THE ROLES OF ARTEFACTS IN PRESERVING NIGERIA CULTURE

INTRODUCTION

Cultural Heritage is an expression of the ways of living developed by a community and passed on from generation to generation, including customs, practices, places, objects, artistic expressions and values. Cultural Heritage is often expressed as either Intangible or Tangible Cultural Heritage. In archaeology, an artifact or artefact is any object made or modified by a human culture, individual or group. Often the artifact—or object—is recovered long after the time it served its purpose, through an archaeological endeavor or even by accident or chance. Examples of artifacts from various time periods would include stone tools such as projectile points, pottery vessels, metal objects such as buttons or guns, and items of personal adornment such as jewelry and clothing. Other examples include bone that show signs of human modification, fire cracked rocks from a hearth, or plant material used for food.

As part of human activity Cultural Heritage produces tangible representations of the value systems, beliefs, traditions and lifestyles. As an essential part of culture as a whole, Cultural Heritage, contains these visible and tangible traces form antiquity to the recent past. Cultural Heritage is a wide concept. We prefer to concentrate on the similarities between the various heritage sectors, instead of on their differences.

Cultural Heritage types

Cultural Heritage can be distinguished in: 

• Built Environment (Buildings, Townscapes, Archaeological remains)
• Natural Environment (Rural landscapes, Coasts and shorelines, Agricultural heritage)
• Artefacts (Books & Documents, Objects, Pictures)

Enenke and its Significance as Cultural Heritage

Enenke is a horn produced from the wild animal called ene—deer. It is a specialized trumpet like the akpele of Midwest Igbo or akpili of the Omambala river zone, which includes the Oyi, Aguleri and Dunukofia local governments. The enenke is not owned by everybody and is not a status symbol as such, but is for the specialized artist whose job it is to perform when called upon. Furthermore, enenke does not fit into a musical composition and is not performed in a group, unlike akpele, which gives life and enhances a musical composition. Promoter, a trado-modern musician, used akpele extensively in his folk music, which was a pointer to preservation of our cultural music.

However, enenke is performed as the occasion warrants. It is popularly used in Oraifite, Ichi, Ozubulu, Ihiala and the environs. The sound of enenke in Oraifite and its environs signals a particular social commitment. The people who are acculturated to its language will put ears to the ground to receive the message.

Hearing it at midnight signifies danger or death. Late evenings may be for the heralding of mortuary rites. In the mornings, it may be for festivals, marriage attendance or a call for emergency meetings at the village square. In burials, great men and heroes go home to the sound of enenke. Also, in bringing home the symbolic corpse of a deceased Nwada (daughter of the community), the ceremony is heralded with the sound of enenke, songs and dances.

  Gangan/ Dundun (Talking Drum) and its Significance as Cultural Heritage

 Gangan is also known as 'Talking drums’. It holds a special place in the tradition of the Yoruba people, and its use in Yoruba folklore cannot be overemphasized. Its origin can be traced to the Old Oyo Empire in South-West, Nigeria. It was introduced as a means of communication during inauguration of the Alaafin of Oyo. Talking Drums are used to imitate different tone and chant patterns of the Yoruba language. Its hourglass shape makes it possible for it to be held under the arm. It is made of adjustable cords. This cord can determine the pitch of the drum. If the cords and strings are pulled hard, the sound or tone from the drum would increase and if the chords are softly squeezed, the sound will be low. They are frequently used in modern churches, festivals, wedding ceremonies and carnivals.

Bata and its Significance as Cultural Heritage

 Bata is another important drum used by the Yoruba people, a double-headed drum shaped like an hourglass with one cone larger than the other. It’s used majorly in religious functions, festivals, carnivals and coronations. It’s also used to convey messages of hope, divination, praise and war.
A set of batá consists of three drums of different sizes. The drums are similar in shape to an hourglass and each drum has two different sized heads. The batá are played sitting down with the drum placed horizontally on the knees. This allows the drummer to play with both hands.

The Iyá ("Mother") is the largest drum and leads the group, playing long, complex patterns with many variations and initiates conversations with the other two drums. Iyá are often adorned with a garland of bells and bronze caps called "Chaworo" which enrich the vibrations and the timbre when the drummer plays the instrument.

The Itótele is the middle-sized drum, playing long, but less complex patterns with some variations as well as answering and occasionally initiating conversations.
The Okónkolo is the smallest of the three playing short, simple patterns with occasional conversations and variations.

. Animal-horn trumpets are still employed today, especially in Africa, though they are also found in Israel, Asia and Oceania. With the exception of African varieties, most are end-blown instruments from which the tip has been removed to provide a mouthhole. In the majority of cases the player's lips are applied directly to the mouthhole; sometimes, however, the instrument has a detachable mouthpiece. Cattle, sheep, goats and antelopes are among the animals whose horns are – or have been – most frequently used to make such trumpets. The Bata drum has different parts which include; “Igi Ilu”(wooden frame work), leather, “Egi ilu”(thick brooms for support), “Osan”(wire work), “Iro”(black substance placed on the drum surface), “Bulala”(drumstick made from leather), and cowries

Conclusion

Not everyone feels a connection with their cultural heritage, but many people do. What is it about cultural heritage that draws these people to it? Some may think traditions are archaic and no longer relevant, and that they are unnecessary during these modern times. Perhaps for some, they aren’t; but for others, exploring cultural heritage offers a robust variety of benefits. Thus artefacts in form of ivory work, stone works and wooden works have help to connect one generation to another.

REFERENCES

Nnonyelu, A. N. (2009). Sociological Insights. Ibadan, Spectrum Books Limited. 

Ogundele, S. O. (2014). Understanding Contemporary Archaeology. Ibadan, John Archers Publishers Limited. 

Onwuka, J.O. (Ed.) (2002). Nigerian Peoples and cultures: Historical & Socio-structural Perspectives. Enugu Nigeria, Echris& Company.