International Journal of Art and Art History December 2018, Vol. 6, No. 2, pp. 7-16 ISSN: 2374-2321 (Print), 2374-233X (Online) Copyright © The Author(s).All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijaah.v6n2p2 URL: https://doi.org/10.15640/ijaah.v6n2p2 The Dynamics of Graphics in Ibibio Traditional Art Akaninyene John Sampson 1 , PhD Abstract From a modernist perspective, it may be difficult to ascribe graphics to any form of traditional African art. This could be due to the embrace of western values by Africans, and of modernity on the one hand, and the overwhelming negative influence of westernization on the diverse African cultural practices, on the other hand. However, many elements of the traditional art forms are imbued with icons and symbols which expressions may be viewed as graphical in nature. This paper looks into the dynamics of graphics in the art of the traditional Ibibio society of Nigeria and attempts to appraise form and content. It is aimed at investigating the various symbolic applications in Ibibio traditional art forms and to establish the degree of graphics inter face with these art forms. The paper expounds the term graphics, identifies, and relates it to, salient properties of graphics in the art products of the traditional Ibibio society. It also examines the manner in which societal norms and social institutions are fundamental to the art forms proportionate to the communicative indices. The methodology for this study includes in situ study, formalism, iconographic studies and library research. The paper concludes that graphics is a crucial index in the arts of the traditional Ibibio society of Nigeria and, indeed, Africa. Keywords: Graphic symbols, traditional art forms, traditional Ibibio society Introduction If a meaningful understanding and appreciation of the creative objectification of a people is desired and is to be achieved, a correct interpretation of the intention of the artist for his work is necessary. A genuine effort to interpret accurately the art of any people necessitates an understanding of the society from which the works of art emanate, that is, a study of the prevalent cultural practices of that society. Ebeigbe, Sweet U. (2004). The study of the graphic content of the art of the Ibibio people of Nigeria is an exercise aimed at unearthing the salient qualities and explicit content of the art of these people. This exercise goes ahead to set straight the erroneous notions about the art of the Ibibio people of Nigeria and, of course, African art. Experientially, and from a holistic viewpoint, Africa’s cultural vista, vis-à-vis Ibibio traditional belief system, is seriously wearing away as a direct consequence of the embrace of western values, and of modernity. As a corollary, this modernity, or globalisation, or westernization, has an overwhelming influence on different cultures, and acts as a threat to the diverse African cultural practices, including art. Characterised by Western aesthetics and conventions, African art works, vis-à-vis graphics, have been described as lacking in cultural identity. This, according to Shen, Woolley, & Prior (2006), aims at destroying cultural diversity in the process by ignoring cultural identities. From the modernist viewpoint expressed above, it may be difficult to ascribe graphics to any form of traditional African art because the contemporary understanding of the term has lost the original antecedent fact. For instance, in trying to define graphics today, the word is profoundly linked with the electronic media: it may, inter alia, be referred to as “any computer device or programme that makes a computer capable of displaying and manipulating pictures, as well as the images themselves” (Gooch, 2008), or “visual communication, information and persuasion using print and electronic media” (Warner, 2009). 1 Department of Fine and Industrial Arts, Faculty of Environmental Studies, University of Uyo, Uyo, Nigeria Phone: +234 706 447 7397, E-mail: ajohnsampson@yahoo.com