sTgiNL6aCq9tE8eaQrcaLBmtJixveGYNV9h3eXwV67ebFoXCqLIfPX0Y9OB8lwKCSegcXo2SUOZz0/s1600/encomium1+002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiILD6TR_kh6JPvzm3iYY9zIC89X7bXL4uI6UF73KbW0UyArhWtGoXOjpZE-CfPj1sTgiNL6aCq9tE8eaQrcaLBmtJixveGYNV9h3eXwV67ebFoXCqLIfPX0Y9OB8lwKCSegcXo2SUOZz0/s640/encomium1+002.jpg" width="434" /></a></div>
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Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com15tag:blogger.com,1999:blog-981158321097495353.post-3101150877981996252013-04-27T13:33:00.002-07:002013-04-27T13:35:08.488-07:00Cartoon Publication <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: 12.0pt; line-height: 115%;">120page exhibition brochure which contains scholarly articles
on not only analysis of Jimga’s works but also on the development of cartooning
in Nigeria. The contributors include Prof. Teju Olaniyan of University of
Winsconsin-Madison, USA, Akinwale Onipede,(UNILAG) Segun Adefila, Jude Anogwih (YABATECH ), <span style="mso-spacerun: yes;"> </span>Jimoh Ganiyu,</span><span style="font-size: 12.0pt; line-height: 115%;"><span style="font-size: 12.0pt; line-height: 115%;">(UNILAG),</span> Ibukun Fasuhan,</span><span style="font-size: 12.0pt; line-height: 115%;"><span style="font-size: 12.0pt; line-height: 115%;">(UNILAG),</span> Otun Rasheed,</span><span style="font-size: 12.0pt; line-height: 115%;"><span style="font-size: 12.0pt; line-height: 115%;">(UNILAG),</span>
Omoligho Udenta,(YABATECH) Eleshin Abisoye,</span><span style="font-size: 12.0pt; line-height: 115%;"><span style="font-size: 12.0pt; line-height: 115%;">(UNILAG),</span> Adekunjo Khamardeen,</span><span style="font-size: 12.0pt; line-height: 115%;"><span style="font-size: 12.0pt; line-height: 115%;">(UNILAG),</span> Itsewah Steven James,</span><span style="font-size: 12.0pt; line-height: 115%;"><span style="font-size: 12.0pt; line-height: 115%;">(UNILAG),</span>
Adebolujo, O. A. ( TASUED )</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">call 08033533469 or mail jimgaconcept@yahoo.com for a copy</span></div>
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Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com3tag:blogger.com,1999:blog-981158321097495353.post-10659045567662824462013-03-05T10:13:00.002-08:002014-02-17T00:51:12.456-08:00OUR NATIONAL FLAG: ART AND SOCIO-POLITICAL REALITIES <div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSIWm2v9LvvM61UETiJBiMPjTqKhn9WyCykBcdB8EXTfmBpvhZXpJeZAbLhQJA-yjT3MoP7W3nyj-UXdJXkTsB7qDRPs2CUDLgYHRyOlVKVZSGWZJkFhoeA3rMvwQgYOU6eXdQa-tVB-o/s1600/DSC_0699.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSIWm2v9LvvM61UETiJBiMPjTqKhn9WyCykBcdB8EXTfmBpvhZXpJeZAbLhQJA-yjT3MoP7W3nyj-UXdJXkTsB7qDRPs2CUDLgYHRyOlVKVZSGWZJkFhoeA3rMvwQgYOU6eXdQa-tVB-o/s320/DSC_0699.jpg" height="213" width="320" /></a></div>
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<span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%;">The University of Lagos witnessed the
first Symposium and exhibition of Cartoons organised by Jimoh Ganiyu Jimga in
collaboration with The Crown Troupe of Africa on the 21<sup>st</sup> of
February, 2013. This symposium of art, tilted: Our National Flag; Art and Socio-Political
Realities was chaired by the Head of Creative Arts Department, Prof. A.V.E
Mereni. </span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXgH6o8nviL3ZUvULhL8aPgljcywKeHZ1l66ALeEEkBfc8SmFVLe27PCrsYMYdNP6l2ainiPV8spcGGDkxQCl3bRMXDAxb0Sbhlwgu4tXYSDMuP1hO_loGyEClQzDjQS6p9mLkY4i5yIw/s1600/DSC_0723.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXgH6o8nviL3ZUvULhL8aPgljcywKeHZ1l66ALeEEkBfc8SmFVLe27PCrsYMYdNP6l2ainiPV8spcGGDkxQCl3bRMXDAxb0Sbhlwgu4tXYSDMuP1hO_loGyEClQzDjQS6p9mLkY4i5yIw/s320/DSC_0723.jpg" height="320" width="213" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXgH6o8nviL3ZUvULhL8aPgljcywKeHZ1l66ALeEEkBfc8SmFVLe27PCrsYMYdNP6l2ainiPV8spcGGDkxQCl3bRMXDAxb0Sbhlwgu4tXYSDMuP1hO_loGyEClQzDjQS6p9mLkY4i5yIw/s1600/DSC_0723.jpg" style="margin-left: 1em; margin-right: 1em;"> </a><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> <br />
</span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span lang="EN-GB" style="font-size: 12pt; line-height: 115%;"> In his speech, the Keynote speaker Prof.
Olumiyiwa Falaiye, a professor of Socio-Political Philosophy, stressed the
inevitable role of cartoonists in socio-political milieu of the society. Citing
the foremost South African cartoonist Zapiro, he posits that ‘cartoonists are
the watch dogs and the pulse of the society. Cartoons are like mirrors through
which the society assesses itself and take corrective measures.<span style="mso-spacerun: yes;"> </span>Responding to a question from the audience on
the solution to corruption in Nigerian and why Nigerians are so corrupt, Prof
Falaiye, opines that ‘Nigerians are not more corrupt than other<span style="mso-spacerun: yes;"> </span>humans on the surface of earth…the tendency
to corrupt is inherent in every human being …but Nigerians are corrupt because
there is no proper mechanism to deter people from corruption’.</span> </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpy8DkT96BNx8W_fFlellIlqFRlSkSfo9mHhy6LiQYP7NG3VJGoC5nrh5aGDfJrfgtUrSldXX1nvc2aP6J2uCYawGmpv57eU3iKK5C5T3qz2B8tD959N3gyPGJ2YsNPCRY_dgMhbESy4s/s1600/DSC_0691.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpy8DkT96BNx8W_fFlellIlqFRlSkSfo9mHhy6LiQYP7NG3VJGoC5nrh5aGDfJrfgtUrSldXX1nvc2aP6J2uCYawGmpv57eU3iKK5C5T3qz2B8tD959N3gyPGJ2YsNPCRY_dgMhbESy4s/s320/DSC_0691.jpg" height="316" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtwfS-YEA4InIdtApbLKeTgKntES7dhM1F70QEmWvsOMl3SKWmtyJpiLdCE0HUwyxsLGxVhWgHyYnfY0JVZGEEvdgcWGZR5jwUxLWrF93TLT_3FLq7UzWCbrsUEvnt0V455kKM30KqSnw/s1600/DSC_0706.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtwfS-YEA4InIdtApbLKeTgKntES7dhM1F70QEmWvsOMl3SKWmtyJpiLdCE0HUwyxsLGxVhWgHyYnfY0JVZGEEvdgcWGZR5jwUxLWrF93TLT_3FLq7UzWCbrsUEvnt0V455kKM30KqSnw/s320/DSC_0706.jpg" height="213" width="320" /></a></div>
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<span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%;">The Panel of discussants include:
Prof. Solomon Akinboye, H.O.D Department of Political Science, UNILAG, Akinwale
Onipede, lecturer at the Dept. of Creative Arts, UNILAG and Clara Giacolne,
researcher, Free University Berlin, Germany. </span></div>
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<span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>Segun Adefila’s Crown Troupe of Africa held
the audience which comprises Students, Academicians and Professionals alike
spell bound for minutes with their dance drama presentation titled
‘corruption’.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%;">The Mother of the Day, Prof Ajike
Osanyi, H.O.D Arts and Social Sciences Education congratulates Jimga on the
giant stride he took in using the visual form of satire; cartoons, in showing
the ills in the society.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpw5o29ZQSxBwKnFkD41dLK-UmHlzpi1CNZqAyy1WUmc7PbENCEf0vuZzxZfR1V0D4xttjoABn7z4iDOA642egNOwm44JOosHFkrrGsmMYNjS19EMpC1AzyjrZnSISjIihQZwt2PzUnV4/s1600/DSC_0878.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpw5o29ZQSxBwKnFkD41dLK-UmHlzpi1CNZqAyy1WUmc7PbENCEf0vuZzxZfR1V0D4xttjoABn7z4iDOA642egNOwm44JOosHFkrrGsmMYNjS19EMpC1AzyjrZnSISjIihQZwt2PzUnV4/s320/DSC_0878.jpg" height="213" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRnwv3s8B-mouo6jD69p_yZvZcV1Bf0XspFoF6W5qaFQI8CkRMVy_xf6sdccL2TQyB-k7wJaj4-b95Pke4BA8kKTISD_ZxVbwBTvFCeSbyLiYRhL6w-cSRQdQ01epo83Zb7rnB4kUeUgI/s1600/DSC_0751.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRnwv3s8B-mouo6jD69p_yZvZcV1Bf0XspFoF6W5qaFQI8CkRMVy_xf6sdccL2TQyB-k7wJaj4-b95Pke4BA8kKTISD_ZxVbwBTvFCeSbyLiYRhL6w-cSRQdQ01epo83Zb7rnB4kUeUgI/s320/DSC_0751.jpg" height="213" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2tZvDt-XieTG7DeY1IrdYnbFLGl2GMIa6q__RrYkNln4QcjMIGF77MPz71WUeirrJzTutp-_u2_6wH5xBe_PcRjrg_lhftw-WU5S0Hxux6fwRQy_LJEbHr59qqe9YYa4CzWylsQgNVkA/s1600/_MG_2869.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2tZvDt-XieTG7DeY1IrdYnbFLGl2GMIa6q__RrYkNln4QcjMIGF77MPz71WUeirrJzTutp-_u2_6wH5xBe_PcRjrg_lhftw-WU5S0Hxux6fwRQy_LJEbHr59qqe9YYa4CzWylsQgNVkA/s320/_MG_2869.JPG" height="213" width="320" /></a></div>
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<span lang="EN-GB" style="font-size: 12pt; line-height: 115%;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8fzn97VPETPurmJzP2vHsyqbgZuiw_uUPdN0ySpSpCu_4SNa4Bml9bXO5kFiEzJmXS7p02vGydXy1kminahKimKkJWjQr5G7LlwnzVJlrmXoGrRllOHa3SxLZTAVD6FZ_xVsqNCgiS88/s1600/DSC_0851.jpg" style="margin-left: 1em; margin-right: 1em;"></a><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%;"></span>
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<span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%;">Outdoor exhibition of socio-political
cartoons by Jimoh Ganiyu Jimga was declared open by the Head of Visual Arts
Unit, Mrs P.U Ofuafo. This is an inter faculty exhibition that will run til the
4<sup>th</sup> of March 2013.</span></div>
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<span lang="EN-GB" style="font-size: 12pt; line-height: 115%;">This symposium and exhibition was also
accompanied by a 120page exhibition brochure which contains scholarly articles
on not only analysis of Jimga’s works but also on the development of cartooning
in Nigeria. The contributors include Prof. Teju Olaniyan of University of
Winsconsin-Madison, USA, Akinwale Onipede, Segun Adefila, Jude Anogwih, <span style="mso-spacerun: yes;"> </span>Jimoh Ganiyu, Ibukun Fasuhan, Otun Rasheed,
Omoligho Udenta, Eleshin Abisoye, Adekunjo Khamardeen, Itsewah Steven James,
Adebolujo, O. A.</span></div>
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<span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span> <span style="mso-spacerun: yes;"> </span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 9.0pt; line-height: 115%;">Jimoh
Ganiyu Jimga- A Profile</span></b></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span lang="EN-GB" style="font-size: 10.0pt;">Jimoh Ganiyu is currently a recipient of the
University of Lagos Postgraduate School Graduate Fellowship Award. He has a B.A
(Hons) Graphic Design, M.A Art History in 2008 and 2010 respectively. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span lang="EN-GB" style="font-size: 10.0pt;">Mr Jimga as popularly called by students and friends
is a cartoonist, a poet, a teacher and photo-journalist. He has exhibited his
socio-political cartoons at several conferences in the country. He can be
described as a political cartoonist who employs the artistic genre as visual
commentary on the realities of his society. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span lang="EN-GB" style="font-size: 10.0pt;">He<span style="mso-spacerun: yes;"> </span>is also a
cartoon scholar who did not only write his M.A thesis on <i style="mso-bidi-font-style: normal;">THE ROLE OF CARTOON IN DEMOCRATISATION PROCESS IN NIGERIA</i> but also
received NUC Individual Award for his exhibition at the 10<sup>th</sup>
National University Research and Development Fair (NUREDEF) held at University
of Nigeria, Nssuka in November 2010.<span style="mso-spacerun: yes;">
</span>Also in 2011, Jimoh Ganiyu won the prestigious University of Lagos
distinguished researcher of the year award in Arts and Humanities.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span lang="EN-GB" style="font-size: 10.0pt;"><a href="mailto:jimgaconcept@yahoo.com">jimgaconcept@yahoo.com</a><span style="mso-spacerun: yes;"> </span>08078300087</span></div>
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<br /></div>
<div class="Default" style="mso-line-height-alt: .8pt; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Cambria","serif";">Artist Statement</span></b></div>
<div class="Default" style="mso-line-height-alt: .8pt; text-align: justify;">
<span lang="EN-GB" style="font-family: "Cambria","serif";"><span style="mso-spacerun: yes;"> </span>My artwork takes a critical view of social,
political and cultural issues. In my work, I deconstruct the polity and target
the power brokers mostly through the medium I consider veritable as a weapon of
transforming otherwise complex and opaque social events and situations into
quick and easily readable depictions that facilitate comprehension of the
nature of socio-political issues and events; The Art of Cartooning. </span></div>
<div class="Default" style="mso-line-height-alt: .8pt; text-align: justify;">
<span lang="EN-GB" style="font-family: "Cambria","serif";">As a young boy growing up in a
‘humble setting’, the ‘by-products’ of injustice shaped my thoughts and infused
the anger of resistance in me. I got inspired by the actions of political
activists, who through the medium they are blessed with, struggle to achieve
the deserving environment. </span></div>
<div class="Default" style="mso-line-height-alt: .8pt; text-align: justify;">
<br /></div>
<div class="Default" style="mso-line-height-alt: .8pt; text-align: justify;">
<span lang="EN-GB" style="font-family: "Cambria","serif";">My attempt in visualising
verbal satires in most of the great ‘Abamieda</span><span lang="EN-GB">’;</span><span lang="EN-GB" style="font-family: "Cambria","serif";"> Fela’s songs redirected my
passion for painting to caricature and cartooning which I found handy and
appropriate for visual ‘satirisation’ and vicious weapon through which I
channel my fury. I can describe myself as an activist that uses the medium of
cartooning as the conduit of achieving the aim of equal right for humanity. </span></div>
<div class="Default" style="mso-line-height-alt: .8pt; text-align: justify;">
<br /></div>
<div class="Default" style="mso-line-height-alt: .8pt; text-align: justify;">
<span lang="EN-GB" style="font-family: "Cambria","serif";">I consider the ambiance of
display as a vital part of contextualisation. Most of my works, being a form of
‘protest art’, employ unconventional display and often engage installations as
accompaniment. </span></div>
<div class="MsoNormal" style="mso-line-height-alt: .8pt; text-align: justify;">
<span lang="EN-GB" style="font-family: "Cambria","serif"; font-size: 12.0pt;">Often times,
my themes dwell more on the political state of the country, this is because I
strongly believe that the political status-quo which is the bane of the
societal tribulations is unnatural and practically undeserving. And through the
‘weapon’ of visual satire, the polity could not only be reflected but refracted
into a conducive atmosphere balanced with equal right and justice…as there can
never be peace…without justice. </span></div>
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<span class="apple-style-span"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="color: black; font-family: "Times New Roman","serif"; font-size: 9.0pt; line-height: 115%;">Crown
Troupe of Africa</span></b></span><span class="apple-style-span"><span lang="EN-GB" style="color: black; font-family: "Times New Roman","serif"; font-size: 9.0pt; line-height: 115%;"></span></span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span class="apple-style-span"><span lang="EN-GB" style="color: black; font-size: 10.0pt; mso-bidi-font-family: Calibri;">Conceptualized
on June 1<sup>st</sup> 1996 by a group of friends who share a common belief in
the viability of art as a tool for social engineering and empowerment, Crown
Troupe is engaged in the arts of dance, drama, music, and visual arts.<span style="mso-spacerun: yes;"> </span></span></span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span lang="EN-GB" style="font-size: 10.0pt; mso-bidi-font-family: Calibri;">A youth focused group,
they make different kinds of performances using various techniques and forms.
The content of their works are mainly thematically relevant to any prevalent
issues of concern. The works created are aimed at being not only informative,
but also therapeutic.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span lang="EN-GB" style="font-size: 10.0pt; mso-bidi-font-family: Calibri;">The group is also
involved in an Itinery Theatre Project through which they have taken their
performances from place to place. Some of the works are research based and
presented with multimedia back up as well as performed in site specific and
unconventional spaces. There has also been an annual community theatre project
tagged ‘The Bariga Open Air Theatre (B.O.A.T) Festival where sister groups are
invited to present their works in public spaces. This annual event is aimed at
taking theatre to the masses as an antidote to its current elitist status. The
B.O.A.T Festival has metamorphosed into The Eko Theatre Carnival Project.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span lang="EN-GB" style="font-size: 10.0pt; mso-bidi-font-family: Calibri;">Crown Troupe launched
their debut musical album ‘ARUWO OJA’ in November, 2012. The Album was
published by DADA Books. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span lang="EN-GB" style="font-size: 10.0pt; mso-bidi-font-family: Calibri;">The services of Crown
Troupe are much sought after by corporate clients and the general public. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span lang="EN-GB" style="font-size: 10.0pt; mso-bidi-font-family: Calibri;">Companies like Microsoft,
Unity Bank, Coca Cola (NBC), Macmillan Publishers and several other Corporate
giants have at one time or the other engaged the services of the group.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
<div class="MsoNoSpacing">
<span class="apple-style-span"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="color: black; font-size: 10.0pt; mso-bidi-font-family: Calibri;">Notable Endeavours</span></b></span></div>
<div class="MsoNoSpacing">
<span class="apple-style-span"><span lang="EN-GB" style="color: black; font-size: 10.0pt; mso-bidi-font-family: Calibri;">The Award
winning group has participated in local and international art events. </span></span></div>
<div class="MsoNoSpacing">
<span class="apple-style-span"><span lang="EN-GB" style="color: black; font-size: 10.0pt; mso-bidi-font-family: Calibri;">Some of such
events include:</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .5in; text-align: justify; text-indent: -.25in;">
<span class="apple-style-span"><span lang="EN-GB" style="color: black; font-family: Wingdings; font-size: 10.0pt; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">ü<span style="font: 7.0pt "Times New Roman";">
</span></span></span></span><span class="apple-style-span"><span lang="EN-GB" style="color: black; font-size: 10.0pt; mso-bidi-font-family: Calibri;">Invitation
by the National Troupe of Nigeria to be part of Contacting The World
Manchester, 2002.</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .5in; text-align: justify; text-indent: -.25in;">
<span class="apple-style-span"><span lang="EN-GB" style="color: black; font-family: Wingdings; font-size: 10.0pt; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">ü<span style="font: 7.0pt "Times New Roman";">
</span></span></span></span><span class="apple-style-span"><span lang="EN-GB" style="color: black; font-size: 10.0pt; mso-bidi-font-family: Calibri;">A
Workshop/Performance tour to Trinidad and Tobago, with </span></span><span lang="EN-GB" style="font-size: 10.0pt; mso-bidi-font-family: Calibri;">University of
The West Indies, St. Augustine based company, Arts-in-Action<span class="apple-style-span"><span style="color: black;">, 2003</span></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .5in; text-align: justify; text-indent: -.25in;">
<span class="apple-style-span"><span lang="EN-GB" style="color: black; font-family: Wingdings; font-size: 10.0pt; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">ü<span style="font: 7.0pt "Times New Roman";">
</span></span></span></span><span class="apple-style-span"><span lang="EN-GB" style="color: black; font-size: 10.0pt; mso-bidi-font-family: Calibri;">Invitation
by Ancient Theatre Company, Lagos to perform at the 2nd edition of Contacting
The World, Manchester, 2004.</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .5in; text-align: justify; text-indent: -.25in;">
<span class="apple-style-span"><span lang="EN-GB" style="color: black; font-family: Wingdings; font-size: 10.0pt; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">ü<span style="font: 7.0pt "Times New Roman";">
</span></span></span></span><span lang="EN-GB" style="font-size: 10.0pt; mso-bidi-font-family: Calibri;">Facilitated dance workshops and Performed at the
Autumn International Festival, London, 2005.<span class="apple-style-span"><span style="color: black;"></span></span></span></div>
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<span class="apple-style-span"><span lang="EN-GB" style="color: black; font-family: Wingdings; font-size: 10.0pt; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">ü<span style="font: 7.0pt "Times New Roman";">
</span></span></span></span><span class="apple-style-span"><span lang="EN-GB" style="color: black; font-size: 10.0pt; mso-bidi-font-family: Calibri;">Performance
at the annual Wole Soyinka Prize for Literature in Africa.</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .5in; text-align: justify; text-indent: -.25in;">
<span class="apple-style-span"><span lang="EN-GB" style="color: black; font-family: Wingdings; font-size: 10.0pt; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">ü<span style="font: 7.0pt "Times New Roman";">
</span></span></span></span><span class="apple-style-span"><span lang="EN-GB" style="color: black; font-size: 10.0pt; mso-bidi-font-family: Calibri;">Invitation
by the National Troupe of Nigeria to the Cairo International Festival of
Experimental Theatre, 2010.</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .5in; text-align: justify; text-indent: -.25in;">
<span class="apple-style-span"><span lang="EN-GB" style="color: black; font-family: Wingdings; font-size: 10.0pt; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">ü<span style="font: 7.0pt "Times New Roman";">
</span></span></span></span><span class="apple-style-span"><span lang="EN-GB" style="color: black; font-size: 10.0pt; mso-bidi-font-family: Calibri;">Performance
at the 3<sup>rd</sup> Lagos Black Heritage Festival, 2010</span></span></div>
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<span class="apple-style-span"><span lang="EN-GB" style="color: black; font-family: Wingdings; font-size: 10.0pt; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">ü<span style="font: 7.0pt "Times New Roman";">
</span></span></span></span><span class="apple-style-span"><span lang="EN-GB" style="color: black; font-size: 10.0pt; mso-bidi-font-family: Calibri;">Annual
Macmillan Literary Events </span></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span class="apple-style-span"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="color: black; font-size: 10.0pt; mso-bidi-font-family: Calibri;">Awards</span></b></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo1; tab-stops: list .5in; text-align: justify; text-indent: -.25in;">
<span class="apple-style-span"><span lang="EN-GB" style="color: black; font-family: Wingdings; font-size: 10.0pt; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">ü<span style="font: 7.0pt "Times New Roman";">
</span></span></span></span><span class="apple-style-span"><span lang="EN-GB" style="color: black; font-size: 10.0pt; mso-bidi-font-family: Calibri;">International
Dance Day competition Awards organized by the Dance Guild of Nigeria (GOND
Awards).</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo1; tab-stops: list .5in; text-align: justify; text-indent: -.25in;">
<span class="apple-style-span"><span lang="EN-GB" style="color: black; font-family: Wingdings; font-size: 10.0pt; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">ü<span style="font: 7.0pt "Times New Roman";">
</span></span></span></span><span class="apple-style-span"><span lang="EN-GB" style="color: black; font-size: 10.0pt; mso-bidi-font-family: Calibri;">Eko
Guild of Nigerian Dancers Award Media Dance Company 2001, 2010</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo1; tab-stops: list .5in left 77.25pt 81.75pt 345.15pt; text-align: justify; text-indent: -.25in;">
<span class="apple-style-span"><span lang="EN-GB" style="color: black; font-family: Wingdings; font-size: 10.0pt; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">ü<span style="font: 7.0pt "Times New Roman";">
</span></span></span></span><span lang="EN-GB" style="font-size: 10.0pt; mso-bidi-font-family: Calibri;">1<sup>st</sup> prize, Festival of<span style="mso-spacerun: yes;"> </span>Dances (FEDA-contemporary dance ) 2005<span class="apple-style-span"><span style="color: black;"></span></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo1; tab-stops: list .5in; text-align: justify; text-indent: -.25in;">
<span class="apple-style-span"><span lang="EN-GB" style="color: black; font-family: Wingdings; font-size: 10.0pt; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">ü<span style="font: 7.0pt "Times New Roman";">
</span></span></span></span><span class="apple-style-span"><span lang="EN-GB" style="color: black; font-size: 10.0pt; mso-bidi-font-family: Calibri;">Best
Dance Company and Best Choreography, FEDA Awards 2004.</span></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span class="apple-style-span"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="color: black; font-size: 10.0pt; mso-bidi-font-family: Calibri;">Contact</span></b></span></div>
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<span class="apple-style-span"><span lang="EN-GB" style="color: black; font-size: 10.0pt; mso-bidi-font-family: Calibri;">Crown Art Resource Centre,26, Ayo Ola Lawal Street,
Bariaga ,Lagos.</span></span></div>
<div class="MsoNormal" style="mso-line-height-alt: .8pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
</div>
Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com11tag:blogger.com,1999:blog-981158321097495353.post-68108678141044773282013-02-05T11:39:00.001-08:002013-02-05T11:39:33.322-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
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Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com0tag:blogger.com,1999:blog-981158321097495353.post-80638056939492944322013-01-19T05:05:00.004-08:002013-01-19T05:05:24.649-08:00LOG IN TO ADD A COMMENT: USING SOCIAL NETWORKING WEBSITES IN CAPTURING PUBLIC OPINION ON EDITORIAL CARTOON THEMES.<div dir="ltr" style="text-align: left;" trbidi="on">
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<br />
<div align="center" class="MsoNormal" style="background-color: #eeeeee; color: purple; text-align: center;">
<span class="apple-style-span"><b style="mso-bidi-font-weight: normal;"><span style="background-attachment: scroll; background-clip: border-box; background-image: none; background-origin: padding-box; background-position: 0% 0%; background-repeat: repeat; background-size: auto auto; font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">LOG IN TO ADD A COMMENT: USING SOCIAL NETWORKING WEBSITES
IN CAPTURING PUBLIC OPINION ON EDITORIAL CARTOON THEMES.</span></b></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span class="apple-style-span"><b style="mso-bidi-font-weight: normal;"><span style="background: #FBFBFB; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">By:<span style="mso-spacerun: yes;"> </span></span></b></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Jimoh, Ganiyu A.<span class="apple-style-span"><span style="background: #FBFBFB;"></span></span></span></b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span class="apple-style-span"><b style="mso-bidi-font-weight: normal;"><span style="background: #FBFBFB; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Being paper delivered at the 7<sup>th</sup> Annual
University of Lagos Research and Conference Fair, held between 19<sup>th</sup>
and 21<sup>st</sup> October, 2011</span></b></span></div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: x-small;"><span class="apple-style-span"><b><span style="background: none repeat scroll 0% 0% rgb(251, 251, 251); font-family: "Times New Roman","serif"; line-height: 115%;">ABSTRACT</span></b></span></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-size: x-small;"><span style="font-family: "Times New Roman","serif";">Cartoon is a
propaganda weapon that shapes public opinion and a challenge to the political
and social system.<span> </span>It has been
established that editorial cartoons affect public opinion and can be used to influence
the public on several societal issues. A good reference on this is the Prophet Mohammed
Cartoon crisis in 2005 which claimed more than three thousand lives across the
globe. </span></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-size: x-small;"><span style="font-family: "Times New Roman","serif";">Despite the
rhetorical nature of cartoons, it is difficult to capture the audiences’ view
on how each cartoon gradually build up their opinions before it leads to
collective actions or reactions.</span></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-size: x-small;"><span style="font-family: "Times New Roman","serif";">This research focuses
on the study of cartoon as a form of ‘visual rhetoric’ through the use of
social networking website as a medium of data collection. </span></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-size: x-small;"><span style="font-family: "Times New Roman","serif";">Cartoons that
address economic, historical, cultural and socio-political issues were uploaded
on Facebook (a Social Networking Website) between March 2008 and March 2012,
the audience were allowed to pass comments on the cartoons and the themes they
address.<span> </span>The comments/feedbacks were
downloaded and qualitatively analysed. </span></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-size: x-small;"><span style="font-family: "Times New Roman","serif";">It is discovered
that social networking websites play a significant role in capturing feedbacks
from the audience and getting their unbiased opinion. The research also shows
that cartoons reach wider audience through the internet and can easily affect public
opinion.</span></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-size: x-small;"><span style="font-family: "Times New Roman","serif";">It is
anticipated that this study will provide an avenue to capture feedbacks from
respondents as regards the study of cartoons. Also, editorial cartoonists can
utilise the internet as a platform of taking their ‘sensitive’ political
cartoons to the targeted audience and bypass the ‘bottleneck’ of having to be
endorsed by Newspaper editors before being published.</span></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-size: x-small;"><b><span style="font-family: "Times New Roman","serif";">Keywords</span></b><span style="font-family: "Times New Roman","serif";">:<span>
</span>Cartoons, Art and Politics, Cartoon and rhetoric, Cartoon and Public
Opinion, Cartoon and Facebook, Social Networking Site and cartoons.</span></span></div>
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><br clear="all" style="page-break-before: always;" />
</span>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">“<i style="mso-bidi-font-style: normal;">When common
or shared understanding of a phenomenon is under investigation, mass media
representation in general, and cartoon images in particular, are useful
reference materials for sociological, historical, or semantic research. Because
they represent what is said in the public arena, they might be superior to
polls, which can construct rather than report public opinion. Cartoons are a
legitimate, interesting, and engaging source of data.”</i></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 36.0pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">--------
Giarelli and Tulham, 2003</span></i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;"></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Introduction</span></b></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">Most
people, young and old, have some familiarities with cartoons, from comics and
graphic illustrations in books, to the ‘funnies’ and editorial cartoons found
in newspapers around the world. Cartoons can amuse, inform, educate, entertain
and have messages that provide current social commentary on the world around (Walker,
2003). </span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">The word ‘cartoon’ is derived from the Italian word
‘cartone’ meaning ‘paper’, the term was used by painters for preliminary
drawings on paper which were then transferred, either through tracing or
punching, on to a surface which may be a ceiling, a large canvas or a wall (</span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">Jegede, 1990: 2 and Adekanmbi, 1997: 7). In the
present usage, the word cartoon is used loosely to describe any drawing published
originally in a periodical that makes its own point, with or without a caption.
The uniqueness of a cartoon can be clearly distinguished from an illustration
or sketch, in that the cartoon strip or comic strip usually tells a story and
often appears in periodical publications, whereas an illustration simply
illuminates a scene or point accompanying an extended text in a publication.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgveqdv3HgH0mneR8SuwZMCIutPoQz6XYCntMCbF-JwQ2nZ1YpdowCSauJcTQewE416Eo8r_Zkp_in1SvENrDBpPWRcsnMr-ixnp3MTzhoayfYePwkxCB40k43aYJmtwpnVgY4Sbd9cyNw/s1600/vision+2020.jpg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgveqdv3HgH0mneR8SuwZMCIutPoQz6XYCntMCbF-JwQ2nZ1YpdowCSauJcTQewE416Eo8r_Zkp_in1SvENrDBpPWRcsnMr-ixnp3MTzhoayfYePwkxCB40k43aYJmtwpnVgY4Sbd9cyNw/s320/vision+2020.jpg.jpg" width="320" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">Editorial cartoon also called political cartoon<a href="http://www.blogger.com/blogger.g?blogID=981158321097495353#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-GB;">[i]</span></span></span></span></a>
is a type of cartoon that is satirical by nature, using humour to draw
attention to a significant socio-political issue and are usually featured on
the editorial page of newspapers (Jimoh, 2010). According to Agberia (1993: 10),
Editorial cartoons are designed to satirise current political matters and offer
subtle criticism cleverly coated with humour and satire. The common features of
such cartoons are a good grasp of current affairs, clearly identifying political
issues and problems that are local and international, deft craftsmanship and
skills in snappy graphic language (Olaniyan, 2000: 4).</span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">Editorial cartoons are important media for the
formation of public opinion on salient social issues (Everette, 1974; Vinson,
1967). They are seen as "both opinion-moulding and opinion-reflecting"
(Caswell, 2004; 14), and they provide subtle frameworks within which to examine
the life and political processes of a nation (DeSousa & Medhurst, 1982). </span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">On this note Abraham, (2009) posits that:</span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 36.0pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;"><span style="mso-spacerun: yes;"> </span></span><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; line-height: 150%; mso-fareast-language: EN-GB;">Cartoons are intended to transform otherwise complex and opaque social events
and situations into quick and easily readable depictions that facilitate
comprehension of the nature of social issues and events. In doing so, they
present society with visually palpable and hyper-ritualized depictions
(selectively exaggerated portions of 'reality') that attempt to reveal the
essence and meaning of social events.</span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">Consequently, </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">Cartoons are a
legitimate, interesting, and engaging source of data for sociological,
historical, or semantic research (</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;"> </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">Giarelli
and Tulham, 2003 ). </span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">This
paper examines editorial cartoons as a means through which public opinion could
be framed and also investigates effective channel of collecting these opinions.
It takes a cursory assessment of the functions of cartoons posited by cartoon scholars
and situates these in the context of cartoon as tool of visual rhetoric<a href="http://www.blogger.com/blogger.g?blogID=981158321097495353#_edn2" name="_ednref2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[ii]</span></span></span></span></a>.
</span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">The
internet is investigated as a platform of publishing editorial cartoons and the
researcher maintains that for the channel to be used effectively as a tool for
data collection the respondents must be made to react voluntarily and their
opinions, arguments and dialogue build gradually the way they would in
responding to daily events in reality<a href="http://www.blogger.com/blogger.g?blogID=981158321097495353#_edn3" name="_ednref3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[iii]</span></span></span></span></a>.
This criterion fosters on the use of social networking websites in opinion data
collection on cartoons and Facebook is found appropriate for this study. </span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">It
should however be noted that this research is not concerned about publishing
cartoons on the internet through personal websites, this to the researcher is
not effective in reaching out to large numbers of audiences and their responses
are also limited and selective<a href="http://www.blogger.com/blogger.g?blogID=981158321097495353#_edn4" name="_ednref4" style="mso-endnote-id: edn4;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[iv]</span></span></span></span></a>.
</span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;"><span style="mso-spacerun: yes;"> </span>In carrying out this research, 46 editorial cartoons
on social, economic and political state of the country (Nigeria) were uploaded
on Facebook over a four year period; 2008 to 2012. Comments from the
respondents were qualitatively analysed and situated in the context of the
themes of the cartoons and events in the country. </span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">It
is discovered that editorial cartoons have opinion moulding attributes and could
be investigated for rhetoric qualities. The gradual build-up of public opinions
on societal issues can be dissected and their consequent actions can also be
predicted. The channel through which the data were captured also proofed
effective in gathering public opinions. Through this channel, editorial
cartoonists could also reach more audiences and bypass editorial biases that
are rampant with traditional mode of publishing cartoons. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-language: EN-GB;">Functions of Editorial Cartoon</span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">DeSousa and Medhurst (1982) identify four main
functions of editorial cartoons: an entertainment function, which derives from
the ability of cartoons to make one laugh at situations and individuals:
secondly, an aggression-reduction function, which derives from the fact that
cartoons provide a symbolic avenue for the public to vent its frustrations
against social leaders: the third is an agenda- setting function, through
providing readers with a sense of the most salient issues and topics in
society; and the last, a framing function, the product of its spatial
limitation (its condensed nature) and therefore its need to distil complex
social issues into a single frame that captures the essence of an issue. The
authors contend, "The major function of cartoons for readers however, is
as a frame for encompassing complex issues and events" (1984; 205).</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">
</span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">Williams (1997) further concurs that “cartoons are
part of a mediated filtering system that helps construction and framing of
social reality”. The mass media have a major role in denning social issues
(Spector & Kitsuse, 1977; Best, 1995). Their representations constitute
ways of knowing, articulating, and interpreting different facets of our
environment, and thus ways of exerting knowledge and power in society (Fiske,
1996).<span style="mso-spacerun: yes;"> </span>Editorial cartoons, as an
integral part of the media, also play an important role in this process. While
they occupy a very limited space in the print media, they are considered as
playing a very important role in the editorial content of newspaper (Ursitti
& Nordin, 1995).</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-language: EN-GB;">Editorial Cartoon and
Public Opinion</span></b></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">Coupe (1969; 82) argues that, "like all
journalists, the cartoonist is concerned with the creation and manipulation of
public opinion." Cartoons are considered social and political commentary
(Pieper & Clear, 1995) and provide a safe avenue for expressing opinions
(Conners, 1995). They are journalistic visual commentary designed to influence
readers in particular ways. While news reporters, emphasising professional
goals of value neutrality and objectivity, strive to create reports, the
content of which are "deliberately void of meaningful interpretations of
events" (Streicher, 1967:439), cartoonists are free to choose sides. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">Caswell (2004:15) sees cartoons as "rhetorical
devices, persuasive communication analogous to print editorials and op-ed
columns that are intended to influence readers."</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">Cartoons, therefore, reveal themselves as more
explicitly political and constructed rather than as attempts at objective
renditions of social events. The cartoonist or caricaturist as an image
constructor has the goal of purposefully condensing often very complex meanings
"into a single configuration, a striking image" (Streicher, 1967; 434).
Within a much abbreviated amount of space, they interpret nations, figures and
events (Streicher; 438).</span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqlSF1bXvtPZkBA5W4n05zH4n0dIGSYDRcT0RG5ureUzOAehFiKcve7DS1rGgssIA8AHV5pARN2bhhDGe_zlHLfBFD3aH87sha4ejnCjG_wZam6-yxS0sdw9SPQVjKLbgr0GR7tAfo3TI/s1600/EKOGAME.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqlSF1bXvtPZkBA5W4n05zH4n0dIGSYDRcT0RG5ureUzOAehFiKcve7DS1rGgssIA8AHV5pARN2bhhDGe_zlHLfBFD3aH87sha4ejnCjG_wZam6-yxS0sdw9SPQVjKLbgr0GR7tAfo3TI/s320/EKOGAME.jpg" width="320" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;"> However, Creenberg (2002; 181) notes that,
"Sociologists normally dismiss their ideological import on the grounds
that cartoons simply offer newsreaders absurd accounts of putative 'problem'
conditions and are not likely to be taken seriously." But at the core of
the slight and criticism is a consideration of the effectiveness of cartoons as
a medium for orienting the public's understanding of social issues. For
example, Robert Meadows contends: As elements of the popular culture they are
the most explicitly political. But to the extent they offer only a passing
chuckle rather than a deep reflection on government, political cartoons and
comics offer limited political significance compared to other elements of the
popular culture (1980/2003, cited in DeSousa & Medhurst, 1982; 85). </span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">On the other hand, when E. H. Gombrich (1985; 130)
contends that "the cartoon is the heir to the symbolic art of the Middle
Ages ... when the didactic image was intended by the Church to teach the
illiterate layman the sacred word," he expresses a sentiment that runs
counter to those expressed by Meadows<a href="http://www.blogger.com/blogger.g?blogID=981158321097495353#_edn5" name="_ednref5" style="mso-endnote-id: edn5;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-GB;">[v]</span></span></span></span></a>.
He suggests that cartoons are often ignored as a viable tool of opinion
moulding because many sociologists are "quite happy to leave these
puzzling and ugly images to the historian who may know how to un-riddle their
recondite allusions to long-forgotten issues and events" (1985; 127). </span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">This suggests levels of complexity that may mask
the "deep reflection" that cartoons are capable of offering on social
issues. It is in the nature of cartoons to be complex. They are intended to
condense and reduce complex issues into a single, memorable image often ‘pregnant’
with deeply embedded meanings. As Gombrich notes, cartoons fuse disparate
elements that "results in an unfamiliar and weird configuration which may
hide a lot of sense" (Gombrich, 1985: 130). </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">To agree with Abraham (2009) assertion, “It would seem
that the problem with cartoons is not so much the "lack of deep
reflection," but rather how to "un-riddle" the "deep
reflection" they may bide. One would not argue with Meadows' assertion
that cartoons offer "chuckles"; they are intended to be humorous, and
they often make one laugh. But their humorous appeal often derives from an
appreciation and deconstruction of complexity: "It is in this condensation
of a complex idea in one striking and memorable image that one finds the
continued appeal of this great cartoon.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">In
this light, Diamond (2002) argues that “as political symbols, editorial
cartoons employ a range of potential rhetorical tools to define actors and
processes of political and societal culture. Although caricature is one of
these tools, one that is often directed at the powerful, cartoonists may employ
metaphors, narratives, and other devices to create imagined worlds inhabited by
other characters in the political scene (Edwards, 1997). These imagined worlds
transcend the function of entertainment. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">Although
editorial cartoons may delight and entertain, more importantly, they tap into
the process of creating what might be termed a <i>national imaginary</i>, or <i>fantasia</i>,
that substitutes “thinkability” for reason in peoples’ means of organising
information (Edwards, 2001). As a result, editorial cartoons condense the
meaning of events, personas, and actions into tableaus that provide “thinkability”.
Cartoonists define political realities by creating a political world inhabited
by the imagined words and actions of real people and representative characters,
and these commentators invite us to participate in the “thinkability” of their tableaus.
</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">The J<i>yllands-Posten </i>Muhammad cartoons
controversy demonstrates the power of editorial cartoons to affect public
opinion<a href="http://www.blogger.com/blogger.g?blogID=981158321097495353#_edn6" name="_ednref6" style="mso-endnote-id: edn6;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-GB;">[vi]</span></span></span></span></a>.
</span></div>
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<span style="font-family: "Times-Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-bidi-font-family: Times-Roman;">The rhetorical devices used in political
cartoons can be used to define social groups (Greenberg, 2002); convey values,
attitudes, and beliefs (Cahn, 1984); and reveal “the interrelationships of
people, events, and power” (DeSousa & Medhurst, 84). This last, according
to DeSousa & Medhurst, is the primary sociological function of the
political cartoon, which is essentially “a culture-creating, culture-maintaining,
and culture-identifying artifact” (84).</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Statement of the problems</span></b></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">Despite the perception that cartoons constitute an
important medium for framing social issues, they are often dismissed on the
grounds of political absurdity and ideological insignificance (Abraham, 2009).
E. H. Gombrich, in his 1985 article "The Cartoonist's Armory,"
commented on the extent to which political cartoons have been slighted as an
important medium to be studied.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">It is agreed that how a story is framed has the great
potential of determining how effectively the message communicates its meanings
(Entman, 1993), Greenberg (2000; 2002), discussing the media's role in the
construction of social issues, notes that "different modes of news
discourse (e,g, 'hard' as opposed to 'opinion' news) solicit different kinds of
attitudinal or behavioural 'effects'" from audiences. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">Research
on the effect of political cartoons on public opinion is incomplete and inconclusive.
Few scholars have studied the extent to which readers’ opinions are influenced
by the views expressed by cartoonists (or vice versa). While at least one small-scale
study suggested that editorial cartoons could cause opinion change (Brinkman,
1968), others (Carl 1968, 1970) discovered that readers seldom received the meaning
that the cartoonist was attempting to express. It seems that interpretation of cartoons
can be rather subjective.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">However,
this apparent disconnect between message and reception -- though it requires
far more scholarly research to be confirmed or denied -- does not necessarily make
cartoons insignificant rather the lack of effective tool of retrieving<span style="mso-spacerun: yes;"> </span>instantaneous<span style="mso-spacerun: yes;">
</span>audiences’ feedbacks poses the major obstacle. Because most
editorial/political cartoons respond to current events that affects the
audience at that particular moment, it is logically and psychologically
pertinent to get their opinion at the particular moment as well, not after.</span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;"><span style="mso-spacerun: yes;"> </span>As Walker (2003) notes,</span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 36.0pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; line-height: 150%;"><span style="mso-spacerun: yes;"> </span>…cartoons are ‘inscriptions’ of a moment in
time which is best understood during the same period in time illustrated by the
cartoon. The more time passes, the more likely that the cartoon will be
understood differently than when it first appeared. On the one hand, the
cartoon has an immediate sociological resonance by providing a representation
of “now”….the temporal nature of cartoons, therefor, is also limiting to their
longevity, a fact which has led to the underestimation of the power of the
political cartoon</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">Most
traditional tools of gathering opinions on editorial cartoons are not only
limiting because they lack the means of capturing the<span style="mso-spacerun: yes;"> </span>‘instantaneity’<span style="mso-spacerun: yes;"> </span>of<span style="mso-spacerun: yes;"> </span>the
temporal nature of<span style="mso-spacerun: yes;"> </span>not only the cartoons
as observed by Walker, but also the<span style="mso-spacerun: yes;">
</span>interactions between the<span style="mso-spacerun: yes;"> </span>cartoons
and the audience as determined by the event of the moment. </span></div>
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<br /></div>
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<span style="font-family: "Times-Roman","serif"; font-size: 12.0pt; mso-bidi-font-family: Times-Roman;"> </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Purpose of the study</span></b></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The purposes of
this study are to:</span></div>
<ul style="margin-top: 0cm;" type="disc">
<li class="MsoNormal" style="line-height: normal; mso-list: l2 level1 lfo1; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>explore social networking websites as a
channel through which public opinion on editorial cartoon themes could be
captured.</span></li>
<li class="MsoNormal" style="line-height: normal; mso-list: l2 level1 lfo1; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>establish the rhetorical nature of editorial
cartoons.</span></li>
<li class="MsoNormal" style="line-height: normal; mso-list: l2 level1 lfo1; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">investigate
how the public dissect, digest and react to events that are being
re-enacted in cartoon illustrations.</span></li>
</ul>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Research questions</span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times-Roman","serif"; font-size: 12.0pt; mso-bidi-font-family: Times-Roman; mso-fareast-language: EN-GB;">Based on the existing literature, the
specific research questions devised for exploration in this study are as
follows:</span></div>
<ul style="margin-top: 0cm;" type="disc">
<li class="MsoNormal" style="line-height: normal; mso-list: l1 level1 lfo2; text-align: justify;"><span style="font-family: "Times-Roman","serif"; font-size: 12.0pt; mso-bidi-font-family: Times-Roman; mso-fareast-language: EN-GB;">do editorial
cartoons influence public opinion?</span></li>
<li class="MsoNormal" style="line-height: normal; mso-list: l1 level1 lfo2; text-align: justify;"><span style="font-family: "Times-Roman","serif"; font-size: 12.0pt; mso-bidi-font-family: Times-Roman; mso-fareast-language: EN-GB;">could public
opinion on editorial cartoons be captured instantaneously?</span></li>
<li class="MsoNormal" style="line-height: normal; mso-list: l1 level1 lfo2; text-align: justify;"><span style="font-family: "Times-Roman","serif"; font-size: 12.0pt; mso-bidi-font-family: Times-Roman; mso-fareast-language: EN-GB;">Is social
networking website a viable means of publishing editorial cartoons? </span></li>
</ul>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Significance of the study</span></b></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">This
study is significant not only in cartoon scholarship but also in the study that
requires capturing respondents’ feedbacks using the ‘real time’ social
networking websites. Researchers (like Polvika 1988, Clarke 1999, Warburton and
Saunders, 1996 etc.) have established the use of cartoons in other professions
like medicine, economics and teaching. Devising appropriate means of collecting
respondents’ moods on these data which this research focuses on is vital in
carrying out scholarly investigation in those fields because capturing relevant
public opinions on cartoon themes has always been a setback due to the use of conventional
methods of survey research. </span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;"><span style="mso-spacerun: yes;"> </span>Also, this research, investigates new
channels of cartoon publishing for the editorial cartoonists. Most cartoonists
in the contemporary period are restricted through editorial censorship to
publish their objective commentary on the state of the polity in their societies.
</span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Methodology</span></b></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">In
carrying out this research, forty six editorial cartoons addressing different
societal issues were uploaded on the internet between a four-year periods ( <a href="http://www.facebook.com/media/set/?set=a.395710718882.172771.598628882&type=3" target="_blank">click here to see the cartoons and comments</a> ). This
period (March 2008 to March 2012) witnessed several topical issues in the
country; the ailment and eventual death of the late President Umar Yardua, the
politics of Presidential race, the Boko Haram saga, Petrol Subsidy removal etc.
</span></div>
<div class="MsoNormal" style="line-height: 150%; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;"><span style="mso-spacerun: yes;"> </span>This research employs the use of Facebook
social networking website as a platform of publishing the editorial cartoons. The
choice of Facebook is found appropriate for this investigation because it is
one of the social networking sites with the highest numbers of users. Launched
in February 2004 by <span style="mso-bidi-font-weight: bold;">Mark Zuckerberg </span>and
his college roommates, Facebook has more than 900 million active users as at
April 2012<a href="http://www.blogger.com/blogger.g?blogID=981158321097495353#_edn7" name="_ednref7" style="mso-endnote-id: edn7;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[vii]</span></span></span></span></a>.
The site does not only allow user interactions on images posted on the site, it
also allows maximum of 5,000 friends to be added on one’s friends list and
friends of friends can also<span style="mso-spacerun: yes;"> </span>pass their
comments on uploaded images. Users must register before using the site, after
which they may create a <a href="http://en.wikipedia.org/wiki/User_profile" title="User profile">personal profile</a>, add other users as <a href="http://en.wikipedia.org/wiki/Friending" title="Friending">friends</a>, and
exchange messages, including automatic notifications when they update their
profile. </span></div>
<div class="MsoNormal" style="line-height: 150%; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">Additionally, users may join
common-interest user groups, organised by workplace, school or college, or
other characteristics. With its availability on many mobile devices, Facebook
allows users to continuously stay in touch with friends, relatives and other
acquaintances wherever they are in the world, as long as there is access to the
Internet. These make the website suitable for this investigation.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">The cartoons were uploaded and users were
allowed to add comments spontaneously. Over 1879 comments were generated over
this period of time with each cartoon generating an average of thirty
feedbacks. These were captured and downloaded through screen shot software;
snipping tool<a href="http://www.blogger.com/blogger.g?blogID=981158321097495353#_edn8" name="_ednref8" style="mso-endnote-id: edn8;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[viii]</span></span></span></span></a></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;"><span style="mso-spacerun: yes;"> </span>A qualitative document analysis of the cartoons
and feedbacks were carried out. Qualitative content and document analysis is a
useful tool for the study of cartoons and other visual texts because it enables
researchers to discover, compare and contrast ‘relevant situations, settings,
styles, images, meanings and nuances’ (Altheide, 1987: 8).<span style="mso-spacerun: yes;"> </span>For this study, a protocol based on
Altheide’s (1996) qualitative document analysis was developed. The unit of
analysis was the cartoon. The following items were coded: the theme of each
cartoon, captions and written texts, type of cartoon (single-panel or comic
strip), the date of publication and the audiences’ comments. </span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Result</span></b></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">This
study indicates that the audience understanding of the thematic cluster of an
editorial cartoon depends largely on their familiarity with the event which is
being presented by the cartoonist<a href="http://www.blogger.com/blogger.g?blogID=981158321097495353#_edn9" name="_ednref9" style="mso-endnote-id: edn9;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[ix]</span></span></span></span></a>.
Though most respondents find all the cartoons amusing, they nevertheless,
through their dialogue made some decisive views on the state of the
social-political realities in the society<a href="http://www.blogger.com/blogger.g?blogID=981158321097495353#_edn10" name="_ednref10" style="mso-endnote-id: edn10;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[x]</span></span></span></span></a>.
Their feedbacks reinforced the functions of editorial cartoon as posit by<span style="mso-spacerun: yes;"> </span></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">DeSousa and Medhurst (1982); as entertainment, aggression-reduction , an
agenda- setting and <span style="mso-spacerun: yes;"> </span>as a frame for
encompassing complex issues and events" (205).</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">
</span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">The investigation also shows that opinion of the
public can be measured accurately and instantaneously on cartoon themes without
editorial censorship barrier that are the bane of conventional approach in
cartoon and audience opinion research. The cartoons were published on the
internet objectively without any media screening and the respondents added
their comments freely in response to the realities of their society. </span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">This study has established that:</span></div>
<ul style="margin-top: 0cm;" type="disc">
<li class="MsoNormal" style="line-height: 150%; mso-list: l0 level1 lfo3; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">Editorial
cartoons can influence public opinion and could be regarded as a form of
visual rhetoric. </span></li>
<li class="MsoNormal" style="line-height: 150%; mso-list: l0 level1 lfo3; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">Public
opinions can be captured instantaneously and analysed accurately through
the use of social networking website.</span></li>
</ul>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Conclusion</span></b></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">This study which investigates the process of
capturing public opinion on editorial cartoon themes shows that cartoons are
viable tools of propaganda and can highly influence what the public perceive
about a phenomenon. It argues that for captured opinions to be valid they must
be captured instantaneously and the platform to be used must allow natural
‘build-up’ of conversation. </span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">The research finds social networking websites
appropriate for carrying out opinion research and also discovered that they
serve as a great platform for publishing cartoons. </span></div>
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-GB;"><br clear="all" style="page-break-before: always;" />
</span>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%; mso-fareast-language: EN-GB;">Notes</span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;"></span></b></div>
<div style="mso-element: endnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="edn1" style="mso-element: endnote;">
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<a href="http://www.blogger.com/blogger.g?blogID=981158321097495353#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[i]</span></span></span></span></a> <span style="font-family: "Cambria","serif"; font-size: 10.0pt;">The words “editorial
cartoon” and “political cartoon” have the same connotations and many studies
including</span><span style="font-family: "Cambria","serif"; font-size: 10.0pt; mso-fareast-language: EN-GB;"> this one use the terms interchangeably. </span><span style="font-family: "Cambria","serif";"></span></div>
</div>
<div id="edn2" style="mso-element: endnote;">
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<a href="http://www.blogger.com/blogger.g?blogID=981158321097495353#_ednref2" name="_edn2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[ii]</span></span></span></span></a> <span style="font-family: "Cambria","serif"; font-size: 10.0pt; mso-bidi-font-family: Calibri;">Though it is observed through the review of relevant literatures on
cartoon scholarship that the effectiveness of editorial cartoons as a viable
tool of opinion moulding is contestable, this study<span style="mso-spacerun: yes;"> </span>however argues that it is the means of
primary data collection that undermines the study and not the data itself</span><span style="font-family: "Cambria","serif"; font-size: 10.0pt;">.</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span></div>
</div>
<div id="edn3" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=981158321097495353#_ednref3" name="_edn3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[iii]</span></span></span></span></a>
<span style="font-family: "Cambria","serif";">See appendix ( screen shots of the
captured comments )</span></div>
</div>
<div id="edn4" style="mso-element: endnote;">
<div class="MsoEndnoteText" style="line-height: normal;">
<a href="http://www.blogger.com/blogger.g?blogID=981158321097495353#_ednref4" name="_edn4" style="mso-endnote-id: edn4;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[iv]</span></span></span></span></a> <span style="font-family: "Cambria","serif";">Several websites and blogs (like wonkie.com,
artwriteups.com, caglepost.com, zapiro.com, ziba.oldiblog.com etc.) where
cartoonists publish their works exist. These websites are limited in reaching
wider audience. Though some sites like caglepost.com and wonkie.com expand
their coverage by providing service of sending cartoon via emails for free, it
does not ensure adequate interactivity on the cartoons the way it would on a
social networking websites.</span> </div>
</div>
<div id="edn5" style="mso-element: endnote;">
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<a href="http://www.blogger.com/blogger.g?blogID=981158321097495353#_ednref5" name="_edn5" style="mso-endnote-id: edn5;" title=""><span class="MsoEndnoteReference"><span style="font-size: 9.0pt;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 9.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[v]</span></span></span></span></span></a><span style="font-size: 9.0pt;"> </span><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">For
extensive arguments on cartoons and opinion framing see </span><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; mso-bidi-font-weight: bold; mso-fareast-language: EN-GB;">Effectiveness of Cartoons as a Uniquely Visual
Medium for Orienting Social Issues</span><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> by Linus Abrham</span><span style="font-size: 9.0pt;"></span></div>
</div>
<div id="edn6" style="mso-element: endnote;">
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;">
<a href="http://www.blogger.com/blogger.g?blogID=981158321097495353#_ednref6" name="_edn6" style="mso-endnote-id: edn6;" title=""><span class="MsoEndnoteReference"><span style="font-size: 9.0pt;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 9.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[vi]</span></span></span></span></span></a><span style="font-size: 9.0pt;"> </span><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; mso-fareast-language: EN-GB;">In 2005, over 3000 people were killed across the
globe<span style="mso-spacerun: yes;"> </span>during a religious riot fuelled by
a Danish editorial cartoon publication which satirized the Islamic religion
leader, Mohammed (S.A.W ). </span><span style="font-size: 10.0pt;"></span></div>
</div>
<div id="edn7" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=981158321097495353#_ednref7" name="_edn7" style="mso-endnote-id: edn7;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[vii]</span></span></span></span></a>
<span style="font-family: "Cambria","serif";">http://en.wikipedia.org/wiki/Facebook</span></div>
</div>
<div id="edn8" style="mso-element: endnote;">
<div class="MsoEndnoteText" style="line-height: normal;">
<a href="http://www.blogger.com/blogger.g?blogID=981158321097495353#_ednref8" name="_edn8" style="mso-endnote-id: edn8;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[viii]</span></span></span></span></a> A
software embedded in Microsoft Windows7 and later, that allows screen contents
to be captured and downloaded as a photograph. </div>
</div>
<div id="edn9" style="mso-element: endnote;">
<div class="MsoEndnoteText" style="line-height: normal;">
<a href="http://www.blogger.com/blogger.g?blogID=981158321097495353#_ednref9" name="_edn9" style="mso-endnote-id: edn9;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[ix]</span></span></span></span></a> See
appendix, ( comments )</div>
</div>
<div id="edn10" style="mso-element: endnote;">
<div class="MsoEndnoteText" style="line-height: normal;">
<a href="http://www.blogger.com/blogger.g?blogID=981158321097495353#_ednref10" name="_edn10" style="mso-endnote-id: edn10;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[x]</span></span></span></span></a> See
appendix </div>
</div>
</div>
</div>
Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com196tag:blogger.com,1999:blog-981158321097495353.post-35804266671912471162012-11-10T11:47:00.000-08:002012-11-13T17:44:21.101-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: center;">
<strong><span style="background-color: white; color: #7f6000; font-size: large;">50 @ 50 : Visual Arts Exhibition in Commemoration of 50th </span></strong></div>
<div style="text-align: center;">
<strong><span style="background-color: white; color: #7f6000; font-size: large;">Anniverssary of University of Lagos</span></strong></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW8ssPEj3FasCCDU5Ixhih06cIWgh32xHRPJu9ZXKhRxi-BawezOioXneBHtxqKYOeCBqw0zzh0axTOkpe-VQwiiWotQgrhmVVPcn30_J3hP10fFtYdFH20Lwtna60V36tZp55Y6c9Xns/s1600/IMG_1859.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW8ssPEj3FasCCDU5Ixhih06cIWgh32xHRPJu9ZXKhRxi-BawezOioXneBHtxqKYOeCBqw0zzh0axTOkpe-VQwiiWotQgrhmVVPcn30_J3hP10fFtYdFH20Lwtna60V36tZp55Y6c9Xns/s320/IMG_1859.JPG" width="320" /></a></div>
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<span style="font-family: Calibri;">The Visual Arts Unit, Department
of Creative Arts celebrated <a href="http://www.unilag.edu.ng/" target="_blank">UNILAG</a> at 50 with the exhibition of highly creative
fifty art works. The exhibition which was declared open by the Vice Chancellor,
Prof. Rahmon Bello played host to the University community and guests from
outside. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYChpAw-8UPFPOKIcR24wpr7NxAMinL1rIek04J-TyyhrLo1Rlh8qZJVsiV8JLj04-cvq-umfjFcVN2VzbFZfFi7u2pRqPvc_8RmnBmPIp7OrF1L_Uq7aRbu6RyXyQeTfjbo1ZAJlaLoA/s1600/IMG_1675.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYChpAw-8UPFPOKIcR24wpr7NxAMinL1rIek04J-TyyhrLo1Rlh8qZJVsiV8JLj04-cvq-umfjFcVN2VzbFZfFi7u2pRqPvc_8RmnBmPIp7OrF1L_Uq7aRbu6RyXyQeTfjbo1ZAJlaLoA/s320/IMG_1675.JPG" width="320" /></a></div>
<span style="font-size: xx-small;">VC and his entourage being welcome by the H.O.D of Creative Arts, Prof. A.V.E Mereni </span><br />
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<span style="font-family: Calibri;">According to the Head of Visual
Unit, Mrs P.U Ofuafo, the commemorative exhibition is significant in two major
ways. First, it marks the golden anniversary of the founding of the great institution;
it also highlights the accelerated growth and maturity of the Visual Arts
section of the Department. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSIHNbCPSGxHNbyuH69xo6_hBd0OM7T7eJqdiovIgC3jZGrJTUZMePAfuYt7f6s1eN7IfbHeVgBdM3Lvk_KtEeICAd7Ee-hgzacw5CvRRKsrxenetdpLI0Af8Yrli8I3q_zXUf2j5Cu3Q/s1600/IMG_1676.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSIHNbCPSGxHNbyuH69xo6_hBd0OM7T7eJqdiovIgC3jZGrJTUZMePAfuYt7f6s1eN7IfbHeVgBdM3Lvk_KtEeICAd7Ee-hgzacw5CvRRKsrxenetdpLI0Af8Yrli8I3q_zXUf2j5Cu3Q/s320/IMG_1676.JPG" width="320" /></a></div>
<span style="font-size: xx-small;"> The Vice Chancellor Prof. Rahmon Adisa Bello cutting the ribbon to declare the exhibition open</span><br />
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<span style="font-size: xx-small;"> The Visitors being conveyed round the exhibition venue by Mr Bolaji Ogunwo</span> <br />
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<span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>The artworks on display include paintings,
drawings, bead works, sculptures, ceramics, textile, metal work, graphics etc. <span style="mso-spacerun: yes;"> </span>In is opening speech, the Vice Chancellor,
congratulated the department for her giant stride in achieving great milestone
within short period of establishment.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-size: xx-small;"> VC, with one of the fifty artworks </span><br />
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<span style="font-size: xx-small;"> The portrait of former Pro-Chancellor, Prof. Afe Babalola being presented by the Head of Unit to the University Council</span><br />
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<span style="font-size: xx-small;"> Pupils of Unilag Staff School with the VC at the exhibition </span><br />
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<span style="font-size: small;"><span style="font-family: Calibri;">Department of Creative Arts was
established in 1997 from the Centre for Cultural Studies to run B.A programme
in Music, Theatre and Visual Arts. Since then, the department has been forging
ahead in all the aspects of creativity and is becoming a great force to be reckoned
with in Nigeria and the worlds at large. Several awards both local and
international have been won by the students and staff of the department. <span style="mso-spacerun: yes;"> </span>The department has engaged great Nigerian and
International contemporary artists and scholars like Yinka Shonibare, Brett
Cook, Mufu<span style="mso-spacerun: yes;"> </span>Onifade, Bisi Silva, Nike
Okundaye, Dele Jegede among others <span style="mso-spacerun: yes;"> </span>in seminars
and workshops which have contributed immensely to academic and professional growth of the
students. <o:p></o:p></span></span></div>
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<span style="color: #cc0000; font-size: large;"><strong>Some of the Works on Display</strong></span><br />
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Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com4tag:blogger.com,1999:blog-981158321097495353.post-80013380534741066072012-10-17T17:35:00.001-07:002012-10-18T04:16:21.604-07:00Collaborative Workshop<div dir="ltr" style="text-align: left;" trbidi="on">
SMART Power Workshop at University of Lagos by Brett Cook<br />
<span class="yiv2061228514yui320191303711154584228"><span lang="EN-US" style="color: black;"> </span></span><br />
<span class="yiv2061228514yui320191303711154584228"><span lang="EN-US" style="color: black;">The collaborative workshop session for the second art entrepreneurship workshop for professional artists and students of tertiary institutions by the
Department of Creative Arts, University of Lagos was held in two separate periods
from 13-18 April and 7-12 June 2012.
This year, the department hosted a guest artist in the first series of collaborative
workshop sessions involving photography, writing and drawing anchored by</span></span><span class="yiv2061228514yui320191303711154584236"><span lang="EN-US" style="color: black;">
<a href="http://www.brett-cook.com/www.brett-cook.com/Brett_Cook.html" target="_blank">Brett Cook</a>, </span></span><span id="yui_3_7_2_1_1350514820501_6065" lang="EN-US">a
well-established African-American artist from Berkeley, California. Cook has carried out numerous public projects
in the US, the Caribbean, and Mexico. His prized collections can be found in
the Smithsonian Institute’s National Portrait Gallery in Washington DC, Studio Museum
of Harlem in New York and Harvard University. </span><br />
<div class="yiv2061228514MsoNormal" id="yui_3_7_2_1_1350514820501_6067" style="text-align: justify; text-indent: 4.5pt;">
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<div class="yiv2061228514MsoNormal" id="yui_3_7_2_1_1350514820501_6067" style="text-align: justify; text-indent: 4.5pt;">
<span id="yui_3_7_2_1_1350514820501_6065" lang="EN-US">He is a recipient of the
<a href="http://exchanges.state.gov/cultural/smartpower.html" target="_blank">smARTpower</a> residency in Nigeria funded by the US Department of State. Cook shared his work with interested participants and also conducted these
workshops in tune with his conceived project for Nigeria titled Sharing Culture
at the workshop and in subsequent spaces under the joint partnership of the
<a href="http://www.bronxmuseum.org/" target="_blank">Bronx Museum of Arts</a>, USA and the <a href="http://www.wyartfoundation.org/" target="_blank">Women and Youth Art Foundation</a>, Nigeria. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPv4qPZ-n2RbleZHlMci5hhvgCFIBatoEhyHOePJ_542T6EnUVo2-ScJ4hR_B6xlMCyRy5tHcYRGPxbo2U6xqDsEX8vWFXIWTGcKTpn5IJTbFxEG08bVu6O2qVxKQTD55C9zITZAKLfsM/s1600/IMG_5666.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPv4qPZ-n2RbleZHlMci5hhvgCFIBatoEhyHOePJ_542T6EnUVo2-ScJ4hR_B6xlMCyRy5tHcYRGPxbo2U6xqDsEX8vWFXIWTGcKTpn5IJTbFxEG08bVu6O2qVxKQTD55C9zITZAKLfsM/s320/IMG_5666.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the participant at the workshop</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdCTElNy9NflV4GXaLrUynMGCPPJlrvPGPt5cTMjhnvlaUwuewoU4kG7nxJvIKyl2Vp22SLv04ehJCLkcjH3tyOX_cy1Eja-q6aytZ7eewsD_dEMIO6nI48SUPRf-zBBkkaGOh_qEi87U/s1600/IMG_5627.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdCTElNy9NflV4GXaLrUynMGCPPJlrvPGPt5cTMjhnvlaUwuewoU4kG7nxJvIKyl2Vp22SLv04ehJCLkcjH3tyOX_cy1Eja-q6aytZ7eewsD_dEMIO6nI48SUPRf-zBBkkaGOh_qEi87U/s320/IMG_5627.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the participants, Mr Olu Okekanye and Jimoh Ganiyu sharing their views about the workshop with <a href="http://www.theartleague.org/content/jan2010_stafford">Kathleen Starfford</a> </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Kathleen appreciating one of the collaborative artworks</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Brett Cook with the participants</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBhXQ7oOVsA_nyzsbrj378JbnENM_QyxMikotCMTgJLnRyzprHpzNo6TLjl4MXC4-aW_dqTn9q19wbZFQ7oWTy4jA_3hmDM6wpIFMZolQKBMQyFOTeZ_PeB-73hDcXoj1-Q1G7KftGwN8/s1600/IMG_5672.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBhXQ7oOVsA_nyzsbrj378JbnENM_QyxMikotCMTgJLnRyzprHpzNo6TLjl4MXC4-aW_dqTn9q19wbZFQ7oWTy4jA_3hmDM6wpIFMZolQKBMQyFOTeZ_PeB-73hDcXoj1-Q1G7KftGwN8/s320/IMG_5672.JPG" width="320" /> </a></td><td style="text-align: center;"></td><td style="text-align: center;"></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Director, <a href="http://www.wyartfoundation.org/" target="_blank">WYART Foundation</a> Dr. Peju Layiwola and one of the participants</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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The workshop focused on the spirit of oneness, togetherness and interconnectedness to achieve communal goals. To most of the participants it is more than just an art workshop. It was an opportunity to learn the essence of recognizing the prowess in unifying individual skills for greater achievement in human existence.<br />
thumbs up Brett! <br />
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Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com0tag:blogger.com,1999:blog-981158321097495353.post-3794491713458800492012-10-17T15:54:00.000-07:002012-10-18T05:06:49.145-07:00Community Art Work Project By University of Lagos ( ECE ) Students<div dir="ltr" style="text-align: left;" trbidi="on">
<b>Community Art Work Project By University of Lagos ( ECE ) Students</b><br />
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<b>Introduction</b></div>
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In order to facilitate proper learning in Early Childhood Education, and as it is believed that children learn faster with colours and images. Art Appreciation course was introduced to the curriculum of Early Childhood Education cohort in the Department of Arts and Social Sciences Education, Faculty of Arts, University of Lagos. These will not only enhance the expressive skills of the future educators but will also facilitate seamless information dissemination through artistic means as visual aids.</div>
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These led to the creation of community based projects that could be used to engage children creatively even without detailed knowledge of art.</div>
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These art works were produced on March 22, 2011 as part of the requirement for the course Art Appreciation for non-art students in the Faculty of Education. The projects as said earlier were produced with the intention of teaching the future early childhood educators basic artistic skill to aid their teaching skills. Majority of these students had no art background and could barely combine colours aesthetically. </div>
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The workshop by Jimoh, Ganiyu A ( Mr. Jimga ) was carried out withing three weeks of intensive practical and theoretical training on the basic elements and principles of design, colour theory and symbolism, signs and symbols. At the end of the training the students were divided into three groups of 40 members each. The groups were given freedom to brain storm on the concept of the design for the group projects. Eventually, they came up with three different creatively inspiring artworks.</div>
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<b>The workshop</b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv_cnLPEnujimLip3xmlwy__hNqZ0ooWz-v7i4OzVDiTGqVC_yldppvLwTHRQKtVXBzkZDSzO63aqBSHMwVLW2oChTLjdlA3A_hGBiBxPa3YVoJ46n4YLduOu80qgwydWtw39eay0kxHQ/s1600/IMG_4805.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv_cnLPEnujimLip3xmlwy__hNqZ0ooWz-v7i4OzVDiTGqVC_yldppvLwTHRQKtVXBzkZDSzO63aqBSHMwVLW2oChTLjdlA3A_hGBiBxPa3YVoJ46n4YLduOu80qgwydWtw39eay0kxHQ/s320/IMG_4805.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">one of the students ( Elizabeth), painting her palm for palm printing group</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq_cg5p_SZR-NO8EExIt31-CqnHlmoRRtSNFpjMSSvWXXDKwFhJ0mipXQZHX1mM5k6NqNR8E44flEkjejPHKczr4VjH_Btk_8zNsJTPVmCX5yo5C8RKRqbZNwFCVP8AtiZsYhzfmUapnY/s1600/IMG_4801.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq_cg5p_SZR-NO8EExIt31-CqnHlmoRRtSNFpjMSSvWXXDKwFhJ0mipXQZHX1mM5k6NqNR8E44flEkjejPHKczr4VjH_Btk_8zNsJTPVmCX5yo5C8RKRqbZNwFCVP8AtiZsYhzfmUapnY/s320/IMG_4801.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">students printing their palms on the canvas</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM_VoZcbBSFR4JpV5Sz0ShHn-ZGron1M7-1LrXPgNHN5uhCmgtIDSDc1XhXKUHHouvRoFj2bWDMTIbasEpJkZEFTg5AOyMbHEA1erYxVdLk4YNFRqveaFu-bG_szyZlRwDY1fN98R7BGI/s1600/IMG_4893.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM_VoZcbBSFR4JpV5Sz0ShHn-ZGron1M7-1LrXPgNHN5uhCmgtIDSDc1XhXKUHHouvRoFj2bWDMTIbasEpJkZEFTg5AOyMbHEA1erYxVdLk4YNFRqveaFu-bG_szyZlRwDY1fN98R7BGI/s320/IMG_4893.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">one of the palm printing group members showing off her colours</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8r8Zbv06iM1riGOyCAbPyrSjRmAIMQGQOwYAvmu5smH_Xa-hShjT5Hdo1XRk2yC8BJ2a3nWz1gIY0TgnMklBusf3oo5VsOBtmPVYtbxuOfXQrvCqtKaBb2ZZBBglqjfylBWJs5tAOYZs/s1600/IMG_4832.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8r8Zbv06iM1riGOyCAbPyrSjRmAIMQGQOwYAvmu5smH_Xa-hShjT5Hdo1XRk2yC8BJ2a3nWz1gIY0TgnMklBusf3oo5VsOBtmPVYtbxuOfXQrvCqtKaBb2ZZBBglqjfylBWJs5tAOYZs/s320/IMG_4832.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">creating the design ( mind eye )</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0BE8TohWG84EDnbQGGPzhtMI2KeLBcHcri17376gmWc7W8GgtEpIKpInb5k1e_V83lkPskyzskrFIdcW1DLuBHczjaMW9IWa7eiQ8WlzW_tkWp7u1O5UCnnSyy96zCJ8_zimYF3qUSDk/s1600/IMG_4859.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0BE8TohWG84EDnbQGGPzhtMI2KeLBcHcri17376gmWc7W8GgtEpIKpInb5k1e_V83lkPskyzskrFIdcW1DLuBHczjaMW9IWa7eiQ8WlzW_tkWp7u1O5UCnnSyy96zCJ8_zimYF3qUSDk/s320/IMG_4859.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the collage group</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxin8eZz_iyUP6UZ7ZvRJSM70EUCad9WOEd9HG84IVkOC7PYPgGzaUi0HDZbB9CTsfG5f4l1i_vvx6FY22aJL6bYWwPSU-DfrqMB9K7NcdlWLtvWE7GAEgTkLf_5SDKk68AiZajcqP7VE/s1600/IMG_4847.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxin8eZz_iyUP6UZ7ZvRJSM70EUCad9WOEd9HG84IVkOC7PYPgGzaUi0HDZbB9CTsfG5f4l1i_vvx6FY22aJL6bYWwPSU-DfrqMB9K7NcdlWLtvWE7GAEgTkLf_5SDKk68AiZajcqP7VE/s320/IMG_4847.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">illustration group</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii64y-VOrCC_LhboyRTE3iEnktDB0Zv2-ufLzsAgCFdeuaL4meOhcHHcb02bXu_g_ZQ451AC8O7pdOoGRie9QkhQ1YOycoINdNzd3H2cMvrjU76VkneQckWBJI-kIYmAtpSwEDSIFN4gw/s1600/IMG_4844.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii64y-VOrCC_LhboyRTE3iEnktDB0Zv2-ufLzsAgCFdeuaL4meOhcHHcb02bXu_g_ZQ451AC8O7pdOoGRie9QkhQ1YOycoINdNzd3H2cMvrjU76VkneQckWBJI-kIYmAtpSwEDSIFN4gw/s320/IMG_4844.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">putting the pieces together</td></tr>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJP7Rq0mIUKAreSsvZe5PKLFEDgMx4Yzx5gRUVFKd34dNG6OfNC1tbjGnUmnhI3dQ7EufZo1ZtAYOlCPzCufJQWkKUyaLB2ptuJTwXndzFrkDP49zFiTCxhoN0zPHXDyJebh0YuqXrx0A/s1600/IMG_4923.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTakBu1DQTPjQQAtucPlOnyfKbguYF_paQoNPsRdq8cKjf6l6QQAi7aeabY7O4j3kd8YoUMjXAn3ubFYd1GmziCn9ONbf8mUnsmMQ3MRAz5FS9uYMYyhdY1XhtfsX_q73ulKBcsMbaHPc/s1600/IMG_5013.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTakBu1DQTPjQQAtucPlOnyfKbguYF_paQoNPsRdq8cKjf6l6QQAi7aeabY7O4j3kd8YoUMjXAn3ubFYd1GmziCn9ONbf8mUnsmMQ3MRAz5FS9uYMYyhdY1XhtfsX_q73ulKBcsMbaHPc/s320/IMG_5013.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the collage group</td></tr>
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<b>The Finished Works</b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqk0nTN6zKY2bPr05gxZ2TjDiFJsjZuSNDHufXZHSwIeBZxNiA0on_Bjsumlfdm1jteTmAl84rpkjCHCTkAzQJ-lGDMDOGeOe24BJKTfdapbuKEn1eZpju9pjdtpk81acejl0aEz53IQk/s1600/IMG_5223.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqk0nTN6zKY2bPr05gxZ2TjDiFJsjZuSNDHufXZHSwIeBZxNiA0on_Bjsumlfdm1jteTmAl84rpkjCHCTkAzQJ-lGDMDOGeOe24BJKTfdapbuKEn1eZpju9pjdtpk81acejl0aEz53IQk/s320/IMG_5223.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mind Eye, (palm Printing) by Group A</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoeCF0mU0YfX2qr_QHFoSmm9CkrvM9JxEyxTbzuEJ7goGarsOZAraPz7u-Uoz_jOIak07lhendAybs2uSBUls4NMoevWuZ2VjHu6H6ExQAA0QeilDHSDVv2H_JexuzOA5Y1_LXV2c0mGk/s1600/IMG_5215.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoeCF0mU0YfX2qr_QHFoSmm9CkrvM9JxEyxTbzuEJ7goGarsOZAraPz7u-Uoz_jOIak07lhendAybs2uSBUls4NMoevWuZ2VjHu6H6ExQAA0QeilDHSDVv2H_JexuzOA5Y1_LXV2c0mGk/s320/IMG_5215.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Play time, By Group B</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYocpdv3jSrXtO9jU3qDSVcxuzle122SJ2VRPuOCFLmeqEyTtAcfWbkTWSOKEcIRwjBgndFYQt5qdhlx4IETMqdG7Rdw8UF2sMCBD6ty1FQ2mOtySGqMlliIEolqWaiAOs6L_lHofcO-I/s1600/IMG_5231.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYocpdv3jSrXtO9jU3qDSVcxuzle122SJ2VRPuOCFLmeqEyTtAcfWbkTWSOKEcIRwjBgndFYQt5qdhlx4IETMqdG7Rdw8UF2sMCBD6ty1FQ2mOtySGqMlliIEolqWaiAOs6L_lHofcO-I/s320/IMG_5231.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Festival By Group C</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<b>Exhibition</b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdkyd_l6pOLgvv_1xGnVL0cy7Hh-Me5SaCRBOs8alWygv-ug1cR3lPwIKbWyqhvClJO55Lmz5KoEJmXZ3WHsQmVGKB-5DPH84yRr_sq6g-w819vkzU4TGh6ZIssH-16fmFZr3498ZhYbo/s1600/IMG_5112.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdkyd_l6pOLgvv_1xGnVL0cy7Hh-Me5SaCRBOs8alWygv-ug1cR3lPwIKbWyqhvClJO55Lmz5KoEJmXZ3WHsQmVGKB-5DPH84yRr_sq6g-w819vkzU4TGh6ZIssH-16fmFZr3498ZhYbo/s320/IMG_5112.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The HOD. Prof A. Osanyin </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVnNq4YbnRrper2UusnjW0jZtf2E5ZJyS4JRWEhGKGxb_hVv9s07f4DmQeN8cuwJqDj6rp3t6RcNO4icvMeg0g48OfN5gvzJ19bf3KV-t0f5R4wBYCun9euR-A6cUTyRTf65M7GS-r_vI/s1600/IMG_5122.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVnNq4YbnRrper2UusnjW0jZtf2E5ZJyS4JRWEhGKGxb_hVv9s07f4DmQeN8cuwJqDj6rp3t6RcNO4icvMeg0g48OfN5gvzJ19bf3KV-t0f5R4wBYCun9euR-A6cUTyRTf65M7GS-r_vI/s320/IMG_5122.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">cross section of the students</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrCX1RnqxiOza23Ek2xw6k-KQkyBXV2S9xMA6y11eK96v6kRaoem5BoDGgjIu-SWmvek3fK1PcpB4WJ7ZRHz7Wat8ptJLt5ZSdAZm2a0PaK3auIxOmLIw_ObRxgI-i7GDxr9vGhd_hpL4/s1600/IMG_5177.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrCX1RnqxiOza23Ek2xw6k-KQkyBXV2S9xMA6y11eK96v6kRaoem5BoDGgjIu-SWmvek3fK1PcpB4WJ7ZRHz7Wat8ptJLt5ZSdAZm2a0PaK3auIxOmLIw_ObRxgI-i7GDxr9vGhd_hpL4/s320/IMG_5177.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">some of the works produced </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDe9i8o7O_r-x01M9HJXl04ToZ8HGyD2th2yDOdFUhaXDERZ0bTPHuV1znSjen5NDUS2l816Suk5lo4k3wwAnvMsXK3iLLGwge7huYx6tPjjvtRT_9rvbovINLUSFH84P8uivpLNuTCVo/s1600/IMG_5185.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDe9i8o7O_r-x01M9HJXl04ToZ8HGyD2th2yDOdFUhaXDERZ0bTPHuV1znSjen5NDUS2l816Suk5lo4k3wwAnvMsXK3iLLGwge7huYx6tPjjvtRT_9rvbovINLUSFH84P8uivpLNuTCVo/s320/IMG_5185.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Faculty, Arts and Social Sciences Education</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTsx3GumYci3q10gkx2JOxPp5Vt-k6qZJoka2f3v5u_NdJEiJuKhshBiqV7BDURXc8UtNzW9xMK_porwCnmUxrviQiLLvGPze4IQi4fbmjWfZkXTQynEIlZWuHOPMz-1rmf5z9aco8FGA/s1600/IMG_5107.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTsx3GumYci3q10gkx2JOxPp5Vt-k6qZJoka2f3v5u_NdJEiJuKhshBiqV7BDURXc8UtNzW9xMK_porwCnmUxrviQiLLvGPze4IQi4fbmjWfZkXTQynEIlZWuHOPMz-1rmf5z9aco8FGA/s320/IMG_5107.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Lecturer in Charge, Jimoh Ganiyu A (Mr. Jimga )</td></tr>
</tbody></table>
<b>Conclusion </b><br />
<br />
The workshop could be likened to an experimental class on the artistic expressive prowess of the non-artists. Though it was based on imparting artistic skills on the teachers of early childhood, it turned out to be a research on the inherent artistic abilities of the students under study. Most of the artworks produced have a lot of similarities with the works that could be tagged 'child art' though they were not produced by the children. Closer observation shows that though the works were not professionally executed in artistic term, but were creatively conceptualized. The themes are very creative and unassuming.<br />
The video of the project can be viewed <a href="http://www.youtube.com/watch?v=E1XVupUZ0VM&ytsession=4GvYmRVL8YHG5k_x7AY4ykun4Gd_x0U0wcvDPfUtsmCv2G7MJ-tj4bU58V95bvHJCbjw6mFEPKtqxZce7ondFt9ljuO4lnP2KylaZam5GKOM7APKudTwUGb961fFa0yfp3IJyGPjBEswyPuS93T29Wcg4hkLhwBOdXgeAcH3itL2LdkYr3HUgzIVtb-qCVYuEAoofBS19pLzWvOuTgb9IR6JNg8dseS7Scj0tBeIHDM">here</a> thanks for your time<br />
<br />
Jimoh, Ganiyu A ( Mr. Jimga )<br />
Department of Creative Arts<br />
University of Lagos</div>
Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com0tag:blogger.com,1999:blog-981158321097495353.post-54400058349252797182011-10-12T16:19:00.000-07:002011-10-14T01:03:08.062-07:00TRASH TO TREASURE; PEACE FROM CHAOS: EXPLORATION OF RECYCLED MATERIALS IN CONTEMPORARY ART PRODUCTION by Jimoh, Ganiyu Akinloye<div dir="ltr" style="text-align: left;" trbidi="on"><link href="file:///C:%5CUsers%5CJimga%5CAppData%5CLocal%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_filelist.xml" rel="File-List"></link><link href="file:///C:%5CUsers%5CJimga%5CAppData%5CLocal%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_themedata.thmx" rel="themeData"></link><link href="file:///C:%5CUsers%5CJimga%5CAppData%5CLocal%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_colorschememapping.xml" rel="colorSchemeMapping"></link><style>
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<div class="MsoNormal" style="line-height: normal; text-align: justify;"><span class="apple-style-span"><span style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; background: rgb(251, 251, 251) none repeat scroll 0% 0%; font-family: "Times New Roman","serif"; font-size: 12pt;">One of the concerns of the environmental scientists is the management of waste products. Although Environmental consciousness has been strengthened in the past few years in Nigeria, plastic, either in the form of bottles, bags or other types of packaging are still not being disposed responsibly. Plastic is not biodegradable and as such posits a great deal of concern for environmentalists. According to BIO intelligence Service report, 80% of water bottles still end up in the landfill. This is not only bad for the earth but also for humans.</span></span></div><div class="MsoNormal" style="line-height: normal; text-align: justify;"><br />
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</div><div class="MsoNormal" style="line-height: normal; text-align: justify;"><span class="apple-style-span"><span style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; background: rgb(251, 251, 251) none repeat scroll 0% 0%; font-family: "Times New Roman","serif"; font-size: 12pt;"></span></span></div><div class="MsoNormal" style="line-height: normal; text-align: justify;"><span class="apple-style-span"><span style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; background: rgb(251, 251, 251) none repeat scroll 0% 0%; font-family: "Times New Roman","serif"; font-size: 12pt;"></span></span></div><div class="MsoNormal" style="line-height: normal; text-align: justify;"><span class="apple-style-span"><span style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; background: rgb(251, 251, 251) none repeat scroll 0% 0%; font-family: "Times New Roman","serif"; font-size: 12pt;"></span></span></div><div class="MsoNormal" style="line-height: normal; text-align: justify;"><span class="apple-style-span"><span style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; background: rgb(251, 251, 251) none repeat scroll 0% 0%; font-family: "Times New Roman","serif"; font-size: 12pt;"></span></span></div><div class="MsoNormal" style="line-height: normal; text-align: justify;"><span class="apple-style-span"><span style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; background: rgb(251, 251, 251) none repeat scroll 0% 0%; font-family: "Times New Roman","serif"; font-size: 12pt;"></span></span></div><div class="MsoNormal" style="line-height: normal; text-align: justify;"><span class="apple-style-span"><span style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; background: rgb(251, 251, 251) none repeat scroll 0% 0%; font-family: "Times New Roman","serif"; font-size: 12pt;"></span></span></div><div class="MsoNormal" style="line-height: normal; text-align: justify;"><span class="apple-style-span"><span style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; background: rgb(251, 251, 251) none repeat scroll 0% 0%; font-family: "Times New Roman","serif"; font-size: 12pt;"></span></span></div><div class="MsoNormal" style="line-height: normal; text-align: justify;"><span class="apple-style-span"><span style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; background: rgb(251, 251, 251) none repeat scroll 0% 0%; font-family: "Times New Roman","serif"; font-size: 12pt;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: normal; text-align: justify;"><span class="apple-style-span"><span style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; background: rgb(251, 251, 251) none repeat scroll 0% 0%; font-family: "Times New Roman","serif"; font-size: 12pt;">This project intends to explore the use of unconventional materials in producing art forms that are not only visually appealing but environmentally friendly. It focuses on the recycling of such materials as a means of addressing such societal problems. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: normal; text-align: justify;"><span class="apple-style-span"><span style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; background: rgb(251, 251, 251) none repeat scroll 0% 0%; font-family: "Times New Roman","serif"; font-size: 12pt;">This project incorporates 260 recycled plastic water bottles and 210 water bags in constructing a three dimensional sculpture titled ‘…let there be peace’. The emphasis on the use of discarded materials suggestive of (chaos) in producing objects of economic, political, historical and cultural importance, signifies the transformative processes involved from converting Trash to Treasure. Further extensions of this idea express peace derived from a chaotic situation of dumping thrash in our waterways and lands.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: normal; text-align: justify;"><span class="apple-style-span"><span style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; background: rgb(251, 251, 251) none repeat scroll 0% 0%; font-family: "Times New Roman","serif"; font-size: 12pt;">The project redirects attention to a new way of exploring discarded materials in art production. This will not only generate more revenue as these materials are readily available and accessible, it will also alleviate the environment of waste toxins that follows improper disposal of wastes. <o:p></o:p></span></span></div></div>Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com0tag:blogger.com,1999:blog-981158321097495353.post-15420382919128566672011-06-24T00:34:00.000-07:002011-06-24T00:34:22.414-07:00Cartoons and socio-political realities by Jimga-Jimoh Ganiyu<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 30px; margin-bottom: 10pt; margin-left: 36pt; margin-right: 0cm; margin-top: 0cm; text-align: center;"><div style="text-align: justify;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 32px;">'The political cartoon has been one of the most powerful weapons through the ages .</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 32px;">.. dictators of the right and the left fear the political cartoonists more than they do the atomic bomb. No totalitarian government can afford to be ridiculed (DeSousa & Medhurst, 1982). ' </span></div></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding-bottom: 6px; padding-left: 6px; padding-right: 6px; padding-top: 6px; text-align: left;"><tbody>
<tr><td style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="http://1.bp.blogspot.com/-IJAUT4z6Xb4/TdrHTDMuC3I/AAAAAAAAAGc/oM36VMfoWXM/s1600/sqautters+on+rampage.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="232" src="http://1.bp.blogspot.com/-IJAUT4z6Xb4/TdrHTDMuC3I/AAAAAAAAAGc/oM36VMfoWXM/s320/sqautters+on+rampage.jpg" style="cursor: move;" width="320" /></a></div></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Squatters on Rampage , Jimga, May 2011</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">see comments about this cartoon here</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="http://www.facebook.com/editphoto.php?aid=172771&id=598628882&success=2&failure=0#%21/photo.php?fbid=10150189146958883&set=a.395710718882.172771.598628882&type=1&theater">http://www.facebook.com/editphoto.php?aid=172771&id=598628882&success=2&failure=0#!/photo.php?fbid=10150189146958883&set=a.395710718882.172771.598628882&type=1&theater</a></div></td></tr>
</tbody></table><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 32px;"></span></div></div><div class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 30px; margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; text-align: center;"><div style="text-align: justify;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 32px;">Editorial cartoons are single panel graphics that comment on political events and policy, and serve both to define the significant topics of political discourse and record them, thus creating a “snapshot” of the political climate in a given time period. Cartoons have been seen from the humorous perspective and generally have not been studied for their rhetoric capabilities (Vinson, 1967), however, the recent <i>Jyllands-Posten’s </i>Muhammad cartoons controversy in Denmark, which sparked violent protests around the world, speak to the continuing importance and potential power of cartoons as a medium of political communication.</span></div></div></div><div class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 30px; margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; text-align: center;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding-bottom: 6px; padding-left: 6px; padding-right: 6px; padding-top: 6px; text-align: left;"><tbody>
<tr><td style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="http://2.bp.blogspot.com/-BWyFAEKUBIM/TdrHW-bNq3I/AAAAAAAAAGg/JD1GiasOJpM/s1600/education.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="232" src="http://2.bp.blogspot.com/-BWyFAEKUBIM/TdrHW-bNq3I/AAAAAAAAAGg/JD1GiasOJpM/s320/education.jpg" style="cursor: move;" width="320" /></a></div></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">cut the rope sir! Jimga, May 2011</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">see comments about this cartoon here</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="http://www.facebook.com/jimgaconcept#%21/photo.php?fbid=10150189146953883&set=a.395710718882.172771.598628882&type=1&theater">http://www.facebook.com/jimgaconcept#!/photo.php?fbid=10150189146953883&set=a.395710718882.172771.598628882&type=1&theater</a></div></td></tr>
</tbody></table></div><div class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 30px; margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 32px;">Some scholars see cartoons as an important medium for the formation of public opinion on salient social issues (Agberia, 2001; Adekanmbi, 1997; Everette, 1974; Vinson, 1967). They are seen as "both opinion-molding and opinion-reflecting" (Caswell, 2004:14), and they provide subtle frameworks within which to examine the life and political processes of a nation (DeSousa & Medhurst, 1982). Cartoons are intended to transform otherwise complex and opaque social events and situations into quick and easily readable depictions that facilitate comprehension of the nature of social issues and events (Agberia, 2001:33). In doing so, they present society with visually palpable and hyper-ritualized depictions (selectively exaggerated portions of 'reality') that attempt to reveal the essence and meaning of social events.<o:p></o:p></span></div></div><div class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 30px; margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div></div><div class="Style" style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 32px; margin-bottom: 0.0001pt; margin-left: 0.7pt; margin-right: 0cm; margin-top: 0cm; text-align: justify;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span lang="EN-US">Editorial cartoons, a genre of Graphic art, are the most extreme form of expression found in newspapers, as they are not bounded by norms of journalistic objectivity (Koetzle & Brunell, 1992; Lamb, 2004) or even the domain of objective reality that encompasses literary newspaper editorials. As such, they have historically been a source of satirical critique of the political status quo.<o:p></o:p></span></div></div><div class="Style" style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 32px; margin-bottom: 0.0001pt; margin-left: 0.7pt; margin-right: 0cm; margin-top: 0cm; text-align: justify;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span lang="EN-US">Defined as "a graphic presentation typically designed in a one-panel, non-continuing format to make an independent statement or observation on political events or social policy" (Edwards & Winkler; 1997: 306), the editorial (or political) cartoon often employs humor or irony to point out shortcomings or hypocrisies within the political system. While many studies (including this one) use the terms "political cartoon" and "editorial cartoon" interchangeably, some do differentiate between comic strips with political content, and single panel cartoons that make commentary on politics and policy. The latter would generally appear on the editorial page of a printed newspaper, and are the focus of this study. </span></div></div><div class="Style" style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 32px; margin-bottom: 0.0001pt; margin-left: 0.7pt; margin-right: 0cm; margin-top: 0cm; text-align: justify;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span lang="EN-US"></span></div></div><div class="Style" style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 32px; margin-bottom: 0.0001pt; margin-left: 0.7pt; margin-right: 0cm; margin-top: 0cm; text-align: justify;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span lang="EN-US"></span></div></div><div class="Style" style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 32px; margin-bottom: 0.0001pt; margin-left: 0.7pt; margin-right: 0cm; margin-top: 0cm; text-align: justify;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span lang="EN-US"><o:p>This posit features some of the cartoons i drew recently on the socio-political state of our dear Nation Nigeria.</o:p></span></div></div><div class="Style" style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 32px; margin-bottom: 0.0001pt; margin-left: 0.7pt; margin-right: 0cm; margin-top: 0cm; text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span lang="EN-US"><o:p><b>National Youth Slauthering Council ( NYSC</b>)</o:p></span></div></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://4.bp.blogspot.com/-BMLREwNPokY/TdrHOoBJ-sI/AAAAAAAAAGY/oyZP3wCDxR4/s1600/nysc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-BMLREwNPokY/TdrHOoBJ-sI/AAAAAAAAAGY/oyZP3wCDxR4/s320/nysc.jpg" style="cursor: move;" width="232" /> </a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: justify;">This cartoon satirizes the realities of the scheme NYSC National Youth Service Corp, that was intentionally formed in the 70s to foster unity among Nigerian youths after the civil war of 1967/70. It is ironical that the scheme has become a 'slauthering' council where our youths are being slaughtered like 'cow' in some part of the country. Despite the annual festival of blood by this particular region in Nigeria. The council still posts innocent graduates to these hostile environments. As a visual commentator I have captured the NYSC as a terrible scheme, where the youths have to serve the nation with their heads. </div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">please see more comments here </div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.facebook.com/home.php#%21/photo.php?fbid=10150164319783883&set=a.395710718882.172771.598628882&type=1&theater">http://www.facebook.com/home.php#!/photo.php?fbid=10150164319783883&set=a.395710718882.172771.598628882&type=1&theater</a></div><div class="Style" style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 32px; margin-bottom: 0.0001pt; margin-left: 0.7pt; margin-right: 0cm; margin-top: 0cm; text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span lang="EN-US"><o:p></o:p></span></div></div><div style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div></div><div style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div></div><div class="Style" style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 32px; margin-bottom: 0.0001pt; margin-left: 0.7pt; margin-right: 0cm; margin-top: 0cm; text-align: center;"></div></div>Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com0tag:blogger.com,1999:blog-981158321097495353.post-71760656723364434522011-05-28T11:34:00.000-07:002011-05-28T11:36:48.476-07:00<div dir="ltr" style="text-align: left;" trbidi="on"><link href="file:///C:%5CUsers%5CJimga%5CAppData%5CLocal%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_filelist.xml" rel="File-List"></link><link href="file:///C:%5CUsers%5CJimga%5CAppData%5CLocal%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_themedata.thmx" rel="themeData"></link><link href="file:///C:%5CUsers%5CJimga%5CAppData%5CLocal%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_colorschememapping.xml" rel="colorSchemeMapping"></link><link href="file:///C:%5CUsers%5CJimga%5CAppData%5CLocal%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_plchdr.htm" rel="plchdr"></link><style>
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<div class="MsoNormal" style="text-align: justify;"></div><div class="MsoNormal"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 24pt;">An Introduction to<o:p></o:p></span></div><div class="MsoNormal"><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 24pt;">Ancient Egyptian Art and Architecture<o:p></o:p></span></b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYiy0ctlgFQ94D0IQNMG1S6LTNHSjCIVauPuhes0SIO7Px612iw1PcspzMHyAshumq4IoOP1cuVT9stixZE-x3CCb4ID2j0nVJTjwn8ksDMzbnvDDPYGFaNls7FHmc-tiYO-vjNiNnq3o/s1600/1.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYiy0ctlgFQ94D0IQNMG1S6LTNHSjCIVauPuhes0SIO7Px612iw1PcspzMHyAshumq4IoOP1cuVT9stixZE-x3CCb4ID2j0nVJTjwn8ksDMzbnvDDPYGFaNls7FHmc-tiYO-vjNiNnq3o/s320/1.png" width="320" /></a></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9V7JyNeuElwB9RWhlyCSzghcEfQVU3bc2FMItbgyZSyphQFGjDkEAKy8cvotCTWMGMleUBTEr11MXFpb7Yhv_8eisVmh3Cirq1Ha3J3GziX22U94cmyz-cLsa6705iMKx19ja2RyJ-1Q/s1600/2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9V7JyNeuElwB9RWhlyCSzghcEfQVU3bc2FMItbgyZSyphQFGjDkEAKy8cvotCTWMGMleUBTEr11MXFpb7Yhv_8eisVmh3Cirq1Ha3J3GziX22U94cmyz-cLsa6705iMKx19ja2RyJ-1Q/s320/2.png" width="320" /></a></div><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;"><o:p></o:p></span></b><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;"><o:p></o:p></span></b><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;"><o:p></o:p></span></b><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;"><o:p></o:p></span></b> <br />
<div class="MsoNormal"><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;"></span></b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;"><o:p></o:p></span><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 14pt;">Compiled by Jimoh Ganiyu Jimga<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b><u><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Introduction<o:p></o:p></span></u></b></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Egyptian Art and Architecture comprise the buildings, sculpture, painting, and decorative arts of ancient Egypt from about 5000 <span style="font-variant: small-caps;">bce</span> to the conquest of Egypt by Rome in 30 <span style="font-variant: small-caps;">BCE. </span><o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">This civilization is the beginning of what accumulated in what is today known as an artistic tradition of the western world because there is a succession of artistic tradition that runs from Egypt to Greece.<a name='more'></a><o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Ancient Egyptian art objects and architecture were made to serve a particular purpose, usually a religious one which cannot be divorced from the Egyptian worldview. For example, temples were decorated with paintings and filled with statues of gods and kings in the belief that doing this served the gods, showed devotion to the king, and maintained the order of the universe. The Egyptians wore jewelry and <i>amulets</i> (charms) not only as decoration, but because they believed these items protected them against harm. They buried their dead with jewelry and amulets for the same reason: to protect against the perils of the afterlife. All these were inline with their religious beliefs that the death is not an end but a transition to another life. They believe that their Kings are the representatives of the gods on earth and they (the kings) can never die but join the gods in the afterlife. This also informed the belief that the dead or transited Kings can help in the realistic world of the living.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Egyptologists<a href="http://www.blogger.com/post-create.g?blogID=981158321097495353#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">[1]</span></span></span></a> opine that most Egyptians then never saw the art that is now displayed in museums, because only kings and members of the ruling elite were allowed to enter temples, tombs, and palaces. But it is believed that the Egyptians had in mind another audience for their art: the gods and, for the art in tombs, the spirits of people who had died.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Artists in ancient Egypt joined workshops and worked in teams to produce what their patrons—the king and the elite—needed. For this reason, few works can be attributed to individuals. Religious beliefs largely dictated what artists created, especially the paintings and statues that filled Egyptian temples and tombs. Artists endlessly repeated the same themes and subjects, changing them only when beliefs changed. (A rare change came around 1350 <span style="font-variant: small-caps;">bce</span>, for example, when the sun god Aton gained more prominence than ever before.) The style of depicting these themes and subjects, by contrast, changed from one generation of artists and patrons to the next. For example, during the 18th dynasty (1550-1307 <span style="font-variant: small-caps;">bce</span>) there was a shift from painting the human figure in a rather stiff and rigid posture to using curved lines and varied poses. But most of the changes were more subtle. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><b><u><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">What made life Possible in Ancient Egypt<o:p></o:p></span></u></b></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">The great river Nile-the longest in the world overflows its bank for several months each year, every time the flood receded, they left behind a new layer of rich silt, which made the valley and delta uncommonly fertile for agriculture. This made the valley known as Egypt today an attractive habitat for prehistoric hunters and gatherers. By about 8000 BCE, the valleys inhabitants had become relatively sedentary, living off its abundance of fish, game, and wild plants. It was not until about 5000 BCE that they adopted the agricultural, village way of life associated with Neolithic culture<b>. <o:p></o:p></b></span></div><h3 style="text-align: justify;"><span class="mw-headline"><u><span style="color: black;">Religious beliefs</span></u></span><u><span style="color: black;"><o:p></o:p></span></u></h3><div style="line-height: 150%; text-align: justify;"><span style="color: black;">Beliefs in the divine and in the afterlife were ingrained in ancient Egyptian civilization from its inception; pharaonic rule was based on the <a href="http://en.wikipedia.org/wiki/Divine_Right_of_Kings" title="Divine Right of Kings"><span style="color: black;">divine right of kings</span></a>. The Egyptian pantheon was populated by gods who had supernatural powers and were called on for help or protection. <o:p></o:p></span></div><div style="line-height: 150%; text-align: justify;"><span style="color: black;">Gods were worshiped in cult temples administered by priests acting on the king's behalf. At the center of the temple was the cult statue in a shrine. Temples were not places of public worship or congregation, and only on select feast days and celebrations was a shrine carrying the statue of the god brought out for public worship. <o:p></o:p></span></div><div style="line-height: 150%; text-align: justify;"><span style="color: black;">The Egyptians believed that every human being was composed of physical and spiritual parts or <i>aspects</i>. In addition to the body, each person had a <i>šwt</i> (shadow), a <i>ba</i> (personality or soul), a <i>ka</i> (life-force), and a <i>name</i>. The heart, rather than the brain, was considered the seat of thoughts and emotions. After death, the spiritual aspects were released from the body and could move at will, but they required the physical remains (or a substitute, such as a statue) as a permanent home. The ultimate goal of the deceased was to rejoin his <i>ka</i> and <i>ba</i> and become one of the "blessed dead", living on as an <i>akh</i>, or "effective one". In order for this to happen, the deceased had to be judged worthy in a trial, in which the heart was weighed against a "feather of truth". If deemed worthy, the deceased could continue their existence on earth in spiritual form. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Egyptian Art can be divided into two major Dynasty periods<o:p></o:p></span></div><ul type="disc"><li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Predynasty Period (5000-3000 BCE)<o:p></o:p></span></li>
<li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Dynasty Period (3000-30 BCE)<o:p></o:p></span></li>
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</div><div class="MsoNormal" style="text-align: justify;"><b><u><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">PREDYNASTIC EGYPT (5000-3000 BCE)<o:p></o:p></span></u></b></div><div class="MsoNormal" style="text-align: justify;"><br />
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<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;"><o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Egyptian Pottery<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Pottery was one of the earliest art forms undertaken by the ancient Egyptians. This piece from the Predynastic period (5000 bc-3000 BCE) is decorated with ostriches, boats, and geometrical designs.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Art Resource, NY<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">The Dynastic period began around 3000 <span style="font-variant: small-caps;">BCE</span> when lands along the Nile River were united under one ruler. From about 5000 <span style="font-variant: small-caps;">BCE</span> until 3000 BCE, a time known as the Predynastic period, Egypt was not a unified nation. Different groups ruled over different parts of the land. As time passed, however, these groups were incorporated into larger political units, until a single state was formed around 3000 BCE. At the same time, the culture of the south expanded northward, gradually replacing northern cultures to produce cultural unity. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">The Egyptians began creating art early in the Predynastic period, using materials such as bones, clay, stone, and the ivory teeth of hippopotamuses. They made figurines of animals, birds, and human beings, and decorated the tops of hair combs and pins with carved birds and animals. Stone palettes used for grinding minerals for eye paint took the shape of birds, turtles, and fish. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Pottery also was decorated in the early Predynastic period, typically with geometric or animal designs painted in white on a red background. Later in the period, designs appeared in red on a yellowish background. The designs included flamingos, horned animals, human figures, plants, wavy lines, and boats with oars. Most of this pottery has been found in cemeteries, and it may have been made specifically for use in funerals. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Cups, bowls, and other containers were made from a variety of stones and took advantage of natural patterns in the stone. Working stone was difficult and took some time, so stone containers became prized items. Lapis lazuli, carnelian, garnet, and other stones were made into beads for necklaces and bracelets, as were gold, copper, and silver.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><b><u><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">DYNASTIC EGYPT (3000-30 BCE)<o:p></o:p></span></u></b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEoA5VloCkODYY4XipyFe2PI5jSLEsKhal0IxJ-OX0_iBMeRizTPzPmI_UpM1zj8ifodgqB_sGfznKjdL5L7FnSCFvdN_En7NLQTCqS-AN6oigOOyPR15bBvsQYYSyqGo_VuLSgUcQBzo/s1600/4.png" imageanchor="1"><br />
</a></div><div style="line-height: 150%; text-align: justify;"><span style="color: black;">The third century BCE Egyptian priest <a href="http://en.wikipedia.org/wiki/Manetho" title="Manetho"><span style="color: black;">Manetho</span></a> grouped the long line of pharaohs from Menes to his own time into 30 dynasties, a system still in use today. He chose to begin his official history with the king named "Meni" (or <a href="http://en.wikipedia.org/wiki/Menes" title="Menes"><span style="color: black;">Menes</span></a> in Greek) who was then believed to have united the two kingdoms of <a href="http://en.wikipedia.org/wiki/Upper_Egypt" title="Upper Egypt"><span style="color: black;">Upper</span></a> and <a href="http://en.wikipedia.org/wiki/Lower_Egypt" title="Lower
Egypt"><span style="color: black;">Lower Egypt</span></a> (around 3000BCE). The transition to a unified state actually happened more gradually than the ancient Egyptian writers would have us believe, and there is no contemporary record of Menes. Some scholars now believe, however, that the mythical Menes may have actually been the pharaoh <a href="http://en.wikipedia.org/wiki/Narmer" title="Narmer"><span style="color: black;">Narmer</span></a>, who is depicted wearing <a href="http://en.wikipedia.org/wiki/Regalia" title="Regalia"><span style="color: black;">royal regalia</span></a> on the ceremonial <a href="http://en.wikipedia.org/wiki/Narmer_Palette" title="Narmer
Palette"><span style="color: black;">Narmer Palette</span></a> in a symbolic act of unification.<sup><o:p></o:p></sup></span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><b><span style="color: black; font-size: 10pt;">Palette of King Narmer<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 10pt;">The Palette of King Narmer from Hierakonpolis is a slate slab representative of the art of ancient Egypt. The object, which stands 62.5 cm (25 in) high and dates from Egypt’s Predynastic period, depicts the ancient Egyptian king (center) smiting an enemy. The piece symbolized the unification of Upper and Lower Egypt and marked an early example of a trend in Egyptian art to glorify the king. Giraudon/Art Resource, NY<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">This state was ruled by a king whose main duties were to act as an intermediary between the gods and humanity and to uphold the correct order of the universe by overcoming the forces of chaos. The king governed the country through a small group of educated male officials. Together with their families, they formed an elite group making up about 5 percent of the population. Almost everyone else provided services for the elite or worked the land. It should be noted that all surviving ancient Egyptian art and architecture relates to the king and the elite, and scholars know virtually nothing about art produced for the rest of society.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><i><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Egyptologists</span></i><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;"> (people who study ancient Egypt) have grouped Egypt's dynasties into: <o:p></o:p></span></div><ul type="disc"><li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Early Dynastic period (1st to 3rd dynasties), <o:p></o:p></span></li>
<li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Old Kingdom (4th to 8th dynasties),<o:p></o:p></span></li>
<li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Middle Kingdom (11th to 14th dynasties), <o:p></o:p></span></li>
<li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">New Kingdom (18th to 20th dynasties), <o:p></o:p></span></li>
<li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Late Period (25th to 30th dynasties). <o:p></o:p></span></li>
</ul><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Dynasties between these groupings represent periods when central government broke down and the state split into smaller units. These divisions were based on the work of an Egyptian priest named Manetho, who wrote in Greek in the 3rd century <span style="font-variant: small-caps;">BCE</span>.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">In 332 <span style="font-variant: small-caps;">BCE,</span> Alexander the Great, king of Macedonia, conquered Egypt. In 305 BCE Alexander's general Ptolemy became king of Egypt, and for almost 300 years his descendants, the Ptolemies, ruled Egypt. Although Ptolemy was Macedonian by birth and his descendents remained tied to Greek culture, the Ptolemies also oversaw one of the greatest periods of building and decorating temples in Egypt. The Ptolemies did so to win acceptance for their rule from their Egyptian subjects. The Ptolemaic dynasty ended when Cleopatra, queen of Egypt, committed suicide after the Romans defeated her forces at the Battle of Actium in 31 BCE. The Roman victory marked the end of ancient Egypt as an independent power. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b><u><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Egyptian Art forms can be classified into <o:p></o:p></span></u></b></div><ol start="1" type="1"><li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Architecture<o:p></o:p></span></b></li>
</ol><ul type="disc"><ul type="circle"><li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Tombs and Pyramids<o:p></o:p></span></li>
<li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Temple and Palaces<o:p></o:p></span></li>
</ul></ul><ol start="2" type="1"><li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Sculptures<o:p></o:p></span></b></li>
</ol><div class="MsoNormal" style="line-height: 150%; margin-left: 72pt; text-align: justify; text-indent: -18pt;"><span style="color: black; font-family: Symbol; font-size: 12pt; line-height: 150%;">·<span style="font-family: "Times New Roman"; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Free Standing<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin-left: 72pt; text-align: justify; text-indent: -18pt;"><span style="color: black; font-family: Symbol; font-size: 12pt; line-height: 150%;">·<span style="font-family: "Times New Roman"; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Reliefs<o:p></o:p></span></div><ol start="3" type="1"><li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Paintings and Reliefs<o:p></o:p></span></b></li>
<li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Decorative Arts<o:p></o:p></span></b></li>
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</div><div class="MsoNormal" style="line-height: 150%; margin-left: 36pt; text-align: justify; text-indent: -18pt;"><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 14pt; line-height: 150%;">1.<span style="font-family: "Times New Roman"; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></b><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 14pt; line-height: 150%;">Architecture<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><b><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 10pt;">Pyramid of Khafre at Giza<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 10pt;">The pyramids at Giza in Egypt are among the best-known pieces of architecture in the world. The Pyramid of Khafre was built as the final resting place of the pharaoh Khafre and is about 136 m (446 ft) high.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 10pt;">Giraudon/Bridgeman Art Library, London/New York<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">The most important buildings in ancient Egypt were temples, tombs, and palaces. Temples housed rituals for the worship of the gods. Tombs served as the burial locations for the king and the elite. The king lived in the palaces, where he performed governmental and religious duties. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;"> <b>Tombs and Pyramids<o:p></o:p></b></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">The royal tombs and pyramids of ancient Egypt were elaborate structures with important religious purposes. They were located along the Nile River. For about 2,000 years, until the end of the New Kingdom in 1070 <span style="font-variant: small-caps;">BCE</span>, royal tombs were built on the Nile’s west bank. Because the sun set in the west, Egyptians believed that the western desert was the entrance to the underworld, or <i>duat,</i> where the dead dwelled and through which the sun passed at night.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Each pyramid is just one element in a line of structures that form a burial complex. The complex begins at the east, with a temple on a harbor at the edge of the cultivated land in the Nile Valley. From this valley temple, where the king’s body was first brought by boat, a long, covered causeway runs west into the desert to a pyramid temple. To the west of the temple is the pyramid itself, inside of which the king’s body was placed. Inside the temple, rituals performed for the king included the offering of food and drink to nourish his <i>ka</i>-spirit (life force).<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">The Egyptian pyramids served as more than a place to put the king’s dead body. They were places of transformation that enabled the king to pass into a new stage of life. The east-west orientation of each pyramid complex paralleled the daytime course of the sun as it rises and sets. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">The tombs for the elite members of Egyptian society were less elaborate than royal tombs, but they were nevertheless impressive. The preferred location for elite tombs was the west bank of the Nile, but many were built on the east bank as well. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">In the 1st and 2nd dynasties the tombs of the elite at Şaqqārah consisted of an underground structure that contained the burial site and a flat, rectangular mud-brick structure built over it. Today these structures are called <i>mastabas,</i> from the Arabic word for 'bench.' The long sides of the mastabas had a north-south orientation.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;"> Temples and Palaces<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">The Egyptians believed that the gods occupied a different part of the universe than living human beings did. Temples were built as houses for the gods, where the gods could appear on earth. The focal point of any temple was a sanctuary area that contained a cult statue of the god. This statue, the sanctuary, and the temple were made as beautiful as possible so that the god would want to reside there, and the structures incorporated precious materials such as gold, silver, lapis lazuli, turquoise, and carnelian. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Most important deities had temples throughout Egypt, but some cities had a special association with a particular god. Among the most important gods and their cities were Ra at Heliopolis, Ptah at Memphis, Thoth at Hermopolis, Osiris at Abydos, Hathor at Dandara, Amon at Thebes, and Horus at Edfu. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;"><o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 10pt;">Abū Simbel Temple<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 10pt;">In about 1250 bc Ramses II, pharaoh of Egypt, built two sandstone temples at Abū Simbel in southern Egypt. This picture of the entrance doorway to the site’s main temple shows four seated statues of Ramses II.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 10pt;">Marion Patterson/Photo Researchers, Inc.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">The Egyptians believed that gods were fundamentally different from human beings, and that it was dangerous for humans to interact with gods unprotected. In fact, most people never went inside a temple. For those who had been purified through special religious rituals, the temple provided a safe place for contact with the gods. The space within the temple became increasingly sacred as one went further in, and the more sacred inner parts were restricted to the king and priests. The sanctuary was the most sacred space of all. Here the deity entered the temple from the divine realm and took up residence in the cult statue.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Palaces provided a setting for Egyptian kings to carry out the rituals of kingship. Most were built of mud brick and have not survived well. Palaces that Egyptologists have excavated date mainly from the New Kingdom and include the palace of Amenhotep III at Malqata near Thebes, the palaces of Akhenaton at Amarna, and the palace of Merenptah at Memphis.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">The nature of the Egyptian king was complex. Although he was a human being who was born, grew up, and died like other human beings, his body housed the royal ka-spirit, which transmitted the divine aspects of kingship from one king to the next. The king was also the earthly manifestation of various deities, such as Ra, the sun god, or Horus, the god of the sky. For this reason, the ritual area of the king’s palace resembled a temple. As in temples, an entranceway led into an open court that was followed by a pillared hall. But beyond the hall, instead of a sanctuary, was the throne room. Against the center of the back wall, a raised platform supported the king's throne. The throne sat within a kiosk that took the place of the shrine in a temple’s sanctuary. The enthroned king was therefore equivalent to the cult statue of a god.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">The floors of the palace were decorated with images of pools surrounded by flowering plants through which young calves leapt while birds flew above, depicting the world at sunrise. The enthroned king therefore took on the role of the sun god Ra, at whose appearance each day the world came to life again after the dark night.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0.0001pt 36pt; text-align: justify; text-indent: -18pt;"><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 14pt; line-height: 150%;">2.<span style="font-family: "Times New Roman"; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></b><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 14pt; line-height: 150%;">Sculptures</span></b><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 14pt; line-height: 150%;"><o:p></o:p></span></b></div><div class="MsoNormal" style="margin-left: 36pt; text-align: justify;"><b><br />
<span style="color: black; font-family: "Times New Roman","serif"; font-size: 14pt;"><o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 10pt;">Cat Goddess<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 10pt;">This bronze figure with inlaid blue-glass eyes dates from Egypt’s Late Period (712-332 bc). It shows the ancient goddess Bast in the form of a cat.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 10pt;">Erich Lessing/Art Resource, NY<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">The function of most ancient Egyptian statues was to provide a physical place where a god or spirit could appear. In temples the god took up residence in the cult statue, and the divine royal ka-spirit could reside in statues of the king. Statues of the elite provided a place in the world of the living for the spirits of the dead. Such statues were the focal point of rituals. Offerings were presented to them, incense was burned, and ritual words were recited in their presence. These spirits were not restricted by time and space, but could simultaneously be present in all their statues, wherever the statues were located.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Beginning in the late 4th Dynasty statues of servants and peasants were placed in tombs of the elite to serve them in the afterlife. These servants and peasants appear in a wide variety of poses, performing tasks such as grinding grain, baking bread, and brewing beer. What was important in these sculptures was not the person depicted but the action, which was meant to benefit the tomb owner in the afterlife.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0.0001pt 36pt; text-align: justify; text-indent: -18pt;"><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 14pt; line-height: 150%;">3.<span style="font-family: "Times New Roman"; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></b><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 14pt; line-height: 150%;">Paintings and Decorative Arts <o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;"> The ancient Egyptians decorated the walls of temples and tombs with painted scenes to ensure that the deceased spent eternity in a comfortable and familiar environment. The painting might be flat or in <i>relief, </i>meaning that figures and background occupy different levels of the wall surface<i>.</i> In raised relief, the background was cut away so that the figures stood out. In sunk relief, the figures were cut back to a slightly lower level than the background. Originally, sunk relief was designed to decorate exterior walls, because it is more visible in bright sunlight.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">The decoration of Egyptian buildings reflected their function. In temples, scenes depicted the interaction of the king and gods. On the outside walls the king was usually shown triumphantly battling foreign enemies. This action symbolized his role as upholder of order over chaos. Such scenes also served to protect and separate the pure, sacred space inside the temple from the impure, secular world outside. The decoration of the open court, which was open to some visitors, might show processions of sacred boats that held the statues of the temple gods when they were brought out at festivals. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">The sacred interior of the temple was decorated with scenes depicting the king and gods together, drawn on the same scale. Each scene shows either the king performing a ritual act before the god—offering food, drink, or adoration—or the god acknowledging the king by embracing him, suckling him, or handing him an <i>ankh,</i> the sign of life in Egyptian hieroglyphs. Other human beings rarely appear in these scenes.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">In the Old and Middle Kingdoms, scenes decorating the tomb chapels of the elite showed activities related to the tomb owner's estates and his government office. They also depicted the funeral procession and the performance of the burial rites, and the deceased before a table of offerings, often with rows of people bringing more offerings. Images of gods or the king were not included. In the New Kingdom’s 18th Dynasty, painted tombs at Thebes displayed similar subject matter, but they were by then allowed to show the deceased person worshiping funerary gods or being received in audience by the enthroned king.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">The function of the tomb chapel was to provide a space where the living and the dead could interact. Intended to provide a familiar environment for the returning dead, much of the decoration portrayed images of daily life. Together with texts recording the tomb owner’s titles and achievements, the painted images also established the status of the dead person in the eyes of subsequent generations who visited the chapels. In the 19th Dynasty, these daily-life scenes disappeared and were replaced by scenes that showed the passage of the deceased from this world to the next and the deceased adoring and being welcomed by different gods in the afterlife.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Other important painted items in ancient Egypt were wooden coffins and funerary scrolls made of papyrus. In the Old and Middle Kingdoms, coffins were rectangular in shape. On the outside they were decorated with lines and columns of text that gave the titles and name of the owner and asked for offerings on his or her behalf. On the east side, a pair of painted eyes enabled the deceased to look out into the world of the living. During the first half of the Middle Kingdom, coffins were also richly decorated on the inside, with a false door painted behind the exterior eyes, painted piles of offerings for the deceased, and texts designed to protect the occupant and help him or her into the afterlife. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><b><br />
<span style="color: black; font-family: "Times New Roman","serif"; font-size: 10pt;"><o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 10pt;">Ankh<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 10pt;">The ankh, a cross with a circular loop at the top, appears frequently in ancient Egyptian hieroglyphs and art. For the Egyptians, the ankh sign represented life.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">By the 18th Dynasty, most coffins had the shape of a mummified human body. The painted decoration of coffins changed over the next 1,500 years, though certain motifs remained popular. These included images of the sky goddess, Nut, who gave birth to the sun every day; of Hathor, who as the goddess of the west stood on the boundary between this world and the next; and of the goddesses Isis and Nephthys, who resurrected the murdered god Osiris. The painted images reflected the function of the coffin, which was not simply to contain a dead body but to help the deceased make a successful transition into the afterlife.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Funerary papyri, put inside many coffins, had a similar purpose. The most famous of them is the so-called Book of the Dead, which contains texts designed to protect the owner during the passage into the next world. A painted scene accompanied each chapter, showing, for instance, the funeral procession, the burial rites performed before the tomb, the deceased adoring a variety of deities, and the deceased as an inhabitant of the next world.<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 18pt; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0.0001pt 36pt; text-align: justify; text-indent: -18pt;"><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 14pt; line-height: 150%;">4.<span style="font-family: "Times New Roman"; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></b><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 14pt; line-height: 150%;">Decorative Arts<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Jewelry and amulets for protection were worn by the living and the dead in ancient Egypt. Both men and women wore necklaces, collars, bracelets, <i>armlets</i> (bands around the upper arm), and rings. Women also wore <i>anklets</i> (bands around the ankle), hip <i>girdles</i> (belts), and, from the end of the Middle Kingdom, earrings. Although young boys also wore earrings, adult men are rarely shown with them. The most popular materials for jewelry were gold, representing the flesh of the gods and the color of the sun; deep blue lapis lazuli, the color of the night sky; turquoise, the color of new plants; and red carnelian, associated with the sun and the color of blood. Egyptian <i>faience</i>, an inexpensive non-clay ceramic material with a glaze made from quartz, was also popular, even with the wealthy, because its shiny surface was associated with the brilliance of the sun.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Amulets were often made in the shape of what the Egyptians considered lucky hieroglyphs. These included the looped cross, or ankh, which was an emblem for life; the papyrus stem and flower, which stood for new growth and regeneration; and the <i>djed</i> pillar, which was associated with the backbone of Osiris, for stability. One of the most famous amulets is the <i>wedjat</i> eye. This was the eye of the god Horus, which was wounded and made whole again, and it protected the wearer from misfortune and bad influences. Other amulets were in the form of gods. For example, the goddess Isis protected pregnant women, women in childbirth, and young children.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><b><u><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">General Characteristics of Egyptian Art<o:p></o:p></span></u></b></div><ul type="disc"><li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Idealism<o:p></o:p></span></b></li>
</ul><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Ancient Egyptian statues were not intended to serve as realistic portraits. Instead, a statue represented an ideal image of the king or a member of the elite and did not include physical peculiarities, disabilities, or signs of aging. While kings were generally shown with youthful, physically fit bodies, elite male officials had two images that represented different stages of their careers. In one, the official appears youthful and physically fit. In the second, he is mature, with rolls of fat on his chest and sagging muscles representing the successful, sedentary official who eats well. Because elite women could not be government officials, they are represented by a single, youthful image that stresses the outline of their bodies and their child-bearing potential.<o:p></o:p></span></div><ul type="disc"><li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Frontality<o:p></o:p></span></b></li>
</ul><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Statues of deities, the king, and the elite appear only in standing, seated, and kneeling poses. They also exhibit a characteristic called <i>frontality,</i> which means that they face straight ahead without twisting or turning the head or body. This posture relates to the ritual function of statues. Because the statue faces forward, it could witness people performing the rituals in front of it.<o:p></o:p></span></div><ul type="disc"><li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Composite Rendition</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;"><o:p></o:p></span></li>
</ul><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Artists in ancient Egypt were not concerned with representing the world realistically, and they did not attempt to incorporate the illusion of depth in their art. They represented objects by their most characteristic view, sometimes combining different views within a single picture. For example, a chair might be drawn in profile (viewed from the side), and an animal skin in full view (viewed straight on). The human figure was a composite, with a face in profile that showed the full view of an eye and eyebrow, and full-view shoulders and chest facing the viewer. The waist, buttocks, and limbs were shown in profile. <o:p></o:p></span></div><ul type="disc"><li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Hierarchical Representation <o:p></o:p></span></b></li>
</ul><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">The different sizes of figures indicated their relative importance, with more important people shown larger.<o:p></o:p></span></div><ul type="disc"><li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Colours used were mainly primary colours<o:p></o:p></span></b></li>
</ul><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Egyptian artists mainly used primary colours: Red, Yellow, Blue and the Neutral colour Black and White for most of their compositions. The reason for this may be due to the fact that the paintings on the temple walls or tombs were made to be very attractive to the gods and the dead.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><b><u><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Materials used for the Artistic Productions<o:p></o:p></span></u></b></div><ul type="disc"><li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Wood<o:p></o:p></span></b></li>
<li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Stone<o:p></o:p></span></b></li>
<li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Metal<o:p></o:p></span></b></li>
<li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Clay<o:p></o:p></span></b></li>
</ul><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">The majority of surviving statues are made of stone, most commonly limestone, but also calcite, sandstone, quartzite, granite, granodiorite, diorite, basalt, and other materials. Wood was widely used, but since it decomposes easily, fewer wooden statues have survived. Cult statues of gods employed precious metals, and some statues of the king and the elite were made of copper in the Old Kingdom and bronze from the Middle Kingdom on. Because metal was valuable and can be melted down and reused, however, only a small proportion of metal statues have survived to the present.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><b><u><span style="color: black; font-family: "Times New Roman","serif"; font-size: 14pt;">Functions of ancient Egyptian art<o:p></o:p></span></u></b></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">Ancient Egyptian Arts and Architecture played central role in:<o:p></o:p></span></div><ul type="disc"><li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Mediating between the world of the living and the spirit world.<o:p></o:p></span></li>
<li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Perpetuating life after death ( art for eternity)<o:p></o:p></span></li>
<li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Expressing community Ideals<o:p></o:p></span></li>
<li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Defining Power and Leadership<o:p></o:p></span></li>
<li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Objects of worship (religious Purpose)<o:p></o:p></span></li>
<li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Documenting the events of royal lives <o:p></o:p></span></li>
<li class="MsoNormal" style="color: black; line-height: 150%; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 150%;">Protecting and Healing (Book of the Dead)<o:p></o:p></span></li>
</ul><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">.</span><b><u><span style="color: black; font-family: "Times New Roman","serif"; font-size: 14pt;">Legacy of Egyptian Art</span></u></b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;"><o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">The Egyptians created their art and architecture to affirm a distinctive social, political, and religious system. After the Roman conquest of Egypt, Alexandria became an important center of Christianity, and what Christians regarded as pagan art ceased to be produced. Existing monuments were viewed negatively and their images defaced. The Arab conquest of Egypt in <span style="font-variant: small-caps;">ad</span> 640 brought a new language (Arabic) as well as new cultural and religious traditions. This event removed the Egyptians even further from their ancient past. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;">During the 19th century, scholars collected and studied inscriptions and texts on monuments throughout Egypt. Contemporary artists and architects incorporated Egyptian motifs in paintings, decorative arts, and monumental architecture. During the 20th century, scholars from Europe and the United States together with their Egyptian colleagues worked to excavate, record, and conserve the monuments of ancient Egypt under the supervision of the Egyptian Antiquities Service, later called the Supreme Council for Antiquities.<o:p></o:p></span></div><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt;"><br clear="all" style="page-break-before: always;" /> </span> <br />
<div class="MsoNormal" style="text-align: justify;"><b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 14pt;">Bibliography</span></b><b><span style="color: black; font-family: "Times New Roman","serif";"><o:p></o:p></span></b></div><div class="MsoBibliography" style="text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Barnet, Sylvan. <u>Short Guide to Writing about Art.</u> New York: Longman, 2000.<o:p></o:p></span></div><div class="MsoBibliography" style="margin-left: 76.5pt; text-align: justify; text-indent: -76.5pt;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Clarke, Christa. <u>THE ART OF AFRICA: A Resource for Educators.</u> New York: The Metropolitan Museum of Art, New York, 2006.<o:p></o:p></span></div><div class="MsoBibliography" style="margin-left: 54pt; text-indent: -54pt;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Hall, Stuart. <u>Representation: cultural representations and signifying practices.</u> London, 1997.<o:p></o:p></span></div><div class="MsoBibliography" style="text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Kuhn, Annette. "The Power of Image." Great Britain: T.J. Press ( Padstow ) Ltd., 1985.<o:p></o:p></span></div><div class="MsoBibliography"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Onipede, Akin. <u>ART AS A REFLECTION OF SOCIO-POLITICAL REALITY: A STUDY OF SELECTED WORKS OF TWO NIGERIAN PAINTERS.</u> M.A THESIS. UNIVERSITY OF LAGOS. LAGOS, 2006.<o:p></o:p></span></div><div class="MsoBibliography" style="text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Robins, Gay. "Egyptian Art and Architecture." Encarta, Microsoft. 2009.<o:p></o:p></span></div><div class="MsoBibliography" style="text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Stokstad, Mariln. <u>ART HISTORY.</u> Vol. 1. New York: Harry N. Abrams, Incorporated, 1995.<o:p></o:p></span></div><div class="MsoNormal"><br />
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<hr align="left" size="1" width="33%" /><div id="ftn1"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-create.g?blogID=981158321097495353#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 10pt;">[1]</span></span></span></span></a><span lang="EN-US"> </span>People who study ancient Egypt.<o:p></o:p></div></div></div></div>Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com2tag:blogger.com,1999:blog-981158321097495353.post-30777209042002459812011-05-27T02:53:00.000-07:002011-05-27T03:12:05.792-07:00New technics for improved creativity of arts---By Hope Orivri<div dir="ltr" style="text-align: left;" trbidi="on">LEARNING new technics for doing his cartoons has taught cartoonist, Jimoh Ganiyu (also known as JIMGA) better ways of adding commercial value to his works. All thanks to the recently concluded art entrepreneurship workshop, organised for students of the creative arts department at the University of Lagos.<br />
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Before the workshop, Ganiyu did his regular cartoons with the hope of just getting some kind of publicity for them in daily newspapers. But Ganiyu may just have started thinking beyond just passion for creativity.<br />
Speaking with Ganiyu in the course of the workshop, he said he had learned how to do his artworks in many forms than he had known before. “This workshop has given me the opportunity to actually express myself in other forms. Participating in the ‘reposee’ section has made it possible for me to learn a lot of new things. I had never worked with that medium before, because it is not like other popular media of painting, ceramics and sculpting,” he said.<br />
Of course, there might have been some difficulties integrating an innovation into an existing pattern of doing things, and Ganiyu accepted that he was not an exception. “This is not only new, it is quite challenging, but I was able to merge where I was coming from with what I have learned. This is a technic, where you can express your artistry through metal foil, and I had never known of it before until the time of this workshop.”<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi772AWja6k1-0hIgNIAdhjOgBvTLv84EMJT8WXIJeOu0WZDP4-pbkdV9fTGeGzZqy76TUlmo4XXkdTwFLOW7XC9xDSBVOTYiuaHVuKaLvHlTQW99p3eI_TARhX2BbLdhJHw-6frCua3Ik/s1600/DSC_0487.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi772AWja6k1-0hIgNIAdhjOgBvTLv84EMJT8WXIJeOu0WZDP4-pbkdV9fTGeGzZqy76TUlmo4XXkdTwFLOW7XC9xDSBVOTYiuaHVuKaLvHlTQW99p3eI_TARhX2BbLdhJHw-6frCua3Ik/s320/DSC_0487.JPG" width="214" /></a></div><br />
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A look at Ganiyu’s new works using his newly acquired technic of working with metal foil shows that there is value added, as the artwork can now be felt alongside seeing it. It has given a stronger visual strength to his cartoon work.<br />
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Experimenting with the new technic he learned, Ganiyu tells the story of royalty through dance. He is able to showcase the kind of dance depicting royalty, by Benin women. He has also made good use of his space, ensuring purposefulness as icons of royalty dot the available areas.<br />
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Making a social commentary with one of his works, Ganiyu has condemned the post-election violence. Through this piece of art, he has shown the reality of the new meaning being given to the National Youth Service Corps (NYSC) scheme. He has shown the terror and violence against innocent youths who were supposed to be rendering service to the nation, but ended up being victims. The artist has spoken so much with his art.<br />
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Even as Ganiyu loves to address issues of concern to society with his cartoons, so has his consciousness for commercial sense been awakened, following this workshop for art entrepreneurship. This is so that he can sustain the creativity of his art when he gets out of school. “I now think differently with regards to how lucrative doing cartoons could be. I appreciate the fact that the workshop has taught me how to establish a viable business with my arts.”<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpimAGPtH-LQmswL1DBO0mNQhnGpOmcBYH1KrpjL3wRmVszwxB2DXpPWrnXSbmsA2QW9VCg1JNu990AZfzVsXERpN4LFQr-xAmNdtXrvVKmtDejDw2D0lRLeTHbsNk047HgBfh-u_ASCU/s1600/DSC_0482.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpimAGPtH-LQmswL1DBO0mNQhnGpOmcBYH1KrpjL3wRmVszwxB2DXpPWrnXSbmsA2QW9VCg1JNu990AZfzVsXERpN4LFQr-xAmNdtXrvVKmtDejDw2D0lRLeTHbsNk047HgBfh-u_ASCU/s320/DSC_0482.JPG" width="320" /></a></div><br />
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For Ganiyu and other students of arts, who took part in this training, it was like a life-line for continuity in a sustainable sense.<br />
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<a href="http://momentng.com/en/news/2541/new-technics-for-improved-creativity-of-arts.html">http://momentng.com/en/news/2541/new-technics-for-improved-creativity-of-arts.html</a><br />
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Posted at 16/05/2011 05:44 AM | Updated at 16/05/2011 05:44 AM</div>Jimgahttp://www.blogger.com/profile/12217601813913251251noreply@blogger.com3