Though there is archaeological evidence that societies have been living in Nigeria for more than twenty-five hundred years, the borders of modern Nigeria were not created until the British consolidated their colonial power over the area in The name Nigeria was suggested by British journalist Flora Shaw in the s. She referred to the area as Nigeria, after the Niger River, which dominates much of the country’s landscape. The word niger is Latin for black. More than ethnic tribes call present-day Nigeria home. The three largest and most dominant ethnic groups are the Hausa, Yoruba, and Igbo pronounced ee-bo. Prior to their conquest by Europeans, these ethnic groups had separate and independent histories. Their grouping together into a single entity known as Nigeria was a construct of their British colonizers. These various ethnic groups never considered themselves part of the same culture. This general lack of Nigerian nationalism coupled with an ever-changing and often ethnically biased national leadership, have led to severe internal ethnic conflicts and a civil war.
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Eleven countries have only a single site each. Four sites are shared between two countries: However, there are around a dozen archaeological sites in the country that are believed to be potential future candidates for World Heritage status. Selection is based on ten criteria: In Africa, there are 85 cultural, 45 natural, and 5 mixed sites. It planned to protect the sites by hiring personnel for state parties to maintain national inventories of existing sites, as well as to “prepare nomination dossiers for inscription onto the World Heritage List.
The Democratic Republic of Congo and Libya both have 5 sites on the danger list, the second highest of any country in the world and two of the three countries to have more than three sites inscribed. The table is sortable by column by clicking on the at the top of the appropriate column; alphanumerically for the Site, Area, and Year columns; by state party followed by the region for the Location column; and by criteria type followed by the country for the Criteria column. Site — named after the World Heritage Committee’s official designation  Location — sorted by country, followed by the region at the regional or provincial level.
In the case of multinational or multi-regional sites, the names are sorted alphabetically. Criteria — as defined by the World Heritage Committee  Area — in hectares and acres , excluding any buffer zones. A value of zero implies that no data has been published by UNESCO Year — during which the site was inscribed to the World Heritage List Description — brief information about the site, including reasons for qualifying as an endangered site, if applicable.
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When going on this site as with any date site you have to understand that patients is a virtue, which with this site you can actually feel comfortable with that statement because it isn’t a time waister like all of the other sites that scam the hell out of you and have multiple issues with people hacking profiles and forging pictures etc.
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List of World Heritage Sites in Africa
Territorial boundaries[ edit ] Igboland is surrounded on all sides by a host of large rivers, and other southern and central Nigeria indigenous tribes namely Bini , Urhobo-Isoko , Ijaw , Ogoni , Igala , Tiv , Yako , Idoma and Ibibio. Baikie, “Igbo homeland, extends east and west, from the Old Kalabar river to the banks of the Kwora, Niger River , and possesses also some territory at Aboh , an Igbo clan, to the west-ward of the latter stream. On the north it borders on Igara, Igala and A’kpoto, and it is separated from the sea only by petty tribes, all of which trace their origin to this great race”.
The northern Igbo Kingdom of Nri , which rose around the 10th century AD, is credited with the foundation of much of Igboland’s culture, customs, and religious practices. It is the oldest existing monarchy in present-day Nigeria.
Overview General characteristics It is difficult to give a useful summary of the main characteristics of the art of sub-Saharan Africa. The variety of forms and practices is so great that the attempt to do so results in a series of statements that turn out to be just as true of, for example, Western art. Thus, some African art has value as entertainment; some has political or ideological significance; some is instrumental in a ritual context; and some has aesthetic value in itself.
More often than not, a work of African art combines several or all of these elements. Similarly, there are full-time and part-time artists; there are artists who figure in the political establishment and those who are ostracized and despised; and some art forms can be made by anyone, while others demand the devotion of an expert. Claims of an underlying pan-African aesthetic must be viewed as highly contentious.
Some further general points can be made, however, in regard to the status of precolonial sub-Saharan art. First, in any African language, a concept of art as meaning something other than skill would be the exception rather than the rule. This is not because of any inherent limitation of African culture but because of the historical conditions under which European cultures arrived at their concept of art. The Western separation of fine art from the lowlier craft i. This separation, therefore, cannot be applied without qualification to African traditions of precolonial origin.
Philosophers of art in the West might agree that works of art are simply artifacts made with the intention of possessing aesthetic value, and in that sense art, which would include craftwork as well as works of fine art, would indeed be found in all parts of Africa as indeed it is throughout human culture. But even in this case, African art must be understood through the investigation and understanding of local aesthetic values rather than through the imposition of categories of external origin.