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 VOLUME 6 ISSUE 1

The International Journal of the

Inclusive Museum

__________________________________________________________________________

Nigerian Museum and Art Preservation

A Repository of Cultural Heritage

E. BANKOLE OLADUMIYE, ESTHER ADIJI BOLAJOKO, AND OLABIYI A. TOLULOPE

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THE INTERNATIONAL JOURNAL OF THE INCLUSIVE MUSEUM
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First published in 2013 in Champaign, Illinois, USA

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 Nigerian Museum and Art Preservation: A
Repository of Cultural Heritage
E. Bankole Oladumiye, Federal University of Technology, Nigeria
Esther Adiji Bolajoko, Federal University of Technology, Nigeria
Olabiyi A. Tolulope, Federal University of Technology, Nigeria

Abstract: Museum services in Nigeria serve as a major source of art conservation and preservation of its
cultural heritage. It is a truism that Nigeria in Africa is endowed with great cultural heritage, which needs to
be adequately documented. Evidence of this can be traced to the production of Nok terracotta, Benin bronze casting, Ife
terracotta and Igbo Ukwu Art, which justify the fact that Nigeria had ancient civilizations that competed with the
Romans and Greeks, but which did not come to limelight until the 1890’s when the British soldiers invaded the Benin
kingdom and some of the art treasures were looted. Against this backdrop, an effort to safeguard the sanctity of
this heritage made Kenneth Murray intensify efforts at establishing a museum of art and antiquity at Jos in 1943.
The paper discusses the advent of Museums in Nigeria and the cultural preservation of art and finally it takes a cursory
look at art as cultural heritage in Nigeria.

Keywords: Museums, Heritage, Terracotta, Nok, Culture, Institution, Preservation

Introduction

M useums are essential institutions with such obligation as nurturing, safeguarding and
handling diligently over from one generation to another artefacts or stories in history,
that is, the pride of the people in relation to their cultural heritage and way of life. It is
pertinent to note that the nation or its people cannot exist without the preservation of their
cultural posterity of its territorial integrity. Museums are beyond the building structures, but the
content of a museum is the heritage and wealth of the people. Looking into the role of the
museum in the preservation of national heritage is most emphatically corroborating the fact that
without preservation, a nation’s cultural heritage are destroyed, and we need this heritage, as a
people, tribe and therefore indispensability of museums cannot be overemphasized. Museums
derive its origin from the Greek word “Mouseion” which refers to the temple or house of Muses.
Muses in ancient Greek and Roman mythology are the goddesses of art and sciences. The
word museum was first adopted for a library research institute in Egypt and it was the museum of
Alexandria in 200BC. The first public museum was established at Oxford University in 1863. An
English scholar Elias Ashmole originally owned the museum; it was built for the collection of
objects of (curio) curiosity. Pressure groups known as Museum Movements (M.M) agitated for
public Museum in Europe in 1700AD and their crusade and pressure spread across the entire
European Continent. The Crusade leads to the establishment of the National Museum of Ireland
in 1731AD.In 1750, the French government bowed to pressure groups and consequently
established a Museum specialized in collection and displaying of royal exhibits only. In 1759AD,
the British government built a museum in Bloomsbury, which exhibited plant specimen and
objects. With this development, the Charleston, Library Society opened the first Museum in
1 2
America in South Caroline in 1753 ( Oruche1992, 108-117; Okpoko1992, 89-93).

1
Oruche, I.N. On development and managing national heritage. 1992. Pp.108-117
2
Okpoko. P. The state of Cultural Resources Management in Nigeria Heritage. 1992. Pp.89-93

The International Journal of the Inclusive Museum

Volume 6, 2013, onmuseums.com, ISSN: 1835-2014
© Common Ground, E. Bankole Oladumiye, et al., All Rights Reserved
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THE INTERNATIONAL JOURNAL OF THE INCLUSIVE MUSEUM

The Advent of Museums in Nigeria

The advent of museums particularly in Nigeria cannot be separated from the ancient culture of
palaces and shrines, where artefacts and precious works of art are kept. These were discovered to
form part of the origin of museums in Nigeria. In the ancient times, Kings commissioned artists
who made important artistic pieces that symbolized the way of life of the people and retaining
their religions, social or political life. All of these have contributed to their cultural heritage and
preservation background. An observation on the diversified cultures of the Nigerian people
revealed that there had been an initial system of presentation and preservation of the objects that
projects the cultural existence in creative artefacts. These were in the king’s palaces and shrines
3
of the people. ( Fagg 1982, 89)
A major influence that instigated the preservation of cultural heritage fashioned towards
protecting the rich Nigerian arts was accelerated by the western invasion of the British, which
gave the opportunity for Nigerians to further developed the institution that protects their rich
artefacts and cultural heritage. Nigerians were encouraged by the astonishing interest shown by
the colonists in their works of art, which further gave those reasons to place better value on them.
Colonisation gave the opportunity for Nigerians to travel to the western world, which further
enlightened them to the essence of protecting works of art in Nigerian museums, by virtue of the
western influence, the operational responsibility of the institution responsible for the preservation
of the art, of the people increased from merely safe-keeping and functional religious purpose, to
an income earning, and providing job opportunities.

Figure 1: Esie Museum (inside view)

Source(s): National museum, Lagos Nigeria. Olabiyi- 2008

3
Fagg,W. On the art of the Yoruba in Yoruba Sculpture of West Africa. 1982 P. 89

94
 OLADUMIYE, ET AL.: MUSEUM SERVICE AND ART PRESERVATION: A REPOSITORY

Figure 2: Esie Museum (front view)

Source(s): National Museum, Lagos Nigeria. Olabiyi- 2008

The development of museums in Nigeria is not complete without the development of the
Nigeria art, which preservation forms the bases that further necessitated the development of
museums. The origin of cultural resource development and control, which was regarded as the
National Museum Services in Nigeria, dated back to 1927 was credited to Kenneth C. Murray, a
British colonial art teacher. Murray established the first National Museum for conservation of
Nigerian artefacts in Jos in 1943. It was followed by the Esie Museum in 1944 and Ife in 1955.
The National Museum of Antiquities at Onikan Lagos was established in 1957 as a cross-cultural
museum. It houses various examples of artefacts from different parts of the country. These
include Ife bronze and terracotta heads, Nok terracotta, Ugbo-Ukwu Bronze, Benin Brass
Plaques and Ivories, Oron Stone Monoliths, Ibibio Marks and Costumes.

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Figure 3: National Museum Ife (front view)

Source(s): National museum, Ife Nigeria. Olabiyi- 2008

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 OLADUMIYE, ET AL.: MUSEUM SERVICE AND ART PRESERVATION: A REPOSITORY

Figure 4: Benin Museum (front view)

Source(s): National Museum, Benin Nigeria. Olabiyi- 2008

The establishment of Jos Museum according to 4 Ayansola (2001, 26-28) served, as a

revelation to other areas in Nigeria for the establishment of museum is in order to keep local
artefacts, which was carelessly handled, stolen and given out to foreign travellers at ridiculously
low prices. Some of these artefacts serve as resource materials for historiological, archaeological
and anthropological research works. With the establishment of these Museums in Nigeria, it
provided career opportunities for artists, and the importance of conservation was opened to
Nigerians. 5 Oladumiye (2003, 165-167) noted that the significance and value of art are
appreciated, and promoted in the developed world, where museums, galleries, theatres, art
libraries and other art institutions, give loud testimony to the need to develop and preserve the
heritage, culture and legacies of artistic posterity of the people.

The Art and Cultural Preservation in Nigeria

The art and culture of the Nigerians are certainly an excellent method to learn more about the
ancient culture and fascinating life-style of the earlier generations, many of the arts and culture,
and forms created today in Nigeria have their roots firmly planted in the traditions and methods
of their ancestors. Some of the cultural background and arts date back to about 2,000 years ago.
Nigeria with her changing features, presents diversity of cultural characters, which has affirmed
her arts as a vehicle of propagating, her way of life and culture, which are reflected in the
Nigerian art including the belief in supreme being, respect for ancestors, and the importance
attached to the rites of passage performed at birth, marriage and death and the significance of the
head.

4
Ayansola, G. National Commission for Museum’ A new lease of Life. The post express Monday August 6. 2001, 26
5
Oladumiye B. The Efficacy of Creativity and Culture in the Theory of Representation in visual Arts Journal of
perspective of Culture in Nigeria 2003, pp165-167.

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Figure 5: National Monument Frontage Akure Deji’s Palace Nigeria.

Source(s): Author’s photographs and collections- Oladumiye Bankole- 2011

Figure 6: National Monument (open courtyard has 47 rooms which houses ancient antiquities)
Akure Deji,s Palace Nigeria.
Source(s): Author’s photographs and collections- Oladumiye Bankole- 2011

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 OLADUMIYE, ET AL.: MUSEUM SERVICE AND ART PRESERVATION: A REPOSITORY

The arts and artefacts of Nigerian presents a corresponding diversity with style ranging from
the terracotta sculpture of Nok, which is the oldest in Africa, the Ife naturalistic bronze and
terracotta heads, Ugbo Ukwu bronzes, the Benin Brass casting and Ivory carving and the Esie
carved soapstones. Taste for luxury led to the development of Cire-Perdue, which is elaborate
production process of metal and bronze casting, weaving of traditional fabrics, leatherwork,
smiting pottery and body decoration and facial marks. Scarification is another form of body
decoration in some culture, which was passed from generation to generation. Hairstyle is another
way Nigerian woman individualize their cultural heritage. Some tribes and culture adorned male
6
with an elaborate hairstyle during one festival or ceremony to boost their culture ( Nkanfa and
Arinze1998, 129).
As a result, the art and culture of each ethnic group needs to be preserved, the yearly
festivals are organised in each ethnic groups to brings to memory, the cultural heritage of the
people with a view to inform the young ones of the rich tradition and culture of ancestors, else
the culture of the people goes into extinction. Moreover, museums had been built for the
preservation and conservation of artefacts and the people’s cultural heritage and it was expected
that some of the works preserved in these museums could be preserved for life. It is sad to note
that some of the work arts that speaks about the life, the heritage and the culture of the people
7
have disappeared. For instance, Fatuyi( 2008, 126-128) lamented about the situation in Oron
Museum, he stated that there were 1, 286 artefacts in Oron Museum but have reduced to 100 by
2003, he further predicted that if care is not taken, some of these artefacts will be looted and if
these works of arts are stolen, the culture of the people are being cast into dust because the
8
coming generation will have nothing to point to as their heritage.( Igbaro2011, 125-127,141)
Some of the Ife bronze works have also disappeared from Lagos and Ife Museum with
impunity. For instance, three Nok statues have been found with the museum Louvre in Paris,
these generated great concerns among many international scholars and archaeologists, which
have accused the French government of complicity in the fraud. Recently, a crown used by past
rulers in Abeokuta was found in a private gallery in London and the crown, was declared missing
in 1998. The Deji of Akure palace was declared a National Monument few years ago what
happened was that the Palace, which was declared as a symbol of national Cultural Heritage, has
lost the entire carved veranda post, which have been replaced with ordinary metal post by
9
national Museums and Monument. ( Oladumiye2012, 69-72).

6
Nkanfa,and Arinze,M. The Lost Treasures of Ancient Benin Museum of Antiquities in Nigeria 2000, 90-92.
7
Fatuyi B. Nigeria art Ancestral Statues:Stylistic Possibilities in Nigerian Art. Reflection:A Journal of Nigerian Society
of artist. 1: 2008.126-128.
8
Igbaro,J. Art Conservation and the Security Challenges in Nigeria, National; Security and Resource Managements in
Nigeria. 2011,125-127,141.
9
Oladumiye, B. Visual Arts Communication in Nigeria, A communicable Tool for value Re- Orientation Delta State
University. The Visual Arts Journal of Society of Nigerian Artists 2012. 14, 69-72.

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Figure 7: Nok Terracotta

Source: National Museum, Ife Nigeria. Olabiyi, 2008.

Figure 8: Kings Ceremonial Ancient Bicycle Dejis Palace, Akure.

Source(s): National Monument Akure, Nigeria. Oladumiye Bankole-2011

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 OLADUMIYE, ET AL.: MUSEUM SERVICE AND ART PRESERVATION: A REPOSITORY

Nigeria has lost a considerable number of its cultural property to smugglers and this has cost
the country, a great loss in their culture. Reference of the above scenario, the present
management of the National Commission for Museum and Monuments had started to embarked
on a campaign at retrieving some of the stolen artefacts. Over 400 artefacts of various sizes
believe to have been stolen away from the country were recovered; also the Nigerian Embassy in
Switzerland retrieved some of the artefacts belonging to Nigerian in private gallery in Zurich.
The country’s culture and artefacts need to be preserved for these to be possible. The nation’s
security operatives at the borders and ports should well be informed of the value of the artefacts,
which they carelessly neglect and allow miscreants to carry away (this is our heritage; these
works of art should be preserved).

Museums as an Institution of Cultural Heritage

Museums as institution of cultural heritage in Nigeria is the legacy of physical artefacts and
intangible attribute of a group of society with cultural background that are inherit from past
generations, which are maintained on the present and for the benefit of future generation. This
institution of cultural heritage in Nigeria played a predominant role in the upliftment of images
among the country of nations as traditional African arts have won its place of pride among great
art traditions of the world.
10
Aniakor (2001, 35-38) pointed out, that Nigeria artefacts played a dominant role in the
traditional society that almost every aspects of life seemed to depend on it. The value of
institutional heritage of art to the Nigerian society can be viewed from Ife Bronze head, Essie
stone figure, Benin bronze casting, Ugbo Ukwu sculptures. Also the decorative art of the
traditional woven, traditional blacksmithing, body decoration, wall decoration, pottery and mat
weaving to mention a few, served as an heritage to the Nigerian society. Ife art served as an
institution of cultural heritage. The art is an institution on which the culture of the Yoruba people
is based upon. The art was known for its highly naturalistic nature.
The bronze from Ife is a replica of classical naturalistic art, which was produced in various
media-bronze, terracotta, metal, stone, and wood. It is termed to serve, as institution of cultural
heritage for it is an excellent representation of the sophistication of the Yorubas in their socio-
11
political and religious life style. Ife Art, was described by Igbaro (2011,141) as an art that
manifest a remarkable high level of achievement, which qualifies it for inclusion among the most
sensitively modelled naturalistic head found in its time.Ife Art parades variations of sizes, shapes,
propositions, definition of features and rendering of planes that are characteristically of
personalized portraits, which serves both the king and commoner.
The Benin Art is on bronze casting and is developed by the Benin craftsmen who are bronze
casters. The works of art form Benin travelled almost round the world. The British Soldiers
reportedly looted about 2,500 artefacts from the palaces in 1897. The works are now found all
over Europe, California, Swiss and Leningrad, Copenhagen, New York, Paris and other notable
12
cities. One of the most prominent works of Benin Art according to Agberia (2001, 70-72) is an
nd
Ivory mask, which its replica was used as the symbol of 2 World Black African Festival of Arts
and Culture that was staged in Lagos in 1977, the original copy is in British Museum. Benin Art
as an institution of cultural heritage is still being in operation. In order not to destroy the culture
of the Benin people. A street is sacredly reserved for bronze casting in the heart of the city.
Until today, the Nok art that is being referred to as Nok culture lies within the Jos Plateau
Northern part of Nigeria. The community lies between Jemaa and Katsina-Ala. The Nok Arts

10
Aniakor,C. Modern Sensibility and Africanise in contemporary African Art USO: Nigeria Journal of Art3:2001 35-
38,83-84.
11
Igaro, J. Art Conservation and the Security Challenges in Nigeria, National; Security and Resource Managements in
Nigeria 2011,125-127,141.
12
Agberia, J Museum Services in Nigeria, Issues, Problems and Prospects Journal of CreativeArt .2001’2: 70-72.

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comprise mainly terracotta sculptures ranging from large portrait heads miniature and
inconsequential objects such as lice. The objects, which were discovered by tin-miners, were
highly naturalistic with cylindrical and conical heads with heavy neck beads that suggests
royalty. The Nok sculptures are attributed to three notable functions the grave, furniture of
shrine, furniture or domestic use. It speaks about the life and culture of the people in that
environment.
Esie is an Igbomina Yoruba town in Kwara State of Nigeria lying about 48 kilometres South
-East of Ilorin and about 128 kilometer north of Ife. Esie, is generally known as a home of 800
soapstone figures. The Origin of Soapstone figures is bewildering up to date, it remains a
mystery. Indeed, nobody knows how these stone images exactly came about but inhabitants of
the city have offered a few explanations. The most popular among them is that the 800 stone
images were rebellious settlers who turned into stone images. The soapstone figures of Esie are
largest collection of stone carvings still in Black Africa. They were found in groves outside the
town of Esie. However, most of these soapstone figures have lost either heads or limbs.
13
( Nikink 2000,90-92)

Figure 9: National Monument

Source(s): author’s photographs and collections Oladumiye Bankole- 2011 Ugbo-Ukwu Art,
Nigeria

13
Nickink, k. Guide to the National Museum Oron-Lagos: Department of Antiquities Nigeria. 90-92.

102
 OLADUMIYE, ET AL.: MUSEUM SERVICE AND ART PRESERVATION: A REPOSITORY

Figure 10: National Monument

Source(s): Author’s photograph collections- Oladumiye Bankole- 2011 Ugbo Ukwu Art Nigeria.

Characteristics features of Esie stone images includes facial marks of three horizontal lines
between the eyes and ear, Some have vertical lines on the chin, Some have striations on the face,
All the objects are in figures. In addition, no two of the 800 soapstone figures look the same; they
differ in facial feature, hairstyles and dress. Virtually all the Esie soapstone images are located in
National Museum Esie. Until now, the members of the Esie Community still have the above
highlighted characteristics and by the virtue of this, it has formed the major means of identity for
them.
Igbo-Ukwu is a town in the Anambra State, of Nigeria in the southeastern part of the
country. It has notable three archaeological sites, where excavators excavated bronze artifacts
from a highly sophisticated bronze metal-working culture dating perhaps to the 9th or 10th
century. The first, called Igbo Isaiah, was uncovered in 1938 by Isaiah Anozie a local villager,
who stumbled upon the bronze works while digging cistern beside his home. Subsequent
excavations by Thurston Shaw in 1959 resulted in the discovery of two other sites, Igbo Richard
and Igbo Jonah, containing the remains of an ancient culture. Artifacts have included jewelry,
ceramics, a corpse adorned in what appears to be regalia, and many assorted bronze, copper, and
iron objects. Some of these contain materials that are evidence of a long-distance trading system
going to Egypt. Till now, the Igbo People practice Magical Art and they believe in Supreme
Being. Also, they put all effort into making sure that their cultural identity is well preserved.
The Nigeria art seems to be closely associated with religion. It is the belief of the people that
they must go through the ancestors as a result different ornamental decoration must be in place to
appease the gods. The Nigerian people believe in body decoration, body tattooing, scarification,
body burning, and hairstyle and body adornment. Through these decorations, it is possible for the
people to inspire the community to commune with their gods. These values were inculcated
through activities that bind the people together. Through these practised, the people were able to
protect their cultural heritage.

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As observed by 14Kennedy (1992, 11-13) the variety of approaches, forms and styles among
Nigerian artists and artefacts demonstrate the cultural openness of the people. Nigerian
Contemporary art forms, range from extreme naturalism to complete abstraction just like western
art, while some do not qualify under the significant ‘’conceptual qualifier’’ that unifies
‘’African’’ as distinct interwoven artistic destiny, most Nigerian artists recognise the need for
identity and cultural heritage without necessary ossifying tradition. These therefore conveniently
classified creative traditions in Nigerian art practices with respect to unique identities established
by individual artists.
15
Drewal (1986:50) argued that while some forms may fade and others emerge many long-
term traditions continue to be vital today in Nigeria 16(Filani 2005, 73-75). This implies that to
become the death of culture, traditional cultural art is rather myopic. Drewal noted that what have
been witnessed now in Nigerian art are changes that have always occurred and will continue to
occur as long as Nigerian people failed to keep their cultural heritage. 17Aniakor (2001:83-84)
summarised the issue of cultural preservation by submitting that there is physical metaphysical
and ontological landscape which provides the frame for cultural preservation and art in Nigeria
whether we choose to refer to them as expression of modern sensibility or not, it has come to
stand.
18
Dele Jegede (1983, 39-41) classified Nigerian cultural heritage and preservation as
applicable to other parts of Africa. It covers the whole twenty-first century artist
categorization. 19Willet (1971, 78-82) in his point of observation pointed out that the significance
of the Nigerian being persevered, their heritage for future generation to learn from it. As a result,
the Nigerian art should accommodate divergent artistic styles for future generation awareness.

Summary
Some of the Nigerian works of arts kept in the Museums, for the upcoming generations, were
meant for defending the artefacts and people’s cultural heritage. They are meant to tell stories
about the pasts, describe values and the way of life of the Nigerian people and helps them to
relate to the supernatural forces, his social relations, and expresses emotions and enhances
Nigerian’s present life as an embellishment denoting pride and status as well as founding
entertainment and learning. Nigerian museums have played the role of tourist attraction as they
serve as repository of nation’s cultural heritage. Visitors from all over the world always gained
through information and learned from the objects on display in Nigerian museums, if you want to
learn about the history of any country and their culture visit their museums.

Conclusion
Africans believed that man’s fundamental cultural heritage are left to his successor at his death
and the artistic tools used when alive are believed to contain the magical powers used in carving,
sculpting, moulding, casting. These served as a legacy of cultural identity that are left behind for
the next generation and it caused transformation and transferring of culture from a generation to
another generation. Since there is continuation, the arts and artefacts of Nigerians were seen to be

14
Kennedy, J. New Currents, Ancient Rivers; Contemporary African Artists A generation of Change Smithsonian list
Washinton and London 1992.11-13.
15
Drewal H, Techniques and Aesthetics in Yoruba Sculpture Atlanta High Museum of Art. 50.
16
Filani, O. Theory of Yoruba Culture and Creativity appropriating Visual Arts Apprecition through Aesthetic increative
tradition.NigeriaArt CCAP. 2003, 73 -75
17
Aniakor,C. Modern Sensibility and Africanity in contemporary African Art USO: Nigeria Journal of Art3:2001 35-
38,83-84.
18
Jegede, Dele. Made in Nigeria Artists Nigeria Magazine. 1983, 144
19
Willet,F. African Art. An Introduction, London. 78-82.

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 OLADUMIYE, ET AL.: MUSEUM SERVICE AND ART PRESERVATION: A REPOSITORY

the most singular pride of the country through which a bright and objective future can be
guaranteed.
Nigerian artifacts among other African nations have been eulogized for contribution to the
world cultural heritage. These achievement are replenished in bronze works, sculptural works
like wooden door panels, carved house post, mask figure terracotta pottery body decoration wall
decoration painting etc..

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REFERENCES
Agberia John 2001. ‘Museums Service in Nigeria, Issues, Problems and Prospects;’ Journal of
Creative Art. 2:70-72.
Aniakor, Chike. 2001. ‘Modern Sensibility and Africanise in contemporary African Art’ USO:
Nigeria Journal of Art. 3:35-38,83-84.
Ayansola,Gbenga. 2001. ‘National Commission for Museum’ A new lease of Life. The Post
express Monday August 6, 26
Drewal Henry. 1986. Techniques & Aesthetics in Yoruba Sculpture Atlanta High Museum of
Art.50.
Fagg, William. 1982. On the art of the Yoruba in Yoruba Sculpture of West Africa, Bryce
Holcombe (ed) New York Published by Alfred, Knope inc.89.
Fatuyi Boboye. 2008. Ngerian art Ancestral statues: Stylistic Possibilities in Nigerian Art.
Reflections: A journal of Nigerian Society of Artists.1:126-128.
Filani, Olakunle. 2003. Theory of Yoruba Culture and Creativity appropriating Visual Arts
Appreciation through Yoruba Aesthetic in creative tradition. Nigerian Art CCAP73-75
Igbaro, Josiah. 2011. ‘Art Conservation and the Security Challenges in Nigeria’National Security
and Resource Managements in Nigeria 2011edited by Babatola J.S and Gbade
Ikuojebe.125-127,141.
Jegede, Dele, 1983. ‘Made in Nigeria Artists’ Nigeria Magazine. 144.
Kennedy, Joan. 1992. New Currents, Ancient Rivers: Contemporary African Artists. A
generation of Change. Smithsonian list Washington and London.11-13.
Nickink Kennth 2000. Guide to the National Museum Oron- Lagos; Deaprtment of Antiquities
Nigeria.90-92.
Nkanfa, and Arinze,M. 1998.The Lost Treasures of Ancient Benin. Museum of African Studies.
University of Ibadan, Nigeria.129.
Okpoko, Paul. 1992. ‘The State of Cultural Resource management in Nigeria. Nigeria Heritage
1: 89-93.
Oladumiye, Bankole. 2012. Visual Arts Communication in Nigeria, a communicable Tool for
value Re-orientation’ Delta State University, The Visual Arts Journal, Society of
Nigerian Artists.14:69-72.
Oladumiye,Bankole. 2003. ‘The Efficacy of Creativity and Culture in the Theory of
Representation in Visual Arts’, Journal of Perspectives of Culture and Creativity in
Nigeria Arts. Culture and Creative Art Forum, Lagos Nigeria.12:165-167.
Oruche,Timothy N. 1992. On Developing and Managing Natural Heritage:Tell Nigeria: 108-117
Willet, Frank. 1971. ‘African Art.’ An Introduction, London.78-82

ABOUT THE AUTHORS

E. Bankole Oladumiye, Ph.D.: Earned a Bachelor’s degree with honors in Graphics, an MFA in
printmaking, and a Ph.D Industrial Design, Graphics, and Advertising. He is a senior lecturer,
head of graphic options in the Department of Industrial Design, and Sub Dean at the School of
Environmental Technology in the Federal University of Technology, Akure, Ondo State, Nigeria.
He has several years of creative experience in printmaking and graphics, and he is a prolific
writer.

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 OLADUMIYE, ET AL.: MUSEUM SERVICE AND ART PRESERVATION: A REPOSITORY

Esther Adiji Bolajoko: Earned a Bachelor’s in Industrial Design Textiles. She is currently a
Lecturer at the Department of Industrial Design, Federal University of Technology Akure
Nigeria textile Section.

Olabiyi A. Tolulope: B. A. Hons. Art Historian from Obafemi Awolowo University, Osun State,
Nigeria. He is a lecturer in the Department of Industrial Design, Federal University of
Technology, Akure, Ondo State, Nigeria.

107
The International Journal of the Inclusive Museum
addresses a key issue: In this time of fundamental social
change, what is the role of the museum, both as a
creature of that change, and perhaps also as an agent
of change? The journal brings together academics,
curators, museum and public administrators, cultural
policy makers, and research students to engage in
discussions about the historic character and future
shape of the museum. The fundamental question of
the journal is: How can the institution of the museum
become more inclusive?

In addition to traditional scholarly papers, this journal

invites case studies that take the form of presentations
of museum practice—including documentation of
organizational curatorial and community outreach
practices and exegeses analyzing the effects of those
practices.

The International Journal of the Inclusive Museum is a

peer-reviewed scholarly journal.

ISSN 1835-2014

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