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Fayomi, I, Oladokun TT, Adedokun. AR.  2021.  Assessment of Real Estate Outsourcing Practice of Banks and Telecommunication Companies in Lagos, Nigeria. UNIOSUN Journal of Engineering and Environmental Sciences, . 3(2):2-.
Fehintola, A, Ibraheem A, Fabamwo A, Irinyenikan T, Adeyemi A, Kuti O, Nanda S.  2019.  WHO Action Trial Protocol Full, 08. Abstract
Femi-Oyewo, MN, Elujoba AA, Alebiowu G.  1993.  Formulation studies on Datura metel Linn. powder. I. Effect of powder size on granule and compact properties. Phytotherapy Res.. :257-259.
Filgona, J, Wakshama PS, Dunah CS.  2005.  An In Vitro Study Of The Antimicrobial Activity Of The Root Extract Of Calotropis Procera And Moringa Oleifera. Ife Journal of Science . 7(1):43-46.
Fischer, Alatise, KKEOAKOARBK.  2017.  Establishing a Cancer Research Consortium in Low- and Middle-Income Countries: Challenges Faced and Lessons Learned, 2017. 24(3):627-631.: Springer Link Abstract
Fisusi, AA, Adeniran SA, Awe OP.  2011.  Direct Sequence CDMA System using Finite-Time Altered Sinusoidal Signals as Orthogonal Signatures, 24-26 November . 3rd IEEE International Conference on Adaptive Science and Technology (ICAST 2011). , Abuja, Nigeria
Fisusi, A, Grace D, Mitchell P.  2013.  Energy Efficient Cluster-Based Resource Allocation and Topology Management for Beyond Next Generation Mobile Broadband Networks, 9-13 June. 2013 IEEE International Conference on Communications Workshops (ICC). , Budapest, Hungary.
FO, F, SK M, BM M, OO A, A A.  2012.  Quality of Life in Chronic Mental Disorders: A review of studies in Nigeria.. Nigerian Journal of Health Sciences. 12(2):5-10.
Fọlárànmí, SA.  2018.  {The Challenges and the Development of Style in Nigerian Art}. European Journal of Business and Management. 10:90–97., Number 9 AbstractWebsite

The development of artistic styles in the Nigerian art scene has developed almost along the same line as in other places worldwide, while the challenges facing the artist are almost the same everywhere. This may be so because these challenges are fundamental. The quest for identity, change, statement of purpose, sense of belonging, problem solving, and in some cases revolt, outright breaking of established art laws and most importantly personal experience are some of the influences and basis on which the creating or the development of styles in Nigeria rests upon. Some the styles and expression are new, while others are further developments, synthesis, or combinations from existing styles and techniques available in the different field of fine and applied arts. We are familiar with styles, which are trademarks of established and successful artists in our society; styles, which are a development of different art schools in Nigeria and in recent years the ones that are evolving among talented and creative young Nigerian artists. The later is what this paper seeks to examine. What are the challenges, Inspiration, and the motivation and most importantly influences behind these new innovations?

Folaranmi, SA, Ijisakin TE.  2019.  {Re-Inventing African Literature through Visual Arts}. Mediterranean Journal of Social Sciences. 10:76–89., Number 4 AbstractWebsite

Evidence abounds of the synergy that exists between literature and visual arts in Africa. Illustrations are known to have given more meaning to books, while the text plays the role of the storyteller, the illustration acts out the story or scene on the pages of the book. Illustrations also make readership very easy and appealing to children and the uneducated people in our local communities. In recent times however, studies have shown a sharp decline in the inclusion of very good, insightful and inspiring illustrations into African literary text. When included, it is often poor and limited to the cover page of the book. This paper examines the merits derivable from the inclusion of visual arts into African literature as well as the reason for its decline with a view to suggesting how it can be used to reinvent African literature. It is expected that by so doing, publishers and authors will see the need and importance of using more illustrations in their books. This will, in turn, generate more interest in the culture of reading among the youths o

Folárànmí, S, Imafidor J.  2015.  {The Stained-Glass of Selected Churches in Ibadan}. Responsive Built Environment, Issues, Strategies and Policies in the Developing World.. (Odeyinka, Henry, Aluko, Bioye, Amole, Oludolapo, Ademuleya, Babasehinde, {Daramola, Oluwole (Ọbáfémi Awólọ́wọ̀ University, Ile-Ife}, Nigeria.), Eds.).:97–107., Ile-Ife: Faculty of Environmental Designs and management Obafemi Awolowo University, Abstract

Art has always been and is still being used as a veritable tool in the hands of artists in promoting the Christian religion. Sculptures, mosaics, murals and stained-glass are some of the artistic media used to augment the aesthetic appeal of church architecture and most importantly earn the Christian faithful better concentration. However, the quest for larger spaces to accommodate the growing population of Christian converts and recent development in the built environment led to the demolition/renovation of existing structures and as a result churches give little or no room for the survival of some artworks. Artworks such as murals and stained-glass which are directly executed or fitted permanently on walls are usually affected as a result of these developments. This paper identified and analyzed the existing stained-glass in selected churches in Ibadan with a view to establishing their functions and relevance in the public spaces. The study adopted art historical methodology by using direct observatory and descriptive analysis. Interviews were conducted with key informants in the study area. Findings revealed that most churches with stained-glasses in the study area are old churches belonging to the Catholic, Methodist and Anglican denominations, and that many new churches no longer incorporate stained-glass in their churches, thereby depriving the built environment of this artistic form. It recommends that some of these churches be designated as tourist sites and be preserved for the good of the built environment as it is practiced in developed nations of the world.

Fọlárànmí, S.  2016.  {Kings and Chronologies}. Encyclopedia of The Yoruba. (Falola, Toyin, Akinyemi, Akintunde, Eds.).:181.: Indiana University Press Abstract
Folárànmí, S.  2002.  {The Importance of Oríkì In Yoruba Mural Art}. Ijele, Art e-journal of the African World. 4, Number 2 AbstractWebsite

In visual art, inspiration and concept are the driving forces in the execution of a particular art piece, be it in the Fine or industrial Art. Yorùbá traditional mural has been executed in most cases in veneration of the òrìsà and most of the products are for the Oba as well as for rich or influential individuals. Despite the painters' claim to have been 'moved' or inspired by the spiritual powers of the òrìsà in the execution of such murals, Oríkì, 'cognomen' has been discovered to be a very important driving force in these paintings. This paper tries to examine the importance and impact of oríkì in the execution and interpretation of selected Yorùbá traditional murals.

Folárànmí, S, Olabisi Oparinde.  2006.  {Contemporary Mosaic Murals in Nigeria: The Worksof Elise Johnston}. Contemporary Issues in Nigerian Arts, its History and Education. (P.S.O Aremu, Ademuleya, Babasehinde, Ajiboye, Olusegun, Sheba, Ebenezer, Eds.).:358–373., Ile-Ife: Department of Fine Arts, Ọbáfémi Awólọ́wọ̀ University Abstract

Among the artistic media related to painting, mosaic is one of the most specialized, technically demanding and also most involved in terms of materials. Its decorative qualities on large surfaces and durability make mosaic particularly suitable for monumental purposes. Basically, this essay takes a look at a particular mosaic artist-Elise Johnston, her contributions to the architectural beauty in modern Nigeria, techniques, inspiration and her works. It will also look at the importance and function of mosaic decoration, its necessity in the design, form and overall aesthetics of our built-up environment, as well as suggesting means by which traditional mural decoration could be preserved by using mosaics. During the Byzantine Era, the art of mosaic reached its highest level of quality. Artists decorated floors, walls, vaults and facades of temples and palaces. They used pieces of marble, natural stones, coloured glass, even gold and silver. Themes were inspired by ancient myths, decorative elements from sea and earth, scenes of hunting, faces, emperors, and most of all themes inspired by the Christian religion that was dominant during this period. The usage of mosaic in modern Nigerian architecture is not very new, more so in global village such as we live today, where buildings are much similar in design between Lagos, Paris and Moscow. The use of materials is also very similar except in cases where weather conditions are considered. One of the factors that would definitely make a difference between buildings in Lagos and London will be the mosaic decorations richly embedded with traditional forms and motifs.

Folárànmí, S.  2009.  {Art in the Service of Sango}. Sango in Africa and the African Diaspora. (Tishken, Joel, Falola, Toyin, Akinyemi, Akintunde, Eds.).:157–186., Bloomington and Indianapolis: Indiana University Press Abstract
Fọlárànmí, S.  2021.  {Lasekan: The Western Region Years}. Akinola Lasekan: Cartooninig, Art and Nationalism at the Dawn of a New Nigeria. (Jegede, Dele, Adesanya, Aderonke, Eds.).:171–181., Ibadan, Nigeria: Bookcraft Abstract

Akinọlá Lasekan (1916-1972) is regarded as one of the pioneers of Nigerian modernism, and an art educator. His artistic career have been discussed alongside other artists such as Aina Onabolu, Akeredolu, Ben Enwowu and others. Particularly his practice as Nigeria's first political cartoonist with the West African Pilot—a newspaper established by Dr. Nnamdi Azikiwe and a principal weapon in the fight for African emancipation. His artistic contributions as a teacher at University of Nigeria (UNN) from 1961-1966, and University of Ife (Unife) from 1967-1972 has however received little mention. Four paintings in the collection of the Obafemi Awólọ́wọ̀ University Ile-Ife created during this period has also received little or no mention, which leaves a gap in art historical discourse and the relevance of these paintings to the history of the university and the old western region of Nigeria. This chapter therefore propose an analysis of these four paintings and the historical trajectory they present as visual elements. It will to focus on Akinọlás Lasekans sojourn as a university teacher at the University of Ife, and his role as a foundation member of the Ife Art School.

Folaranmi, S, Ajiboye OJ.  2013.  {From Shrine Walls to Modern Walls: Murals in Ile-Ife.}. The Nigerian Field. 78:24–51., Number 1 {&} 2 Abstract
Fọlárànmí, SA, Umoru-Oke N, Adeyanju IF.  2018.  {Painting Our Stories and Legacies: Historical Evidences through Nigerian Paintings}. International Journal of Humanities and Cultural Studies (IJHCS). 5:76–98., Number 2 Abstract

One of the functions art serves is to visually document history for generations to come. Even with the development of writing, the artists have continued to document various aspects of what they encounter in their various communities. In Nigeria with particular reference to painting, several artists have used their paintings as visual documentaries. The introduction of the camera as a tool for documenting did little to dissuade these painters from continuing this role. This paper therefore examined selected paintings of artists in Nigeria, whose works reveal historical evidences and culture of a people. Paintings cutting across the various genres such as portraits, landscapes scenes, architecture, festivals and cultural issues from pre-independence Nigeria to the present were selected for examination and analysis. The paper explores a descriptive and comparative analysis of the selected paintings vis-à-vis the various subjects they have recorded. It concludes that these paintings show significant historical evidences that can be used to reconstruct history and others aspects of the society where the need may arise. Painters in Nigeria more than other artists have been able to record history with their works because of the pictorial and compositional peculiarity o

Fọlárànmí, {SA.  2015.  A Model for Animation of Yorùbá Folktale Narratives. African Journal of Computing & ICT. Abstract
Folaranmi, SA, Ademuleya BA.  2018.  Palace Courtyards in Ilesa: A Melting Point of Traditional Yoruba Architecture.. The Yoruba Study Review. 2(2) Abstract

The paper examined the state of the Yoruba old Palace Courtyards using Ilesa palace as a case study. It described the designs, construction of the old palaces courtyard and its function as a melting point of traditional Yoruba architecture. It opined that the palace courtyard design reinforces the Yoruba traditional dwellings and environment culture where the structure of the houses is built to support the people’s social and religious life. It argued that such structure gives the opportunity for a blend of function, decorative and religious elements all-in-one big space of which the courtyard is just an enclosure. The paper concluded by calling for the restoration and preservation of these edifices, noting that the architecture of a people best describes the artistic outward presentation of their belief system, sociology and creative life.

Fọlárànmí, SA, Ademuleya BA.  2018.  Palace Courtyards in Ilésà: A Melting Point of Traditional Yorùbá Architecture. Yoruba Studies Review. 2(2):51-76. Abstract


Fọlárànmí, SA.  2002.  {Oyo Palace Mural; A Symbolic Communication}. Journal of Art and Ideas (J.A.I.). 4:93–109., Number 1 Abstract
Folaranmi, S.  2009.  {Unity {&} Identity in Diversity}. , Vechta: University of Vechta, Germany Abstract
Folaranmi, SA, Oyeniyi EO.  2021.  {Reinventing Oral Tradition through Arts and Technology}. The Palgrave Handbook of African Oral Traditions and Folklore. (Akinyemi, Akintunde, Falola, Toyin, Eds.).:865–887., Switzerland AG: Palgrave Macmillan Abstract