DISCOVERING NIGERIAN ART- NIKE OKUNDAYE
Jan 10th, 2009 by admin
Nike Okundaye is one of Nigeria’s prominent Art ambassadors, having taken Nigerian Art and forms to all parts of the world.
With the death of her mother at just six, Nike was brought up by her Grandmother who started teaching her the art of weaving, a traditional practice of the family for generations. Originally, from Kogi state, the Northern part of Nigeria, she spent her early years in Oshogbo, a town very well known for its Art and cultural heritage. In this environment, her natural flair for art was nurtured, eventually becoming a product of the Oshogbo Art School where she had the opportunity of working with Susan Winger who became her artistic mother.
HOW DID IT ALL COME TOGETHER FOR YOU?
I began the Nike centre for arts and culture based in Oshogbo in 1983. It was set up with about twenty girls randomly picked from the streets. These girls had been on the streets with no tangible means of sustenance, I was drawn to them because they reminded me of my early situation when I was married to a man with 15 wives. Particularly, because I knew they were vulnerable to danger and in need of my assistance for survival.
HOW DID YOUR WORK WITH TRAFFICKED WOMEN BEGIN?
That was much later. I was contacted by the Italian government to come over and organise workshops and train young Nigerian women on the importance of using their hands to earn a living through arts rather than selling their bodies. My focus at the time was textile arts, which I believe adequately, empowers women to be self-reliant.
OVER THE YEARS YOU HAVE IMMERSED YOURSELF IN DIFFERENT ART FORMS, HOW DID THE DIVERSITY COME ABOUT?
It is inborn. The diversity in the arts creates many forms and clarifications, but the essential point is realising that an artist is always an artist. I believe artists for some reason tend to focus on areas that appeal to them. In my case, my love was for textile and of course, our peculiar setting, makes textile art more akin to women. I used to weave but you will rarely find me in front of the loom today, because of my busy schedule. All I do now is to show slides of my work.
RELIGION AND ART IN AFRICA ARE BOTH CONFLICTING SUBJECTS, HOW DO YOU RELATE TO BOTH?
Some Nigerians visit the gallery – Mostly Christians and they go away saying most of our works are demon possessed. This idea is simply preposterous, besides
creating art either by moulding or carving is not the same as worshiping these Images. The Bible is clear about this; it says we should not make graven images for the purpose of worship. I put the blame on the doorstep of the colonial masters who did not want our culture to thrive; this is why art is not valued today. It is unfortunately affecting a large number of people in our society today.
HOW DO YOU RESPOND TO THE NEGATIVITY THEN?
I tell them they are ill informed. It is sad that the Bible has been misunderstood. Pastors who discourage the use of artworks surprisingly come to gallery to sell artworks, art works they have instructed people to throw away.
NIGERIAN ART – WHERE IS IT TODAY?
People tend to forget that the world began with the Arts. We had a major set back in Africa during the colonial times, because the colonial masters tried to kill our customs and traditions. They called it fetish, backward and devilish. Unfortunately, our parents grew up believing that, and passed this doctrine on to their children. Parents preferred to have their children study Medicine or law at school directly killing the need for tradition and customs to be preserved. This is what has caused the problem of the Arts in Nigeria today.
It should be our Nationalistic interest to see that our culture does not die. The youths prefer the European clothes to our traditional attires, everything has become westernised, the way we sing, eat, dance and talk does not reflect our culture. Our tradition is slowly being killed and completely being altered. An example is my daughter who neither pronounces nor understands the meaning of her father’s native name. Are we going to continue like this? The youths should learn early enough the essence of culture and its practices.
HOW WIDELY ACCEPTED IS YOUR WORK IN NIGERIA?
My work is a guiding tool at schools and Universities in the country.
YOU ARE INTERNATIONALLY ACCEPTED AND SOMETIMES NOT APPRECIATED IN NIGERIA, HOW DO YOU DEAL WITH THIS?
There is a girl visiting from a University in Canada, currently going on a tour of Nike’s centres in other parts of the country, she is here to understudy me. On the other hand, Nigerians rarely come to the centre to study my work. This is because Nigerians do not view art as a way of life. Ninety –nine percent of those who visit the gallery are foreigners.
One reason is that the Nigerian government and leaders have not given art its true meaning and place. Let me give you an illustration, gold will be valued at any bank in the country but if you take an artwork for valuation, the opposite is the case. The government has not been able to build an intrinsic value to art to enable it achieve it is proper position in our economy. However, the interest is growing which is why books focussing on traditional art are presently been published.
HOW CAN ONE GENERATE THE AWARENESS?
The Federal government recently created a ministry of Arts, culture and tourism and a directorate of national arts. Now, that we have these agencies and ministries, it is now left for the officials to create public awareness highlighting the importance of art and culture, run workshops for schools, all kind of things that relate to arts and culture so our children understand that these are important tools of driving our economy. Also, organise trips to villages to learn how we danced, plaited our hair and carved wood. Also, empower women in the rural areas to teach children these traditional practices. Finally, enact a law that will accept art as a veritable means of exchange, while putting checks and balances in place.
MANY HAVE ATTRIBUTED FESTAC 1977 AS THE BEGINNING OF NIGERIAN’S WOES.
I do not believe this. The festival was a bold attempt by the government of Africa to exhibit the culture of its people. The initiator of that festival did not say that the festival of arts should die a natural death. It was to be a tool of revamping our own tradition and to create awareness. A follow up should have taken place and an organ in place at the time to ensure continuity
WHAT WORD BEST DESCRIBES YOUR WORK?
The best, my work is the best, whether on oil, brush, batik form or on the canvass. My works all show life in its totality.