The Influence of Westernised and Hybridised Christianity on the Appreciation of Traditional Art in Nigeria

Endong; Floribert Patrick C.

doi:doi:10.11648/j.ajad.20170202.13

| Peer-Reviewed

The Influence of Westernised and Hybridised Christianity on the Appreciation of Traditional Art in Nigeria

Endong, Floribert Patrick C.

Published in American Journal of Art and Design (Volume 2, Issue 2)

Received: 29 June 2017 Accepted: 11 July 2017 Published: 1 August 2017

Views: Downloads:

Download PDF

Share This Article

Twitter
Linked In
Facebook

Abstract

Christianity has been an active agent of westernisation and modernisation in contemporary Nigeria. Being more westernised than nigerianised, the phenomenon has, in many respects, challenged the idea of traditional African culture and art. Hinging on radical, though arguable exegeses of the Bible, neo Pentecostal Christian vitalities have questioned and utterly demonised core Nigerian cultural values, particularly traditional African art. This paper challenges the thesis that traditional art is inextricably connected with ancestral worship and inherently satanic. Though some of its constitutive elements – notably statutes of deities and goddesses as well as masks and artefacts associated with rituals – may have some connections with specific tenets of animism and idol worshiping, other aspects as ‘clean’ textile products, relevant rhythms within traditional music and architectural designs are visibly not antithetical to Christianity. It will therefore be expedient to delicately sort syncretic arts from the “spiritually poisonous” ones. Only syncretic art (those that may be concurrent to the concept of practicing Christianity) should be combated within Christian circles. This is in line with the fact that, external campaigns aimed at destroying traditional Nigerian art are not only anti-Africanist but clear violations of the principle of secularity of the state, spelt out by the Nigerian Constitution.

Published in	American Journal of Art and Design (Volume 2, Issue 2)
DOI	10.11648/j.ajad.20170202.13
Page(s)	52-59
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2024. Published by Science Publishing Group

Keywords

Traditional African Art, Folk Culture, Pentecostal Christianity, Westernisation, Africanisation

References

[1]	Matunhu, J. (2011). ‘A Critique of Modernisation and Dependency Theories in Africa: Critical Assessment’, African Journal of History and Culture, 3(5), 65-72.
[2]	Endong, Floribert, Patrick C. (2015). ‘Glossolalia in the Nigerian Gospel Music: Aesthetic Feature or Archetype of a Pentecostal Identity?’. IJAHS: International Journal of Art and Humanity Sciences, 2(2), 14-20.
[3]	Odinye, I. & Odinye, I. (2012). Western Influence on Chinese and Nigerian Cultures. Ogirisi: A New Journal of African Studies, 9,108-115.
[4]	Ojukwu, Chris & Ezenandu, P. E. (2012). ‘A Paradigm Shift From Tradition to Modernity in Nollywood’s Projection of African Narratives’, Global Journal of Human Social Sciences, 12(5), 21-26.
[5]	Maduka, Chidi T. (2003). ‘The Clouds are Thickening: Nigerian Languages and Literatures in National Development’, JONEL: Journal of Nigerian English and Literature, 4(1): 11-19.
[6]	Amadi, Elechi (2005). Ethics of Nigerian Culture, Heinemann Educational Books, Ibadan.
[7]	Witcheck, A. (2014). ‘Christianity, Imperialism, Capitalism: Christian Dogma Should be Questioned. The 4th Media’. [online] Available at http://www.the4media.christianity_imperialism_capitalism_christian_dogma_should_be_questioned.witchek.com Accessed on the 15/05/2015.
[8]	Endong, Floribert Patrick C. (2015). ‘Western Christian Media as Vectors of Cultural Imperialism in Nigeria: A Case Study of The Watchtower and Awake’, International Journal of Media Science Works, 1(1), 1-8.
[9]	Onobrakpeya, Bruce (2010). ‘Development of Nigerian Contemporary Art Since 1960’, Modern and Contemporary African Art, Fourth Dimension Publishing Co., Lagos.
[10]	Yemisi, Shyllon (2013). ‘Problem of Art Development in Nigeria’, PM News, No. 14, 86-88.
[11]	Sen, A. (2015). Does globalization equal westernization? The Globalist. Rethinking Globalization. Retrieved December 25, 2016, from http://www.theglobalist.com/does-globalization-equal-westernization.
[12]	Slaten, K. (2010). A War on Westernization in China. China/Divide, March 1 Edition, 16-19.
[13]	Okabur, Osele E, (2016). ‘Emerging Religious Movements and their Implications on African History and Heritage’, European Scientific Journal, 12(2), 365-388.
[14]	Bess, L. H. (2011). “Introducing Your Child to the Arts: Folk Art”. Outside the Classroom. Art, New York: New Dimension Publishing Co.
[15]	Azeez, Oloamo A. (2010). ‘Indigenous Art and Religion in Africa’, Global Journal of Human Social Sciences, 10(7). 28-32.
[16]	Burt, Ben, (2015). What is African Art? Support Notes for Teachers, British Museum, London.
[17]	Broussard, Chris (2013). ‘Debunking the Myth that Christianity is the White man’s Religion’, KING Newsletter, KING Movement, New York. Available [online] at http://www.debuning_the_myth_that_christianity_is_the.whiteman’sreligionking_newsletter.com. Accessed on the 28/10/2015.
[18]	Iheanacho, Ngozi N. (2014). ‘A Critical Look at Contemporary Nigerian Christianity’, IJTRT: International Journal of Theology and Reformed Tradition, 23(2), 78-99.
[19]	Hollenweger, Walter (1986). ‘Intercultural Theology’, Theology Today, 43(1), 28-35.
[20]	Weerstra, H. (1999). Dewesternizing the Gospel. The Recovery of a Biblical Worldview. International Journal of Frontier Missions, 16(3), 129- 124.
[21]	Adeboye, Enoch A. (2012). Open Heaven. Daily Devotional Guide, RCN, Lagos.
[22]	Nwadialor, Kanayo L. (2011). ‘The Christian Church and the Quest for Cultural Revival in Nigeria’, Ogirisi: A New Journal of African Studies, 8, 91-106.
[23]	Eze, N. (2010). “Art, religion: Implication for national development. Journal of Research in National Development, 8(1), 112-138.
[24]	Jones, Victoria E. (2014). ‘“Africanizing Christian Art” Exhibition in Tenafly, NJ’. Available [online] at http://www.AfricanisingChristianArt.com Accessed on 4/3/2016.

Cite This Article

Plain Text BibTeX RIS

APA Style

Endong, Floribert Patrick C. (2017). The Influence of Westernised and Hybridised Christianity on the Appreciation of Traditional Art in Nigeria. American Journal of Art and Design, 2(2), 52-59. https://doi.org/10.11648/j.ajad.20170202.13

Copy | Download

ACS Style

Endong; Floribert Patrick C. The Influence of Westernised and Hybridised Christianity on the Appreciation of Traditional Art in Nigeria. Am. J. Art Des. 2017, 2(2), 52-59. doi: 10.11648/j.ajad.20170202.13

Copy | Download

AMA Style

Endong, Floribert Patrick C. The Influence of Westernised and Hybridised Christianity on the Appreciation of Traditional Art in Nigeria. Am J Art Des. 2017;2(2):52-59. doi: 10.11648/j.ajad.20170202.13

Copy | Download

@article{10.11648/j.ajad.20170202.13,
  author = {Endong and Floribert Patrick C.},
  title = {The Influence of Westernised and Hybridised Christianity on the Appreciation of Traditional Art in Nigeria},
  journal = {American Journal of Art and Design},
  volume = {2},
  number = {2},
  pages = {52-59},
  doi = {10.11648/j.ajad.20170202.13},
  url = {https://doi.org/10.11648/j.ajad.20170202.13},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ajad.20170202.13},
  abstract = {Christianity has been an active agent of westernisation and modernisation in contemporary Nigeria. Being more westernised than nigerianised, the phenomenon has, in many respects, challenged the idea of traditional African culture and art. Hinging on radical, though arguable exegeses of the Bible, neo Pentecostal Christian vitalities have questioned and utterly demonised core Nigerian cultural values, particularly traditional African art. This paper challenges the thesis that traditional art is inextricably connected with ancestral worship and inherently satanic. Though some of its constitutive elements – notably statutes of deities and goddesses as well as masks and artefacts associated with rituals – may have some connections with specific tenets of animism and idol worshiping, other aspects as ‘clean’ textile products, relevant rhythms within traditional music and architectural designs are visibly not antithetical to Christianity. It will therefore be expedient to delicately sort syncretic arts from the “spiritually poisonous” ones. Only syncretic art (those that may be concurrent to the concept of practicing Christianity) should be combated within Christian circles. This is in line with the fact that, external campaigns aimed at destroying traditional Nigerian art are not only anti-Africanist but clear violations of the principle of secularity of the state, spelt out by the Nigerian Constitution.},
 year = {2017}
}

Copy | Download

TY  - JOUR
T1  - The Influence of Westernised and Hybridised Christianity on the Appreciation of Traditional Art in Nigeria
AU  - Endong
AU  - Floribert Patrick C.
Y1  - 2017/08/01
PY  - 2017
N1  - https://doi.org/10.11648/j.ajad.20170202.13
DO  - 10.11648/j.ajad.20170202.13
T2  - American Journal of Art and Design
JF  - American Journal of Art and Design
JO  - American Journal of Art and Design
SP  - 52
EP  - 59
PB  - Science Publishing Group
SN  - 2578-7802
UR  - https://doi.org/10.11648/j.ajad.20170202.13
AB  - Christianity has been an active agent of westernisation and modernisation in contemporary Nigeria. Being more westernised than nigerianised, the phenomenon has, in many respects, challenged the idea of traditional African culture and art. Hinging on radical, though arguable exegeses of the Bible, neo Pentecostal Christian vitalities have questioned and utterly demonised core Nigerian cultural values, particularly traditional African art. This paper challenges the thesis that traditional art is inextricably connected with ancestral worship and inherently satanic. Though some of its constitutive elements – notably statutes of deities and goddesses as well as masks and artefacts associated with rituals – may have some connections with specific tenets of animism and idol worshiping, other aspects as ‘clean’ textile products, relevant rhythms within traditional music and architectural designs are visibly not antithetical to Christianity. It will therefore be expedient to delicately sort syncretic arts from the “spiritually poisonous” ones. Only syncretic art (those that may be concurrent to the concept of practicing Christianity) should be combated within Christian circles. This is in line with the fact that, external campaigns aimed at destroying traditional Nigerian art are not only anti-Africanist but clear violations of the principle of secularity of the state, spelt out by the Nigerian Constitution.
VL  - 2
IS  - 2
ER  -

Copy | Download

Author Information

Endong

Department of Theatre and Media Studies, University of Calabar, Calabar, Nigeria
Floribert Patrick C.

Department of Theatre and Media Studies, University of Calabar, Calabar, Nigeria

Download PDF

Sections

Plain Text BibTeX RIS

APA Style

Endong, Floribert Patrick C. (2017). The Influence of Westernised and Hybridised Christianity on the Appreciation of Traditional Art in Nigeria. American Journal of Art and Design, 2(2), 52-59. https://doi.org/10.11648/j.ajad.20170202.13

Copy | Download

ACS Style

Endong; Floribert Patrick C. The Influence of Westernised and Hybridised Christianity on the Appreciation of Traditional Art in Nigeria. Am. J. Art Des. 2017, 2(2), 52-59. doi: 10.11648/j.ajad.20170202.13

Copy | Download

AMA Style

Endong, Floribert Patrick C. The Influence of Westernised and Hybridised Christianity on the Appreciation of Traditional Art in Nigeria. Am J Art Des. 2017;2(2):52-59. doi: 10.11648/j.ajad.20170202.13

Copy | Download

@article{10.11648/j.ajad.20170202.13,
  author = {Endong and Floribert Patrick C.},
  title = {The Influence of Westernised and Hybridised Christianity on the Appreciation of Traditional Art in Nigeria},
  journal = {American Journal of Art and Design},
  volume = {2},
  number = {2},
  pages = {52-59},
  doi = {10.11648/j.ajad.20170202.13},
  url = {https://doi.org/10.11648/j.ajad.20170202.13},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ajad.20170202.13},
  abstract = {Christianity has been an active agent of westernisation and modernisation in contemporary Nigeria. Being more westernised than nigerianised, the phenomenon has, in many respects, challenged the idea of traditional African culture and art. Hinging on radical, though arguable exegeses of the Bible, neo Pentecostal Christian vitalities have questioned and utterly demonised core Nigerian cultural values, particularly traditional African art. This paper challenges the thesis that traditional art is inextricably connected with ancestral worship and inherently satanic. Though some of its constitutive elements – notably statutes of deities and goddesses as well as masks and artefacts associated with rituals – may have some connections with specific tenets of animism and idol worshiping, other aspects as ‘clean’ textile products, relevant rhythms within traditional music and architectural designs are visibly not antithetical to Christianity. It will therefore be expedient to delicately sort syncretic arts from the “spiritually poisonous” ones. Only syncretic art (those that may be concurrent to the concept of practicing Christianity) should be combated within Christian circles. This is in line with the fact that, external campaigns aimed at destroying traditional Nigerian art are not only anti-Africanist but clear violations of the principle of secularity of the state, spelt out by the Nigerian Constitution.},
 year = {2017}
}

Copy | Download

TY  - JOUR
T1  - The Influence of Westernised and Hybridised Christianity on the Appreciation of Traditional Art in Nigeria
AU  - Endong
AU  - Floribert Patrick C.
Y1  - 2017/08/01
PY  - 2017
N1  - https://doi.org/10.11648/j.ajad.20170202.13
DO  - 10.11648/j.ajad.20170202.13
T2  - American Journal of Art and Design
JF  - American Journal of Art and Design
JO  - American Journal of Art and Design
SP  - 52
EP  - 59
PB  - Science Publishing Group
SN  - 2578-7802
UR  - https://doi.org/10.11648/j.ajad.20170202.13
AB  - Christianity has been an active agent of westernisation and modernisation in contemporary Nigeria. Being more westernised than nigerianised, the phenomenon has, in many respects, challenged the idea of traditional African culture and art. Hinging on radical, though arguable exegeses of the Bible, neo Pentecostal Christian vitalities have questioned and utterly demonised core Nigerian cultural values, particularly traditional African art. This paper challenges the thesis that traditional art is inextricably connected with ancestral worship and inherently satanic. Though some of its constitutive elements – notably statutes of deities and goddesses as well as masks and artefacts associated with rituals – may have some connections with specific tenets of animism and idol worshiping, other aspects as ‘clean’ textile products, relevant rhythms within traditional music and architectural designs are visibly not antithetical to Christianity. It will therefore be expedient to delicately sort syncretic arts from the “spiritually poisonous” ones. Only syncretic art (those that may be concurrent to the concept of practicing Christianity) should be combated within Christian circles. This is in line with the fact that, external campaigns aimed at destroying traditional Nigerian art are not only anti-Africanist but clear violations of the principle of secularity of the state, spelt out by the Nigerian Constitution.
VL  - 2
IS  - 2
ER  -

Copy | Download