Abstract

Traditional values are precious because they reflect who we are and how we live our lives. It is important to accept and respect these values. Traditionally, the sustainability of the values of the Nsibidi symbols cannot be expunged. These symbols are numerous and were institutionalized and used as a form of communication with the people of Ejagham, in the Efik Ibibio Southeast region of Nigeria.
‘African traditional society is anchored on the facts that institutions, beliefs, social order, norms and several practices which of a truth, must of necessity be given foundational rites of passage. This acknowledgement of African tradition is usually through visual interpretation, which may reflect in several forms of art, most often the interpretations are engaged to demonstrate and highlight social demeanour and decorum’ (Nsentip, 2006, p.1).
Pottery Art is a long-standing tradition in Nigeria and was popular from 100 B.C. It was found on the archaeological site of Iwo Eleru,in Ondo State of Nigeria and this terracotta artifacts dated from A.D. 800 which were found at Ile Ife Osun state of Nigeria ( Fowewe, 2004, p.12). Today Suleja, Abuja and Ilorin states are considered important centres of traditional pottery, although the craft is practiced throughout the country.
Archaeologists and scholars in the field of ceramics are agreed that, long before the evolution of letters, pottery forms were used to illustrate signs, symbols and abstracted images and also as means of communication. In Nigeria and throughout Africa, indigenous symbols are an important way to communicate cultural ideas and beliefs
This study has conceptualised Nsibidi symbols as surface expression of thoughts and ideas in a narrative manner for its cultural preservation. The beauty of Nsibidi radiates creative rays packed in forms and symbols, such that it has captivated and inspired a new form into existence. Therefore, the study focuses on highlighting this diversified uniqueness of Nsibidi symbols into creating new ceramic form.
Following a bricolage methodological approach to qualitative inquiries, the research has engaged a contextual review approach to investigate the historical development of ceramic form and surface expression and identifies through case studies artists who