A Brief History of Nigerian Modernism
Published 17 April 2024 in The Legacy
Uche Okeke Legacy Editorial
Nigerian Modernism represents a critical movement in the evolution of African art, intertwining traditional Nigerian aesthetics with contemporary techniques and themes. Central to this movement is Uche Okeke, whose innovative approaches and dedication to cultural heritage have cemented his place in art history, and the institutions that nurtured and promoted this movement, such as the University of Nigeria, Nsukka, and the Zaria Art Society. This blog explores the origins, key figures, characteristics, and lasting impact of Nigerian Modernism.
Uche Okeke, Igeri, Lino Print on Paper
Historical Context
Before colonial rule, art in Nigeria was largely functional, serving religious, social, and political purposes. For centuries, the Igbo Uli body and wall painting marked important passages of life, such as birth and death, the bronze and brass sculptures and plaques from the Kingdom of Benin depicted a king's military achievements, court rituals, and other significant achievements, and the Yoruba observed deeply intertwined religious rituals and celebrations such as the Eyo Festival, held in honour of an Oba, elder, or person of significance, with dancers dressing up as the Eyo, or masquerades, who were believed to represent the spirit of the ancestors. These functional art forms have been observed in Nigeria for over a thousand years, with some traditions, such as the Benin Bronzes, dating back to at least the 13th century, and the rich cultural heritage of the Yoruba and Igbo extending even further back in time.
The colonial era brought significant changes to Nigerian art through the introduction of Western artistic techniques and perspectives. Formal art education was established with the founding of art schools and departments, such as the Nigerian College of Arts, Science and Technology in Zaria (NCAST - now Ahmadu Bello University), and drawing, painting, and other commonly practised Western techniques were incorporated. Nigerian artists were exposed to European art movements such as Impressionism and Cubism, and while this opened their eyes to the immense world of possibilities, traditional art forms were often suppressed or deemed inferior by colonial authorities, leading to a decline in practices like Uliism and traditional sculptural methods. This period of cultural exchange and suppression set the stage for the emergence of Nigerian Modernism in the mid-20th century, when artists would begin to merge Nigerian traditions with Western contemporary practices, not only as a rebellion against colonial rule and practices but in celebration of their deeply ingrained roots.
Evoluion of Nigerian State, 1964, Uche Okeke Legacy Archival Material
Key Figures
Colonial rule began in the late 19th century and persisted until Nigeria gained independence in 1960, and during this period, British colonial authorities imposed their own cultural and artistic values, marginalizing indigenous practices which were often deemed inferior to Western methods and forms. The emergence of Nigerian Modernism was driven by a collective effort to revitalize and integrate traditional African art forms and practices in response to the cultural suppression experienced.
This movement sought to reclaim and uplift their ancestral roots, and central to this artistic revolution were Ben Enwonwu, Yusuf Grillo, Uche Okeke, Bruce Onobrakpeya, the Zaria Art Society, and the Natural Synthesis Movement. The Zaria Art Society, founded in the 1950s at the Nigerian College of Arts, Science and Technology (NCAST), was instrumental in blending traditional African aesthetics with modernist practices, and its members, inspired heavily by Ben Enwonwu, explored new artistic languages that honoured their cultural heritage while engaging with contemporary art techniques. They were able to create with a freedom that had not been afforded to them at the time, and out of this came the Natural Synthesis Movement, spearheaded by Uche Okeke, which aimed to synthesize traditional art forms with modernist ideals and create a unique Nigerian identity that carried aspects of all that had influenced them. The era of cultural repression eventually gave way to a renewed focus on celebrating and revitalizing Nigerian cultural heritage through modern artistic expressions, marking a significant shift from Western-dominated teachings to a vibrant, culturally rich Nigerian art scene driven by the caretakers of this task.
Ben Enwonwu: Celebrated as one of Africa’s most prominent modern artists, Ben Enwonwu was renowned for his work in painting and sculpture which vividly reflected themes of Nigerian identity, history, and cultural heritage. His iconic sculpture of Queen Elizabeth II exemplifies his ability to merge African and Western artistic traditions, and his innovative approach and prominence helped pave the way for subsequent artists, including Uche Okeke, Bruce Onobrakpeya, and Yusuf Grillo, setting a high standard for integrating traditional themes with modern techniques. His influence was profound, inspiring Okeke to incorporate Igbo Uliism into his contemporary practice, leading to the development of Natural Synthesis. Enwonwu’s impact also motivated Onobrakpeya’s experimentation with printmaking and modern techniques and encouraged Grillo to explore his Yoruba roots, integrating traditional themes and geometric forms into his work. Ben Enwonwu was a truly influential figure.
Uche Okeke: Often regarded as the father of Nigerian Modernism, Uche Okeke earned this distinction through his pioneering efforts to integrate traditional art forms with contemporary practices, creating a holistic artistic environment that celebrated both equally. As a central figure in the Zaria Art Society, Okeke and his peers explored the fusion of indigenous and modern artistic expressions. His commitment to combining cultural heritage with modern techniques was crucial in shaping Nigerian Modernism. Okeke’s innovative approach, particularly through Uliism and his focus on Igbo culture and tradition, defined Nigerian Modernism and played a significant role in mentoring younger artists. His advocacy for a unique Nigerian artistic identity that embraced both tradition and modernity has had a lasting impact on the art scene.
Bruce Onobrakpeya: Onobrakpeya is renowned for his groundbreaking printmaking techniques, which have significantly influenced contemporary Nigerian art and printmaking, and as another member of the Zaria Art Society. His innovative methods, including plastocast and embossed prints, involve creating textures and patterns by pressing materials into the surface of the print, often incorporating elements of Urhobo culture and mythology. Onobrakpeya’s contributions to Nigerian Modernism extend beyond his technical innovations; he also played a pivotal role in mentoring younger artists. His influence continues through initiatives like the Harmattan Workshop, an annual event in Nigeria that brings together artists from around the globe to explore new techniques and foster artistic exchange, perpetuating his legacy of innovation and collaboration.
Yusuf Grillo: Grillo’s technique is characterized by vibrant colours, intricate patterns, and a unique approach to composition that fuses traditional and modern elements. His work frequently features themes of Yoruba culture and heritage, integrating traditional Yoruba motifs with modernist aesthetics to create a visual language that bridges cultural heritage and contemporary art. Grillo was also a member of the Zaria Art Society and shared the innovative artistic vision with its members and broader Nigerian Modernist movement. Grillo’s dedication to art education and his promotion of modernist principles in Nigeria have left a lasting impact on artistic practices and shaped the development of Nigerian Modernism.
Some other key figures that contributed to the shift and are good to know of are Demas Nwoko, artist and architect, known for his multidisciplinary approach that influenced both the visual arts and architecture in Nigeria, and Twins Seven-Seven, whose intricate drawings and carvings reflect Yoruba mythology.
Uche Okeke, Uli, Lino Print on Paper
Major Themes and Styles
The main objective driving the shift in Nigerian Modernism was to create a unique language that communicated the new and revolutionised Nigerian identity, with the fusion of tradition and modernity being one of the primary characteristics of the movement.
Nigeria was demanding an expression of their true identity; one that had faced hardship and still found the beauty in it, and had strong, ancient roots that needed to be celebrated as highly as the Western ways. Once the creatives within Nigerian Modernism began combining indigenous motifs, symbols, and techniques with their contemporary work, a brand-new world that prioritised integration and equal upliftment of all contributing parts opened up before them. The Zaria Art Society is a prime example of this new world.
Based at the Nigerian College of Arts, Science and Technology in Zaria (NCAST), the Zaria Art Society were a group of extremely driven and innovative individuals who were tired of limitations on their creative expression. Using the space provided by the college, they came together to explore that which had been repressed, exploring individual ancestral roots and the rich history and ancient knowledge that came with. They shared their findings amongst each other and collaborated freely, making it a truly integrated community experience that benefitted them all, and those that came after. This exploration can be seen in many of their works that depict traditional ceremonies, folklore, and daily life - a good reference are the prints of Bruce Onobrakpeya's which often draw upon Urhobo mythology and folklore.
Formal innovation and experimentation with new techniques and materials are hallmarks of Nigerian Modernism. Bruce Onobrakpeya's, again, is an excellent example with his avant-guard printmaking techniques, such as plastocast and metal foil, adding texture and depth to his works and making printmaking much more accessible in Nigeria. The use of vibrant colours and dynamic compositions is another distinctive feature of Nigerian Modernism, with artists employing bold palettes and complex and varied compositions to convey emotion and movement, Yusuf Grillo's paintings come up again as a prime example, as does Uche Okeke.
Social and political commentary was, naturally, another significant aspect of Nigerian Modernism. The artists used their practices as a medium for critique and commentary, a method shared with a number of countries on the continent where socio-political art forms played a significant role in bringing change under Western rule. The impact of colonialism, the struggle for independence, and post-colonial challenges impacted each individual in varying ways, and these became recurring themes that were not only a point of catharsis for the artists, but inspired the audience with its reflection and critique on the socio-political landscape of Nigeria - all while carrying the undertones of rich folklore and history of the country. Yusuf Grillo's paintings often incorporate social themes, depicting the everyday lives of Nigerians with a focus on social justice and community in his bright and intricate style.
These collectively characteristics were a part of what defined Nigerian Modernism. It was a hugely significant and influential movement within African art history, and the artists not only contributed directly to a unique Nigerian identity but influenced broader African and global art perspectives.
Bruce Onobrakpeya, Ibi Ekpo, Deep Etching on Paper, 1980
Influence on Contemporary Nigerian Art
The influence of Nigerian Modernism is far-reaching, and one area where its impact is evident is in Nigerian Contemporary art, which began to take shape in the late 20th century and continues to evolve today. Nigerian Contemporary art is characterized by a diverse range of styles and media, reflecting both the traditional and modern aspects that were the foundation of Nigerian Modernism and the integrated Nigeria at large. This movement laid the groundwork for subsequent generations of artists to explore and express their cultural identities in innovative, experimental, and holistic ways.
Nigerian Modernism’s use of traditional motifs, symbols, and techniques with modern artistic practices is a major theme that has been passed on to Nigerian Contemporary art. Contemporary artists often blend these elements with modern techniques such as installation art, video art, and performance art, further contributing to the unique visual language that Nigeria and its creatives developed during the initial shift to Nigerian Modernism.
Njideka Akunyili Crosby and Peju Alatise are two prominent figures in Nigerian Contemporary art who exemplify the ongoing influence of Nigerian Modernism. Njideka Akunyili Crosby's work is deeply influenced by Nigerian Modernism. Her mixed media paintings, which combine drawing, painting, and photographic transfers, explore themes of cultural identity, migration, and the diasporic experience—a dialogue shared by many of the Nigerian Modernists, including Uche Okeke, who traveled extensively within Nigeria and incorporated the traditions of various cultural groups. Her works often feature layered images that juxtapose Nigerian and Western cultural elements, creating complex narratives that echo the Natural Synthesis Movement and reflect her own experiences as a Nigerian living in the United States.
Peju Alatise, a mixed media artist working with sculpture, painting, and installation, combines modern techniques with Yoruba materials and symbols to address themes of gender, politics, and the social issues affecting women in Nigeria. The integration of traditional with modern and the use of art as a platform for socio-political commentary and critique is a trait heavily shared with the Modernists who preceded her. Her installation piece, "Flying Girls," which was exhibited at the 57th Venice Biennale in 2017, is a powerful example of how contemporary Nigerian artists continue this work with a new and further adapted modern flair.
Nigerian Contemporary Art: Symposium and Exhibition, G.A. Adams, 1976
Global Recognition and Exhibitions
Nigerian Modernism gained significant international acclaim and was able to showcase the country's rich artistic heritage and innovative spirit to the wider world. This recognition began in the mid-20th century, as Nigerian artists started to participate in international exhibitions and garner attention from collectors and critics worldwide, as was seen with the São Paulo Art Biennial in Brazil and the Venice Biennale in Italy which allowed artists like Uche Okeke, Bruce Onobrakpeya, and Yusuf Grillo to reach a wider audience. The global art community began to appreciate the unique blend of traditional and modern elements that defined the movement, leading to increased interest and appreciation for Nigerian Modernism and the country as a whole.
Prominent exhibitions have played a crucial role in elevating Nigerian Modernism to global prominence. Works have been exhibited in prestigious galleries and museums worldwide at institutions such as the Tate Modern in London, the Smithsonian National Museum of African Art in Washington, D.C., and the Centre Pompidou in Paris, which helped to solidify the importance of this movement. The Mbari Mbayo Club, founded in the early 1960s in Ibadan, attracted the attention of influential art critics and curators worldwide, serving as a vital platform for Nigerian artists to present their work to both local and international audiences. This not only created opportunities that would aid the global recognition of Nigerian art and solidify its reputation, but also elevated the status of Nigeria and its newly formed identity, and fostered greater appreciation and desire to understand its rich cultural heritage and that of its sister countries who had also been thrown into the tumult of colonization.
In recent years, there has been a resurgence of interest in Nigerian Modernism, which has led to a growing market for these works. Auction houses such as Sotheby's and Christie's have seen record sales of Nigerian Modernist pieces, further cementing the movement's place in the international art market. The global recognition and exhibitions of Nigerian Modernism and Nigerian art overall have elevated the status of its artists, as this international acclaim not only celebrates the achievements of Nigerian artists but also paves the way for and inspires future generations to continue the legacy of innovation and cultural expression and strive to reach the global stage.
The Smithsonian's National Museum of African Art, where Poetics of Line: Seven Artists of the Nsukka Group was held in 2002, Washington D.C
Educational Impact
The impact of Nigerian Modernism on art education has been substantial, and central to this influence was Uche Okeke. Okeke played a significant role in integrating the principles of Nigerian Modernism and Natural Synthesis into formal art education. Institutions like the University of Nigeria, Nsukka, where Uche Okeke taught and mentored numerous young artists, became crucial centers for the dissemination of this movement, which emphasized the importance of cultural heritage in contemporary artistic practices.
The University of Nigeria, Nsukka, often referred to as the 'Nsukka School,' was a massively important institution that allowed artists to create in a holistic and free way that was not widely available at the time. As a professor of the university, Uche Okeke and other influential artists encouraged their students to honor their ancestral and cultural roots, taught traditional and Western methods and techniques, and guided them on how to holistically integrate the various aspects in a way that was unique to the individual. Collaboration was highly praised, and professors were not regarded more highly than students. This environment allowed space for an incredibly diverse and unique visual language to emerge—one that was held by the community at large and not by any single individual. Educational institutions across Nigeria followed suit, incorporating elements of what was taught at Nsukka and through Natural Synthesis into their art programs, embracing the movement's ethos of holistic integration. This ensured that students were well-versed in both their cultural heritage and contemporary practices, producing a generation of artists adept at navigating the complexities of global art trends while remaining authentically rooted in their ancestral identity.
The impact of Nigerian Modernism on art education, and art overall, extends far beyond Nigeria's borders. International art schools and universities have recognized the importance of Nigerian Modernism and have incorporated its study into their curricula, further solidifying the movement's significance and providing African artists greater opportunities to engage with diverse artistic communities worldwide. The efforts, drive, and total love had by these foundational individuals have encouraged ongoing exploration of holistic practices, not only in Nigeria or even Africa, but globally. What started as a drive for authentic creative expression and identity for Nigeria and its people has grown into a global community that continues to thrive and evolve.
University Gates, University of Nigeria, Nsukka, 2021, Courtesy of Favouridowu and Wikimedia Commons
Nigerian Modernism and its influence on African Modernism
Nigerian Modernism and African Modernism share a dynamic and reciprocal relationship, with each influencing and enriching the other. Nigerian Modernism played a pivotal role in the broader African Modernist movement, as the avant-garde approaches of Nigerian Modernists inspired their counterparts to explore similar themes and techniques and contributing significantly to the development of a unified yet diverse African artistic identity.
The emphasis on integrating traditional African forms with contemporary practices has been as much a guiding principle for African Modernism as it was for Nigerian Modernism. Colonisation was a blight that was heavy on the entire continent, and African artists as a whole found resonance in the principles of Natural Synthesis, which encouraged the integration and celebration of their cultural heritage alongside the Western ideals so heavily indoctrinated into their expression and lives overall. It was a dialogue that had actively been squashed, but the emergence and success of the Nigerian Modernists and their dogged pursuit of this dialogue became a hallmark of African Modernism at large, fostering a sense of shared identity and purpose among its artists. Conversely, the broader African Modernist movement introduced new themes, techniques, and perspectives that enriched their Nigerian counterparts work. The exchange of ideas and practices among African artists as a whole directly contributed to creating a vibrant and dynamic artistic environment - one that would encompass the entire continent as they fought for freedom. Their influences were and continue to be repeatedly absorbed and reinterpreted and aid in breaking down regional barriers, allowing for a more interconnected and collaborative African art scene. Exhibitions and collaborations continue to play a crucial role in fostering this exchange, with events such as the Dakar Biennale in Senegal and the Cape Town Art Fair in South Africa providing platforms for artists to showcase their work and engage with their peers from across the continent.
In the way that their forerunners did, the development of this continental dialogue has facilitated the sharing of ideas and techniques, further strengthening the bonds between the African art community overall and contributing to the ongoing development of a cohesive and dynamic movement across the continent.
Exhibition Poster for Afrika: hundert Stämme - hundert Meisterwerke (Africa: a hundred Tribes, a hundred Masterpieces), College of FIne Arts, Berlin, 1964
Nigerian Modernism stands as a testament to the resilience and creativity not only of Nigerian artists, but their peers from across Africa. By determinately pursuing a holistic and uplifting art form, they created a unique and influential movement that continues to this day. Its impact extends far beyond the art world, shaping cultural identity, educational practices, and global perceptions of Nigerian art. It’s truly a legacy to behold.
