Why We Need to Start Caring About Nigerian Crafts Again

One of the biggest parts of Nigerian culture is crafts, they have always been symbols for our identity and tools for social development, in all kinds of ways. Nigerians across different regions create unique crafts that although are losing weight in society, are still somehow surviving. The history of these crafts, everything they have endured, teaches us how important it is for us to keep preserving them. The most prominent craft in Nigeria are sculptures. They were designed in all regions of the country centuries ago and are still evolving to stay relevant. Sculptures in Nigeria date back to 500BC, they are one of the oldest art forms including Benin art, Nok art, Igbo-Ukwu and Ife art which were made of terracotta, brass and other materials.

Benin art was discovered and looted by Britain under the guise of punishment, after a failed British mission was ambushed. They destroyed the kingdom and scattered the priceless works across Western museums. Nok, Benin and Ife art were mostly life-like in nature, depicting human figures. The designs of Igbo-Ukwu were mainly ornamental objects which were extremely detailed and used advanced metalwork. Scholars and collectors were shocked because the level of detail was unlike anything they thought Africans were capable of at the time.

Beadwork in Nigeria dates back to between 900 BC and 2000 AD They were used for decorative purposes and held and social meanings, representing identity and social status.

Each region developed its own unique way of using beads. The Yoruba used them for ceremonial and royal costumes, The Igbo used them for accessories and masquerades.

Another notable craft in Nigeria is Adire. The term comes from the Yoruba words adi (to tie) and re (to dye), literally meaning "tie and

dye." It refers to indigo-dyed cloth decorated with resist patterns.

Adire originated among the Yoruba people of southwestern Nigeria, particularly in Abeokuta, Ogun State, in the early 20th century.

In Northern Nigeria, similar dyeing traditions existed,particularly in Kano, where the Kofar Mata dye pits date back over 500 years.

Its relevance is seen in how contemporary Nigerian designers still incorporate Adire patterns into modern fashion.

For centuries, Nigerian art and craft were a part of everyday life. They were a tool for fostering a sense of belonging in community and held economic value. But over time, the relevance attached to these crafts began to fade and part of that can be traced back to colonialism.

The introduction of Western education led to a preference for "white-collar" jobs over traditional crafts as more young people pursued formal education, this also led to a decline in creative activities. It reshaped how we saw our own culture as something secondary or outdated and the Western culture as normal.

When Nigeria's economy shifted focus to crude oil, they became even more neglected.

Despite the decline in national attention, many Nigerian artisans continue to practice their crafts. Across the country, workshops still produce leather goods, woven fabrics, pottery, carvings, jewelry and traditional textiles like Adire and Aso Oke. These crafts may no longer dominate the economy, but they remain deeply woven into Nigeria's cultural heritage.

For these craftsmen, art serves as a way to communicate ideas through materials and techniques passed down for generations. They continue out of preserving the legacy of their parents and ancestors who built lives around these crafts. It is also an act of cultural preservation as it ensures that Nigerian identity and knowledge are not lost to modernity.

With rising unemployment and limited iob opportunities, some individuals turn to crafts as a means of survival. Yet, this resilience has its own struggles. The cost of raw materials is often high, making production difficult.

Many artisans operate with no government support and face low demand to showcase their work beyond local markets. As a result, their art remains under appreciated.

When we consider all these elements and think about the amount of time put into creating crafts, we see that it can only be someone who truly cares for cultural heritage that will invest their effort into this.

If not paid attention to, these crafts are at the risk of dying and this is why it is important to support our local artisans.

The first and simplest step is to buy directly from them whenever we can, every purchase helps preserve tradition. Beyond this, there's also a need for systemic change. We need policies that recognize artisans as valuable contributors to the national economy, not as remnants of a fading culture.

Government and private organizations are making efforts in platforming artisans, but more investment is necessary in training programs and exhibitions to revive the interest in arts and crafts.

We must also challenge the stereotype that traditional crafts are for the poor. This mindset strips artistry of its dignity. The creative and cultural industries hold immense economic potential. They can create jobs, boost exports and diversify Nigeria’s economy.

Today, many of these crafts are seen mostly as ceremonial. But they weren't always that way. At one time, they were part of daily life: in the clothes people wore, the tools they used, the homes they built and the ways they expressed themselves.

By wearing more locally made fabrics instead of imported ones, decorating our homes with handmade pieces and supporting local designers, we can become a part of positive change.

When we learn more about arts and crafts and display them, we’re restoring identity. Only when Nigerian art becomes part of everyday life again will it regain the relevance and respect it deserves.