Showing posts with label Annual Harmattan workshop. Show all posts
Showing posts with label Annual Harmattan workshop. Show all posts

Wednesday, September 13, 2023

THE MASK AND THE CROSS

 "The Mask and the Cross" are artworks created by Bruce Onobrakpeya, set in the final days of colonial Nigeria and shortly after its independence. These works offer a unique African perspective, delving into the underlying teachings, principles, and lessons derived from the life of Christ and the Resurrection of Christ.


The artist refers to these pieces as "New Masks" because they represent his endeavor to reconstruct and re-imagine artworks using ideas from old masks, many of which were discarded and burnt by early Christian missionaries. 
The New Masks by Onobrakpeya retain the aesthetic potency of the original masks, now manifested in various media such as paintings, plastocasts, low relief sculptures, and other techniques that he has developed and  innovated throughout his nearly 65-year artistic career.

These artworks are infused with the same esoteric meanings, conveying a narrative that transcends geographical and chronological boundaries, making them accessible to people of any culture. 

"The Mask and the Cross" serve as narratives that reinterpret the universal essence of goodness by focusing on the core values that should foster a deeper understanding of the Christian message. In these artworks, Jesus Christ and other religious figures are depicted as universal symbols, emphasizing the essence of Christianity rather than being bound by the geographical and anatomical contexts of the Jewish and Roman people.
 
2nd June 2023
 

 
POSTSCRIPT
The Solo exhibition by Onobrakpeya  which was extremely well received at the prestigious High Museum in Atlanta, came  to a close, at the end of July. "The Mask and the Cross" is now billed to travel to The Smithsonian Institute, Washington D.C., in the second quarter of 2024 and the National Museum of Montreal, Canada and Vatican Museum shortly after.

3rd Sept 2023
Mudiare Onobrakpeya

Tuesday, October 25, 2011

Wanda Ibru Gives scholarships for the Arts



Community leader : Chief Wanda Ibru recently in Lagos

The 2012 fundraiser  for the Bruce Onobrakpeya Foundation (BOF) was kicked off this year in the month of July by Prof. Bruce Onobrakpeya MFR, who appealed to the Civic community in Nigeria, for continued support of the Annual Harmattan Workshop Series.
 Chief Wanda Ibru, a community leader based in Lagos and Agbarha- Otor, Delta State of Nigeria responded to this appeal by supporting and giving scholarships to 25 indigent community women who will be beneficiaries of the 2012 Annual Harmattan Workshop, and who other wise, will not have  been able to attend the workshop.
 The support for  the rural women, in her response was calculated at developing the skill set of community women in Agbarha-Otor, so that they  can develop modern skills like jewelry and bead making in order to empower them selves financially and improve their personal situations.
Olorogun Wanda Ibru has been a long time supporter  of the Annual Harmattan Workshop Series  (HWS), which by 2012 will be in it’s 14th edition. This 2012 support  coincides with the 80th Anniversary celebration  of the founder of the workshop, Prof. Bruce Onobrakpeya.
The HWS is an initiative of BOF, and has steadily grown over the years to attract trained and untrained participants, who share experiences  in a conducive learning  environment.
Generally the participants for the HWS come from all over Nigeria and beyond to the Niger Delta Cultural Center located in Agbarha- Otor, near Ughelli in Delta State of Nigeria.




Thursday, September 29, 2011

Niger Delta Arts and Culture Centre

Niger Delta Arts and Culture Centre at Agbarha Otor : Home of the Annual Harmattan Workshop Series


The  building  is a large one, about 30meters x 30 meters, on 3 floors which rises above the top of the surrounding oil palm trees. It was designed by the master builder and architect Demas Nwoko, a long time friend of Bruce Onobrakpeya.
Contained inside are several galleries and workshop spaces which form  a backdrop to the artistic activities both inside and outside.
The building is a rare jewel to behold and has had visitors, visit from the West Coast of Africa as far as Ghana.

Thursday, July 21, 2011

Ulli Beier's Art Legacy: Creator of the Osogbo School

Bruce Onobrakpeya a Nigerian artist, pays glowing tribute to the work of Ulli Beier in Nigeria. He has described  Ulli  as one of the founders of modern Nigerian art, and ascribes the success of the now famous Annual Harmattan Workshop Series, now in its 13th edition, to the fact that, the Harmattan Workshop Experience was  closely modeled after Ulli Beier's workshops in  the 60's and 70's.


By Bruce Onobrakpeya

Ulli Beier was one of the few expatriates involved inthe pre- and post- independence ferment in art that crytallised into what we can today describe as the contemporary and modern Nigeria Art. The workshop series which he started, created a revolution that gave birth to what is now known all over the art world today as Osogbo School. As a great teacher, mentor and role model, he helped develop artistic freedom, drew our attention to Nigerian values by recourse to our past and traditions as well as to look beyond our immediate environment for inspiration. His passion for and invovlement in many areas of the arts has within his lifetime changed the town of Oshogbo into a Mecca for lovers of art.
Ulli Beier had several attributes, but in this brief tribute I will pay attention to his role as a great art teacher and a role model in the development of the arts and also as a vital instrument in the upgrading of a community - the Oshogbo community - into a tourism centre of world renown. The workshops he organised in Ibadan, Oshogbo and Ile -Ife, not only realigned my area of specialisation as an artist but also inspired me towards the development of an informal educational art outfit, which is the Harmattan workshop series of Agbarha-Otor in, Delta State, Nigeria.
I attended three of the art workshops he initiated and organised in the 60s and 70s. The first was at Adamasingba quarters, Ibadan in 1961. It was held at Mbari Artists and Writers club. Julian Bainet stood in for Amancia Guerdes, the South African Architect who could not travel to Nigeria. In that workshop there was a printmaking session but the main thrust was to develop our freedom in the use of found materials: metals, cement, building wire, etc.
But what I later realised to be my greatest benefit at the workshop was working with artists of different stages of development on the same project in the same classrooom. In the workshop was Akinola Lasekan who even then was already very well known as an accomplished artist. Also, I met Roland Abiodun who would later become a great scholar.
The second Ulli Beier workshop I attended came three years later in 1964 at Osogbo. It was on printmaking for which Professor Ru Van Rossen, a renowned printmaker from Tilburg University in Holland, was director. The class was not a big one. It included Jimoh Akolo and Irein Wangboje who were colleagues in the art school at Zaria. Other participants in that workshop included Twin Seven-Seven, Jimoh Buraimoh, Muraina Oyelami, Rufus Ogundele and a few others who had attended earlier Oshogbo workshops under Georgina Beier, Ulli's wife.
Through Ru Van Rossen's teaching and demonstrations and the examples of his prints that I saw, I realised that printmaking was a major area of art specialisation. That changed my direction from painting to which I was lured through peer pressure at the Art School in Zaria. Following that exposure, and equipped with materials given to me by Ulli, I launched into printmaking experiments with feverish passion and great determination which later on resulted in innovations and breakthroughs for me.
I use the word experiments because Ru made us understand from the workshop that printmaking can be very scientific and adventrous, involving the use of chemicals, tools and heavy equipment, as obtained in factories.
After attending the two workshops, Ulli watched my progress with satisfaction and as a way of motivation, he invited me to assist Ru in the Ori Olokun wokshop held at Ile-Ife around 1973. By this time Ulli had moved from Osogbo to Ife as the Director of the Institute of African Studies of the University of Ife, now the Obafemi Awolowo University, Ile -Ife. In that capacity, Ulli offered me the post of Assistant Research Fellow at the Institute, Unfortunately I could not take it because my movement to Ife would retard the building up of an artistic audience which I already started in Lagos.
Ulli drew our attention to materials and themes around us - in beadworks, beaten metal, wood, clay, folklore, stones, traditional motifs, etc. These became the foundation for the great art pieces by Twin Seven-Seven, Jimoh Buraimoh, Asiru Olatunde, Nike Okundaiye, Rufus Ogundele, Muraina Oyelami and my metal foil plastograph.
Ulli did not stop with organising workshops. He monitored the progress of the artists in order to encourage them further. He would sometimes buy some of the art works produced at the workshops or at the artists' studios and exhibit them in Nigeria or abroad, accompanying the pieces with literature which would introduce the artists and explain the pieces. The Goethe Institute, the cultural arm of the Germany embassy in Lagos, cooperated with Ulli Beier, who was a German, to showcase our art regularly.
Next, Ulli encouraged his friends and art patrons to establish galleries to help sell artworks, particularly those produced by the workshop alumni. First amongst them was the Mbari Artists and Writer's Club of which he was a co-founder, followed by the Mbari Mbayo at Oshogbo. Next was Mbari Art Gallery, opened by Tayo Aiyegbusi on the ground floor of his studio at Jibowu near Ikorodu Road, Lagos.
Jean Kennedy and her husband Dick Wolford who worked for USAID, were themselves artists and friends to Ulli. They turned their sitting room in McEwen Road, Ikoyi to an art gallery where they marketed products of the Osogbo artists. We called the gallery the ‘Thursday Show' because it took place once a week for only two hours every Thursday.
My works naturally were included but the gallery also exhibited works of other Lagos-based artists like David Dale who were never part of the workshops. The Thursday Show gave me a financial breakthrough and a great impetus to continue my practice as an artist. This gave me the confidence to continue in my practice and I never looked back. Other expatriate families, one after the other, carried on the tradition after the Wolfords left Nigeria.
Ulli's promotion did not end with Ibadan, Osogbo, Ife and Lagos. He inspired the Mbari Club which was set up by Uche Okeke in Enugu. Also, he encouraged Ovia Idah to open a gallery in his house on the moat at beginning of Ekewan Road, near the Oba's market in Benin City. Ulli carried the crusade to Germany, the Iwalewa Haus Centre, which he set up there, did a lot to propagate Osogbo and other Nigerian artworks.
Ulli was totally committed to the development of arts. He cooperated with his wife Georgina in the workshops and with Susanne Wenger for the development of Osun shrines; also with Duro Ladipo for theatre, and was involved with various publications about African artists and culture in Black Orpheus. All these experiences prepared me for other workshops, residences and exhibitions abroad in Canada, India, the United States of America, the United Kingdom and Zimbabwe.
And so, when I started the Harmattan Worshop at Agbarha-Otor, Delta State in 1998, all the credit went to Ulli as one who inspired me to start it. It is his legacy that I am now propagating. The 13th edition of the Harmattan Workshop will end in August 2011 and like the previous workshops we organised, during the induction ceremonies for participants, the name Ulli Beier always comes up as the inspiration behind the project. This has been the practice since inception.
Following the example of Ulli's workshops, the Harmattan Workshop has proved to be a forum where Nigerian, African as well as artists from other parts of the world gather in many sessions every year to hone their skills, share ideas and network among themselves. The workshop has had participants from Canada, France, U.S.A, Benin Republic, Togo and Belgium. The works from the workshops, like Ulli workshops, have been exhibited widely within the country and have featured in the landmark events like the Nigerian Golden Jubilee exhibition at Abuja. Plans are underway to exhibit works from Harmattan Workshop at the School of Oriental and African Studies of the University of London. All these artistic activities are gradually helping to upgrade the status of the quiet, sleepy town of Agbarha-Otor where the workshop is situated. We hope it will be like Osogbo someday.
Ulli Beier gave a people - the Oshogbo people, nay, the people of Nigeria, pride in their cultural heritage. He came and awakened us to artistic and cultural consciousness. He laid the foundation that earned Oshogbo the World Heritage status it enjoys today.
Ulli Beier affected my life and a host of other artists whose talents would have remained dormant. He gave us wealth and international recognition. His life and passion for the arts did not only develop the art profession and raised the status of Osogbo, it also proved that the arts in its total application is a potential tool for the growth of any nation. May Ulli Beier's contributions and legacies which he bequeathed long endure.
Master printmaker, Bruce Onobrakpeya, delivered this paper at the celebration of Ulli Beier's life and works, held at the Centre for Black Culture and International Understanding in Osogbo, Osun State, on July 2

Saturday, March 26, 2011

Comments on the 13th Harmattan workshop

Mr. Sam Ovraiti
 The recently ended 13th Annual Harmattan Series, has continued to receive high praise and accolades from several observers of the arts. The first came from Chief Wanda Ibru, a local community leader and supporter of the Annual Harmarttan festival of the arts. She spoke on the choice of Mr. Sam Ovraiti as this year’s artistic director as excellent, based on his track record as an artist, teacher and administrator. Also, the noted collector of West African Contemporary art Mr. Fred Spinnler said in commenting on this year’s workshop that “It is also great that Sam Ovraiti has the director ship, since I know him as a serious hardworking artist who has visions for steps forward in the Nigerian Contemporary Art, and the representatives from Ghana, Benin etc. will also add value in the frame of the West African Art Development” The Ghanaian artist, Kofi Dawson a first time participant at the workshop, commended the workshop as being “lofty, noble and life transforming because it brings in artists from all over the world to share their experiences in an atmosphere of brotherhood and camaraderie”.


The Annual Workshop Series is unique in the sense that it is the only institution of it's kind in Africa that has consistently sought to bridge the gap between the formal and informal trained artist annually, to enable shared and accelerated learning between these two groups. This year’s workshop had over 100 participants in attendance from Belgium, Canada, Ghana, Republic of Benin and Togo and Nigeria.


The Chairman of the Bruce Onobrakpeya Foundation, Prof. Bruce Onobrakpeya MFR, in making a case for the need for the Annual Harmattan Workshops to continue, stated that the workshop is in the business of producing tomorrow’s great artists, today. This is done through cross fertilization of ideas, interaction, inspiration, team building and a great and conducive learning environment in the countryside for participants. Despite dwindling funding, support has continued to come from credible corporations with a high sense of social responsibility to the West African sub region.

Saturday, January 22, 2011

Service Beyond Self by Bruce Onobrakpeya

By Bruce Onobrakpeya
Bruce Onobrakpeya Foundation


Bruce Onobrakpeya is amongst the founding members of the now famous Zaria Art School popularly Known as the Zaria Revolutionaries. He was also a member of the Mbari Mbayo Art Society in the Early sixties. In 1964 he became a founding member of the Society of Nigerian Artist. Since 1998, he has attempted to give back to Society through the Annual Workshop Series now in its 13th edition, which in part is geared at producing a new generation of art thinkers and practitioners through mentoring.He is also a trustee of the Western Niger Delta University in Nigeria.



Excerpts of Speech first delivered to the Rotary Club in Nigeria in 2006


Service beyond self must be viewed in terms of paying our tribute to people, who regardless of their stations in life, have through their deeds, clearly demonstrated actions, which oftentimes have been called leadership. They go over and above their regular call of duty, by placing themselves in the line of fire, at the risk of personal loss of fortune, reputation, incarceration etc and even loss of life in very extreme circumstances. They abound in our midst, and are those who are seen standing tall and even leaning forward on principles, which impact society positively. These servants have no thoughts whatsoever about personal gain, grandeur or deification. They tower above very many people of their generation as beacons of light, towering above turbulence, and showing the way to safe harbours. Service beyond self must therefore be seen as a rallying cry for good men to stand up in Nigeria to assuage the looming eclipse and crises that threaten to envelop the future of our development as Nigerians.

I will like to start with corporate bodies, NGO’s and associations made up of individuals who are providing services above themselves. We should pay tribute first to the individual who initiates the concepts and then those who tirelessly carry out the aims. I commend the Rotary International for their work in all parts of the world. Organizations like yours are what we need today to assist in meeting the needs of our various communities. Your support within the health sector is most commendable especially in the eradication of polio campaign. it is indeed a testimony to your commitment to selfless service to society.

We pay tribute to the organizers of SOS Motherless Babies Home, to Stella Obasanjo the founder of an establishment which educate physically disadvantaged children.
Also to Kano Nwankwo for the creation of Heart Foundation which cares for children with heart disease and numerous other groups which care for the visually impaired, AID sufferers, the blind, the widows, old people and the mentally ill who roam our streets etc. We must also commend Mrs. Akiuruli for her leadership of NAFDAC. This is a very sensitive position which is a constant fight against those who fake or import drugs that are dangerous to our lives. However, there is still a very big yawning gap to be covered in the health sector. What are we doing about the high cost of medicine, which has now gone beyond the reach of the ordinary person or the lepers that populate our highways? This is a call for more people to direct their resources and energies to saving our people from health problems and to rehabilitate the homeless in our society.

I am aware of an association of Lawyers, Legal Aid Council, who provide free legal services to those who cannot afford the fees. Besides there is the ‘Sunday Sunday medicine’ a NTA network programme on News line made famous by Frank Olise and Abike Dabiri which expose human rights issues and help the poor and oppressed people, including children get justice. Still on corporate group, I like to commend the efforts of the Nigerian conservation Society who are engaged in saving our forests along with the trees, and animals as well as providing parks where the people recreate by wandering through natures paradise. Apart from ecological balance, the forests provide tourist attraction which have high economic potentials.

The mention of tourism immediately brings to our mind Governor Donald Duke of Cross River whom we should commend for creating tourist havens. The Obudu Ranch and the Tinapa projects should serve as inspiration to other states of our beloved country.

We are highly indebted to individuals or groups who are involved in promoting Nigerian culture. To mention a few, Guinness Nigeria Plc, Nigerian Liquefied Natural Gas (NLNG) and Smithcline Beecham have all helped to develop visual art and literature, through exhibitions, art and literary competitions

Many Nigerian languages are at present under utilized and they stand the risk of dying out thereby losing the history, culture and wisdom of the people who speak them. However, visionaries like Architect Majoro have floated the Urhobo Foundation to arrest the loss. They run summer language schools in the country and abroad to teach the children the various languages. These people deserve our commendation.

I will now talk about some individual who are role modes in providing services above self.

Suzanne Wenger Popularly called Adunni Olorisha is now 90 years old. This Austrian born woman who has for 55 years lived and worked in Nigeria using her art to develop the spiritual tradition of the Yoruba, deserves our tribute as one who has rendered service above self. The sacred Oshun groves of Oshogbo with her architecture and monumental sculptures now stand under the protection of the Nigerian government and Unesco having been recently declared a world heritage. The Oshun grove become the center of attraction during yearly festivals which bring in many tourists from Nigeria and abroad to the ancient city of Oshogbo.

Next on my list is Lt. Colonel Francis Adekunle Fajuyi displayed a high sense of courage and selflessness and qualifies to be high on the list of Nigerians who’s service was above self.

In July 1966 when the counter coup d’ etat that ended the first military regime in Nigeria took place, Fajuyi was the military governor of the Western Region, while Major General JTU Aguiyi-Ironsi was the Head of State. Ironsi was on an official visit the Western Region. It is on record that on learning about the coup, Fajuyi did not treasure his own personal safety over that of his commander in chief. When the hour came, he put his life on the line for Ironsi. According to Sen. Adesanya “the various nationalities in Nigeria could pick a lesson or two from the selflessness or heroes like Fajuyi by putting the common good of all above narrow, parochial and selfish interests.”

Another role model that devoted his life to serving his country selflessly was Dr. Tai Solarin. He was famous as a social critic and an educator, however, his greatest contributions to society was his relentless criticism of the Nigerian Military rule, as well as of corruption in the government and church. This inevitably got him in trouble with the authorities. Tai was often jailed for his public remarks. He established the Mayflower school on the 27th January 1956 as a model of an institution “for all children discriminating against none.” He chose the name “Mayflower” after the name of the ship sailed by the pilgrims in 1620, from Europe to America. It therefore evoked images of escaping persecution for a new life of freedom.

He believed that education must include technical skills in order for the nation to be truly industrialized. He made agricultural science a compulsory aspect of Mayflower education. The students once built their own dormitories and they also continue to learn to make cocoa from homegrown beans. They also breed their own pigs as well as plant and harvest their own corn. Affectionately know as “Uncle Tai” by his admirers, he was usually found wearing sneakers, shorts and a khaki hunting cap, leading some to remark that he looked more like a “village eccentric” than a great intellectual.

My next role model is a Scottish lady who at a very young age dedicated her life to bringing Christianity to the people old Calabar. Popularly called Mma Slessor, Mary worked with the communities along the Calabar River in what is now Cross River State of Nigeria in the 19th century. This was before the colonial period. She worked specifically in Duke Town and environs. What is however significant about her work is the fact that she took up a challenge to go to a land that was virtually unknown to the outside world. She did not consider the discomfort to her person, neither was she deterred by the inclement terrain she had to traverse to achieve her goal. According to her official biography, she constantly had to battle with her health as she was often hit by various tropical diseases “…there were many times when it seemed as though she were about to die, but she pulled through. It was a real temptation to forsake this unhealthy area and return to the mists of Scotland.” But Mary did not yield to those temptations. Rather she chose to intensify her drive to bring Christianity to the peoples along the Calabar River. In the process she also helped to bring peace and eradicate some of the unwholesome practices that were prevalent at the time. Other missionaries had come to work on the Calabar River before her, but she was the only one that made the effort to learn the language in order to build the confidence of the people she was anxious to evangelize.

Another person with a similar spirit was Mother Teresa, a nun of Albanian parentage. At the age of eighteen she left her parental home to be a missionary. She joined the Sisters of Loreto, an Irish community of nuns with missions in India. After a few months training in Dublin, she was sent to India, where on May 24, 1931 she took her vows as a nun. From 1931 to 1948 she taught at St. Mary’s High School in Calcutta, but the suffering and poverty she glimpsed outside the convent walls made an impression on her, causing her to request permission to leave the convent and devote herself to working among the poorest of the poor in the slums of Calcutta. Without any funds, she started an open-air school for the children of the slums. Voluntary helpers and financial support later came her way. Her work with these children became the bedrock on which the “Missionaries of Charity” was formed. This has since grown into an international organization. The significance of the life of Mother Teresa lies in the fact that she did not wait until she had the financial wherewithal before embarking on a project like this. The impact of her efforts is that even after she has gone, the work that she started is still going on.

In the same vein, Albert Schweitzer who was the son of a Lutheran pastor became aware of the desperate need for medical care in Africa. Born in Alsace, which is now part of France, Schweitzer graduated from medical school at the age of 37. as a medical doctor, he decided with his wife to open a hospital in Lambarene, Gabon, then a province of French Equatorial Africa. He there after devoted most of his life to providing healthcare universal principle of ethics. By stressing the interdependence and unity of life, he became a forerunner of the environmental and animal welfare movements. In 1953, at the age of 78 Albert Schweitzer was awarded the Nobel Peace Prize.

One can see how the work of one man can actually influence a people, a society, or even a nation, when one considers the life of Mohan K. Gandhi. He is perhaps one of the most remarkable leaders of the 20th century. Gandhi to the people of India is the Mahatma, that is the father of the nation. He earned this title because of his dogged fight to liberate India from political and economic oppression. He however never sought for any personal gain, except perhaps the freedom to live in peace with his fellow man. His concern was more for the emancipation of the Indian people. This he was able to achieve by persuasion rather than force. When Gandhi died, his home country India was a free nation, the disinherited had recovered their heritage and millions had found their voice. The disarmed had won a great battle and in the process a moral force had evolved that compelled attention and to some degree, the admiration, of the world.

Although Gandhi live, suffered and died for Indians, being an Indian himself, it is significant to note that he was essentially a moral force, whose appeal is the conscience of man and therefore universal. He was the servant and friend of man no matter the nation, religion or race. His genius was an infinite capacity for taking pains in fulfillment of a restless moral urge. His life was a continuous striving and relentless search for truth.

In paying tribute to the Mahatma, Albert Einstein wrote ”Generations to come, it maybe, will scarce believe that such a one as this, ever in flesh and blood walked upon this earth.” The importance of Gandhi’s contribution to humanity lies in the fact that he went beyond the call of duty to fight for the freedom of the Indian peoples in South Africa and in his native India. His Spartan existence in which he denied himself of any luxuries – his simple loin clothe, steel-rimmed glasses, rough sandals and toothless smile were his only possessions. He was an exemple of humility. More importantly however he advocated non-violent resistance. He was indeed a man with a strong sense of restraint and discipline. It is his courage to resist oppression in the face of adversity that has earned him the title of the Mahatma which translates to Great Soul.


In America it is said that you don’t change a winning team. That is probably why the great civil rights leader Martin Luther King Jr. adopted the principles enunciated by the Mahatma. He saw how it worked in India and so sought to apply the same principles in the United States. King was noted for his insistence on a non-violent approach to civil disobedience, even in the height of the civil rights movement in America, where others like Malcolm X, were more intent on taking “an eye for an eye.” In championing his cause he submitted himself to arrests, and personal abuse. His home was even bombed. This did not however deter him. Martin Luther King Jr. played such a significant role in the civil rights struggle that he rose to become a member of the executive working committee of the National Association for the Advancement of Colored People (NAACP), the leading organization of its kind in the United States of America

Between 1957 and 1968 King traveled over six million miles and spoke over twenty-five hundred times, appearing wherever there was injustice, protest, and action. He wrote five books as well as numerous articles. He led a massive protest in Birmingham, Alabama, that caught the attention of the whole world. He also directed the peaceful march on Washington D.C., of 250,000 people to whom he delivered his address, “I have a Dream.” In all this time, he was arrested upwards of twenty times and assaulted at least four times. More significantly the work he did to gain equal rights for the minorities in the US are now beginning to bare fruits.

Coming closer home, we look at the life of one of Africa’s greatest patriarchs whose “long walk to freedom” personifies selfless service. Dr. Nelson Mandela, former president of South Africa remains a shining example of one who sacrificed his personal freedom, his private life and his youth, for his people.


Nelson Mandela who was born in 1918 was born in Qunu South Africa, and as a young man after qualifing as a lawyer, was accused of opposing the Apartheid regime which had become institutionalized in South Africa. As an active member of ANC, he revolted against apartheid with extra-ordinary vigour and resilience. In 1962 he was to spend 27 in jail in Robben Island, after he was charged with treason and sabotage against the government., in the process sacrificing his private life and youth for his people.

In 1994 he was released from jail after tremendous pressure from the international community. He became President of S. Africa, where he remains South African in which he was released and the society benefit immensely from a new government policy of racial equality, not only that, after becoming president in South Africa for a couple of years he succeeded in handing power to Thabo Mbeki, a new generation leader. Today he is celebrated as a cultural icon the world over and a compelling example of the power of unflinching faith in extreme situations and forgiveness.

Ken Saro Wiwa
10 years after Ken was put to death by hanging, his name still inspires hope and a spasm of vigour not only in Nigerian youths but, a teeming number of people around the world who clearly identify with his stance on indigence of an area controlling mineral resources produced in these areas.

Conclusion

Service beyond leadership is a clarion call for people to step up to the play in our society and by extension, put themselves on the line of fire, but more importantly inhabit the eye of the turbulent storms of our time.

In some cases there may be physical demise of the hero, but oftentimes the standard and principle which they stood for, and which was tested was never compromised, as they remained in the memory and psyche of the society in they impacted. They bestowed on society new standards in all cases of conduct, of awareness and consciousness which very often stood them out as enduring historical figures in our landscapes.

Thursday, November 11, 2010

Guest Artist of the Month: Midahuen Yves (Midy)



Midy is an emerging West African artist from The Republic of Benin. He
got his initial impetus for creating professionally from training
with Ludovick Fadairo, to whom he was apprenticed for several years.
In artistic circles, Fadairo's name bears with it a mark of
distinction, as he is widely recognized as a master painter. Midy got
further exposure from his academic training in Ghana.

Midy is widely traveled in the West African sub region and has also
featured his works in Paris, France, where he also visited. In Nigeria
his works have been shown at the Harmattan Gallery 2007 and The Art
Expo in 2009 and 2010 respectively.His works have also been featured
at the 2009 edition of ARESUVA, an important biennale of visual arts
which takes place in Abuja

Midy's current works imbibe with it the institutional philosophy of
the Harmattan Workshop Series, an Annual event organized by the Bruce
Onobrakpeya Foundation. At this art gathering and retreat for visual
artists, which he has attended several times, best practices in the
formal, informal and traditional arts are shared with participants.
These ideas serve to sustain and rekindle their artistry and
creativity. Midy's current works show examples of the gains of this
vision and therefore must be commended.

Midy and a host of others artists like Ovraiti and Duke Asidere, who
show demonstrable examples of understanding this important and
critical fusion of best practices in the arts, deserve our support and
commendation. Midy and artists of the Harmattan Workshop
Experience, serve the important role of not just being relevant in our
collective search for community, but also answering the question, by
redefining the issues, of what new Role the Contemporary arts of
Africa must fill, to produce it's most enduring images.


"http://www.addme.com/submission/free-submission-

Sunday, November 7, 2010

Bruce Onobrakpeya on El Anatsui and the Annual Harmattan Workshop Experience

“El Anatsui’s works have not only impacted on several upcoming artists, but his work continues to impact on, even his peers. It is this kind of relevance and creativity that institutionally the Harmattan workshop Series strives to rekindle and replicate in the contemporary art of Africa.”

Prof. Bruce Onobrakpeya in 2009, speaking during the presentation of the Prince Claus Fund Award to the Nigerian/Ghanaian artist El Anatsui at the Dutch Embassy in Victoria Island, Lagos, Nigeria on the 18th of Dec 2009. The award was accompanied by a modest purse of 25,000 euros. This award is widely considered a befitting tribute to the artist whose work, while in Nigeria in the last 35 years has influenced a lot of younger artists.