Uche Okeke's 'The Conflict'

A tale of resistance illustrated by the acclaimed Nigerian artist.

UCHE OKEKEYemisi Shyllon Museum of Art, Pan-Atlantic University

Uche Okeke

Uche Okeke was born in 1933 in Anambra State. His love for the arts can be traced to his mother who was skilful in “uli” - a form of body and wall painting popular among the Igbos of Eastern Nigeria. Being his mother’s protégée, Okeke explored the Igbo folklore and traditions, and learnt the basics of “uli”. While a student of Fine Arts at NCAST, Zaria, Okeke founded the Zaria Art Society alongside other students including Bruce Onobrakpeya, Demas Nwoko, Yusuf Grillo, Simon Okeke and Jimoh Akolo. Together, they embarked on a retrospective tour of their indigenous cultures to fuse local content with western techniques. Uche Okeke called this fusion “natural synthesis”. 

The Conflict (After Achebe) (1965) by Uche OkekeYemisi Shyllon Museum of Art, Pan-Atlantic University

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Uche Okeke's work titled 'Conflict(After Achebe)' is an oil painting based on one of his illustrations from Chinua Achebe's book 'Things Fall Apart'.

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Here, Ajofia the leader of Egwugwu (the council of masquerade judges) in Umofia, is seen...

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...addressing Mr Smith, the European missionary who is seen standing with his interpreter.

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The performers have been enraged by the unmasking of one of their kind in public by Enoch, a zealot and new convert to Christianity.

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Notice the onlookers on the far right.

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Achebe writes, “The band of Egwugwu moved like a furious whirlwind to Enoch's compound and... reduced it to a desolate heap. And from there they made for the church, intoxicated with destruction"

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This scene represents a clash of cultures and an early resistance against Western cultural hegemony.

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Even though the painting is almost abstracted beyond recognition,

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The colour rhythms are very carefully employed to reflect the moods of the subject matter, whether they are discernible or not, like the mud walls of the church bulding...

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...and the vegetation in the background, barely visible in the night time.

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Okeke's emphasis on sharp and dark colours effectively balances his compositions, as he does his bit to reflect the gradual loss of identity due to colonialism.

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Much like the masquerades, the artist himself rebelled against formal British artistic training and works of earlier contemporary Nigerian artists, while a student in Zaria.

Credits: Story

Michael Oseghale: Museum Manager

Chukueggu, Chinedu C -The Asele Period in Uche Okeke’s Creativity; 1958-1966 (Pp. 261-275)

Tobenna Okwuosa - Art Patronage, Promotion, and Publication in Nigeria: A Focus on Omooba Yemisi Adedoyin Shyllon Art Foundation (OYASAF)

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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