The Nok culture arose in Nigeria in the first millennium BC and
vanished in the first millennium AD. It is remembered for terracotta
figures that bear an uncanny resemblance to the brass and bronze Ife
Yoruba art that arose centuries later. “The Yoruba were the creators
of remarkable bronze and terracotta sculptures that flourished
from the 12th to the 14th century and that were possibly associated
with the more ancient Nok culture (end of the first millennium
BC)” [1]. “West African Nok culture. Terracotta heads characterized
black Africa’s first known sculpture. Civilization from c.a. 500 BC.
Nok culture. Well organized economy and administrative system
in northern and central Nigeria; first people in sub Saharan Africa
to make iron tools and weapons. Influenced neighbors in region”
[2]. “The Yoruba are a people of great antiquity and have a record
of impressive achievements in many fields of human activity. The
Yoruba trace royal genealogies as far back as the 12th century but
higher forms of political and social organizations have existed
among the Yoruba for much longer: it is thought that they may have
developed as early as the first millennium BC, and archaeological
discoveries in the Nok valley and on the island of Jebba on the Niger
substantiate this’ [3].
“The discovery of the widespread Nok culture and the
recognition it was ancestral to the later highly developed art of
Ife…” [4]. “The supreme examples of this are found among the
works from Katsina Ala especially. The mouth is usually shown with
thick lips, sometimes open, but only rarely showing teeth. There are
two both found at Nok. The first was possibly a headdress mask,
strangely like the bronze headdress masks of the Oduduwa cult.”
[5]. “The Yoruba communities clustered around Ife, the religious
centre and centre of dispersion. These were probably extant by the
13th century, a period which may tentatively be associated with
the emergence of the marvellous brass art of Ife, itself probably
a development of the earlier Nok culture” [6]. “It is natural to
consider the possibility of a genetic connexion between the art of
Nok and that of Ife and indeed, a terracotta fragment of a face found
at the north Yoruba town of Ire, seems to approximate more closely
to the Nok than to the Ife style” [7].
“We do not know what political and ritual systems the Nok
adopted. But perhaps we shall extrapolate our information of Ife
to Nok” [8]. “Many of the distinctive features of Nok art can also be
traced in later developments of Nigerian art produced in such places
as Ife” [9]. “As far as the origins of the Yoruba are concerned, all
that archaeology can point to is some stylistic similarities between
pottery in Ife and in Northern Nigeria, dating to a period between
900 BC and AD 200. This indicates that they probably migrated
southward from the savanna into the tropical forest area after that
time” [10]. In today’s ultra-politically correct world will I be vilified
and crucified if I dared theorize that Proto Yoruba people once
lived in northern Nigeria and were the brains behind Nok? Will I be
called an ethnocentrist if I dare use my intelligence, common sense
and God given powers of deduction to infer and suggest that hostile
non-Yoruba tribes migrated into northern Nigeria and displaced
The Yoruba via warfare, massacre and marginalization and that
when these Yoruba vanished their Nok culture vanished with them?