Globally over the years, polishing operation has been an important aspect of finishing in most creative metal works. Investigation revealed that in Nigeria, the first known and used substances for polishing creative metal works have been the traditional use of ashes from animal bones and wood, and lime juice mixed with sand. However, the use of natural lime juice mixed with sand and ash, as metal polishes by traditional metalworkers do not produce the type of high lustre surface finish required by contemporary Nigerian artists. Therefore, Nigeria contemporary metal artists have embraced the use of imported bar polishing compounds in conjunction with polishing wheel in order to achieve desired surface finishing of their products, and to satisfy their clients’ needs and demands. Presently, there has been an increase in the demand and use of bar polishing compounds in Nigeria. The increase in the demand and use of imported bar polishing compounds has created scarcity and high cost in their procurement. Therefore, the article is an appraisal of the emergence of bar polishing compounds. The article discusses the roles, constituents, challenges and prospects of imported bar polishing compounds in the development of the indigenous creative metalwork finishing technology in Nigeria. It also sought to develop potent alternative local bar polishing compounds.

Ogori is a small community in Kogi State, Nigeria. The people are known for the annual celebration of Ovia-Osese festival where Òkítóròkò music is performed. Several studies have been carried out on Òkítóròkò music. However, little attention has been paid to the organisational structure and performance practices of the music, which is imperative to the rite of passage of the maidens. This study intends to fill the gap with a view to exploring the organisational structure of the performing group, performance practices of the music and its cultural sensibilities during the rite of passage of the maidens. In-depth oral interview with seven purposively selected members of the Òkítóròkò musical group was employed. Findings show that, though, the performance of Òkítóròkò music started as a spontaneous activity among aged women at the inception of the Ovia-Osese festival; it has become an organised musical performance. It also reveals that the Iyiodina (the custodian of the initiation rite) is in charge of the musical group, while members cut-across the five clans of the community namely; Adubane, Okibo, Oshobane, Opowo and Eni. The paper concludes that the peculiarity of the Òkítóròkò musical group and the performance practices of the music promote the cultural ingenuity and indigenous prowess of the Ogori people to the globe. This is why the paper recommends that adequate attention should be given to the musical practices of the Ogori so that people can learn about the rich cultural heritage of the community.

So much is known about the decoration and use of calabash in Nigeria. Studies have shown that the nomadic Fulani of northern Nigeria are popularly known for their unalloyed attachment to the calabash for which they have accorded time and energy to decorate as well as give character. The calabash as a household utensil and commercial item also has provided countless uses for them. However, extant literature has not sufficiently paid attention to this art tradition of calabash decoration among the nomadic Fulani, which is a rich and significant aspect of their culture. This study, therefore, sought to bridge this gap by surveying the decoration and the use of calabash in nomadic Fulani culture with a view to shedding more light on the importance of their art. This study hence, adds to the existing literature that promotes this distinctive art piece associated with a unique African ethnic group.

Even though radio and television advertisement have been practiced in Ghana from 1967 to date, these forms of advertising have been confronted with numerous challenges that have affected their rapid development. This article used qualitative research approach and case study design to identify and examine challenges of radio and television advertising in Ghana. The study was delimited to Accra metropolis and twelve organisations. Participants were purposively selected for the study. Unstructured interview guide was used to gather the data. The findings revealed that, the local industry has challenges of lack of equipment, technical personnel, beautiful locations, low clientele, low capital base, high demand for discounts, biased media research reports, proliferation of media houses, non-standardised pricing, lack of censorship among others. Based on the findings, the study recommends that multimedia advertising production agencies must raise the needed capital to procure state of the art equipment, hire the services of professionals, and develop strategies to educate their clients on the importance of professionalism in radio and television advertising. Single network radio and TV stations must network their stations with local and foreign broadcast houses. Ghana government must set-up university of media studies to increase the training of different multimedia professionals and improve infrastructure, landscape design and sanitation across the country. Advertising Association of Ghana must develop national advertising bill and impress upon parliament to promulgate it so that it can be used to regulate advertising production, placement and pricing in Ghana.