"Young artists in a new nation that is what we are! We must grow with the new Nigeria and work to satisfy her traditional love for art or perish with our colonial past".
Uche Okeke spoke these words at the mid-point of what turned out to be an extraordinary period in the history of modern art in Nigeria. Something special and significant happened in the artistic life of the nation during the years 1955 to 1970.This "golden era" was chronicled in an exhibition at the Tate Modern a few years ago; it was titled Century City: Art and Culture in the Modern Metropolis.
The exhibition explored the relationship between cultural creativity and the metropolis by focusing on nine cities from around the world at specific moments over the previous hundred years. The cities were described as having acted as crucibles for innovation, not only in Art but in other disciplines, from Architecture and Dance, to Film, Literature, Music and Design.
Lagos, Nigeria was included in the cities featured, along with London, New York, Tokyo, Rio, Mumbai, Paris, Vienna, and Moscow.
In Nigeria, the period 1955 to 1970 highlighted the activities of young nationalist "rebels" who were, in a sense, also visionaries - they knew the potential of their young nation and fought to preserve its cultural identity. That those who have left us would lament at the state of the nation today is an understatement. These were men who were prepared to stick their heads above the parapet for a common cause…a national common cause.
The artistic "rebels" were members of the Zaria Arts Society (also known as the Zaria Rebels) and subsequently, members of the Mbari Club.
One could perhaps mention the pioneering efforts of Aina Onabolu as well as the contributions of Ben Enwonu, who was arguably the first important post-classical Nigerian artist. But it would be best to leave that for another day. What is pertinent for the purposes of this article however is the fact that there were significant events in the history of modern Nigerian art, starting from the late 1950s when a group of Nigerian artists in Zaria formed an association for the primary purpose of preserving the value of indigenous art.
The Zaria Rebels were part of a growing national consciousness. They marked the rise of the development of a sense of national identity in Nigeria and they tried to structure a new approach to art by moving beyond the European focused art that they were being taught by their expatriate tutors at the time.
The creation of the other group of "rebels", the Mbari Club, provided a platform for politicised artists and intellectuals to discuss and mould the shape of the identity of post-colonial Nigeria. The first club was founded in Ibadan by a diverse group of artists, writers, musicians and actors. Their intention was to develop a strong artistic identity for the new nation, celebrating Nigerian traditions. Prominent club members included Bruce Onobrakpeya, Uche Okeke, Chinua Achebe and Wole Soyinka.
The booming economy and major building programme attracted Western architects such as James Cubitt, John Godwin and Gillian Hopwood. The work they produced belonged to the global modernist tradition but were adapted for the tropics by collaborating with the country's leading artists. The various influences on building traditions in Lagos added to the city's special identity.
Then there was Highlife a musical style which brought a new pan-African form. Stars of this genre of music included 'Cardinal' Jim Rex Lawson, Bobby Benson and Victor Olaiya.
According to the Tate Modern timeline which chronicles "the golden years", significant events start with Chris Ajilore or Chris Ajilo (who wrote the popular song Eko O'gba gbere) and his return to Nigeria in 1955 to form his Cubanos band, the following year, I.K. Dairo formed the Morning Star Orchestra. Then Nigerian independence on October 1 1960 when the Zaria Rebels appeared in the Nigerian Independence exhibition; the musician Victor Olaiya also performed with Louis Armstrong at the celebrations!
The first Mbari Club was formed in 1961 as the Zaria Rebels disbanded, and in the same year the School of Fine Arts was established at the University of Nigeria, Nsukka.
The years 1962 to 1964 saw the Mbari-Mbayo Club being formed in Oshogbo. Duro Ladipo started the National Theatre Company during this period also; Fela Kuti formed a second version of his band the Koola Lobitos; the musician I.K. Dairo received an MBE from the Queen for his cultural contributions to The Commonwealth; Victor Olaiya represented Nigeria at the World Jazz Festival in Prague; and members of the now disbanded Zaria Art Society formed the Society of Nigerian Artists.
On the political front and also in 1964, riots broke out in the Western Region following election irregularities. Western premier Obafemi Awolowo was jailed…and my literary hero Wole Soyinka, attempted to seize a radio station in Ibadan!
In 1965 and 1966 plays by Soyinka, J.P. Clark and Duro Ladipo were hosted at the Commonwealth Festival in London; the musician Geraldo Pino brought a new sound to Lagos; Christopher Okigbo rejected the prize for poetry at the World Festival of Black Arts in Dakar. Meanwhile, on 15 January 1966, military officers toppled the elected government in Nigeria. General Aguiyi-Ironsi was appointed Head of State. There was then a second military coup on 29 July; Aguiyi-Ironsi was killed and Lt Col Gowon became Head of State.
In 1967, eastern Nigeria seceded as the Republic of Biafra and civil war ensued. The University of Nigeria Nsukka became The University of Biafra. Chinua Achebe and other artists and writers of eastern Nigerian origin went to the east to join in the war effort. Christopher Okigbo was killed in battle; and Wole Soyinka was jailed for condemning the war against Biafra. In spite of the unrest, the Festival of the Arts was held at University of Ife in 1968; and in 1969 Fela Kuti introduced the politicised Afrobeat and renamed his band Africa 70.
Biafra surrendered in 1970 - two million people are said to have been killed in the civil war. Sadly, the political unrest and the subsequent war resulted in an end to the golden years - the period of artistic national optimism.
The efforts of the artists of that era must be acknowledged - across all genres. They were authentic and made an invaluable contribution to the tapestry of the nation. They played their part, in their own unique way.
Some of those from their ranks who are still with us continue to raise their voices either through their work or in other ways. Clearly, for them it is indeed almost second nature to speak out and be heard!
Will others step forward as those before them did?
One remains subdued by the deafening silence of the 21st century rebels....
