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Nok culture

Nigeria, west Africa

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The Nok culture appeared in Northern Nigeria around 1000 BC and vanished under unknown circumstances around 300 AD in the region of West Africa. It is thought to have been the product of anHausa, Gwari, Birom,Kanuri, Nupe and Jukun peoples. The Kwatarkwashi Culture or Sokoto Culture located to the North west of Nok is thought to be the same as or an earlier ancestor of the Nok.

ancestral nation that branched to create the

Nok's social system is thought to have been highly advanced. The Nok culture was considered to be one of the earliest African producer of life-sized Terracotta.

The refinement of this culture is attested to by the image of a Nok dignitary at theMinneapolis Institute of Arts. The dignitary is portrayed wearing a "crooked baton" The dignitary is also portrayed sitting with flared nostrils, and an open mouth suggesting performance. Other images show figures on horseback, indicating that the Nok culture possessed the horse.

Iron use, in smelting and forging for tools, appears in Nok culture in Africa at least by 550 BC and possibly earlier. Christopher Ehret has suggested that iron smelting was independently discovered in the region prior to 1000 BC

Sculptures

Their function is still unknown, but scientific field work has started in 2005 to systematically investigate the archaeological sites. For the most part, the terracotta is preserved in the form of scattered fragments. That is why Nok art is well known today only for the heads, both male and female, whose hairstyles are particularly detailed and refined. The statues are in fragments because the discoveries are usually made from alluvial mud, in terrain made by the erosion of water. The terracotta statues found there are hidden, rolled, polished, and broken. Rarely are works of great size conserved intact making them highly valued on the international art market.

The terracotta figures are hollow, coil built, nearly life sized human heads and bodies that are depicted with highly stylized features, abundant jewellery, and varied postures.

Little is known of the original function of the pieces, but theories include ancestor portrayal,grave markers, and charms to prevent crop failure, infertility, and illness. Also, based on the dome-shaped bases found on several figures, they could have been used as finials for the roofs of ancient structures.

Margaret Young-Sanchez, Associate Curator of Art of the Americas, Africa, and Oceania inThe Cleveland Museum of Art, explains that most Nok ceramics were shaped by hand from coarse-grained clay and subtractively sculpted in a manner that suggests an influence from wood carving. After some drying, the sculptures were covered with slip and burnished to produce a smooth, glossy surface. The figures are hollow, with several openings to facilitate thorough drying and firing. The firing process most likely resembled that used today in Nigeria, in which the pieces are covered with grass, twigs, and leaves and burned for several hours.

In 1928, the first find was accidentally unearthed at a level of 24 feet in an alluvial tin mine in the vicinity of the village of Nok near the Jos Plateau region of Nigeria (Folorunso 32). As a result of natural erosion and deposition, Nok terracottas were scattered at various depths throughout the Sahel grasslands, causing difficulty in the dating and classification of the mysterious artifacts.

Luckily, two archaeological sites, Samun Dukiya and Taruga, were found containing Nok art that had remained unmoved. Radiocarbon and thermo-luminescence tests narrowed the sculptures’ age down to between 2,000 and 2,500 years ago, making them some of the oldest in West Africa.

Because of the similarities between the two sites, archaeologist Graham Connah believes that "Nok artwork represents a style that was adopted by a range of iron-using farming societies of varying cultures, rather than being the diagnostic feature of a particular human group as has often been claimed."