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The culture of Nigeria is an amazing complexity of traditional and recent forms of art, dance, drama, language, literature, folklore, film, music, and all of them have been subjected to outside influences. As such, it is a vibrant and regenerative force that has come to be acknowledged and acclaimed internationally. In spite of the adaptations and receptivity to changing values, its roots remain entrenched in tradition and are essentially spiritual.

The culture is pure African with strains of Islam. Most of the northern areas have come under a stronger Muslim influence and this is evident in the architecture and script, as well as in the ceremonial engravings. (Islamic convention disapproves of the depiction of persons, animals and other objects.) The southern and non- Islamic northern regions had developed their own cultural and artistic heritage even long before the advent of the Europeans.

The influence of European colonialism has definitely left its mark on the art and culture of the region, but it has only been for the better and has never been a serious threat to the traditional values of the people.

The area lying to the north of the Benue River, in the present state of Kaduna, is home to the village of Nok, near Kafanchan, and its people. Their ancient culture attained its golden era around 500 BC and 200 AD. Excavations in the region have unearthed significant finds that include elegant terra cotta sculptures, depicting the ancient life and spirituality of the inhabitants of the period. They had already mastered the art of iron craft and they commonly used the metal. Fragments of human and animal forms – r anging in size from about 10 cm (4 in) to more than 120 cm (47 in) – that were recovered from the area appear to have become detached from large pottery or other vessels. There are also rather intricate works in clay that represent detailed hairstyles, jewelry, deity and clothing.

International and domestic tourists are drawn to these fascinating remnants of an ancient cradle of civilization. Some of the more valuable and exquisite terra cotta figurines and other objects of art from this area can now be found in renowned museum in Nigeria and other parts of the world. Colonizers actually clandestinely misappropriated many of these masterpieces, which are now lying in western museums. Efforts by the government to recover these objects, especially those taken from Benin and Nok, have not been too successful.

Ancient craftsmen of Ife and Benin had mastered the skill of bronze casting, particularly the ‘cire perdue' method. Superb examples of their work have been discovered, and archaeologists are of the opinion that though these spectacular pieces may differ from the terra cotta products of Nok in artistic creativity, they are certainly derived from the same lineage. Superior ancient bronze craftwork with elaborate, symmetrical designs have been found in the region of Enugu State, inhabited by the Igbo-Ukwu people.

The traditional practices of Nigerian ceremonial customs and worship are another major source of the country's cultural treasure. Wooden masks and several other artistically crafted objects were an integral part of these activities and what remains of them now constitute a major share of the country's artistic heritage. The cultural heritages of southeastern Nigerian nationalities like the Ijo, the Ibibio and the Igbo have produced some excellent specimens of such craft. The Encarta Encyclopedia has rated these items as genuine, valuable antiques, encouraging felons to steal them from museums and shrines and sell them to collectors from the west.

Artists of the present era tend to combine traditional African and western styles. Ulli Beier founded the Oshogbo School during the early 1960s and it has become one of the leading institutions in the State. Members of the school have taken innovative measures to explore Yoruba spirituality in a variety of media forms. Some renowned personalities associated with the school include painter and musician Taiwo Olaniyi, also known as Twins Seven Seven; painter and writer Amos Totuola; and sculptors Asiru Olatunde, Adebisi Akanji, and Susanne Wenger Alarpe. Other institutions that have had a marked influence on modern Nigerian art are the Zaria School, which was founded early in the 1950s, and the Nsukka School, founded during the 1970s. The former attracted a lot of attention for its efforts to encourage exploration in the synthesis of topical and technical elements from traditional and modern sources. The latter is more renowned for the emphasis it places on social and political issues.

Several talented Nigerian artists have received international acclamation. Those among them who have even benefited from endorsements and patronage include Ben Enwonwu, (celebrated for his landscapes), Simon Okeke, E. O. Okebolu, Erhabor Emokpae, Bruce Onobrakpeya, Ayo Ajayi, Felix Idubor, Muraina Oyelami...and so on. Paintings of Nigeria's celebrated artists are in great demand among local and international galleries and private collectors. The significant role that Nigeria plays in the field of arts was suitably demonstrated in 1977 when Lagos hosted the spectacular FESTAC – the festival of African arts and culture. The country proudly proclaimed its position in the realm of International, African and Black art.

Nigeria has established the National Council for Arts and Culture (NCAC), which functions as the official curator of cultural material for Black and African peoples from every part of the world. It has become a crucial nerve centre that undertakes the study and understanding of Negroid and African ideals and civilisation. It also takes the responsibility to promote and propagate these views.

Authorities here have already earned the confidence of the 59 Negroid and African governments who participated in FESTAC '77, encouraging them to entrust the entire collection of unique and rare archival, library, audio-visual and museum materials for safe keeping with the Nigerian Government. Even UNESCO has deposited a valuable collection of books and other documents with the centre, along with an exhibition titled “ African and the Origin of Man” that displays relevant evidence suggesting that the human species originated in the African continent.

An unusual cultural event is the Sharo/Shadi Festival, peculiar to the respected but rather complex Jaful Farani people. The term Sharo, or Shadi, literally means flogging and that is exactly what happens at the festival. The tradition is for an unmarried man to be placed in a ring of beautiful young maidens. He is then ‘challenged' by another young man. This is followed by a bout of excited drumming and singing. When the music dies down, the ‘challenger' proceeds to flog the man in the ring with a whip. If the man being whipped even makes a slight grimace of pain, he is labeled a coward.