CATALOGUE OF NOMINEES FROM THE STATES



CATALOGUE OF NOMINEES FROM THE STATES - 2007

1. Oral Traditions and Expressions including Language as a Vehicle for the transmission

|No |State/Zone |Name |Sex |Age |Craft |

|1 |Akwa Ibom |Sunday Okon William |M |54 |Dexterous application of proverbs in speech (proverbs are in near extinction in Akwa Ibom State). This ability is highly regarded as an |

| | | | | |outstanding virtue and it was a major qualifying factor for consideration into many traditional institutions. Today, Mr. William is an |

| | | | | |acknowledged authority in Ibibio proverbs and has published a book on the anthology of Ibibio proverbs. |

|2 |Rivers |Elder Bliss Iyalla |M |70s |Versed in oral traditions and expressions of the local Kalabari dialect . |

|3 |Rivers |Chief Beresiri |M | |Versed in the oral tradition and authored some books on the culture of the Bonny people. |

|4 |Rivers |Elechi Amadi |M | |Renowned writer who integrated the traditional idioms in his works. |

|5 |Rivers |Madam Adaobi Whyte |F | |Renowned writer and proponent of culture and tradition. |

| | | | | |. |

|6 |Rivers |Mary Girls Social Club of Abonema |F | |Produced several albums in Kalabari language thereby projecting the traditions and cultural imagery of the people. |

|7 |Rivers |First Owuama Ogbo of Okirika |M | |This is a male cultural group. They use songs to record the tradition of the people with regard to entertainment and world view. |

|8 |Kebbi |Alh. Adamu Wakili Augie |M |72 |Oral historian. Informs on past events, the relationship between some of the Nigerian tribes, well versed in past heroes like Kanta of Kebbi,|

| | | | | |Sheikh Usman Dan Fodio, the origin of Sokoto, Kano, Argungu, Katsina, etc., and the wars faught, origin and relationship of tribes e.g. |

| | | | | |Hausas, Fulani, Yoruba, Zabarma, etc. Also trains others. |

|9 |Rivers |Gabriel Okara |M | |Traditional poet |

|10 |Oyo |Akinwumi Ishola |M | |Has preserved the Yoruba cultural heritage through lingual arts |

|11 |Plateau |Alhaji Adamu Wayya Dan Maraya Jos |M | |Traditional and dramatic Hausa poet. |

|12 |Katsina |Sarki Taushi Katsina |M | |Light drumming for talking and praising people. Also court music for spreading news. |

|13 |Bornu |Algaita | | |A reed flute for playing traditional music and praising traditional rulers etc. |

|14 |Kogi |Mrs Jogole Balogun |F |80s |Inmole folk lore singer and drummer; an exponent and trainer of Inmole customs and rites. |

|15 |Imo |Prof. P A Ezikeojiaku |M | |Igbo Linguist. Safeguards the Igbo language, folklore and culture through educating students and children alike, publishing and translating |

| | | | | |in the Igbo language a wide array of themes like Igbo philosophies, rituals, divinations, religion, poetry, leadership, Igbo cosmology, etc. |

|16 |Delta |Mr. E A Temesanren |M | |Documentation of cultural history and philosophy. |

|17 |Gombe |Tiling Ankale Yelyel |M |58 |Linguist, strong advocate for the promotion of the Tangale language. Reference point to many indigenes and researchers. Presently |

| | | | | |co-translating the New Testament Bible into Tangale language and leading the crusade of ‘let every Tangale man or woman speak Tangale to |

| | | | | |his/her children daily’. His keen interest in the promotion of the language has been aired in both radio and television. |

|18 |Ebonyi |Rev. Samuel Iyoku |M |62 |One of the methods of passing culture from one generation to another is through the documentation of a people’s cultural activities for use |

| | | | | |by future generations. Reverend Iyoku has done much for his community in this regard through the translation of the Holy Bible into Izzi |

| | | | | |dialect of Igbo, reduction of Izzi dialect into writing, and writing books and articles to preserve Izzi culture and customs. |

|19 |Ebonyi |Chief Agu Njoku Eze |M |82 |In pre-literate societies, people who possess retentive memories are assets to their various communities. Chief Agu Njoku Eze is one of such |

| | | | | |persons. He is regarded as a consultant on cultural matters within his locality. He narrates events and folk tales concerning his Igbudu Eka |

| | | | | |Ezza community thereby passing Ezza culture from the older generation to the younger generation. |

|20 |Ondo |Chief Asoga Ojo |M | |Traditional historian, Egungun mask (dance and music). |

|21 |Ondo |Chief Ogunaja |M | |Traditional historian. |

|22 |Ondo |Chief Aderinbola | | |Traditional historian. |

|23 |Oyo |Baba Ogundare Fayanmu |M | |Traditional Music. |

|24 |South Western |Ifa divination | | |The Ifa divination system contains a body of texts and symbols on the oral literature and tradition of the Yoruba people. The divination is |

| |states | | | |done by an Ifa priest; a judiciary system. |

|25 |FCT |Maikasuwa Adogo |M |86 |Very versed and knowledgeable in the art of speaking Gbagyi e.g. the use of proverbs. He hails from Kurudu in Abuja Municipal Area Council of|

| | | | | |the Federal Capital Territory (FCT). |

|26 | Borno |Shantu |F | |Purdah poet. |

|27 |Gome |Lanbala Wali |M | |An indigenous and professional artist of international repute. His style of music and musical instruments are purely indigenous. His songs |

| | | | | |are usually developmental songs and geared towards the promotion of cultural heritage. |

2. Performing Arts

|No |State/zone |Name |Sex |Age |Craft |

|1 |Akwa Ibom |Uko Akpan |M |62 |Founded the Uko Akpan traditional music orchestra which for over 30 years has passed moral ideas and values of patriotism through music. |

| | | | | |There is a common saying in parts of Akwa Ibom State that any major occasion that does not feature Uko Akpan is non-event. Many factors |

| | | | | |account for the popularity of the troupe. One of these is the almost limitless power of extemporization, another is the gift of Ibibio tongue|

| | | | | |without intermixing with a foreign language. Most of his performances are embedded in social commentaries in which good deeds are extolled |

| | | | | |and moral decadence condemned. Uko Akpan has trained many younger performers. |

|2 |Anambra |Chief Festus Nwankwo |M |80 |Created the famed dance form called Mkpokiti; an acrobatic dance style. He devotes his life to dancing and motivating others to dance. |

|3 |Anambra |Okoye Ngene |M |76 |One of the founding members of the Okacha dance group 64 years ago. Okoye made the Okacha dance famous and at a time, it became the dance of|

| | | | | |the community; that is to say that every male child is enrolled into the group at a tender age and this development made it easier for the |

| | | | | |dance pattern to be transmitted easily from one generation to the other. The group is famous for its masquerade displays. |

|4 |Anambra |Charles Ezeagu |M |78 |Founded the Ododo dance of Igbo-Ukwu. Ododo is the idiom for the Atilogwu dance; an acrobatic dance popular in Anambra state. |

|5 |Anambra |Chief Ezike |M |76 |Founded the Egwu Agu cultural dance group 47 years ago. |

|6 |Anambra |Okuji Dance group led by Mgboye |F |90 |The group is renowned for their songs and dance type of entertainment. Each artiste is a singer and dancer. They also play instruments to |

| | |Ifebueme (alias Osinigwe) | | |back up their performance. They sing and dance at naming ceremonies, burials, traditional weddings, birthdays, new moons, lullabies, title |

| | | | | |taking ceremonies, Ofala etc. Okuji group has motivated a lot of women to sing traditional Igbo songs. The performers are all elderly women. |

|7 |Anambra |Nze Okwa Chieze |M |70 |Ijele masquerade is well known to most Nigerians and is referred to by some as the pride of Anambra. The masquerade has its roots deep down |

| | | | | |in the history of the people but in modern times, Nze Okwa Chieze has been the inspiration behind the Ijele. It is a masquerade of uncommon |

| | | | | |proportions and poise. It towers in size, splendour and majesty above other masquerades. Its regalia is multicoloured. Ijele is also a |

| | | | | |demonstration of traditional Igbo sense of power and wealth. The appearance of the masquerade is symbolically regarded as the arrival of the |

| | | | | |ancestors in a corporeal form to take part in the affairs of the community. Okwa Chieze has demonstrated over the years unyielding commitment|

| | | | | |to the culture of his people and has elevated that aspect of the people’s culture to very enviable heights. Chieze has trained several |

| | | | | |younger men who are expected to take over the baton as age makes its demand on them. |

|8 |Anambra |Mrs Nwugo Ozumba |F |82 |Popularly called Mouwe, she is a renowned dancer who developed the Onom (Nnya) dance steps. Those who have studied under her have come from |

| | | | | |within and outside her community. |

|9 |Rivers |Uriel Paul Worika |M |60s |A giant of performing arts which he has taught many younger persons working with him. He has a theatre that produces and performs various |

| | | | | |plays. |

|10 |Rivers |Oshishike musical party |M | |Founded in 1972 by Alexander Nwaugha. They use traditional music instruments like ubo to produce their music and this differentiates them |

| | | | | |from other groups |

|11 |Rivers |Akagba First ladies Association |F | |Founded in 1975 and has over 87 members. Very popular for traditional music and dance. |

|12 |Rivers |Okpekpe cultural display |M | |Founded in 1959, the cultural display is a masquerade dancing group with over 100 members. |

|13 |Rivers |Ikpan Cultural display |M | |Founded in 1980, displays various masquerade dances. |

|14 |Rivers |Biri Ere Apu Ogbo of Opobo Kingdom|F | |Used several artistic means like songs, dancing, pantomime, costumes to attract development and promotion of cultural values. |

|15 |Rivers |New Fashion Society of Abonema |F | |Modernized traditional values of the people through songs, music and dance |

|16 |Kwara |Alhaji Jaigbade Alao |M | |Most prominent/seasoned in Dadakuada music; waxed many LPs on moral and social problems; trained many to stardom, an inspiration to many |

| | | | | |musicians in other areas e.g. Fuji, Juju, etc. |

|17 |Kwara |Chief Ayeni Oye Olojobo |M | |Legend of Ere Ibile Ekiti indigenous music, waxed many records, trainer of many artistes. |

| | | | | | |

|18 |Kwara |Alhaja Hassana Abake |F | |Seasoned in Baalu music and has some recorded tunes (LP). He has trained many into stardom in the music. |

|19 |Kwara |Hajia Kulu Lafiagi |F | |Most prominent in Angale music and trained many to stardom. |

|20 |Kwara |Chief Jacob Ogundele a.k.a. Baba |M | |Theater artist and film producer who trained many to stardom. |

| | |Kelebu | | | |

|21 |Kwara |Chief Remi Adigun a.k.a Baba |M | |Theater artist and filmmaker. Featured in many big films e.g. Igbo Orunmole. |

| | |Onirungbon | | | |

|22 |Kwara |Alhaji Gidado Ajao a.k.a. Faje |M | |Prominent in Acrobatic display. Has performed on many occasions; leads one of the most prominent acrobatic groups in the State; trains the |

| | | | | |youths, adults and has recorded tunes (LP). His music depicts the richness of their culture |

|23 |Kwara |Hajia Fatima Dzama |F | |Prominent in Angale music and reputed for producing and training many seasoned artistes in Angale music. She has also been in the music for |

| | | | | |many years but is now retired. |

|24 |Oyo |Dundun music |Drum | |Plays socio-cultural and revolutionary music, which involves traditional songs, proverbs, riddles and current events. |

|25 |Cross River |Ekpe Ebonyo Masquerade |Masqu-erad| |In Cross River State, Ekpe Masquerade is the best known cultural expression or display. It is a secret society which expresses the Efik |

| | | |e | |cultural identity, and it is very much rooted in the people’s history. The Ekpe Ebonyo Cult, along with its variants, stretches all along the|

| | | | | |Cross River even into the Igbo communities such as Arochukwu and Ibeku in Umuahia. Its headquarters is in Big Qua Town of Old Calabar. In |

| | | | | |pre-colonial times, Ekpe was a system of government in every sense. The Ekpe masquerade was used for maintaining law and order. Ekpe is |

| | | | | |embodied in the Obong of Calabar who is the president of the cult and must belong to the highest rank. It is his responsibility to keep this |

| | | | | |historic organisation alive. The cult also has a secret sign language; the NSIBIDI, by which members communicate. This language is |

| | | | | |intelligible only among members. Today, Ekpe is essentially a cultural (though secret) organisation and entertains at special occasions. |

|26 |Kano |Barahaza | | |Oldest Hausa/Fulani esoteric dance in honour of Barahaza the spirit of the wind. |

|27 |Benue |Kwagh-Hir |Drama | |Historic drama with elaborate puppet shows (theatre). |

|28 |Kogi |Chief Oloda Ala |M |80s |Traditional Yoruba trumpeter. |

|29 |Imo |Chief Paul Akalonu |M |69 |Raised, nurtured and produced many Nigerian musicians eg. Sunny Okosun, Nelly Uchendu, Christy Essien Igbokwe, The Peacocks, Founders 15, |

| | | | | |etc. Played with many Nigerian highlife and folk bands. |

|30 |Imo |Kingsley Dallas Anyanwu |M |57 |Vocalist, musician, writer. Ex Imo State PMAN chairman. Published many musicals and jingles. |

|31 |Imo |Mr. Chukwuma Eze |M |49 |Theatre Artist and stage/radio producer. Productions include ‘Who is Afraid of Solarin’, ‘Midnight hotel’, ‘Kakata for marriage’, Ojemba, |

| | | | | |Egwuregwu Igbo, Erinma. |

|32 |Lagos |Jimi Solanke |M | |Promotes Yoruba culture using his versatility in music to fuse folk lore, stories and the attendances of deities. He is a cultural artist and|

| | | | | |performer specialized in story telling, acting, singing, dancing, writing, and educating people in various aspects of culture. He is also a |

| | | | | |highlife composer and has written over 40 traditional advocacy plays on health issues. His recorded tunes include Onilegogoro, Ore Titan, Na |

| | | | | |Today You Come, popularized by bands like Roy Chicago and Alabi Aces, Rex Williams and band, the Junkers, etc. A cultural ambassador anywhere|

| | | | | |in the world. |

|33 |Delta |Chief I Onwuegbuzie |M | |Cultural Custodian and leader of a traditional acrobatic dance group. |

|34 |Delta |Chief Onyebuke Uwadia |M | |Folk lore dance and drama for peace and general fertility. |

|35 |Delta |Madamme Titi Ugagbe |F | |Igbe Dance proponent and teacher. |

|36 |Delta |Madam Stella Akpoyibo |F | |Traditional Music songstress and performer. |

|37 |Delta |Ile Cultural dance group |Dance | |Traditional acrobatic dance and drama. |

| | | |group | | |

|38 |Delta |Oligbe folklore dance group |Dance | |Folk lore, dance and drama. |

| | | |group | | |

|39 |Delta |Ema cultural dance group |Dance | |Royal songs and dance. |

| | | |group | | |

|40 |Gombe |Lanbala Wali |M |70s |Developmental songs geared towards the promotion of the cultural heritage of the Gombe people. Already, a lot of youths in and around the |

| | | | | |area have taken after his music style by forming music groups. |

|41 |Ebonyi |Sir Vincent O. Nwachi |M |65 |Sir Vincent O. Nwachi (65 years of age) is the leader and producer of Nkwa Umu Agbogho maiden dance in Afikpo. The dance is peculiar to the |

| | | | | |people of Egugbo (Afikpo) as one of ancient traditional cultural heritage. He has equally formed a feeder troupe to replace the ageing |

| | | | | |members of the society. To many Nigerians the dance group needs little introduction. Spectators never get tired of watching the performance, |

| | | | | |thanks to the girls’ captivating nimbleness of the feet, and synchronism of their body language. The origin of the dance goes back to the |

| | | | | |heroic age of the Ehugbo people. It was a part of traditional wrestling celebration, popular among the people. At the wrestling arena, young |

| | | | | |female dancers performed when a wrestler had succeeded in wrestling his opponent down. The dance was thus a means to challenge young men to |

| | | | | |prove their manhood via acts of valour. It was also a form of training for good motherhood to the girls. |

|42 |Ondo |Hon. Fatai Ojuade |M | |Bata ceremonial dance group. |

|43 | Ondo |Mr Abiola Ogunrinde |M | |Expert skills in Ijala song, traditional hunters, Ewi or incantation |

|44 |Middle belt |Tar Ukoh |M |50s |Swange dance expert and promoter. Has trained many youths in the dance process. |

|45 |Lagos |Fatai Olagunju (Fatai Rolling |M |70s |Totally committed to giving Juju music its high profile status. He has over the years been said to be the source through which some names |

| | |Dollars) | | |such as Ebenezer Obey and Sunny Ade were made: they served under him. Fatai Rolling Dollars holds the aces as the longest and oldest |

| | | | | |performing juju musician. At over 70, he still rolls active lyrics, twangs the guitar strings and applies the typical juju dance steps. |

|46 |South East |Eddy Kwansa |M | |Traditional musician and performer. |

|47 |South East |Oliver de Coque |M | |Traditional musician and performer. |

|48 |Ondo |Mr Soje Ogunyombo |M | |Ogbere song expert. |

|49 |Ogun |Chief Alhaji Akintola Ogungbe |M |73 |Established theatre artist since the 1940s, has trained many over the years such as Charles Olumo, Jimoh Aliu, Ishola Ogunshola, Afolayan, |

| | | | | |etc. His most popular films are Ireke Onibudo and Lisabi Agbongo Alaka; an Egba epic and historical film. |

|50 |South South |Sir Osita Osadebe |M |70s |Traditional and “highlife” musician. |

|51 |South South |Sir Victor Uwaifo |M |60s |“Highlife” musician and performer. |

|52 |FCT |Jezhi Knuse |M |66 |Proficient in Gbagyi traditional fluting. Currently his fluting is being used as a format by FRCN when news is to be cast. He hails from |

| | | | | |Jikwoyi in Abuja, FCT. |

|53 |Abia State |Egwu Kalu |M | |Leader, Ohafia heroic dance. The Ohafia Heroic Dance is a performance for and by heroes among the Ohafia, a Cross River Igbo group. The |

| | | | | |dance is virtually as old as the community itself. The people were renowned for their military prowess, and this arose as a result of the |

| | | | | |hostility of their neighbours. In time, excelling in heroic endeavours became the path of honour and social acceptance among the men. Such |

| | | | | |achievements were celebrated with the heroic dance otherwise called war dance. Egwu Kalu is the inspiration behind this dance and has |

| | | | | |supported it for over thirty years as well as trained younger people in the dance and folklorist repertory. |

3. Social Practices, Rituals and Festive Events

|No |State/Zone |Name |Sex |Age |Craft |

|1 |Kebbi |Malam Homa Aliyu Dagwal Argungu |M |85 |Chief fisherman and trainerskilled in mystical detection of fish in the river. Capable of controlling fishing and fishermen everywhere in |

| | | | | |Argungu Emirate. |

|2 |Kebbi |Alh. Ibrahim Sarkin Ruwa |M |90 |He alone performs rites (prayers known to him alone) on the river before any fishing can be done. The title of Sarkin Ruwa means |

| | |(Makwashe) | | |“custodian of the Matan Fada River” in Argungu, the venue of the Grand fishing event (the annual Argugu International fishing and cultural |

| | | | | |Festival). The event is only possible with the consent and permission of this custodian of the river. He also treats crocodile bites and |

| | | | | |sea creature bites. He has held the title of Makwashe for the past 40 years and trained many in the process. |

|3 |Edo |Ugie | | |Annual festival in honour of the Oba of Benin. Invokes the communal life and history of the Benin people |

|4 |Anambra |Ofala festival of Onitsha | | |Commemorates important events in the lives of the Onitsha community. |

|5 |Delta |Odudu | | |Ritual performance for girls about to be married. A 7 days festival |

|6 |Delta |Ulu Malokun | | |A ritual dance for the god of the sea, in order to make life better for them in their business. Common among the Warri and Itshekiri. |

|7 |South Eastern |Breaking and eating of the kola | | |Practiced most of the time among the Igbo. The breaking and sharing of Kolanuts is sacred ritual which symbolizes fraternity. |

| |States |nut in Igbo land | | | |

|8 |South Eastern |Yam festivals | | |The yam festival variously called Fijoku, Ihejoku, Ahiajoku, Njoku, etc. is perhaps the foremost pan-Igbo cultural expression. It is a |

| |States | | | |festival in which are encapsulated various aspects of Igbo Life and culture including cosmology, religion, philosophy, work and leisure |

| | | | | |etc. The Igbo creation myth states that it was the advent of the Yam which saved the Igbo from starvation. In traditional Igbo society, the|

| | | | | |yam is the king of all crops. It was also a measure of manhood. The centrality of yam cultivation meant that land was their greatest |

| | | | | |resource and the individual person’s access to it was of critical importance. As pursuit, yam cultivation has declined among the Igbo buts |

| | | | | |its cultural relevance remains strongly entrenched. New yam festivals continue to be prominent in the annual calendar of events in most |

| | | | | |Igbo communities today. The institution of the Ahiajoku lecture series by Imo state speaks volumes about the yam culture among the Igbo. |

| | | | | |The celebration has been funded almost single handedly yearly by Price Apugo the son of the most prominent yam priest in Ibeku. He is very |

| | | | | |much versed in the rituals related to yam culture. |

|9 |South Western |Inmole | | |Honouring the Earth spirits |

| |States | | | | |

|10 |Osun |Susan Wenger |F |90s |A cult priestess and custodian of the Osun Osogbo customs and rites, cult priestess |

|11 |Osun |Ile Orisa | | |Yoruba Deity |

|12 |Lagos |Igunnuko (Egungun variation in | | |Masquerade dance involving flying and acrobatics |

| | |Lagos State) | | | |

|13 |Ogun |Oro (Orisa) | | |Mediator of politics, medicine and disputes |

|14 |Imo |HRM Eze E E Njemanze, Ozuruigbo V |M |71 |Brought to limelight the ORU OWERE festival in Imo state, an annual feast in commemoration of the founding father of Owerri (Owere), Ekwem |

| | |of Owerri | | |Arugo. The festival is celebrated in five stages – the declaration of the commencement of the period, the observance given by the eating of|

| | | | | |the old yam (roasted), the grand finale (a procession), the feast of corn porridge and declaration of the end of the festival. Oru Owere |

| | | | | |generally symbolizes a period of togetherness and peace. |

|15 |Lagos |Chief Ojedele Omoba |M |77 |Veteran traditionalist, shrine custodian, herbal healer, initiated member of several cults. |

| | |Chairman of Oje Religious | | | |

| | |Association | | | |

|16 |Ebonyi |Chief Obaji Nkwegu |M |60 |As a diviner, he promoted the consultation of oracle priests and diviners to discover the cause of events that had already taken place and |

| | | | | |find out the course of future events. These events, which may have precipitated a current disaster, may have been forgotten by mortals. |

| | | | | |They may have taken place on the spiritual plane so that ordinary mortals may have no knowledge of the causes. |

|17 |Ondo |Idedi Ojuade (Igbalade, Oke-Igbo) | | |Etiyeri’s Egungun (Egungun regalia). |

|18 |Ondo |Alapini (Alapini, Oke-Igbo) | | |Alawopala’s mask (Egungun mask regalia). |

|19 |Ondo |Sawo (Atibise, Oke-Igbo) | | |Olomo’s regalia (Egungun mask regalia). |

|20 |Kogi |Mrs Jogole Balogun | | |An exponent of Inmole customs and rites. |

| |(Ogidi-Ijumu) | | | | |

4. Knowledge and Practices Concerning Nature and the Universe

|No |State/Zone |Name |Sex |Age |Craft |

|1 |Kebbi |Alh. Yusuf Abubakar Argungu |M |62 |Chief traditional, spiritual and Islamic medical practitioner of Argungu Emirate. He is well known in Nigeria, Niger and Chad as one of|

| | | | | |the best traditional spiritual and Islamic medical practitioners/trainer. |

|2 |Kebbi |Alhaji Salisu Sarkin dori Aliero |M |54 |Traditional bone setter, with secrets known only to his family. Currently training others. He is the present and third Sarkin Dori of |

| | | | | |Aliero in Aliero LGA, Kebbi State. Receives and treats over one thousand cases annually. This is why the traditional orthopedic |

| | | | | |hospital in Aliero is duly recognized and assisted by successive administrators of both Sokoto and Kebbi States |

|3 |Osun |Susan Wenger |F |90s |Cult priestess of Osun Osogbo Grove. |

|4 |Imo |Dr. Chidi Osuagwu |M |60 |Researcher into African cosmology and Science, biochemical effects on African medicinal plants, alternative medicine and the indigenous|

| | | | | |knowledge of Africa cultures. |

| | | | | |. |

|5 |Ebonyi |Dr. Chikwendu Odii |M |62 |Traditional Medical Doctor. He popularized traditional medicine |

| | | | | |across the country especially with the Ezi okwu bu ndu Naturalistic hospital. |

|6 |Ogun |Chief Tijani babatunde Ogunbodede |M |106 |Natural talent in alternative medicine. According to him, his knowledge and practices concerning nature and the universe as well as |

| | | | | |rituals, is natural. |

5. Traditional Craftsmanship

|No |State/Zone |Name |Sex |Age |Craft |

|1 |Akwa Ibom |Dennis Bassey |M |67 |He is a dynamic craftsman with a wide knowledge in practical traditional craftsmanship. He excels in the exploit of the state’s |

| | | | | |vegetation by using fronds from raffia palm and cane to construct bamboo seats, and coconut fibres to make floor carpets. He is |

| | | | | |versatile in the production of royal paraphernalia and weaving Ekpe masquerade apparels. He trains craftsmen and students to promote |

| | | | | |continuity in the craft. |

|2 |Rivers |Elder Ebere Ebere |M |70s |One of the earliest carvers on Ikwerre LGA, carves with strange precision. |

|3 |Rivers |Elder V Nwiinnwin |M | |Traditional graphic artist. |

|4 |Rivers |Jonathan Akari |M | |Drummer and can translate a lot of messages on drums. |

|5 |Rivers |Chief Opuada Briggs |M | |Traditional designer of ceremonial costumes and regalia. |

|6 |Kebbi |Mallam Shehu Masaki Abdullahi |M |67 |Inherited the craft of traditional cloth weaving like zawaka, tera-tera, bukurde, bangiwa, mursmuhi-sardauna, etc. |

| | |Argungu | | | |

|7 |Kebbi |Alhaji Abdulkadir Hassan, Sarkin |M |55 |Chief dyer. Belongs to the well known family of Sarkin Marina whose history of dyeing in Jega dates as far as 1800 AD. The knowledge and|

| | |Marina Jega | | |skill in dyeing is imparted not only to family members but also to outsiders, many of whom are practicing presently – Nata’alah, Alh. |

| | | | | |Liman, Dan Iya Karofi, etc. Presently, there are 4 functional dyeing centres in Jega; Marinar Kofar Dan Dogo, Marinar Wuri, Mariner |

| | | | | |Ginga and Birnin Yari. |

|8 |Kwara |Hajia Mulikat Oyerinde |F | |About the most outstanding beadwork designer in the State. Her works have been exported to many West African countries. She has trained |

| | | | | |many who now practice the craft. |

|9 |Kwara |Chief D O Bamidele |M | |Master Wood craver of national repute. His works have featured in many national and international art exhibitions. He is the producer of|

| | | | | |one of the art works, ‘Unity in Diversity’ exhibited in the main gallery at Arewa House, Kaduna |

|10 |Kwara |Alhaji Sulaiman Olarenwaju |M | |Large scale aso-ofi weaver; a trainer whose works have been exported to different West African countries. |

|11 |Kwara |Mr. Jonathan Tunji Balogun |M | |Creative designer and proprietor of Balomedia arts Ilorin. An artist, trainer and art exhibitor. |

|12 |Osun |Susan Wenger |F |90s |Renowned sculptor and painter. |

|13 |Osun |Madam Beatrice Okunboyejo (Betty |F |70s |Tie and Dye artist. |

| | |O) | | | |

|14 |Plateau |Women of Zwachip |F |70s/80s|Weaving of bags without joints. |

|15 |Imo |Nze Godpower Sylvanus Ihenyinwa |M |61 |Founder and promoter of grass roots cultural industries in Imo state and Nigeria in general. These organisations have been participating|

| | | | | |and featuring prominently in state and national craft exhibitions, trade fairs and organising local skills acquisition workshops. He has|

| | | | | |represented Imo state in many arts and craft exhibitions and international trade fairs. |

|16 |Imo |Mr Evans Osuchukwu |M |60 |Renowned sculptor who carved Nze Iroko with her 3 children as they are called in Onicha Uboma community. Also revived the Umuanu Ogwa |

| | | | | |Community Ekere Mgba cultural dance which was abandoned because of the church. He carved giant gongs and masks such as Arugo, Owu |

| | | | | |cultural dance mask, and Ikenga and built Mbari house in Owerri and Jos. Trained many in the process. |

|17 |Imo |Sir Vincent O Onwunaku |M |60 |Nature/abstract sculptor whose unique carvings developed from the Igbo ‘uli’ designs. According to him, the success in his carvings is |

| | | | | |not attached to aesthetic finish alone but also to the accidental discovery of the tree stump for the carving. His main raw material is |

| | | | | |the oil bean tree trunk and roots. The crooked trunk with notches and hollows give a rhythmic flow of forms. Mother nature provides his |

| | | | | |motifs and raw materials and thus the uniquess in his art lies in the fact that nature does not duplicate a concept. He also casts in |

| | | | | |concrete plaster and terracotta. |

| | | | | | |

|18 |Lagos |Mr. Olabisi Onawale Fakeye |M |65 |Belongs to a family of wood carvers, where he learnt the art of aesthetic wood carving. His works are largely radical and thus the |

| | | | | |merging of the traditional with the modern in his sculpture. Mr. Olabisi Fakeye is related to Prof. Lamidi Fakaye, also a master |

| | | | | |sculptor. |

|19 |Delta |Chief Ojalikere |M | |Ornamental crafts. Proprietor of a traditional craft training centre. |

|20 |Delta |Prof. Bruce Onabrakpeya |M |70s |Bruce Onobrakpeya is an experimental artist of rare distinction. He rebelled against Western-oriented art, to focus on traditional |

| | | | | |Nigerian art and straddles the artistic landscape as an artist, teacher and mentor to uncountable young Nigerian artists. He has not |

| | | | | |only been teaching art but creating same, based on the idioms and culture of the Urhobo, where he was born over 60 years ago. Thanks to |

| | | | | |his rebellion against Western orthodox art, he has helped greatly to enhance the status of indigenous art in Nigeria. |

|21 |Delta |Ms. Edo Patience |F | |Upholds traditional textile technology and craft. |

|22 |Gombe |Mr. Ahmed Saraki |M |58 |Renowned blacksmith in Dukku town. Popularly known as ‘Sarkin Makera’ i.e. head of blacksmiths. Many youths in and around Dukku Town |

| | | | | |have already acquired the skill and are using it to earn their means of livelihood. His products have found their way into many homes. |

| | | | | |They include farming tools, household utensils and hunting equipments. |

|23 |Ebonyi |Mrs Maryam Okponyi Ede |M |72 |Versatile in traditional arts and craft. |

|24 |Ondo |Chief Ogunaja | | |Traditional historian and canoe builder/carver. |

|25 | Ondo |Chief (Mrs.) Folrunso |F | |Traditional birth attendant. |

|26 | Ondo |Chief Olayinka Omomogbe |M | |Blacksmith. |

|27 | Ondo |Mrs Kokumo Afolabi |F | |Cloth weaving. |

|28 | Ondo |Mr Kolawole Abayomi |M | |Brass smith. |

|29 | Ondo |Yeye Ololada | | |Traditional dyeing. |

|30 | Oyo |Lamidi Fakaye |M | |Renowned sculptor in the traditional Yoruba aesthetic philosophy. His styles and forms are basically traditional and African. |

|31 | Kogi |Nike Davies-Okundaye |F |50s |Traditional dyeing. |

|32 |Kano |Alhaji Hamudu Mairene |M | |Textile dyeing; the famous Kano textile dyeing pits. |

|33 |FCT |Mrs. Tani Jaku |F |57 |An outstanding traditional potter from Ushafa in Bwari Area Council of the FCT. |

|34 |FCT |Madam Wushibwawyi Byibanabe |F | |Master potter. |

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