As Nigeria navigates the complexities of its post-independence identity, the enduring legacy of Bruce Onobrakpeya serves as a beacon for artistic innovation and cultural pride, writes Okechukwu Uwaezuoke
Sixty-four years on the path of independence, and Nigeria navigates a whirlwind of a Great Awakening. Old certainties crumble as a new landscape emerges--a scenario that would have left Newton scratching his head but would have been deemed possible and progressive by quantum physics.
Throughout this journey, Nigeria's art maestro, Bruce Onobrakpeya, remains a catalytic agent of change--one that straddles eras and bridges generations of changing tides in the local art scene. Recently turned 92 on August 30, the artist affirms that art has been an engine room of this change. His legacy, meanwhile, serves as a beacon, illuminating the path forward.
Onobrakpeya's vision for art is one of purpose and impact. Technique, he believes, is merely the key to unlocking the deeper meaning. "Art should be a bridge connecting us to our roots, our stories, and our collective soul," he recently intimates to his midmorning visitor at his Papa Ajao, Mushin, Lagos home and studio. "In essence," he adds, "true artistry lies not in the method but in the message it conveys."
Recent developments at Onobrakpeya's biannual Harmattan Workshop in Agbarha-Otor, a rustic Delta State town, meanwhile, suggest a paradigm shift. The workshop's two-week residency now showcases artworks in a purpose-built gallery, allowing participants to learn from and draw inspiration from fellow artists.
Moreover, the long-running workshop has since inception in 1998 witnessed a gradual shift in focus from relying on stones from Okpella, Edo State, to exploring locally sourced clay, utilising resources available in the host environment. This adaptation not only promotes sustainability but also fosters a deeper connection with the local community. The February edition (February 11-24), themed "Folklore; Myth and Legends," for instance, showcased this innovative approach. Remarkably, it attracted an unprecedented number of international participants: eight from Côte d'Ivoire, two from the Congo, one each from Austria and the USA, and others from francophone African countries (Benin Republic, Togo, and Cameroon).
So far, by forging its own path, this art gathering has played a pivotal role in Nigeria's art renaissance, shifting perceptions and fostering a newfound appreciation for art as a viable profession, evidenced by a surge in art exhibitions, artist recognition, and community engagement.
Back to the artist, whose studio practice forms the cornerstone of the biannual workshop. As a founding member of the Zaria Art Society, established during his student years at the Nigerian College of Arts, Science, and Technology (NCAST), Zaria (1958-1962), he played a pivotal role in shaping Nigeria's modern art movement. This trailblazing collective aimed to decolonise Nigeria's visual arts, integrating Western techniques with indigenous perspectives under its "natural synthesis" philosophy.
Against this backdrop, he undertakes a profound reimagining of the Christian narrative on the personality of Jesus Christ, the embodiment of Divine Love,Who sought to liberate humanity from its destructive paths. Yet, His message of redemption was met with fierce resistance from the entrenched religious powers of His time, exposing the subsisting tension between revolutionary spirit and entrenched dogma, which curiously reworks itself in the psyche of the modern-day devotee.
Reimagining the Saviour Christ Jesus in vibrant West African robes? That--in the eyes of a conservative devotee in the early post-colonial years--was nothing short of a daredevil move, one that was even akin to outrage. However, the nonagenarian artist wasn't one to court controversy. No, it wasn't in his character, then or now.
In 1966, Onobrakpeya's artistic career had undergone a transformative shift, an epiphany of sorts, while teaching art at St. Gregory's College, Obalende, Lagos. That year, a passionate Catholic priest, Father Kevin Carroll, who had served in Nigeria since 1947, sauntered into his world, sparking a creative revolution. This revolution led to "The Stations of the Cross" series the following year. Carroll, credited by Onobrakpeya as a key contributor to the Zaria Art Society's natural synthesis theory, thus inspired a bold new vision: merging Nigerian art traditions with Christian narratives.
Fast forward to decades later, Onobrakpeya's "The Stations of the Cross" series--a 14-panel mural illustrating the Passion of Christ, originally produced for St. Paul's Catholic Cathedral in Ebute Metta, Lagos--now graces the National Museum of African Art in Washington, D.C., a Smithsonian Institution branch in an ongoing exhibition. Previously showcased in Atlanta, it continues to captivate audiences.
This artwork seamlessly weaves faith and identity, sparking profound reflection and contemplation. At its core lurks a powerful message: Christ's universality transcends borders and cultures. "These are pieces that speak about our spirituality as a people," the artist's son, Dr. Mudiare Onobrakpeya, told an interviewer.
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His father, he added, was not interested in depicting Jerusalem's historical people, but rather focused on the "'Christness' in all of us." This was as he acknowledged that the murals initially met with resistance at that time because the public deemed them revolutionary. "He took a leap of faith and anchored the fact that perhaps Christ, too, was one of us in spirit."
In this daring remake that questions colonial narratives while reclaiming Africa's rich past, Onobrakpeya's work proclaims that Christianity is also African, lively, and living, rather than simply Western. In his opinion, depicting the Saviour at home in a Nigerian city surrounded by local architecture and rhythms makes His Message relatable to a local audience. Ditto the use of local fabrics as a potent symbol of cultural resistance.
Meanwhile, as Nigeria muddles its way through towards an uncertain future, his legacy will endure, guiding future generations toward cultural exploration, expression, and celebration.
