he story of Nigeria as a substance started under two hundred years back. European forces started to investigate Africa in the fifteenth century, however their exercises, principally exchange, were restricted to the seaside zones. As these European forces experienced expanded financial issues intensified by political contentions late in the nineteenth century, they started to search externally to Africa for part of the arrangement. The owning of provinces brought the desire of benefit from financial exercises and in this manner, the expansion of ranges of prominence turned into a fixation. New markets were required for acquiring crude materials for assembling, and thus, made merchandise required new markets to misuse. This brought about what came to be known as “The Scramble for Africa”. In a gathering in Berlin, Germany, in 1884-5, Britain, France, Germany and Belgium self-assertively isolated the mainland into their particular ranges of authority by basically drawing lines on the guide to shape new domains. England was relegated the territory that ended up known as Nigeria, named after the River Niger. The nation was first managed as two separate Protectorates; the Northern and the Southern Protectorates were brought together into one nation in 1914, with Sir Frederick Lugard selected as Governor.

Around four times the measure of Great Britain, Nigeria is regularly alluded to by scholars as a “Goliath in the Sun”. It is a place that is known for differentiation and plenitude. This is apparent in its size and populace, the quantity of dialect talked, and its huge financial resources. Its plenitude and assortment is likewise showed in the field of expressions and culture. Fifty years prior, the notable British workmanship student of history William Buller Fagg depicted Nigeria as the “social support” of the west shoreline of Africa and her craft as “very nearly a microcosm of the landmasses”. “It is to Nigeria”, he went on, “that all the African countries must look as the primary trustee of the Negro imaginative virtuoso”. Fagg made these comments in the principal production to be committed completely to the specialty of any African nation, when African workmanship could barely be referenced as “craftsmanship” in an indistinguishable sense from Western European craftsmanship, especially the naturalistic styles that overwhelmed from the Renaissance until the late nineteenth century. “African workmanship”, at whatever point a distributer deigned to call it in this way, secured the specialty of the vast majority of the mainland, barring Africa north of the Sahara forsake, which was described as “Islamic”. The distributer of Fagg’s book, Nigerian Images, once said that in 1953, when the book was printed, he was going out on a limb, which luckily turned out well. Nigerian craftsmanship had already never been gathered together all things considered, some portion of the reason being that it was hard to characterize Nigeria as an element with the exception of in political terms.