ABSTRACT
Sculpture, over time, has evolved and through the period of its evolution sculptors have derived inspiration from diverse sources, Pablo Picasso and Amideo Modigliani explored African mask for their paintings and sculptures, this direction has influenced to a large extent the trend of contemporary sculpture. The problem of this research therefore, was, that there is no known attempt at the adaptation of Enugu-Ngwo maiden mask forms for totem pole sculpture. The aim of the research was to create sculptures of totem poles, while the objectives were to; adapt Enugu-Ngwo maiden masks forms to create sculptural totem poles and recreate the aesthetic attributes of the Enugu-Ngwo maiden mask forms into totem pole models among others. Sculpture of totem poles and masks are both material culture of which when synergized resulted into an array of contemporary totem pole sculptures. In the course of this research, different media were explored and deployed. These ranged from concrete, fibre glass and charcoal. The research method was the exploratory studio-based research methodology, which involved visualization and practical observation of the Enugu-Ngwo mask forms. The analysis and conceptualization of perceived forms laid the basis from which the studio projects were executed. Ten sculptures were created two of which are large size and where created to achieve the physical presence of a totem pole.Several findings and observations were made in the process of this research, among which are; It has been shown that sculptural totem models can be produced by adapting Enugu-Ngwo maiden mask.Ithas also been shown that the exploration of the aesthetic attributes of Enugu-Ngwo maiden mask manifest interesting patterns and symbols for creating totem pole models. As well as, there are other possibilities of adapting the mask forms into other forms of contemporary sculpture.
CHAPTER ONE
1.0 INTRODUCTION
Totemism could be said to have been inspired by the human urge to immortalize that which is considered memorable. To this end, sculptors over time employed different media to achieve or try to achieve this seeming immortality, of the virtues they seek to keep for posterity.According to Ocvirk, etal, (2006), “new generations of artists become dissatisfied with the path taken by their predecessors and strike out in new directions”. He continued that, “throughout the frame of this time, artists have sought inspiration from classical African antiquity”. Such artists as Amedeo Modiglianni,(1884-1920), Constantine Brancussi, (1876-1957), and Pablo Picasso (1881-1973), delved into new directions by a critical contemplation and appraisal of classical African sculpture”.\
1.1 BACKGROUND OF THE STUDY
The general idea about totems is hinged to certain animals or plants which are venerated by the people. Ninian (1984) gives credence to the above assertion when he notesthat,“totems are any animal, plant and object considered related to a kin group is viewed as sacred”.Further elaborated, are the views shared by Arthur and Myers (1985), who opinethat “totems lent performance and stability of the clans to the group of human individuals, who generation after generation were each associated with a set totem, which distinguished one class from another”. The totems may be regarded as a group symbol and as a protector of the members of the group. There has been a significant practice of totem pole form in Africa.Dmochowski (1990), asserts that verandah posts, even in ordinary houses were generally ornamented, using joinery and not sculptural
Sculpture, over time, has evolved and through the period of its evolution sculptors have derived inspiration from diverse sources, Pablo Picasso and Amideo Modigliani explored African mask for their paintings and sculptures, this direction has influenced to a large extent the trend of contemporary sculpture. The problem of this research therefore, was, that there is no known attempt at the adaptation of Enugu-Ngwo maiden mask forms for totem pole sculpture. The aim of the research was to create sculptures of totem poles, while the objectives were to; adapt Enugu-Ngwo maiden masks forms to create sculptural totem poles and recreate the aesthetic attributes of the Enugu-Ngwo maiden mask forms into totem pole models among others. Sculpture of totem poles and masks are both material culture of which when synergized resulted into an array of contemporary totem pole sculptures. In the course of this research, different media were explored and deployed. These ranged from concrete, fibre glass and charcoal. The research method was the exploratory studio-based research methodology, which involved visualization and practical observation of the Enugu-Ngwo mask forms. The analysis and conceptualization of perceived forms laid the basis from which the studio projects were executed. Ten sculptures were created two of which are large size and where created to achieve the physical presence of a totem pole.Several findings and observations were made in the process of this research, among which are; It has been shown that sculptural totem models can be produced by adapting Enugu-Ngwo maiden mask.Ithas also been shown that the exploration of the aesthetic attributes of Enugu-Ngwo maiden mask manifest interesting patterns and symbols for creating totem pole models. As well as, there are other possibilities of adapting the mask forms into other forms of contemporary sculpture.
CHAPTER ONE
1.0 INTRODUCTION
Totemism could be said to have been inspired by the human urge to immortalize that which is considered memorable. To this end, sculptors over time employed different media to achieve or try to achieve this seeming immortality, of the virtues they seek to keep for posterity.According to Ocvirk, etal, (2006), “new generations of artists become dissatisfied with the path taken by their predecessors and strike out in new directions”. He continued that, “throughout the frame of this time, artists have sought inspiration from classical African antiquity”. Such artists as Amedeo Modiglianni,(1884-1920), Constantine Brancussi, (1876-1957), and Pablo Picasso (1881-1973), delved into new directions by a critical contemplation and appraisal of classical African sculpture”.\
1.1 BACKGROUND OF THE STUDY
The general idea about totems is hinged to certain animals or plants which are venerated by the people. Ninian (1984) gives credence to the above assertion when he notesthat,“totems are any animal, plant and object considered related to a kin group is viewed as sacred”.Further elaborated, are the views shared by Arthur and Myers (1985), who opinethat “totems lent performance and stability of the clans to the group of human individuals, who generation after generation were each associated with a set totem, which distinguished one class from another”. The totems may be regarded as a group symbol and as a protector of the members of the group. There has been a significant practice of totem pole form in Africa.Dmochowski (1990), asserts that verandah posts, even in ordinary houses were generally ornamented, using joinery and not sculptural
