In her research into the dynamics of Nigerian art, visiting art scholar, Kathy Coates, who is based in South Africa, shared her experience with artists in Lagos.
DURING the presentation held at the head office of her host, Omoba Yemisi Adedoyin Shyllon Art Foundation (OYASAF), Coates stated that the research convinced her further that the line between Nigerian art and others from Africa, particularly, South Africa, is becoming less visible.
She started with a quote from the brochure of Nigerian artist, Chinwe Uwatse’s Burdens We Bear: ‘Our culture is our identity. It lives and evolves through us. For all contemporary women: Wait not for a new dawn, for we are the present and the past. We are part of the future, we shall make it last.’
Coates continues: “I was inspired to introduce my presentation with this quote, since, before coming across this statement, the first artist I visited in Lagos, Bruce Onobrakpeya, said that we live in a ‘state of natural synthesis’ whereby we are part of the Present, Past and Future simultaneously.
“My area of research was from the outset, very broad, having had little experience in the study of Nigerian art, except for a short module on the Benin Bronzes, offered in my undergraduate days, and as a curator No Limits, No Frontiers, art from the Far North of the first Johannesburg Biennale: Africus ’95, I came across works of El Anatsui, Victor Ekpuk, Chijioke Onuora and Obiora Udechukwu, in the Nigerian exhibit, and interacted with curator Chika Okeke. Okeke’s statement reflected on the dictatorship of Nigeria, which has cast a long shadow on the psyche of the people, which particularly resonated with me, since I have long explored the impact of Apartheid on the national psyche of South Africa. Subsequently, I have come into contact with Nigerian artists — El Anatsui and Yinka Shonibare, and others who have exhibited in South Africa.
“I am exploring the impact and influence of ‘traditional art’ on contemporary art, interaction between performance and visual art (traditional performance and contemporary performance) and the third component being the therapeutic effects of art: on the professional artist, the lay person, the child and on the informed or uninformed viewer.
“The more I researched, the more the divide decreased. To this end, I present my research topics as essentially in relation to each other rather than separate entities.
“Two common threads emerged through my research process, the one phenomena suggests that all art making is potentially therapeutic, if one stretches the term to include cartharsis and the healing of the ‘psyche of a nation’ and that the term ‘art making is inclusive of the performative and literary arts’. And who is the beneficiary of therapy? The artist, the viewer, the child art maker, potentially anyone exposed to the arts.
“The second thread running through this research pertains to the influence of the ‘traditional’ on the work of contemporary artists practising in both Nigeria and the diaspora. In almost every case, if not all, traditional art forms (including performance) have informed, spoken to and inspired the works of contemporary Nigerian artists of all generations.
“Firstly, it was necessary to gain insight into the history of traditional art and I was fortunate to be exposed to two important collections of traditional works, as well as the OYASAF collection itself, which houses a mix of traditional, neo-traditional, modern and contemporary art.
“At the National Museum of Unity in Ibadan, I was told that the museum created after military rule, to diffuse conflict among the three dominant ethnic groups: the Yoruba, the Ibo and the Hausa emphasised the similarities rather than differences in their music, dance, traditional medicine and indigenous industries.
“Fine examples of musical instruments, single and double-headed drums, chordophones, idiophones , a vast selection of ceremonial masks such as the gelede masquerade costume, weavings, basketry, ceramics and medicinal containers , to name a few.
“The artists I have had the honour to meet and interview are a mélange of great complexity and freedom of spirit, refusing to accept the status quo and daring to tackle thorny issues in their work, often exposing their own vulnerability.
“Meeting with Dr. Bruce Onobrakpeya at his studio/residence revealed an artist with evidence of a life-time of experimentation with materials and techniques, who summarised his source of inspiration as gleaning from the past whilst learning from young people in the present. He expressed amazement at how the ‘primitives’ were ahead of their time.
“This statement is evident, when presented with new works, and viewing the vast collection of probably 60 years of artistic production, which adorn the walls and floors of the space occupied by this award-winning artist, with many accolades to his name.”
Another veteran and master is David Dale, an Anglo Nigerian celebrated for his techniques, working in 23 media, one of which is his flourishing green fingers, creating a tropical oasis within the concrete jungle of his Lagosian suburb. David compares the excitement of creating a print as verging on ecstacy and comparable to the ‘birth of a baby’. Sadly, David has had to give up the printing technique he loves so much due to arthritis in his wrists. Other media with which he works include beadwork, as a medium to produce realist works, Stained Glass, charcoal and pastel drawing, mosaic and of course painting.
At the National Museum of Unity in Ibadan, I was told that the museum created after military rule, to diffuse conflict among the three dominant ethnic groups: the Yoruba, the Ibo and the Hausa emphasised the similarities rather than differences in their music, dance, traditional medicine and indigenous industries.
DURING the presentation held at the head office of her host, Omoba Yemisi Adedoyin Shyllon Art Foundation (OYASAF), Coates stated that the research convinced her further that the line between Nigerian art and others from Africa, particularly, South Africa, is becoming less visible.
She started with a quote from the brochure of Nigerian artist, Chinwe Uwatse’s Burdens We Bear: ‘Our culture is our identity. It lives and evolves through us. For all contemporary women: Wait not for a new dawn, for we are the present and the past. We are part of the future, we shall make it last.’
Coates continues: “I was inspired to introduce my presentation with this quote, since, before coming across this statement, the first artist I visited in Lagos, Bruce Onobrakpeya, said that we live in a ‘state of natural synthesis’ whereby we are part of the Present, Past and Future simultaneously.
“My area of research was from the outset, very broad, having had little experience in the study of Nigerian art, except for a short module on the Benin Bronzes, offered in my undergraduate days, and as a curator No Limits, No Frontiers, art from the Far North of the first Johannesburg Biennale: Africus ’95, I came across works of El Anatsui, Victor Ekpuk, Chijioke Onuora and Obiora Udechukwu, in the Nigerian exhibit, and interacted with curator Chika Okeke. Okeke’s statement reflected on the dictatorship of Nigeria, which has cast a long shadow on the psyche of the people, which particularly resonated with me, since I have long explored the impact of Apartheid on the national psyche of South Africa. Subsequently, I have come into contact with Nigerian artists — El Anatsui and Yinka Shonibare, and others who have exhibited in South Africa.
“I am exploring the impact and influence of ‘traditional art’ on contemporary art, interaction between performance and visual art (traditional performance and contemporary performance) and the third component being the therapeutic effects of art: on the professional artist, the lay person, the child and on the informed or uninformed viewer.
“The more I researched, the more the divide decreased. To this end, I present my research topics as essentially in relation to each other rather than separate entities.
“Two common threads emerged through my research process, the one phenomena suggests that all art making is potentially therapeutic, if one stretches the term to include cartharsis and the healing of the ‘psyche of a nation’ and that the term ‘art making is inclusive of the performative and literary arts’. And who is the beneficiary of therapy? The artist, the viewer, the child art maker, potentially anyone exposed to the arts.
“The second thread running through this research pertains to the influence of the ‘traditional’ on the work of contemporary artists practising in both Nigeria and the diaspora. In almost every case, if not all, traditional art forms (including performance) have informed, spoken to and inspired the works of contemporary Nigerian artists of all generations.
“Firstly, it was necessary to gain insight into the history of traditional art and I was fortunate to be exposed to two important collections of traditional works, as well as the OYASAF collection itself, which houses a mix of traditional, neo-traditional, modern and contemporary art.
“At the National Museum of Unity in Ibadan, I was told that the museum created after military rule, to diffuse conflict among the three dominant ethnic groups: the Yoruba, the Ibo and the Hausa emphasised the similarities rather than differences in their music, dance, traditional medicine and indigenous industries.
“Fine examples of musical instruments, single and double-headed drums, chordophones, idiophones , a vast selection of ceremonial masks such as the gelede masquerade costume, weavings, basketry, ceramics and medicinal containers , to name a few.
“The artists I have had the honour to meet and interview are a mélange of great complexity and freedom of spirit, refusing to accept the status quo and daring to tackle thorny issues in their work, often exposing their own vulnerability.
“Meeting with Dr. Bruce Onobrakpeya at his studio/residence revealed an artist with evidence of a life-time of experimentation with materials and techniques, who summarised his source of inspiration as gleaning from the past whilst learning from young people in the present. He expressed amazement at how the ‘primitives’ were ahead of their time.
“This statement is evident, when presented with new works, and viewing the vast collection of probably 60 years of artistic production, which adorn the walls and floors of the space occupied by this award-winning artist, with many accolades to his name.”
Another veteran and master is David Dale, an Anglo Nigerian celebrated for his techniques, working in 23 media, one of which is his flourishing green fingers, creating a tropical oasis within the concrete jungle of his Lagosian suburb. David compares the excitement of creating a print as verging on ecstacy and comparable to the ‘birth of a baby’. Sadly, David has had to give up the printing technique he loves so much due to arthritis in his wrists. Other media with which he works include beadwork, as a medium to produce realist works, Stained Glass, charcoal and pastel drawing, mosaic and of course painting.
At the National Museum of Unity in Ibadan, I was told that the museum created after military rule, to diffuse conflict among the three dominant ethnic groups: the Yoruba, the Ibo and the Hausa emphasised the similarities rather than differences in their music, dance, traditional medicine and indigenous industries.
source. ngrguardiannews
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