Preserver of Edo culture and glory
Preserver of Edo culture and glory
Author(s):
Victor Chiejine Mowete
Edited By
Type: Article
Country: Nigeria
Language: English
Content:: Academic
Source: Edo State Archives
Timeline: The Contemporary Age - From 1950 to present
Published: 2024
Description
Victor Chiejine Mowete is a sculptor who works in various metals, including steel and bronze. He trained as an artist at Delta State University and the University of Benin. Like many of the artists collaborating with the [Re:]Entanglements project, Mowete is conscious of the ambivalence surrounding the Northcote Thomas archives.
He is interested how over time, photographs and collections that were assembled as part of a colonial project – with all its associations with appropriation, exploitation and violence – have become important resources for present-day populations. As he says, ‘Those things that were collected for exploitative reasons, in later years are also going to be important to us and can be used to our own advantage’.
For his contribution to the project, entitled ?mwan n?r dia uyi ?do yi (meaning ‘Preserver of Edo culture and glory’), Mowete has cast a work in bronze that speaks to one of Benin’s most iconic treasures – the 16th-century ivory Idia pendant mask, versions of which are in the collections of the British Museum in London and Metropolitan Museum of Art in New York. This famous mask was also used as the emblem of FESTAC in 1977, thus becoming an icon of Nigeria and African arts and culture more generally.
In place of the Iyoba – the Queen Mother, Idia – Mowete has used the head of Northcote Thomas wearing his distinctive pith helmet. The top of the original mask is decorated with heads representing the Portuguese, symbolizing Benin’s alliance with and control over Europeans. These have been replaced, in Mowete’s work, with the heads from various ukhure (rattle staffs) that Thomas collected in Benin City, as well two heads taken from a carved shrine figure (ikute) collected by Thomas from Okpe.
Thus, the ambiguity remains: the piece
is, on the one hand, a celebration of Thomas as the ‘preserver’ of Edo
cultural heritage; on the other hand, however, there is the suggestion
that this preservation entails the control of the ancestral objects and
knowledges that Thomas assembled as a government anthropologist.
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