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Uche Okeke As a Precursor of Contemporary Nigerian Art Education

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Uche Okeke As a Precursor of Contemporary Nigerian Art Education AFRREV IJAH, Vol.2 (3) July, 2013 AFRREV IJAH An International Journal of Arts and Humanities Bahir Dar, Ethiopia Vol. 2 (3), S/No 7, July, 2013: 53-67 ISSN: 2225-8590 (Print) ISSN 2227-5452 (Online) Uche Okeke as A Precursor of Contemporary Nigerian Art Education Okonkwo, Ivan Emeka Department of Fine and Applied Arts, Faculty of Environmental Sciences, Nnamdi Azikiwe University, Awka, Anambra State, Nigeria E-mail: [email protected] Tel: +2348035430893, & Akhogba Albert Ehi Department of Fine & Applied Arts, Faculty of Environmental Studies, Ambrose Alli University, Ekpoma, Edo State, Nigeria E-mail: [email protected]. Tel: +2348035708720, Abstract It is forty-five years since the Zaria Art Society was founded at Nigeria College of Arts, Science and Technology, Zaria. One of its founding members, Uche Okeke, is in his eight decade of life. The artistic revolution he engineered as a student in Zaria was not the Copyright © IAARR 2013: www.afrrevjo.net/ijah 53 AFRREV IJAH, Vol.2 (3) July, 2013 kind that devours its children. If anything, it turned him into a pathfinder and today he is canonized as one of the heroes of modernism in Nigeria. Without prejudice to the contribution of Onabolu and the historic activities of Enwonwu, the location of the “Zarianist”, as the art society was popularly called, remains most historically significant, not so much for their activities in Zaria but for their influence in different corners of the art arena over several years. In this regard, one must remember the roles played by Uche Okeke through his studio projects and writings in the post-war period, and perhaps until now. Above all, the significant roles of Uche Okeke as a pioneer of art education in Nigeria are elucidated in this paper. Introduction The history of art Education in Nigeria is still rather inadequately and inefficiently documented. One can say that writers and researchers have been rather slow in documenting the trends of this experience; its main protagonists; the causes and influences of the diverse manifestations of art education experience in Nigeria. The consequence of this attitude is that most materials on art education were written by foreign authors whose interests as it concerns this experience is at best doubtful and whose knowledge of the individual involved in the making of this history is superficial and at times outright non-existent. Thus, while individual modern Nigerian artists find acclaim both at the national and international level, very little or nothing done to thoroughly document their achievements for the posterity that will not have the opportunity of relating to these individual artists on a personal basis. The consequence of the above is that presently most of these historic individuals are misunderstood or held in unfounded awe with the attendant risk that in the future, they, together with their image and achievement will be relegated to denigratory positions mainly because future generation may not know much about them. One of such individuals, who is important in the historical account of art education is Uchechukwu Okeke. At the university level however, the writer became more aware of Okeke, and also of the fact that there is insufficient information on his Copyright © IAARR 2013: www.afrrevjo.net/ijah 54 Okonkwo & Akhogba:AFRREV Uche Okeke IJAH, as Vol.2a Precursor (3) July of, 2013 Contemporary Nigerian Art Education professional experience which was grossly out of keeping with his international image and status. The writer also discovered that several misconceived notions of the artist abound: some people see Uche Okeke the Zaria rebel, as the founder of Asele Institute Nimo, others see him mainly as a drawing and painting artist, some regard him as a poet, and some other people know him as the man who introduced the Uli philosophy in the Department of Fine and Applied Arts, University of Nigeria, Nsukka. While others see him as an ordinary artist who uses Uli motifs in his art works. This situation reflects a view earlier stated that unavailability of information on Nigerian artists is more of a nuisance, since it makes it impossible for anyone to truly give an answer to such a question as ―who is this or that particular artist‖. The writer believes that art education has existed long enough in its hundred years of existence for it to have a thorough documentation of the individual artists and group of people who played key roles in its creation as a discipline. Furthermore, the writer feels that the artist of Okeke‘s calibre should not continue to exist in such an art historical vacuum and as such, deems it necessary to devote this research to the roles of Okeke as pioneer of art education in Nigeria. This paper is a focused on Uche Okeke and his activities within the framework of an art historical situation which is defined by the art educational experience in Nigeria. Through this focus, the paper attempts to document Okeke‘s art career with emphasis on his contribution to the development of art education in Nigeria. Biography of Uche Okeke Uche Okeke was born on Apirl 30, 1933 in Nimo, Njikoka Local Government Area of Anambra State, Nigeria. Uche is the third in the row of seven children. His father, Isaac Okonkwo Chukwuka Okeke was a teacher and a craftsman and his mother, Mgboye Okeke, a petty trader. Uche Okeke, no doubt, inherited art of craftsmanship from his father who unarguably was a notable craftsman, who made woodcarvings and furniture in his time, (Nwanna, 2004). Copyright © IAARR 2013: www.afrrevjo.net/ijah 55 AFRREV IJAH, Vol.2 (3) July, 2013 Uche Okeke had his primary school education at St. Peter Claver‘s Catholic School, Kafachan, Nasarawa State, between 1940 and 1947 where he began to exhibit his artistic talent. He always assisted his teachers in drawings, and was also noted for making paper crafts, mat weavings and toys. Of significance is the year 1945, when his school‘s supervisor invited him to draw and paint visual aids on the walls of the school (Nwanna, 2004). Apart from exhibiting his artistic talent, he also had his theatrical exposition in his secondary school days. Uche‘s affective religious upbringing in the Roman Catholic faith had influence on his works and interest in life. For example, biblical themes and characters such as the ―Three Wise Men‖, ―Head of Christ‖ often feature in his repertoire. Simon Ottenberg‘s article, ―The Christian element in Uche Okeke‘s Art‖ succeeds in locating Uche‘s interest in Christian (Biblical) themes early in his career as an artist (Ottenberg, 2003). After finishing his secondary school career in 1956 he joined the Department of Labour and Employment Exchange, Jos (Plateau State) as a clerk. He was still on this work when he enlisted as a member of the Nigerian Field Society. He was later transferred to Labour Department Headquarters, in Lagos and there he met Kenneth Murray, the curator of Nigerian Museum, Lagos and Eke Okaybulu, an artist working in the Graphic Art section of Federal Ministry of Information, Lagos. In the same year he entered the former Nigerian College of Arts, Science and Technology, Zaria, (now Ahmadu Bello University), which was a big landmark in his artistic apprenticeship (Ikwuemesi, 2003). At Zaria, Uche Okeke along with ten other students namely; Simon Obiekezie Okeke, Yusuf C. Grillo, William Olasebikan, Bruce Onobrakpeya, Demas Nwoko, F. N. Ekeada, E. C. Odita, O. O. Osadebe and E. O Nwagbara, of the National College of Arts, Science and Technology, Zaria formed a group known as the Zaria Art Society and people gave them the appellation ―Zaria Rebels‖. Uche Okeke could rightly be called the pioneer of the Zaria Art Society. Copyright © IAARR 2013: www.afrrevjo.net/ijah 56 Okonkwo & Akhogba: UcheAFRREV Okeke IJAH, as a Vol.2 Precursor (3) July of, Contemporary2013 Nigerian Art Education The year 1960, when Nigeria got her independence from Britain was significant in the life of Uche Okeke. Okeke, Bruce Onobrakpeya and Demas Nwoko, designed the Art/Craft pavilion, painted murals for the Independence celebration on October 1, 1960. Besides, they organized the Nigerian Independence Art Exhibition at Victoria Island in Lagos. It was to be the beginning of Uche Okeke‘s artistic prominence. In the year 1964, Uche acquired a permanent location for Asele Institute at Agu Araba Nimo, with the help of Elias Ezigbalike, counselor for Uruezebaluchi village, Ifite Enu quarter, Nimo. In the same year, he did cover designs for Chinua Achebe‘s Things Fall Apart and John Munoye‘s ―The only Son‖ for Heinemann publishers‘ African Writers Series in 1964. He also painted murals on the walls of the children‘s section of the former Eastern Nigeria Library, Enugu. Okeke designed a stage and sets for Eastern Nigeria theatre group. Later he published a poem titled Mamiwata verse (1964) in a review of English Literature by Longmans Green and Co. LTD (Steve, 1970). In 1970, when he was invited by Professor Modilim Achufusi, Dean Faculty of Arts, University of Nigeria Nsukka (Enugu State). At Nsukka he was appointed lecturer and acting Head, Department of Fine Arts (now Fine and Applied Arts). In 1976, he was appointed the head of the Department. In 1977, he was promoted to professor in the Department of Fine and Applied Arts, University of Nigeria Nsukka for a term of two years (1979-1981) (Ikwuemesi, 2003). In 1986 Uche Okeke was retired compulsorily from the University of Nigeria Nsukka as a result of the government‘s white paper on the report of the University visitation panel. He thereafter, devoted his time and energy to his pet project, the Nimo Historical Research project at the Asele Institute, Nimo.
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