"Nigerian Rhythms," featuring scroll paintings,
headdresses and traditional costumes, is a vibrant explosion of color that
explores the culture of the African nation and incorporates the artists'
personalities and ideals.
The exhibit runs through April 30.
"Nigerian Rhythms" features works from university- and
workshop-trained artists, folk artists and traditional artists who explore all
aspects of their culture. They each have their own individual style and
craftsmanship.
The exhibit includes colorful costumes and headdresses worn for
festival or funeral performances made by traditional artists Lawrence Ajanuku
and Pius Isah Omagbai.
There are scroll paintings by Tobenna Okwuosa, a
university-trained artist who focuses his theme on "Motherhood, Femininity
and Values" celebrating the importance of women.
Oshogbo Workshop artists, such as Bayo Ogundele, Tunde and Wole Olaiide,
focus on local themes with an expressionist style and also possess their own
effect.
In conjunction with the exhibit, at 7 tonight Dr.
Jean Borgatti, an associate professor of visual and performing arts at Clark
University and a Fulbright scholar in African art history, will give a talk that
includes her personal slides and commentary about her experiences living and
teaching in Southern Nigeria.
As an undergraduate, Borgatti majored in modern
art history, but felt that there was a void of interest that needed to be
fulfilled. "I became interested in non-Western art, specifically African,
Native American and art of the Pacific because of the historic relationships and
the inspiration...these arts provided for the early 20th century Western artists
such as Picasso, Matisse and so on."
Borgatti, a Shrewsbury resident who is the
daughter of legendary Spag's Supply founder Anthony Borgatti, continued onto
graduate school where she was able to focus her research and create her own path
of study in an area where not many ventured.
Because of ever-changing cultures, traditions
and modern influences, Borgatti was able to capture her study of art during a
time and place that cannot be replicated. She spent three years in the 1970s
doing her thesis research in Southern Nigeria right after the Nigerian civil war
that resulted in a military dictatorship.
In 1979, Borgatti returned for a post-doctoral
program. At that time the military handed the country back to civilian rule and
there were elections taking place.
"There was a sense prosperity and
hope," said Borgatti. For the most part the country was at peace and the
people were safe.
Borgatti returned to Southern Nigeria (Edo
State) in September 2002. Through December 2003 she taught in the Department of
Fine and Applied Art at the University of Benin, the closest school to her
research site. She taught African Art History to African artists with a
specialization in traditional art.
Elections were taking place again during that
visit, Borgatti said, however, the undercurrent felt very different, "more
cynicism... that has not served them well."
When people ask Borgatti what it was like to go
back to Nigeria after so long, she said, "It makes me want to cry, makes me
want to weep for the opportunities that have been taken from the people."
Although there may be jobs for a relatively
educated population, the jobs can't be done properly because of the lack of
resources and electricity and fuel shortages. The country exports crude oil yet
must import refined oil. It is a country that should be wealthy, Borgatti said,
but instead it has gone from mid-income to low-income.
Although there isn't a large market for
purchasing artwork in Southern Nigeria, Borgatti said, occasionally a portrait
or a landscape will sell. Expressionistic or experimental artwork is not as
commonly desired, but in the United States it is welcomed and people have the
money to invest in artwork. Therefore, an overseas exhibit is very exciting for
these African artists.
"African art isn't highly representational
in its traditional practice. It is highly stylized, but not because people
couldn't do it. It is because they chose not to do it," said Borgatti.
"The culture didn't demand them to make representational things."
The gallery's exhibit, she added, is "a
tribute to the artists and the Nigerian visual culture, which we don't have
access to. She wants visitors to take away an understanding of a complicated,
varied history, and "not to mention a piece or two."
Fred Scott, who owns the gallery located in an
historic old home, said he encourages families to bring their children,
especially for this colorful exhibit.
"I think children should be able to engage in art,"
said Scott.
Local interest in African art is on the rise,
Borgatti noted. The Museum of Fine Arts in Boston will soon be reinstalling its
collection of African art. And the 13th Triennial Symposium of the Art Council
of the African Studies Association, ACASA, sponsored by Harvard University,
takes place in Boston, Cambridge and Salem March 31 through April 2. For more
information, go to http://www.h-net.msu.edu/~artsweb/welcome/acasa.html
In celebration of the conference, the Fredrick Scott
Gallery will host a reception at the gallery on Sunday, April 4, at 9 a.m.,
where Solomon Murungu, a master of the Zimbabwean mbirra (thumb piano), will
present his work.
Dr. Jean Borgatti's gallery talk on Nigerian
art takes place tonight at 7 at the Fredrick Scott Gallery, in the Village Green
Shops, 29 Hudson Road (Rte. 27), Sudbury. The gallery will be open until 9 p.m.
Regular gallery hours are 10 a.m. to 6 p.m.
Monday through Saturday and Sunday noon to 5 p.m. For a complete list of events
and additional information, visit the Web site http://www.fscottgallery.com/
or call 978-440-8898. In addition, Dr. Jean Borgatti will be accepting books
about African art to be donated to the University of Benin in Southern Nigeria.
'Nigerian
Rhythms' creatures scroll paintings, headdresses and traditional costumes.
(Photo: Dave Rains)
