Art as Protest: Nigerian Society and Politics

Nigerian artists across time have propagated activist nationalism and explored indigenous cultures and forms in a synthesis of old and new. Artists have used their works to provide a mirror to contemporary society, raising awareness about urgent issues and arguing for change. 

From the precolonial era to the present, different generations of Nigerian artists have engaged with their indigenous cultures and the socio-political milieu in the country, playing the role of their society’s conscience.

Through a synthesis of indigenous cultural forms and Western art materials and techniques, Nigerian artists have evolved unique art languages and styles. Whether through traditional media or found objects, abstraction or figuration, militancy or detached observation, artists have addressed aspects of the social reality in which they live.

In the ancient Benin Kingdom, art was made in the service of the royal court and to document significant activities. Masks were used in various communities to curb crime and bad behaviour. Art also challenged the colonial order’s negative perception of African creativity. 

In 1958, a group of students at the Nigeria College of Arts, Science and Technology in Zaria came together to examine how their study of academic art related to the changes in society. They formed what would be known as the Zaria Arts Society and its members would be nicknamed the Zaria rebels. 

The Zaria Rebels were concerned about the influence of Western art, and rebelled through the concept ‘natural synthesis.’ Each of the members explored their Nigerian roots with Western expressions and created new dialogues about art. They explored how society had developed from being traditional and colonial to being more modern and independent. 

Members of the Zaria Rebels included Uche Okeke,  Bruce Onobrakpeya, Demas Nwoko, Yusuf Grillo, Simon Okeke, Jimoh Akolo, Oseloka Osadebe, Ogbonaya Nwagbara and Emmanuel Odita.

As a social comment, artist El Anatsui depicts a 'Lagos lady' in this sculpture.  Titled Sisi Eko which means 'Lagos lady,' the sculpture represents a trendy, classy and fashionable woman. It is a loose pile-up of linearly designed organic and geometrically formed wooden blocks.

The artwork The Niger Delta Apocalypse is an expression of the terror and catastrophe associated with pipeline vandalism, a commonplace in the oil-rich Niger Delta of Nigeria. The artist Dele Jegede seeks to address this man-induced disaster which is “apocalyptic” in his opinion.

In this artwork Grim Polity (Ballot Boxes and Beasts of Power), the artist Tony uses rough and scratchy brush strokes in blue, white and black. The artist uses the colours to share his opinion of the nation’s leadership and governance which he deems distorted.