UPCOMING PROJECTS

BACKGROUND

In 1897, the British army invaded the Benin kingdom in present-day Nigeria, killing scores of soldiers, deposing the king, and looting an estimated 4000 cultural artefacts known as the Benin Bronzes; most of which are scattered across museums in Europe, America, and private collections.

During the 1977 Second World Black and African Festival of Arts and Culture popularly known as FESTAC ’77, the British museum refused to loan the ivory mask of Queen Mother Idia (also a Benin bronze and the symbol of the festival) to the Nigerian government on grounds that it was too "fragile" to be transported.

The Benin bronzes represent far more than just stolen loot taken by the British army, they serve as a touchstone for the events of February 1897 which marked the fall of Benin - Africa’s last great cultural repository and a worthy case study for ethnocide (the destruction of culture while keeping the people) facilitated by colonialism. When a culture is put to the knife, what do its people become?

The topic of Art and restitution have headlined conversations in not just the creative community, but have garnered global attention in recent years. when the question of “what should be restituted?” is asked, artefacts made of wood, bronze, gold, brass or ivory are not only what is meant - Human remains of ancestors still housed in western museums some as old as a hundred years - fall into this category as well.

Calls for the return of Africa’s stolen heritage situates it as a vital social justice issue in today’s world as the consequences of centuries of colonial plunder can be directly linked to the gradual cultural extinction Africa is facing. According to UNESCO’s Atlas of the World’s Languages in Danger of Disappearing, an endangered language is one that is no longer spoken by children. if we replace “language” with “culture” in the previous sentence, the ramifications become more pronounced.

WHY IS THIS A VITAL PROJECT?

Statistics show that as much as 90% of sub-Saharan heritage is outside the African continent, with the British museums accounting for a staggering 200,000 of them. What is also worthy of mention is the racist narrative told about the people and places where these objects came from.

One piece of literature describes Benin as a city of Blood “Nothing that can be called religion, exists within its limits, only paganism of the most unenlightened description…the capital of superstitious idolatry and barbarity for more than a hundred miles inland” very few acknowledge Benin as a once thriving civilization, or as one of the first cities in Africa to run on street lights or that it is home to “the world's largest earthworks carried out prior to the mechanical era"

Run a quick Google search of the word “Benin bronzes,” and 7- 8 out of the first 10 results are non-African references; a broader implication is that none of these are indigenous references. This goes to show that there is a need for more native voices to be involved in telling their own stories.

In the area of cultural representation on the scale of a legacy project, only two major films covering aspects of the expedition have been produced; The Mask (1979) and Invasion 1897 (2014), directed by Lancelot Imasuen. Just two!

In her TED Global 2009 presentation, Nigerian author, Chimamanda Ngozi Adichie discussed the potency of storytelling and the potential hazards of accepting a single narrative about a particular place or community, rather than recognizing the intricacy of multiple narratives.

The above buttressed beyond any doubt why “Benin did not die, she sends her regards” is a vital and important project, the production of which would be a step in the right direction.

PROJECT OBJECTIVE

To document the events of 1897 that set in motion the pilfering of cultural relics from Africa to the western world
To advocate for the return of stolen cultural artefact
To bring to the forefront, artefacts of cultures that have been relegated to the backdrop of reparation talks
To encourage African storytellers to embrace bold new ways to tell their own stories
The project aims to meet these objectives through poetry that narrates, questions, diagnoses, repairs and brings to light, how Benin is healing from its past.
It would also employ the use of Visuals that stir and invoke the message of the poem

MESSAGE

To spotlight the impact of cultural loss due to colonialism, to correct racist narratives, portraying the image of Africa as told by Africans.

TARGET AUDIENCE

The target audience for this project are the Benin people, young and middle-aged African art and cultural enthusiasts, black community in the diaspora and international creative spaces in Britain, Germany, United states and France where most of these artefacts are still being housed.

HOW DO WE REACH THEM?

Local and International Film Festival Screening: Local film festivals and screening platforms such as The Lagos International Poetry Festival, Benin City Film Festival, Edo film festival, Abuja International Festival - and International Film Festivals such as the ZEBRA Poetry Film Festival (Germany) Silicon Valley African Film Festival

Independent Screening: Primary, Secondary and Tertiary School tours, Community outreach will be explored in the propagation of the message.

Media Tour: Media Tours(Physical/Virtual) will also be conducted via Local and International mass media (radio, podcast, newspaper, television etc.)

Social Media/Digital Campaign: Social Media is a vital tool in publicity. A Change.org petition on the issue would be started, calling on Key Governments and institutions to restitute these artfeacts in their custody.

THE CREATIVE DIRECTION

Film Production: This would entail the combination of the Poetry performance of the poem fused with dance and immersive theatre. Snippets of interviews with selected art curators and restitution activists would also be part of the film as this would make for a well-buttressed and properly executed poetry film.

Synopsis

Benin did not die, She sends her regards - follows the journey of a curious throng of mourners, accompanied by a poet and a group of Performers, in a semi-urban African town on a journey to bury their dead.

Art Installation: The inspiration for the art exhibition is derived from a 2021 art exhibition held at the Nairobi national museum, Kenya - tagged “invincible inventories” (link here)

Imagine walking into a museum space and instead of the usual paintings on walls, artworks, and sculptors, you are greeted by empty rows of glass cases. Empty. Why this appeals to me is the evocative nature of the set. “They display an absence, representing the tens of thousands of objects taken out of present-day Kenya by Europeans during the colonial period – many of them stolen” a literal embodiment of using empty spaces to speak of the holes left behind in communities and countries robbed of their heritage.

How will mine be different? Instead of using empty glass cases, I plan to use empty Petri dishes (link here) Why? In the field of microbial science, Petri dishes are used in preparing Cultures. The catch is to use Empty Petri dishes to connote missing cultures! With tags or labels beneath them explaining what objects they ought to contain. I plan to incorporate the above instead of showing replicas or images of these artefacts in the exhibition. What this does is that the viewing audience is hypnotized to wonder not just where the artefacts are, but also what they look like. I believe nothing does justice to the aim of this project than this.

Upon completion of the film, in collaboration with art curators, the idea is to infuse these elements into an art installation screening similar to Wanawana Udobang’s Dirty Laundry (link here) where the audience can come to not only partake in the film screening but also learn about the history through immersive experience.

PROJECT TIMELINE

Audio production - July 2023

Film Production - August 2023

Post Production/Release Planning - September 2023

Release - October 2023

THE TEAM

DAVID ODIASE

RESEARCH/ POETRY COORDINATOR

David Osaodion Odiase hails from Benin, Edo state, and is a poet, performance artist, storyteller, and history enthusiast dedicated to promoting historical and cultural literacy. Through poetry, performance art, film, and experimental art forms, he shares conscious African stories, challenging biases and offering a fresh perspective. His works have received international recognition, including official selections at prestigious film festivals such as the African International Film Festival in Nigeria, Zebra Poetry Festival in Germany, David has performed at prominent events such as the Lagos International Poetry Festival and the Oceanside Theatre in San Diego. He has been a recipient of the Ekonke African Storytellers Prize, and winner of the Lacasera National Poetry Slam.

Beyond his artistic achievements, David is actively involved in advocacy initiatives such as the SOUND OF UNITY DIGITAL CAMPAIGN against electoral violence, in collaboration with the Canadian High Commission, Truemyvoice, and Change.org. He also served as the Project Manager for a poetry-infused documentary on the Great Green Wall, inspiring youth engagement in combating climate change in Nigeria, and was a facilitator at the Slum Party initiative, challenging perceptions of slums through dance and performance art. He volunteered for SpeakupStandOutNG (SUSO) program, utilizing art for voter sensitization, Currently, David serves as the community manager of TrueMyVoice, a literary community of over 400 storytellers where he is involved in mentoring fellow artists on using their art for advocacy and social change.

VALU

CREATIVE DIRECTOR

Sunday Obiajulu Ozegbe, known also known as Valu, is a talented artist hailing from Nigeria. His diverse skill set encompasses the realms of dance, choreography, writing, activism, and community organization. Valu's passion for his craft has garnered him recognition on a global scale. With a strong foundation in various dance styles such as Hip Hop, Contemporary, and Pop Dance, his works showcases a fusion of these influences.

Valu's dedication and creativity have been acknowledged through esteemed awards. In 2021, he received the Prince Claus Seed Awards, a prestigious honor highlighting his exceptional talent and commitment. Additionally, he was humbled to be recognized with an Award of Excellence in Dance by the Lagos state Governor. The Guild of Nigerian Dance Practitioners also honored Valu in December 2021, recognizing his innovative approach to dance. As the Founder and Artistic Director of Ennovate Dance House,

Valu nurtures a collective of gifted dance artists based in Lagos, Nigeria. Together, they explore boundless creativity, elevating the art of dance within their community and beyond. Valu's genuine passion for social change is exemplified through his involvement as the co-curator of Slum Party, an annual event held in the Oworonshoki area of Lagos state. This initiative seeks to challenge negative stereotypes associated with slums in Nigeria, utilizing art as a means of transformation.

ANGELA OKOLO

CREATIVE DIRECTOR

Angela Okolo, a Dance Artist hailing from Delta State, Nigeria. Having graduated from the University of Benin, she is currently pursuing her PhD at the same institution. in the process of her academic journey, Angela has actively engaged with the university community, organizing workshops, and creating captivating works within its framework.

Angela's artistic endeavors extend beyond the borders of her homeland. She has actively participated in numerous dance projects and artistic gatherings across Africa and the Diaspora. Utilizing dance as a powerful medium, Angela strives to express herself and foster meaningful interactions, constantly pushing the boundaries of her own potential as both a human being and an artist.

Teaching dance is another facet of Angela's vibrant persona. With a deep-rooted passion for the art form, she revels in sharing her knowledge and expertise with others. Always in search of fresh avenues to express and communicate through movement, Angela eagerly seeks collaborations with creatives from diverse fields, recognizing the transformative power of interdisciplinary cooperation. Presently, Angela is facilitating a session at this year's Slum Party, focusing on the intriguing theme of "Performing Femininity." Through this approach, she aims to facilitate a profound connection between participants and their feminine selves, providing a platform for self-exploration and personal growth.

FAITH OKOH

DOP/ CINEMATOGRAPHY

Faith Chukwuemeka Okoh, also known as PHAITH OT, is an accomplished Dancer, Director, and Cinematographer hailing from Lagos, Nigeria. His artistic endeavors are centered around the captivating world of storytelling, delving into the realms of memories, imagination, and the profound depths of the subconscious self. Beyond mere communication of ideas, Faith strives to foster a genuine sense of comprehension and connection through his creative works. His unwavering passion finds its essence in three distinct realms: dance, directing, and filming, which encapsulate his artistic pursuits.

Uhunoma Charles

Creative Director

Prince “Uhunoma” Charles born July 7, 1996, is a Nigerian multidisciplinary artist from Edo State. He expresses himself tacross poetry, music, photography, performance art and film. He explores theorizing social hypotheses anchored on concerns for global and local crises and challenges, along the way spotlighting his observations of self and immediate environment, with the hopes of adding to the “daft basket of afro-solution”.

Muyiwa Adeola Babayomi

Script Analyst

Muyiwa is a poet, author, script analyst, traditional flutist and cultural producer. He studied Electrical Electronics Engineering in Obafemi Awolowo University as an undergraduate. His studies were fully sponsored by the MTN foundation – the largest telecommunication company in Africa. This opportunity had enabled him to balance his education with a burgeoning interest in the arts, an intersection that has shaped his creative and professional journey. Muyiwa is deeply committed to enriching the African cultural landscape through his diverse creative contributions. He also lends his time to the industry as a faculty member at the Lagos Poetrython where he nurtures and works with emerging cultural talents in West Africa, where he shares and promotes African diverse cultural narratives.

MR. Enotie Ogbebor

Project Advisor

Enotie Ogbebor is the creative director of Edo Global Art Foundation. He is a self-taught multidisciplinary artist whose love for art, culture and history has been perfected for over 25 years. Enotie is considered an authority in Benin court art and history. He is a voice in the discourse and plays a very active role in the effort about the restitution of ancient Benin bronzes and artifacts which are in the possession of foreign museums. He is a steering committee member of the Benin Dialogue Group. Enotie is also a director on the board of the Legacy Restoration Trust (L.R.T) responsible for the establishment of the Edo Museum for West African Arts (E.M.O.W.A.A).

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