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The Mbari Artists and Writers Club in Ibadan Author Rezension Raheem Oluwafunminiyi* Title: The Mbari Artists and Writers Club in Ibadan Author: Isabelle Malz and Nadine Siegert Editors: Iwalewahaus, University of Bayreuth, Germany; Centre for Black Culture and International Understanding, Nigeria; and Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany Place of Publication/Publisher: Bayreuth, Bavaria: Iwalewabooks Year of Publication: 2018. Pages: 112 pp. ISBN: 978-3-947902-03-3. €15.00. Cover: Paper © 2018 Raheem Oluwafunminiyi, licensee De Gruyter Open. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License. 64 10.2478/kwg-2019-0011 | 4. Jahrgang 2019 Heft 1: 63–66 *Oluwafunminiyi Raheem, Centre for Black Culture and International Understanding, Osun State, Nigeria, [email protected] The 1950s are regarded as a momentous period reuth and the Centre for Black Culture and Inter- of great cultural re-awakening in Yorubaland, national Understanding (CBCIU), in the context Nigeria. This cultural re-awakening continued into of the exhibition museum global. Microhistories the early years of Nigeria’s independence in 1960, of an Ex-centric Modernism by Kunstsammlung when diverse modern artistic productions flour- Nordrhein-Westfalen, Düsseldorf, Germany. ished. Much of what is known about traditional art The book observes that the idea of Nigerian was discovered and extensively documented by modernism in arts and literature produced an the European writers and colonial officials at the oeuvre by artists and writers with direct links time. The Benin artefacts derived in the aftermath with the Mbari Club in Ibadan in the 1960s. of the Benin Massacre of 1893 and the excavations Although these were mostly local writers and carried out in parts of ancient Ile-Ife around 1911 artists from Nigeria (and a few were from other and the following years brought knowledge of a parts of Africa), several expatriates, particularly once vibrant artistic industry across important from the United States and the Caribbean, were centres in colonial Nigeria for the first time. Many also associated with the Club. Like their Nigerian of these artworks appeared to have been aban- and African members, these expatriates enriched doned by its local inheritors, who had lost interest Mbari’s activities through diverse artistic contri- in them at that time. As interests waned, so did butions and interventions, giving the agency a the knowledge, lore and histories of this heritage. cross-cultural and trans-continental outlook. The With socio-political changes in the 1950s, the new Club, the book argues, became a site for these educated African elite warmed themselves to ‘outsiders’ to connect with their African roots on western modernism, while also deriding the local both spiritual and cultural plains. culture. Notwithstanding, few individuals soon As the book suggests, the activities in the channelled their energies into preserving this lost Mbari Club exhibited a deep ambivalence and heritage and reviving what had virtually disap- the material documents from the Ulli Beier Pho- peared through tireless dedication and promotion tographic Estate appear in variant forms, which of the local cultures. It is here that the Mbari Club explains why the focus is specifically on the Mbari in Ibadan came to have a cultural meaning and Artists and Writers Club. By publishing the rich expression. archival documents domiciled at Iwalewahaus The book ‘The Mbari Artists and Writers Club in and the CBCIU, the book takes the reader to a Ibadan’ looks back at the history and significance period eagerly inclined towards a new art culture of this club and focuses on two central issues. in a post-colonial setting. Also, the book brings Firstly, written in English with a translation from together a collage of pictures of group and solo the original German text, it examines its agency exhibitions in chronological order held mostly in Nigeria and the diverse artistic and literary by the Mbari Club artists in its formative years. transactions between 1961 and 1964. Secondly, Through the documentation from the archive, the book offers interesting insights into the early an attempt is being made to visualise the Club’s years of the Mbari Club in Ibadan, which had early history for the first time in book form. In opened in March 1961, and was founded by a Ger- addition to the pictures drawn from the Ulli Beier man expatriate, Ulli Beier, along with artists and Estate, others were selected from Black Orpheus, writers such as Demas Nwoko, Uche Okeke, John the flagship journal founded by Ulli Beier and Pepper Clark, Wole Soyinka, Christopher Okigbo, Janheinz Jahn in 1957, later associated with the Chinua Achebe and Ezekiel Mphahlele (South Mbari Club from 1961. Africa). The above are derived using documents The book introduces each artist and writer’s and materials from the Ulli Beier Photographic works along with brief biographical data includ- Estate based in Iwalewahaus, University of Bay- ing information on their respective specialities, Kulturwissenschaftliche Zeitschrift - 1/2019 65 experiences and expertise with previous and cur- are also included in the book. The diversity of art- rent projects. These biographies detail the forms ists on display illustrates the primal role trans-cul- of training that would eventually influence the turality played in the overall artistic transactions career path of each artist and their diverse artistic of the Mbari Club, which also influenced the artis- collaborations which later shaped their respective tic projects embarked by members. artistic biases. Also, the biographies suggest that The book also features ten images from the some of the young inexperienced artists were cover pages of back editions of Black Orpheus encouraged by the Club to mount solo or group and another six images from books written by exhibitions of their work to help them acquire the Club’s writers like Soyinka, Clark and Okigbo. practical experience and further insights into The journal, the book suggests, served as a ready their chosen artistic compositions. Hence, the platform for the emerging literary scenes in both Mbari Club served as a breeding ground for young Anglophone and Francophone Africa with contri- artists to grow and later establish themselves butions from African and African American writ- locally and trans-nationally. The book also noted ers like Camara Laye, George Lamming, Gabriel that the Club opened avenues for international Okara, Es’kia Mphahlele and Lenrie Peters, among visibility for these artists and writers by including others. The cover design for the first volume of their works in special issues of the Black Orpheus the journal was made by a Nigeria-based Aus- journal. The works of Demas Nwoko and Valente trian artist, Susanne Wenger. The book provides Malangatana, for example, featured prominently a list of 20 publications by literary writers such as in the No. 8 and No. 10 editions of the journal, Ulli Beier, Dennis Brutus, Duro Ladipo and Alex respectively. Laguma, all published by Mbari Publications. The That the Mbari Club placed strong empha- selected images as well as the list of publications sis on trans-cultural categories can be seen in are captured in the book to adequately explain the diverse exhibitions and works of the writers local ownership and operations through Mbari and works as documented in the book. Some of Publishing, which set out to be the first publisher these artists and writers include Simon Okeke, of African literature and art from the African con- Uche Okeke, Demas Nwoko, Ibrahim Salahi, Karl tinent. The images printed in Black Orpheus all Schmidt-Rottluff, Valente Malangatana, Vincent featured in the book are sourced from the repro- Kofi Akweti, Georgina Betts, Ahmed Mohammed duction of artists’ works and illustrate the empha- Shibrain and Skunder Bogghossian. Others are sis on locality of place and strict utilisation of local Jimo Akolo, Dotun Okubanjo, Rufus Ogundele, contents. Okpu Eze, Colette Omogbai, Bruce Onobrakpeya, The work has several merits. Though several Jacob Lawrence, Jacob Afolabi and Ru Van Ros- studies exist on the Mbari Club, none has been sem. The book also includes images of exhibi- able to bring together in a single publication a tions mounted outside of the Mbari Club and by large repertoire of images, which highlights the non-members of the Club who were only artis- pivotal role this agency played as a foremost site tically connected with it. For instance, the book for artistic production, particularly in its visual provides an image of a weeklong art exhibition and textual forms. The book provides readers by Makerere University’s Department of Fine Arts with fresh perspectives on the modus operandi of at the University College Library, Ibadan, in 1961. the artists involved with the Club, based on the The Mbari Club was very much renowned for col- rich archives of one of its key founders. Although laborations that connected it with other similar the Mbari Club was engaged in diverse activities, artistic agencies such as the Extra-Mural Stud- the book has focused on two very important cat- ies Department in Ibadan, which, in collaboration egories – exhibitions and publications – capturing with the former, held series of exhibitions. Exhibi- the alluring roles of the Mbari Artists and Writers tion works were loaned to the Mbari Club as part Club for which the agency was known globally. of these collaborations through the support of The book, nonetheless, is not without its the Nigeria Federal Department of Antiquities. An shortcomings. Although the book’s focus is on the image of exhibitions of children’s art and another Mbari Artists (who were mainly visual artists) and image of an invitation to the celebrated Agbor Writers Club, very little attention is given to the Dancers from the old Western Region of Nigeria latter. The Writers Club was an important literary 66 10.2478/kwg-2019-0011 | 4. Jahrgang 2019 Heft 1: 63–66 category at the material time, which gave more the quest for African, nay, Nigerian modernism visibility to the Mbari Club through the publication embraced by each artist associated with the Club of several journal volumes and books.
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