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.