In Lagos, performance art exchange connects Africa, Nordic expressions

By Tajudeen Sowole

As the activities on the Lagos art scene took off slowly in the middle of January, performance art - a genre not popularly in this part of the world - has recorded the first major international art event of 2015 in Nigeria's art space. For about one week, seven artists from the Nordic countries and West Africa converged on Lagos for an exchange programme aimed at sharing knowledge about performance art in the two parts of the world separated by distinct cultures.

Christian Etongo during his performance at CCA, Lagos.

Tagged Performance Workshop Exchange Between Nordic Countries and West Africa -Part 1, the gathering had Petter Pettersson of Lilith Performance Studio, Malmo, Stockholm, Sweden as producer; Marianne Hultman of Oslo Kunstforening, Norway and Bisi Silva of Centre for Contemporary Art (CCA), Lagos, Nigeria as curators. Participants are Bernard Akoi-Jackson (Ghana), Christian Etongo (Cameroon), Henna-Riikka Halonen (Finland), Tori Wrånes, Sandra Mujinga  (Norway) and Taiwo Aiyedogbon, Odun Orimolade (Nigeria).

While critics argue that performance art is a natural part of the native African expression as installation art is to traditional religious setting of the people, contextualising it in contemporary terms as an art form is still viewed with suspicion in Nigeria. Apart from the works of a lone ranger, Jelili Atiku, which consistently reminds the community of artists in the country that art goes beyond the traditional expression, performance art is not a common form of art in Lagos. Attempting to generate audience for its mostly activism-laced themes, Atiku's works are always done outdoors. His works, to a large extend, offer a window or template to view performance art of West African origin. Surprisingly, Atiku was missing in action at the collaborative project.

And as the workshop built its focus on what the organisers noted as performance being "an independent art form" with no historical liability in West Africa, the project offered a western window into a wider world of contemporary practice. The workshop's schedules included, basically, video presentations in the morning and out-door in the afternoon. The works of the Nordic participants viewed via the video screens, are mostly indoor, done either in studio or sound stage. For example, on the Day-2 of the gathering, the artists had continued the presentations of individual participant's recent works at the workshop's base, CCA, Lagos. Among other works was a large cast of performance by Halonen, a solo performance of Wrånes as well as Mujinga's lone act.

However, the final day of the workshop, which had the artists presented their works live, both indoor and on the streets offered a better appreciation of the works by Orimolade, Aiyedogbon, Akoi-Jackson and Etongo. Most significant - to the coming general election mood of the host country - was the work of Aiyedogbon, a depiction of ritual offering to appease the gods and avoid bloodbath elections. Her work, performed out door, at the junction of Herbert Macauley and McEwen Street, Sabo, Yaba would later become a subject of content debate by the artists and other participants during the discussion session of the workshop. Few minutes earlier, Akoi-Jackson has led participants through the streets in his work based on environment and perception.

As much as the re-presentation of some works in video seemed to blur the line between performance and video art installation, particularly for the Nordic artists, Wrånes' high pitch vocal made the difference on the floor at CCA gallery as she attempted to make the best of the less endowed setting. But in the video projection of a work done at her New York, U.S base, the depth of her voice complements the painterly set enhanced by the textured props generated from the pattern of lighting on the sound stage. Earlier, Cameroonian, Etongo has taken a near breathless act, lying on the floor of the gallery with a burning candle between his lips. For Mujinga, her theme in the hip-hop culture, briefly enacted before the audience appeared bare without the sound stage and lighting as seen in one of her works on video screen. In Orimolade's thoughts about the blossoming of flower as analogy in human relationship, she dragged the entire audience onto the floor in a chain of one-take-one participatory form. From the issue of copyright raised by Hultman to contextualisng of concept, the discussion session covered a wide range of issues, beyond the frame of the workshop.

Odun Orimolade (right) engaging the audience at CCA, Lagos. PHOTO: BY JUDE ANOGWIH

Within the Nigerian context, the workshop has revealed that, gradually, performance art is making inroad where it matters most - the art academia. The inclusion of Orimolade, a lecturer at one of Nigeria's conservative art institutions, School of Art, Design and Printing at Yaba College of Technology (Yabatech), Lagos was an indication of a possible opening up of the city’s art space for fresh ideas. More importantly, Aiyedogbon, a fresh graduate of the same school would send some positive signals to the young artists who are just coming to face the challenges of professionalism in contemporary art practice.    

 Silva recalled how the idea of the collaborative workshop was initiated, by Hultman, when they both met at an international art event, few years ago.

The organizers stated that the aim of the project “is to create conditions for a broader public representation of artistic cultures and traditions that have not received sufficient attention in Sweden/Scandinavia.” The major focus, they added is about creating conditions for freedom of expression for all citizens in the Nordic region as well as in West Africa. Participants, it was explained, “have as much to learn from each other, it is the only prerequisite for a productive and creative exchange.”

  Listed among the project’s goals are: Provide space and a voice to the West African artists on the Nordic art scene; Learn more about performance and the art form's potential outreach; Establish stable networks for future collaborations between artists in Scandinavia and West Africa; Increase visibility of African artists at art institutions and galleries in Sweden/Scandinavia; Offer the Lagos art scene an insight into the Nordic performance scene, through public presentations and a workshop based performance festival at CCA, Lagos; and Offer Malmö a glimpse of the West African performance art scene, through four large-scale performance art productions at Lilith Performance Studio.

For social responsibility, Alakija's Molue beats restrictions

By Tajudeen Sowole

Remember the keke (tricycle) used as a canvas in a painting at Wheatbaker about two years ago? Yes, it's one of the works of Polly Alakija, from her last solo exhibition titled Here and There. But the artist, few days ago returned for a similar work as she hit Lagos streets in a larger format of a commercial bus Molue, on which she painted dancers and strings of native gangan (talking drum).

  The Molue as a canvas by Polly Alakija 

On Sunday, the Molue bus as a canvas was driven across Lagos Island – restricted routes by Lagos State Government for the commercial buses - through the mainland with some unusual passengers. Alakija's Molue project was in collaboration with We Love Lagos, a non-governmental organisation helping in raising funds for two social empowerment groups. The not-for-profits beneficiaries are Eruobodo House, a home for disabled children, based in Ijebu Ode, Ogun State, maintained by Quintessence and requires expansion to serve the community better; and Parkhood Dancers, a community dance troupe established by Sina Ipaye at Freedom Park, Lagos Island, to develop the talents of young persons.

Few days ahead of the formal presentation, a 911 bus, parked at Quintessence Gallery, Parkview Estate, Ikoyi, Lagos has just lost its yellow colour and black stripes identity of Lagos commercial vehicles to the realism figures from Alakija's brush strokes. Though still in its yellow dominance, Alakija's Molue attracts attention more for the figures, painted in brown. It appears ready to go. For Aakija, the Molue canvas of murals extends her Artist-in-Residence idea she has been doing across the country, taking art into the streets. "This is to create awareness for the fundraising for Eruobodo and Parkhood Dancrs," Alakija confirms shortly after taking a break from the painting for a chat with one inquisitive visitor. But she relishes the passion in using the fundraising to take art appreciation to the streets, particularly using an iconic name like Molue.

"People ask me: why molue?" It's "iconic," she notes. "And it's disappearing.” She recalls the popularity of molue bus on Lagos roads in the 1970s, and draws coincidence with the rising fame of Fela whose music, coincidentally preaches freedom from the shackles of government. The common narrative for the Molue project in fund raising, she explains "is freedom," which connects the dancers at Freedom Park with the inmates at Eruobobo Home.

Included in the exhibition were prints of paintings by Alakija as parts of the source for the fund raising. Also from the Molue object, "a numbered collector prints will be made and sold" from which "a percentage of the proceeds of the sales will go to support Eruobodo and Parkland Dancers."

Part of the contents of the print, Alakija discloses, are texts extracted from a book Possessed" by Olasupo Shasore. Alakija describes the book “as a fascinating look at Colonial Lagos, fromw hich I have drawn inspiration about The Drumming Question, which tells the story of the Governor of Lagos who tried to " restrict " drumming in Lagos.”

Alakija's previous Artist-in-Residence included a projects at Ibadan International School with the support of Skretting Nigeria when she painted on a 1970s Bedford truck still in use for transporting timber in Oyo state. Also, in Kaduna, she painted a 1960 Stern Water Tanker in acrylic, depicting a scene from the Kangimi fishing village. From the painting of the water tanker, “a limited edition of 50 archival quality injet diptych prints were created and will soon be on sale."

Artist, Polly Alakija painting Molue at Quintessence Gallery, Ikoyi, Lagos.

While the timber carrier and water tanker still move around Ibadan and Kaduna with Alakija's paintings, the Molue in Lagos would not be as lucky: the iconic bus is barred from the Lagos and Victoria Islands by the Lagos State Government. But for the purpose of the project, "permission has been granted" to drive the bus within the city. Beyond the project, what becomes the fate of the mural look Molue? "The molue is rented and will be returned to the owner," Alakija says, almost lamenting. In a country that has no museum for modern and contemporary antiquities, molue may never be seen by young people in the generations to come. In fact, Alakija’s choice of Molue for the project "is driven by apprehension" that the bus may go into extinction without adequate documentation. 

The bus was driven from the Island across the Mainland to National Theatre, Iganmu, Lagos with select passengers.

“The background for this stunning visual aide memoire to another time will be Freedom Park, the iconic heritage park located on Lagos Island itself the Broad Street site of the former colonial prison. It is now the venue for able bodied people to enjoy the freedom of their own good health and vitality. The depiction of the members of Parkhood Dancers, the young group of dancers that practice daily in Freedom Park will serve to illustrate the stark contrast in the lack of freedom with which the disabled children at Eruobodo House contend.” 

  

Ojeikere, Shonibare, others in Staying Power of Black British

By Tajudeen Sowole

Late J.D. ‘Okhai Ojeikere, Nigerian-born British artist, Yinka Shonibare and Neil Kenlock, Normski, Dennis Morris, Gavin Watson, Al Vandenberg, among 17 photographers,  are currently showing Staying Power: Photographs of Black British Experience 1950s-1990s at Victoria and Albert Museum (V&A), U.K. The Museum is showing a collection of 118 works.

From Yinka Shonibare’s Diary of a Victorian Dandy series

The museum states on its website that the exhibition, which runs till June 2015 is a project to increase the number of black British photographers and images of black Britain in the V&A collection. The show, which holds at two sections of the museum, according to the organisers aims to raise awareness of the contribution of black Britons to British culture and society, as well as to the art of photography. The display includes 25 photographs, which opened at Black Cultural Archives on January 15, ending June 30, 2015 and at the V&A gallery from February 16 – May 24, 2015.

Ojeikere (1930-2014) is showing eight pieces from his iconic gele (headdress) and African hairstyle works on female fashion. Among the works are two pieces Untitled, 2005, from the series Headties and Pineapple, 1969, from the series Hairstyles. The works are courtesy of The Estate of J. D. 'Okhai Ojeikere and V&A.

Shonibare’s works include five pieces, all from his Diary of a Victorian Dandy series. The curatorial note says Shonibare’s work engages with his cross-cultural heritage, challenging definitions of national identity and history.

On the theme of the exhibition, the museum recalls its interest of over the last seven years working with Black Cultural Archives to acquire photographs by black photographers and origin in the U.K. The project, it was stated has been funded by the Heritage Lottery Fund (HLF). The museum added: “To complement the photographs, Black Cultural Archives have collected oral histories from a range of subjects including the photographers themselves, their relatives, and the people depicted in the images.”

Founded in 1981, Black Cultural Archives’ mission is to collect, preserve and celebrate the heritage and history of Black people in Britain. They opened the UK’s first dedicated Black heritage centre in Brixton, London in July 2014, enabling greater access to the archive collection and providing dedicated learning spaces and an exciting programme of exhibitions and events that explore British history from a unique perspective. The archive collection offers insight into the history of people of African and Caribbean descent in Britain and includes personal papers, organisational records, rare books, ephemera, photographs, and a small collection of objects.

At 21, Ojeikere was one of the only few photographers in the old Western Region of Nigeria. He became a darkroom assistant at the Ministry of Information in Ibadan in 1954, where he worked until 1961. He later worked as a photographer for Africa’s first Television Station, The Western Nigerian Broadcasting Services, and for West African Publicity in Lagos from 1963-1975. Ojeikere became a member of the Nigeria Art Council in 1967. He travelled across Nigeria with the council and began to document Nigerian culture, beginning a series of photographs documenting Nigerian hairstyles in 1968. Over the course of his life Ojeikere recorded more than a thousand hairstyles, as well as traditional headties. The series of photographs, which includes both popular and ceremonial styles, is of historic and anthropological significance, as well as aesthetic value.

Shonibare (MBE) works across a range of artistic mediums including sculpture, painting, photography and film. Born in London in 1962, Shonibare spent the majority of his childhood in his parents’ birthplace of Lagos, Nigeria before returning to London at the age of seventeen. He attended Byam Shaw School of Art (now part of Central Saint Martins) and Goldsmiths College in the late 1980s, becoming part of the generation of Young British Artists (YBAs).

Aso-oke... Owolabi’s visual narratives of Africa's enduring fabric

By Tajudeen Sowole

 Painting, photography, video documentary, visual and sound installations of Tunde Owolabi for his solo art exhibition titled Aso Oke - The Woven Beauty, at Red Door Gallery, Victoria Island, Lagos stress the resilience of one of Africa's oldest native fabrics. The exhibition is arguably the most comprehensive on Aso-oke in recent times on the Lagos art space.

Aso-Oke, a portrait by Tunde Owolabi.

Indigenous to the Yoruba nation - a people spread across southwest Nigeria, part of Republic of Benin and Togo - aso oke is a cotton-woven fabric made from native textile loom and widely worn at social gatherings. It comes in awe (strips) from the looms and later pieced together according to the pattern or designs. Its origin is not exactly documented, but the popularity of the fabric, perhaps over the past 100 years or more has moved from elitist and royal use to the common people. In fact, it appears that aso-oke is the only surviving African native, perhaps ancient fabric in this part of the continent.

Idigbe… When 'personal appeal' drives artistic collection

By Tajudeen Sowole

 As complex as it is to understand the behaviourial patterns and tastes of collectors in art appreciation, one glaring factor is that investment value is not exactly a consideration for some patrons. For Ifeoma Idigbe, a member of BoT, Guild of Professional Fine Artists of Nigeria (GFA), personal ‘appeal’ is the driving force.

Ifeoma Idigbe

Idigbe, a finance and human resource analyst, is the only female trustee, and has been on the board from the start of the guild. Idigbe said she was privileged to have been asked to be a trustee by GFA group of artists many of whom she has their works in her collection. And when Abraham Uyovbisere, President of GFA introduced her to a guest during the private viewing of Distinction-2, a non-GFA group art exhibition, held at Terra Kulture late last year, the inspiration to feel her texture of collection was irresistible.

Art connoisseurs at the event spurred the red tags appearing on the walls as fast as one could track who tags what. This, apparently, blocked any attempt to peep into Idigbe's kind of art and generate a chat. But a better window was proposed for it.

Perhaps, the tracks of every collector towards the point of developing a passion in art appreciation influence the texture of most patrons’ collection. "I have been interested in art for as long as I can remember," Idigbe disclosed via email chat. A few of her early stints with fine art that dated back to elementary school included scoring "high marks in art" in England and Nigeria.

At Corona, her work that won the best art piece, she recalled, was celebrated. "There was a glass panel on the door and the ‘best’ art was often pasted on that panel so you could see the art from the outside. I remember my work being pasted on that door."

Her creative potential in art also reflected in other subjects, as she said, "Even at secondary school, my biology drawings were always considered excellent.” And it goes further being a natural part of her. “I have never thought about art as something external for me." Such background clearly shaped her perception about art to the point of seeing art as "just an integral to life as breathing.”

Probing into Idigbe's taste and tone of collection, there appears to be a sharp contrast to the exposure she had - from being a young art enthusiast to growing up as a collector - she seems liberal. Idigbe's art collection lexicon, surprisingly, is not confined within the components of art such as styles, techniques or period.

She enthused, "I don’t buy art by style or period or whatever else. I simply buy what appeals to me; whatever I like, based on the subject or theme of the work, execution, colours … whatever takes my fancy at a given point in time."

From the collection of Idigbe, a painting by David Dale

However, the content has to communicate, adding, "I do not buy what I don’t understand."

Her collection cuts across generations of artists, some of whom are members of GFA; just as the taste is as eclectic in areas such as abstract, semi-abstract, realism and in diverse medium as paper and metal etchings, beadwork, pencil sketches, metal work, oils, watercolours, mixed media, wooden sculptures, clay/ceramic, among others. From core art, her taste for creativity has spilled into other domestic decors, as she noted, "Even the photo frames for my family photographs are purchased based on their artistic appeal."

As the artists in her collection cut across generation and schools so are they across nationalities, mostly within Africa. "I have quite a few Ghanaian artists in particular. I also have Egyptian, Ugandan and South African artists. I buy whatever interests me."

The worth of a nation's art says so much about the level of patronage that individual and corporate connoisseurs have shown in the creative sector. From the vantage view of a patron, particularly a member, BoT of GFA, how real is the ongoing rise in commercial value of Nigerian art?

 "Art is worth as much as a buyer is willing to pay for it,” she argued. “So if art connoisseurs have decided that Nigerian art represents the next art renaissance then that is great!"

Idigbe noted that the attention being given Nigerian art at home and in the Diaspora is well deserved, particularly considering what she described as the resilience of the artists over the decades, but who have not been adequately celebrated. She added, "It is refreshing to have this interest, this appreciation of the talent and work of artists in Nigeria."

Contributing to the growth of Nigerian art, according to Idigbe are corporate organisations that "are more involved in the promotion and preservation." Increasing number of art galleries, supported by the fledging secondary art market, she stressed have introduced "a social element," and the growth goes on. Indeed, the rise in the value of Nigerian art, she explained, appears natural, given the  "burgeoning population" of the country as it adds up to the "number of artists, and the desires of the nouveau riche."

While the creative ebullience of the artists are fundamental in the impressive development of Nigerian art, observers have noticed that professionalism is not yet exactly enshrined. Given Idigbe’s long relationship with artists - as a collector - perhaps, she has a better understanding of the areas of professionalism that needs to be corrected among Nigerian artists. Standard, Idigbe noted, is still missing. "My main observation is that sometimes, some artists are in such a hurry to present their work for sale that they do not execute them to sufficiently exacting standards." She argued that as subjective as art is, "standards expected of professional artists should be kept."   

Another area of concern for her is a bandwagon syndrome that, most times, lead to more artists doing repetitive themes.  Each artist, she stated "owes it to himself/herself to develop their own unique style, change it as they wish, but to stay true to their natural talent. No two artists are the same and while comparisons are often made, truthfully, I consider such comparisons to be intellectual exercises. What you have is yours. There may be points of similarity, but each talent is unique. Each artist should ‘find’ an identity and show that to the world in the best way possible."

GFA, a body of artists that emerged in January 2008 after its first convention held at Ovie Brumen Centre has been in the forefront of repositioning Nigerian art at home and the Diaspora. With several activities such as art exhibitions and inductions in Lagos as well as shows and art auctions abroad, the Nigerian art space through GFA members is getting more competitive.

For example, members of the guild have been featured at Bonhams auction, Africa Now's Special Section severally. In fact last year, a wood sculpture, Possibilities, (ebony wood, 255 x 16.5 x 42cm, 2014) sold for (£31,250), by a member of the guild, Bunmi Babatunde and was among the most valued art pieces at Africa Now, 2014 edition. The sale was Babatunde's world record.    

  Such feat should be music to the ears of the guild's trustees. Specifically, in what areas do the BoT contributes to the progress of GFA?

A painting by Muraina Oyelami

"The Board is largely advisory, providing support as required,” Idigbe explained. But at the formative stage, a little financial support, she disclosed "was given to set up the office." She however conceded, "The artists are very self-respecting and respectable people whose primary desire is to bring their art to the highest international standards and acceptability."

She argued that GFA members "are promoters of Nigeria’s talent and heritage."

At its formative years, artists were invited to join GFA. But over years ago, the process changed to open entry although the professionalism criteria have not changed. Last year over 20 new members were inducted just as full-time practice as one of the criteria remained.

For different reasons known to them, collectors hardly disclose the numerical strength of their collection. For Idigbe, a plea of "No comment" sealed such probing.