OYASAF, Lagos university empower artists at 2nd Art Entrepreneurship Workshop

Again, Omoba Yemisi Adedoyin Shyllon Art Foundation (OYASAF) supports one of Nigeria’s leading universities in empowering artists via workshops.

It’s the Creative Arts Department, University of Lagos, Akoka, Lagos' workshop tagged Unilag Art Entrepreneurship Workshop.

At the closing ceremony, awards were given to some outstanding participants. 

 Sessions for the workshop included jewelry (chain mail/wire knitting /sheet metal work/ bead stringing) as well as watercolour painting and an open session in ceramics.
  A resource person and African-American artist Brett Cook,  joined others such as Sam Ovraiti, Ibe Ananaba, Ato Arinze, and Ariyo Oguntimehin to facilitate the workshop.

Prince Yemisi Shyllon (left), giving one of the participants a certificate during the closing ceremony.

PHOTO BY: OYASAF DOCUMENTARY PHOTOGRAPHER, OGUNTIMEHIN ARIYO

   The founder of OYASAF, Prince Yemisi Shyllon disclosed that master printmaker, Dr. Bruce Onobrakpeya’s “revelation to me that Uli Beier’s art workshop, Mbari Mbayo changed his art, inspired and encouraged me to get involved in this workshop”. Shyllon argued that Nigeria should emulate Japan, the far-east country that has no mineral resources, but is the third largest economy in the world, “based on creativity and production.”

  Onobrakpeya, who was a special guest at the event, said he was glad that Dr. Peju Layiwola and Shyllon organised the workshop. He stated that “am not surprised because for 12 years, Layiwola participated in the annual Harmattan Workshop at Agbaro-Otor, Delta State.” According to the great artist, Shyllon “has set the pace in promoting art, as the workshop has brought the town and gown together.”

  Awardees of the second Unilag Entrepreneurship Workshop and chosen for being the best in each of the sessions included Uche Ezebiro, for wireworks; Uhorha Splendour, watercolour; Temilola Marindoti, beads; Ojetunde Sherriff, ceramics.

 

Art community deepens OYASAF scholars' missions

Ahead of the conclusion of researches by two Omoba Yemisi Adedoyin Shyllon Foundation (OYASAF) fellowship grantees, Amanda Hellman of Emory University, Atlanta, Georgia, U.S and Erin Rice from University of Bern, Switzerland, the Lagos art community had an interactive session with the visitors.

Amanda Hellman, Yemisi Shyllon and Erin Rice

PHOTO BY: OYASAF DOCUMENTARY PHOTOGRAPHER, OGUNTIMEHIN ARIYO

 While Hellman and Rice gave separate reports of their works, responses from the audience offered the visiting scholars more info into the dynamics of the country’s art, particularly in areas that may help enrich the researches.

Amanda is working on what she themes The Intersection between Museum Development and Modern Art in Nigeria as well as researches one of the two pioneers of Nigerian modern art, Akinola Lasekan. Rice focuses The Architecture of Identity: Textiles and Impermanence in the Construction of Art and Space in Nigeria and Ghana.

  Inside the OYASAF Conference, on Wednesday, June 13, 2012, participants at the interactive section included artists such as Kolade Oshinowo, Olu Amoda, Dr Peju Layiwola, Kunle Adeyemi, Oliver Enwonwu, Ato Arinze as well as art connoisseurs and enthusiasts.

  Art writers and journalists such as Ozolua Uhakheme, Tajudeen Sowole, Chuka Nnabuife, Okechukwu Uwazuoke, Melinda Akinlami, Chioma Okpara, among others also participated.

Hellman, Chief Mrs Funmilayo Shyllon, Yemisi Shyllon, Rice and artists, art journalists, art enthusiasts, shortly after the interactive session.

PHOTO BY: OYASAF DOCUMENTARY PHOTOGRAPHER, OGUNTIMEHIN ARIYO

  In contributions from the participants which touched areas such as the background of the National Museum, Onikan, Lagos, attitude of Nigerians' museum going culture, role of Akinola Lasekan in Nigerian contemporary art and new use of textile by artists, Amanda and Erin, hoped to expand their research to cover as many areas as suggested.

  The founder of OYASAF, Prince Yemisi Shyllon stated that the grantees' visit to Nigeria stresses the organisation’s commitment to expand the knowledge-base of of the world about Nigerian art. He also disclosed that Hellman and Rice would proceed to visit art resource centres such as Institute of African Studies, University of Ibadan, Oyo State, and various art studios and traditional sites in Osogbo, Osun State.

Switzerland-based scholar focuses textiles in African art space

As more African artists, home and the Diaspora are using textile to enhance concept and theme, one of the two first set of OYASAF fellowship scholars in 2012, Erin Rice rsearches what she calls The Architecture of Identity: Textiles and Impermanence in the Construction of Art and Space in Nigeria and Ghana.

Erin Rice pictured inside OYASAF garden, in Lagos. PHOTO BY: OYASAF DOCUMENTARY PHOTOGRAPHER, OGUNTIMEHIN ARIYO

She notes that though the technique of using textile is not new, but it's a recent experience for most artists just as the interest is growing. And between style and technique - within modernity and contemporaneity context - Rice argues that "contemporary reflects the time, modern reflects the technique."

Rice is from the doctoral program at the University of Bern, Switzerland.

Before coming to Nigeria on May 31, 2012, her project focused on the works of El Anatsui, Yinka Shonibare and Sokari Douglas Camp, all of whom use or reference textiles in their sculptural work, using themes such as Ghanaian native textile, kente, Dutch Wax Print otherwise known as ankara in Nigeria, and injiri respectively. She examined the relevance of these textiles in the works within the context of the Western art world.

By taking her research to Lagos, she hopes to gain an understanding of how textiles function in everyday life and in contemporary art on a local level, which will add a new, critical dimension to her work.

Her thesis addresses several key questions relevant to Nigeria:

§  What role(s) do textiles play in contemporary Nigerian society?

§  How do textiles symbolize the identity of Nigerian artists when exhibiting abroad?

§  How are artists within Nigeria using textiles? How is their use different from those in Europe and the US?

§  How have textiles shaped the construction of space in the post-Independence era?

§  How can traditional forms of impermanent architecture shed light on newer forms of building?

§  Within the construction of these spaces, how is the identity of the community being addressed or symbolized?

American scholar researches Nigerian pioneer cartoonist, Lasekan

Promoting educational research and scholarship on Nigerian art, the Omooba Yemisi Adedoyin Shyllon Art Foundation (OYASAF) Fellowship program, has admitted another scholar, Amanda Hellman of Emory University, Atlanta, Georgia, U.S.

Every year, scholars from reputable universities across the world are given the OYASAF Fellowship Grant to research a particular area of Nigerian art.

Amanda is an art historian and curator, whose interest is in the study of the works of Akinola Lasekan, one of Nigeria’s art pioneer artists. An important objective of her stay with OYASAF is to research into traditional African art and museum development in Nigeria.

Amanda Hellman of Emory University, Atlanta, Georgia, U.S.

On arrival, Hellman told OYASAF team that negative and disheartening stories about Nigeria were not enough to discourage her from coming. She noted that there are very positive aspects of Nigeria, which attracted her, based on information gathered from friends in U.S. and England. This, she said made it easier to  accept the OYASAF Fellowship Grant. Though visiting Nigeria for the first time, she stated that she has so far found Nigeria to be very interesting and unlike every other place she has visited across the world.

  

Since her arrival at OYASAF, she has met other visiting scholars such as Professor Kazunobu Ikeya, from the National Museum of Ethnology, Japan and a lecturer of the Obafemi Awolowo University (OAU), Osun State, Southwest Nigeria, Mr. Steve Folaranmi.

Hellman also partook in the arrangement of art works at the Metropolitan Club in Victoria Island, Lagos. She has visited places of interests in Lagos such as Quintessence Gallery, Falomo, Jazzhole, Ikoyi, Nike Art Gallery, Lekki, Centre for Contemporary Art (CCA), Yaba, Jankara and Balogun markets.

  She revealed that having seen the diversified collection of OYASAF, it goes to multiply her inspiration and love for traditional African art. She expressed her high esteem and appreciation for the aesthetic value in traditional African art.

Amanda is a strong follower of Lasekan’s work, and has been introduced to some number of the artist’s works in the OYASAF collection. The works she has seen confirms the high value, style, technique and method of approach in Lasekan’s paintings coupled with the philosophy behind the artist’s work. She has extensively read articles written by Lasekan and looks forward to working with museums in Nigeria, especially the Lagos museum. 

  She intends to meet her counterparts in the Lagos, Ibadan, and Ife art circles as well as visiting artists' studios in Lagos as part OYASAF's programming for her.

  Amanda has also been studying traditional African art in Nigeria’s colonial era and therefore looks forward to her research work in OYASAF.

  She is highly impressed with the diversity and quality of the collection of OYASAF that she has so far encountered. She has experienced viewing at close range, a large number of the OYASAF collection, even though she is yet to cover much of these works which cut across all aspects of modern, traditional and contemporary painting, sculpture and photograph.

 Hellman hopes that after her research work at OYASAF, she will share the refreshing experience of traditional African art and Lasekan’s work with her academic counterparts in the U.S.   

At OYASAF, visiting Japanese ethnologist finds interpretation for a glass beads museum piece

In its relentless effort at offering research assistance and partnership with groups, institutions and individuals around the world, OYASAF shared its wealth of experience with a visiting Japanese scholar.

It happened yesterday, Wednesday May 23, 2012, when OYASAF received Professor Kazunobu Ikeya of National Museum of Ethnology, Japan. He visited under the hospices of a representative and Senior Lecturer, Department of Fine Art, Obafemi Awolowo University (OAU) Ile Ife, Osun State, Steve Folaranmi. 

 Prof Ikeya visited for two main reasons: primarily to view the collection of OYASAF and its library, which is becoming increasingly popular. He also sought assistance for the interpretation of a craft work covered in glass beads, and purchased in South Africa. In the presence of Folaranmi and an OYASAF fellowship grantee, Amanda Hellman, Prof Ikeya presented the brochure of the National Museum of Ethnology that had the bead piece.

Visting Prof Kazunobu Ikeya of National Museum of Ethnology, Japan, OYASAF Fellow, Amanda Hellman of Emory University, Atlanta, Georgia, U.S., Omooba Yemisi Shyllon, Chief Mrs Olufunmilayo Shyllon and Steve Folaranmi of Obafemi Awolowo University (OAU) Ile Ife, Osun State during Ikeya's visit to OYASAF.  

 The work was analysed by the founder of OYASAF, Omooba Yemisi Adedoyin Shyllon, and a conclusion was reached that the work covered in beads represents an effigy for the burial ceremony of an Ooni of Ife. The work was covered in glass beads with the crown of the Ooni and the beads covering the face. The throne had the crown of the Ooni at the background sewn into it in glass beads.

 Thereafter, Prof. Ikeya made a quick tour to some of the collections of OYASAF museum with particular reference to the life size bronze, stone and metal works in the garden and in the swimming pool area. He also did a quick tour of some of the galleries in the museum along with Folaranmi and Hellman.

Ikeya intends to revisit OYASAF sometime later this year for possible collaboration on research.

Palm oil processing… hygiene concern over local method

A recent visit of OYASAF documentary crew to Bacita, Kwara and Jebba, Kogi States exposed local methods of palm oil processing, which could be controversial.

Palm oil is probably the richest edible oil from Africa. Oil from palm fruit is commonly used as ingredient in preparing many traditional African foods. It also has a uniquely lovely strong flavor.

An orange to red vegetable oil with a distinctively delicious flavor made from the juicy pulp of the African palm tree fruit called Elaeis guineensis, palm oil is used across tropical Africa, especially, West Africa. It is also used in the Caribbean, and South America in making various dishes.

In Bacita, Kwara State ladies like this young one deep their body in the palm oil pool during the processing.  PHOTO: BY OYASAF DOCUMENTARY PHOTOGRAPHER, OGUNTIMEHIN ARIYO

The fruit is no larger than grape fruits, but has a central nut, the palm kernel (which is also used in making palm kernel oil) enclosed by the soft juicy pulp (from which the red oil is made).

However, these photos, taken during the processing of palm oil expose the unhygienic food method, which may help to spread disease. We need to therefore improve this process for our own good.

Despite this worrisome method in palm oil processing, of note is the people’s prowess in farming and blacksmith work.

In Lagos, Int’t Photography Show, Cultural display, Carnival Herald Black Heritage Festival

When Lagos hosted Italian photographers, American scholars and had a colouful cultural / carnival display at the 2012 Lagos Black Heritage Festival (LBHF) tagged The Black in the Mediterranean Blues, OYASAF's documentary team was there and brings the event in pictures.

The weeklong 2012 LBHF took off on a colourful start, on April 2, 2012 as the State Governor, Mr Babatunde Raji Fashola (SAN), formally opened the new Kongi's Harvest Art Gallery, at the Freedom Park on Broad Street, Lagos Island. Fashola described the event as a festival of color which promotes the culture of the people of Lagos with a proud heritage. It took off amid cultural displays and performances by Igunnuko (Yoruba) and Ekpe (South South) masquerades as well as Agere performers and Gelede dancers of Yoruba origin.     

Egungun masquerade during the Lagos Black Heritage Festival 2012.PHOTO: BY OYASAF DOCUMENTARY PHOTOGRAPHER, OGUNTIMEHIN ARIYO

  Works of Nigerian and Italian photographers were on display in the exhibition titled Naija-Italia, mounted at the top floor of the Kongi’s Harvest Art Gallery. Some of the works from the photography exhibition were also mounted at Nike Art Gallery, Lekki, Lagos. To enrich the event, poetry reading and colloquium, involving Nigerian, Italian, American poets and scholars were held during the weeklong event.

  Participating states across Nigeria which sent delegates and representatives to the event were acknowledge during the festival.

 More prominent were masquerades and troupes from Lagos and other South West states of Osun, Ogun, Oyo and Ekiti as they had a ball entertaining the crowd while children were also not exempted.

The carnival aspect of the Lagos Black Heritage Festival 2012. PHOTO: BY OYASAF DOCUMENTARY PHOTOGRAPHER, OGUNTIMEHIN ARIYO

  The popular performing group, Crown Troupe of Africa confirmed their reputation as an emergent cultural group as its children’s arm known as Footprints of David gave inspiring performance.
The 2012 Lagos Black Heritage Festival which ended with Lagos Carnival at the Tafawa Balewa Square (TBS) was not bereft of entertainment as local stars such as Whizkid and Eldee performed to the people’s delight.

The Freedom Park, Lagos Island, which has been hosting the LBHF and other events, in the last few years was a prison yard where nationalists including Herbert Macaulay and the sage, Chief Obafemi Awolowo were inmates. It was converted to park by the Lagos State Government three years ago and named Freedom Park, as tribute to everyone who cherishes the sanctity of democracy.