{"id":1399,"date":"2023-09-28T14:13:28","date_gmt":"2023-09-28T14:13:28","guid":{"rendered":"http:\/\/localhost\/ecole9ja\/?p=1399"},"modified":"2023-09-28T14:41:09","modified_gmt":"2023-09-28T14:41:09","slug":"week-1-jss-3-first-term-cultural-and-creative-art-lesson-notes","status":"publish","type":"post","link":"https:\/\/ecolebooks.com\/nigeria\/posts\/week-1-jss-3-first-term-cultural-and-creative-art-lesson-notes\/","title":{"rendered":"Week 1 – Jss 3 First Term Cultural and Creative Art (CCA) Lesson Notes"},"content":{"rendered":"

SUBJECT: CULTURAL AND CREATIVE ART
\n<\/strong>ALPHA TERM
\n<\/strong>SCHEME OF WORK JSS3
\n<\/strong>
\n\u00a0WEEK\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0TOPIC
\n<\/strong><\/p>\n

\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
1.<\/strong><\/td>\nNIGERIAN TRADITIONAL ART AND CULTURE<\/strong><\/td>\n<\/tr>\n
2<\/strong><\/td>\nUSES OF MUSIC.<\/strong><\/td>\n<\/tr>\n
3.<\/strong><\/td>\nEXHIBITION AND DISSPLAY TECHNIQUES<\/strong><\/td>\n<\/tr>\n
4.<\/strong><\/td>\nMUSIC COMPOSITION<\/strong><\/td>\n<\/tr>\n
5.<\/strong><\/td>\nDRAMA AND THE DEVELOPMENT OF RURAL COMMUNITIES<\/strong><\/td>\n<\/tr>\n
6.<\/strong><\/td>\nMUSIC COMPOSITION CONT.<\/strong><\/td>\n<\/tr>\n
7. <\/strong><\/td>\nCONTEMPORARY NIGERIAN ARTS AND ARTISTS.<\/strong><\/td>\n<\/tr>\n
8.<\/strong><\/td>\nSIGHT READING SINGING<\/strong><\/td>\n<\/tr>\n
9.<\/strong><\/td>\nOPPORTUNITIES FOR CAREER DRAMATISTS.<\/strong><\/td>\n<\/tr>\n
10.<\/strong><\/td>\nEMBRIODERY.<\/strong><\/td>\n<\/tr>\n
11.<\/strong><\/td>\nREVIEW OF CHORD AND TRIADS.<\/strong><\/td>\n<\/tr>\n
12\/13<\/strong><\/td>\nREVISION\/EXAMINATION<\/strong><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

\u00a0
\n\u00a0
\n\u00a0
\n\u00a0WEEK 1
\n<\/strong>TOPIC: NIGERIAN TRADITIONAL ATR
\n<\/strong>CLASS: JSS3
\n<\/strong><\/p>\n

Igbo-Ukwu\u00a0Art
\n<\/h2>\n

Igbo-Ukwu is notable for three\u00a0archaeological sites, where excavations have found\u00a0bronze\u00a0artifacts\u00a0from a highly sophisticated bronze metal-workingculture\u00a0dating perhaps to the ninth or tenth century, centuries before other known bronzes of the region.
\nThe first, called\u00a0Igbo Isaiah<\/em>, was uncovered in 1938 by Isaiah Anozie, a local villager, who found the bronze works while digging beside his home. Five bronze artefacts from the original excavation are now in the\u00a0British Museum’s collection.[4]<\/sup>\u00a0They include a small staff, a head of a\u00a0ram, a large\u00a0manilla, an intricately designed crescent-shaped vessel and a small pendant in the shape of a tribal chief’s head with\u00a0tattoo\u00a0marks on the face.
\nFormal excavations by the archaeologist\u00a0Thurstan Shaw\u00a0in 1959 at the request of the Nigerian government, resulted in the discovery of two other sites,\u00a0Igbo Richard<\/em>\u00a0and\u00a0Igbo Jonah,<\/em>\u00a0containing the remains of an ancient culture. Later, these were excavated as well. Artifacts have included\u00a0jewelry,ceramics, a corpse adorned in what appears to be\u00a0regalia, and many assorted\u00a0bronze,\u00a0copper, and\u00a0iron\u00a0objects. Some of these contain materials that are evidence of a long-distance trading system extending to\u00a0Egypt.
\nRadiocarbon dating\u00a0placed the sites around the tenth century or earlier, which would make the Igbo-Ukwu culture the earliest-known example of bronze casting in the region. The craftsmen were working centuries before those who made the more well-known\u00a0Ife\u00a0bronzes. The archaeological sites in southeastern Nigeria are associated with the\u00a0Nri-Igbo. The three sites include\u00a0Igbo\u00a0Isaiah (a\u00a0shrine),\u00a0Igbo\u00a0Richard (a burial\u00a0chamber), and\u00a0Igbo\u00a0Jonah (a\u00a0cache)<\/p>\n

\u00a0<\/p>\n

    \n
  • \n
    Art comes from archaeological sites found in eastern Nigeria.<\/strong>\n\t\t\t\t<\/div>\n<\/li>\n
  • \n
    Consists of objects made from bronze, terracotta, beads and ivory.<\/strong>\n\t\t\t\t<\/div>\n<\/li>\n
  • \n
    They are believed to date to around the 1200 B.P (800A.D).<\/strong>\n\t\t\t\t<\/div>\n<\/li>\n
  • \n
    Objects discovered in ancient burial chambers, shrines, and storage areas.<\/strong>\n\t\t\t\t<\/div>\n<\/li>\n
  • \n
    Made by sophisticated bronze casting techniques.<\/strong>\n\t\t\t\t<\/div>\n<\/li>\n
  • \n
    Objects include bronze pendants, bowls, and shells.<\/strong>\n\t\t\t\t<\/div>\n<\/li>\n<\/ul>\n

    \u00a0\u00a0\u00a0\u00a0Pendant representing a human head with scarification marks.<\/strong>
    \n\t\tOne of the few human representations at Igbo-Ukwu.<\/strong><\/p>\n

    \u00a0<\/p>\n

      \n
    • \n
      \u00a0\u00a0\u00a0\u00a0Triton shell with elaborate surface decoration including flies, crickets, frogs, and snakes.<\/strong>\n\t\t\t\t<\/div>\n
        \n
      • \n
        \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The form of this 9th century bronze bowl appears to be based on a large globular gourd.<\/strong>\n\t\t\t\t\t\t<\/div>\n<\/li>\n<\/ul>\n<\/li>\n
      • \n
        It is decorated on the outside with raised horizontal and vertical loops in bands.<\/strong>\n\t\t\t\t<\/div>\n<\/li>\n<\/ul>\n

        \u00a0<\/p>\n

          \n
        • \n
          \u00a0\u00a0\u00a0\u00a0This unique vessel has been described as one of the most sophisticated examples of Igbo-Ukwu bronzes.<\/strong>\n\t\t\t\t<\/div>\n<\/li>\n
        • \n
          It is a water vessel resting on a stand encasted by ropework.<\/strong>\n\t\t\t\t<\/div>\n

          \"\"\/
          \n\t\t\t\t\t\"\"\/\n\t\t\t\t<\/li>\n<\/ul>\n

          \"\"\/\"\"\/\"\"\/\"\"\/
          \n\t\t\u00a0
          \n\u00a0IFE ART HISTORY
          \n<\/strong>Kings and Gods were often depicted with large heads because the artists believed that the\u00a0Ase<\/em>\u00a0was held in the head, the\u00a0Ase<\/em>being the inner power and energy of a person. Both historic figures of Ife and the offices associated with them are represented. One of the best documented among this is the early king Obalufon II who is said to have invented bronze casting and is honored in the form of a naturalistic copper life-size mask.
          \nThe city was a settlement of substantial size between the 12th and 14th centuries, with houses featuring potsherd pavements. Il\u00e9-If\u00e8 is known worldwide for its ancient and naturalistic bronze, stone and terracotta sculptures, which reached their peak of artistic expression between 1200 and 1400 A.D. In the period around 1300 C.E. the artists at Ife developed a refined and naturalistic sculptural tradition in terracotta, stone and copper alloy – copper, brass, and bronze many of which appear to have been created under the patronage of King Obalufon II, the man who today is identified as the Yoruba patron deity of brass casting, weaving and regalia.
          \n\t\t\t<\/sup>\u00a0After this period, production declined as political and economic power shifted to the nearby kingdom of\u00a0Benin\u00a0which, like the Yoruba kingdom of\u00a0Oyo, developed into a major empire.
          \nBronze\u00a0and\u00a0terracotta\u00a0art created by this\u00a0civilization\u00a0are significant examples of\u00a0naturalism\u00a0in pre-colonial African art and are distinguished by their variations in regalia, facial marking patterns, and body proportions. Ancient Ife also was famous for its glass beads which have been found at sites as far away as Mali, Mauritania, and Ghana.<\/p>\n

          \u00a0<\/p>\n

            \n
          • \n
            Art comes from archaeological sites found in western Nigeria.\n<\/div>\n<\/li>\n
          • \n
            Consists of objects made from terracotta, bronze, and stone.\n<\/div>\n<\/li>\n
          • \n
            Objects date 1000-500 B.P (1000 and 1500 A.D).\n<\/div>\n<\/li>\n
          • \n
            Believed to be created for the ruling elite.\n<\/div>\n<\/li>\n
          • \n
            Idealized naturalism.\n<\/div>\n<\/li>\n
          • \n
            Full length figures and busts are common.\n<\/div>\n<\/li>\n
          • \n
            Figures are sometimes heavily beaded.\n<\/div>\n<\/li>\n<\/ul>\n

            \"\"\/\"\"\/\"\"\/
            \n\t\tSTONE CARVING<\/strong><\/p>\n

            \n\n\n\n\n
            \"\"\/<\/td>\n\"\"\/<\/td>\n<\/tr>\n
            Idena (gatekeeper).\u00a0 Has iron nails in its coiffure and elaborately tied sash.\u00a0<\/td>\nStaff of Oranmiyan.\u00a0 18 feet in height studded with spiral-headed nails.\u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

            TERRACOTTAS<\/strong><\/p>\n

            \n\n\n\n\n
            \"\"\/<\/td>\n\"\"\/<\/td>\n\"\"\/<\/td>\n<\/tr>\n
            Child of Obatala (creation divinity).\u00a0 The sculpture probably depicts a ritual specialist indicated by the bead on his forehead and the skull pendant.\u00a0<\/td>\nProbable image of a queen with an elaborately beaded headdress.\u00a0<\/td>\nSculpture of possible queen with facial striations and elaborate head gear. From 1000-700 B.P (1000-1300 A.D).<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

            <\/p>\n

            \n\n\n\n\n
            \u00a0<\/td>\n\u00a0<\/td>\n\u00a0<\/td>\n<\/tr>\n
            \u00a0<\/td>\n\u00a0<\/td>\n\u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

            <\/strong><\/p>\n

            BENIN ART
            \n<\/h2>\n

            \u00a0Benin art<\/strong>\u00a0is the\u00a0art\u00a0from the\u00a0Kingdom of Benin\u00a0or\u00a0Edo Empire\u00a0(1440-1897), a pre-colonial African state located in what is now known as the South-South region of Nigeria. Primarily made of cast bronze and carved ivory, Benin art was produced mainly for the court of the\u00a0Oba of Benin\u00a0– a divine ruler for whom the craftsmen produced a range of ceremonially significant objects. The full complexity of these works can be appreciated only through the awareness and consideration of two complementary cultural perceptions of the art of Benin: the Western appreciation of them primarily as works of art, and their understanding in Benin as historical documents and as mnemonic devices to reconstruct history, or as ritual objects. This original significance is of great import in Benin.
            \n\t\t\t\t\t<\/sup>\"\"\/\"\"\/\"\"\/\"\"\/\"\"\/\"\"\/\"\"\/
            \n\t\t\t\t\t<\/sup>\u00a0
            \n\u00a0<\/p>\n

            TSOEDE ART
            \n<\/h2>\n

            The\u00a0Nupe<\/strong>, traditionally called the\u00a0Tapa<\/strong>\u00a0by the neighbouring\u00a0Yoruba, are an\u00a0ethnic group\u00a0located primarily in the\u00a0Middle Belt\u00a0and northern\u00a0Nigeria, and are the dominant group in\u00a0Niger State\u00a0and an important minority in\u00a0Kwara State.<\/p>\n

            History
            \n<\/h2>\n

            The Nupe trace their origin to\u00a0Tsoede\u00a0who fled the court of\u00a0Idah\u00a0and established a loose confederation of towns along the\u00a0Niger\u00a0in the 15th century. The proximity of Nupe to the Yoruba\u00a0Igbomina\u00a0people in the south and to the Yoruba\u00a0Oyo\u00a0people in the southwest led to cross-fertilization of cultural influences through trade and conflicts over the centuries. It is said that the famous Yoruba\u00a0oba\u00a0or king, Shango (also known as Jakuta) who was once an Alaafin of Oyo before being deified following his death, was the son of a Nupe (Tapa) woman.
            \nMany Nupe were converted to\u00a0Islam\u00a0at the end of the eighteenth century by Mallam Dendo, a wandering preacher, and were incorporated into the\u00a0Fulani Empire\u00a0established by the\u00a0Jihad\u00a0led by\u00a0Usman dan Fodio\u00a0after 1806.
            \nHowever, the traditions of Nupe were retained, hence the ruler of Nupe is the Etsu Nupe rather than being called\u00a0Emir. The city of\u00a0Bidafell to the colonialist British forces in 1897, the Etsu Abubakar was deposed and replaced by the more pliable Muhammadu (Vandeleur 1898). During the reign of Muhammadu, a Prince named Jimada moved to Patigi, northeast of Bida (not to be confused with near-identically spelt\u00a0Pategi, southwest of Bida, on the southern and opposite bank of the Niger River) protesting against being ruled by a Fulani\u00a0. Now Jimada’s descendants are fighting for the post of Etsu Nupe claiming to be the only existing pure Nupe ruling family.
            \n\t\t\t\t\t<\/sup>\u00a0The present Etsu Nupe is\u00a0Yahaya Abubakar
            \n.<\/p>\n

            POPULATION AND DEMOGRAPHY
            \n<\/h2>\n

            There are probably about 3.5\u00a0million Nupes, principally in\u00a0Niger State, although a small but growing diaspora of Nupe can be found in Knowle in the West Midlands of England. The\u00a0Nupe language\u00a0is also spoken in Kwara and Kogi States. They are primarily\u00a0Muslims, with a few Christians and followers of\u00a0African Traditional Religion. The Nupe people have several local, traditional rulers. The Etsu Nupe (Bida) is not Nupe and is actually part of the\u00a0Fula\u00a0tribe but they came to rule the Bida in the 1806. They have no present capital, although they were originally based at Rabah and only moved to Bida in the nineteenth century.<\/p>\n

            Traditions, art and culture.
            \n<\/h2>\n

            \u00a0mask made out of wood and used during bird hunting. The hunter would tie the mask around his head and imitate the bird’s movement.
            \nThe Nupe people have various traditions. Much of their culture was diluted by the\u00a0Usman Dan Fodio\u00a0jihad\u00a0of the 19th century, but they still hold on to some of their culture which is very similar to that of ancient\u00a0Egypt. Many Nupe people often have\u00a0tribal scars\u00a0on their faces (similar to an old Yoruba tradition), some to identify their prestige and the family of which they belong as well as for protection, as well as\u00a0jewelry\u00a0adornment. But these traditions are dying out in certain areas. Their art is often abstract. They are well known for their\u00a0wooden\u00a0stools with patterns carved onto the surface.
            \n\"\"\/\"\"\/\"\"\/\"\"\/\"\"\/\"\"\/\"\"\/
            \n\t\t\t\t\"\"\/\"\"\/\"\"\/\"\"\/<\/p>\n

            \u00a0<\/p>\n

            Owo, ART
            \n<\/h2>\n

            Owo<\/strong>\u00a0is a city in the\u00a0Ondo\u00a0state of\u00a0Nigeria. Between the years 1400 and 1600 AD, it was the capital of a\u00a0Yoruba\u00a0city-state.
            \nAccording to Owo historian Chief Ashara, the name\u00a0Owo<\/em>\u00a0was derived from the first ruler, or\u00a0Olowo of Owo, named Ojugbelu. His pleasant manner earned him the name\u00a0Owo<\/em>, meaning respectful, and the name was passed on to his descendants and followers.<\/p>\n

            \u00a0<\/p>\n

            HISTORY.
            \n<\/h2>\n

            In their oral tradition, Owo traces its origins to the ancient city of\u00a0Ile-Ife, the cradle of Yoruba culture. \u00a0Oral tradition also claims that the founders were the sons of the Yoruba deity\u00a0Odudua, who was the first ruler of Ile-Ife. The early art-historical and archaeological records reinforce these strong affiliations with Ife culture.
            \n\t\t\t\t\t<\/sup>\u00a0Owo was able to maintain virtual independence from the neighboring kingdom of Benin, but was on occasion required to give tribute.
            \n\t\t\t\t\t<\/sup>\u00a0The transmission of courtly culture flowed in both directions between the Benin and the Owo kingdoms. The skill of Owo’s ivory carvers was also appreciated at the court of Benin. During the seventeenth and eighteenth centuries, Benin’s rulers increasingly utilized insignia made from ivory, and imported Owo’s art objects and recruited its artisans for their own royal workshops.[4]<\/sup>\u00a0There were other notable artworks that can be evidently supported.
            \n\t\t\t\t\t<\/sup>Owo came under\u00a0British\u00a0rule in 1893. After Nigeria declared independence in 1960, it was part of the\u00a0Western Region\u00a0until 1967 when it became part of the\u00a0Western State. Owo and its indigenes played significant roles in the politics of the first Republic, in Nigeria. In 1976, it became part of the newly created Ondo State.<\/p>\n

            ECONOMY.
            \n<\/h2>\n

            The present-day city is an agricultural center involved in the growing and trade of\u00a0yams,\u00a0cassava,\u00a0maize,\u00a0okra,\u00a0peppers,\u00a0cocoa, and cotton. There are however other meaningful commercial activities in the town including but not limited to,\u00a0timber\u00a0and\u00a0sawmilling,\u00a0Soya beans\u00a0processing plant and block making industries. The town is dotted with branches of some of the foremost banks like, First Bank Plc, Wema Bank Plc, Skye Bank Plc, Enterprise Bank Ltd. (former Omega Bank Plc) etc. The city is now witnessing a dramatic change due to expansion of its road network, particularly dualization of the main road beginning from Emure junction up to Iyere exit. A new Ultra-modern market is now open in Owo.
            \n\"\"\/\"\"\/\"\"\/\"\"\/
            \n\t\t\t\t\"\"\/\"\"\/\"\"\/\"\"\/\"\"\/<\/p>\n

            Esi\u1eb9
            \n<\/h2>\n

            Esi\u1eb9<\/strong>\u00a0is a town in\u00a0Kwara State\u00a0in\u00a0Nigeria.
            \nThe town was founded by prince Baragbon circa\u00a01770. The dialect of Yoruba spoke in Esie is predominantly\u00a0Igbonna. The town has a king who is Oba Yakubu Babalola Egunjobi 2.
            \nIt is home to the\u00a0Esi\u1eb9 Museum\u00a0which was the first museum to be established in Nigeria.
            \n\"\"\/\"\"\/\"\"\/\"\"\/<\/p>\n

            \u00a0<\/p>\n

            Ibibio\u00a0art
            \n\t\t\t\t\t\t<\/h2>\n

            \u00a0The\u00a0Ibibio<\/strong>\u00a0are a people of southeastern\u00a0Nigeria. They are related to the\u00a0Anaang, the\u00a0Efik\u00a0and\u00a0Igbo\u00a0peoples. During colonial period in Nigeria, the Ibibio Union asked for recognition by the British as a sovereign nation (Noah, 1988). The Annang, Efik, Ekid, Oron and Ibeno share personal names, culture, and traditions with the Ibibio, and speak closely related varieties of\u00a0Ibibio-Efik.<\/p>\n

            Geography
            \n<\/h2>\n

            The Ibibio people are found predominantly in\u00a0Akwa Ibom state\u00a0and is made up of the related Anaang community, the Ibibio community and the Eket and Oron Communities, although other groups usually understand the\u00a0Ibibio language. Because of the larger population of the Ibibio people, they hold political control over\u00a0Akwa-Ibom State, but government is shared with the Anaangs, Eket and Oron. The political system follows the traditional method of consensus. Even though elections are held, practically, the political leaders are pre-discussed in a manner that is benefiting to all.<\/p>\n

            Location of Ibibioland
            \n<\/h3>\n

            The Ibibio people are located in\u00a0Southeastern Nigeria\u00a0also known as\u00a0Coastal Southeastern Nigeria. Prior to the existence of Nigeria as a nation, the Ibibio people were self-governed. The Ibibio people became a part of the\u00a0Eastern Nigeria\u00a0of Nigeria under\u00a0British\u00a0colonial rule. During the Nigerian Civil War, the Eastern region was split into three states.\u00a0Southeastern State of Nigeria\u00a0was where the Ibibio were located, one of the original twelve states of Nigeria) after Nigerian independence. The Efik, Anaang, Oron, Eket and their brothers and sisters of the Ogoja District, were also in the Southeastern State. The state (Southeastern State<\/strong>) was later renamed\u00a0Cross Rivers State. On 23 September 1987, by Military Decree No.24,\u00a0Akwa Ibom State\u00a0was carved out of the then\u00a0Cross Rivers State\u00a0as a separate state.Cross Rivers State\u00a0remains as one of neighbouring states.
            \nSouthwestern Cameroon was a part of present\u00a0Cross River State\u00a0and\u00a0Akwa Ibom State\u00a0of Nigeria. During the then Eastern Region of Nigeria it got partitioned into Cameroon in a 1961 plebiscite. This resulted in the Ibibio, Efik, and Annang being divided between Nigeria and Cameroon. However, the leadership of the Northern Region of Nigeria was able to keep “Northwestern section” during the plebiscite that is now today’s Nigerian Adamawa and Taraba states.<\/p>\n

            \u00a0
            \n\u00a0IKOM MONOLITHS
            \n<\/strong>The Ikom monoliths (Akwasnshi<\/em>\u00a0in the local Ejagham dialect) are large carved stones spread over thirty communities in the Ikom LGA. They were declared an ancient monument by the National Commission for Museums and Monuments on March 19, 1963. The stones are arranged in circles, vary between one and two metres in height and are intricately decorated with geometric patterns, symbols and inscriptions. Although the carvings on the stones differ, each has the shape of a human torso. Most of the stones are made of basaltic rocks, while a few are sandstone and shelly limestone. Environmental (exposure to extremes of rainfall and sunlight, erosion and deterioration as resulting from humidity) and human (vandalism and theft) threats to the stones led to their inclusion on the 2008\u00a0World Monuments Fund Watch Sites list. They are also on the\u00a0UNESCO World Heritage Site Tentative List.<\/p>\n

            Alok Ikom Stone Monoliths
            \n<\/h2>\n

            Description<\/strong>
            \n\t\t\t\t\t<\/h4>\n

            Akwasnshi\/Atal as the monolith is called among the Ejagham people of the Cross River State is distributed among over” thirty communities. In each community, the stones are found in circles, sometimes perfect circles, facing each other standing erect, except where they have been tampered with by weather or man.
            \nIn some cases, the stones are found in the center of the village or in the central meeting place of the village elders, as in the case of Alok and Agba communities. In Etinan and Nabrokpa communities, the stones are located in an area of uncultivated forest outside the villages. The majority of the stones are carved in hard, medium-textured basaltic rock, a few are carved in sandstone and shelly limestone. The common features of the monoliths are that they are hewn into the form of a phallus ranging from about three feet in height to about five and half feet and are decorated with carvings of geometric and stylized human features, notably two eyes, an open mouth, a head crowned with rings, a stylized pointed beard, an elaborately marked navel, two decorative hands with five fingers, a nose, various shape of facial marks.<\/p>\n

            Statements of authenticity and\/or integrity<\/strong>
            \n\t\t\t\t\t<\/h4>\n

            The stone monoliths of Alok Ikom bear a form of writing and a complex system of codified information. Although they seem to share the same general features, each stone, like the human finger print, is unique from every other stone in its design and execution.
            \nThe geometric images on the monoliths suggest that their makers possessed more than a basic knowledge of mathematics, not only because they are geometric, but also because of the obvious implication that there were computations and numbers on the layout of the stones.<\/p>\n

            Comparison with other similar properties<\/strong>
            \n\t\t\t\t\t<\/h4>\n

            The Ikom monoliths with their geometric inscriptions could be compared to the rock Arts of Tanzania. The meanings of the codified symbol are known to only the artists. These are also associated with their origin, which is like most rock art works in Africa. Ikom monoliths could be West Africa’s answer to United Kingdom’s Stonehenge.
            \nThey are similar in arrangement and ordering to the Stone circuits in the Gambia, but unique in their complexity of design and interpretation.<\/p>\n

            \t\t\t\t\u00a0\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"

            SUBJECT: CULTURAL AND CREATIVE ART ALPHA TERM SCHEME OF WORK JSS3 \u00a0WEEK\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0TOPIC 1. NIGERIAN TRADITIONAL…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,131],"tags":[],"class_list":["post-1399","post","type-post","status-publish","format-standard","hentry","category-posts","category-first-term-jss-3-cca-fine-art"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts\/1399","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/comments?post=1399"}],"version-history":[{"count":2,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts\/1399\/revisions"}],"predecessor-version":[{"id":1401,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts\/1399\/revisions\/1401"}],"wp:attachment":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/media?parent=1399"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/categories?post=1399"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/tags?post=1399"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}