Re: USA Africa Dialogue Series - Can Biblical Figures be Black? : Jude Onah’s Christian Art and the Politics of Racial Representation : Bisi Silva in Dialogue

Arguing for or against such representation in a reactive mode or frame symptomizes our number 1 problem: IC (inferiority complex), the most chronic of our problems.

On Mar 10, 2019, at 7:41 AM, Oluwatoyin Vincent Adepoju <toyin.adepoju@gmail.com> wrote:

                                                                                             

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                                                                                Can Biblical Figures be Black?

                                               Jude Onah's Christian Art and the Politics of Racial Representation

                                                                                Bisi Silva in Dialogue

                                                                               Art Photos  and Debate                                                                          

                                                                    Compiled by Oluwatoyin Vincent Adepoju

                                                                                           Compcros

                                                              Comparative Cognitive Processes and Systems

                                                 "Exploring Every Corner of the Cosmos in Search of Knowledge"  

                                                                                                      

                                                                          

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Compilation of thread at Olabisi Silva's post of 23rd November 2018 on her Facebook wall

Jude Onah : Thanks Madam [ for posting images of his Christian art, at St Mulumba Catholic Church, Azuiyiokwu Abakaliki, Ebonyi State, shown in this discussion], I really appreciate.

Olabisi Silva : Jude Onah well done o! However big big pity na only Oyinbo faces. I know you explained client wishes etc but I believe considering the grip religion has on Nigeria and the whole continent it re-enforces the fact that the face of this religion is not only white and foreign but is representative of the new form of colonialism. Your technical ability is not in question but as we know content is king, it is all powerful and sends out powerful messages. And elicits unending questions.

All images are political o! So what does it mean especially for future generations when they see the people they worship are mainly if not all white, male, blue eyed, with in most cases blonde straight hair? How does this image resonate within st century Africa? At what point does an artists need to eat override the content of their work? You will be remembered for this work by generations and would they be sympathic to the racial representation? It begs the question how did what is an essentially 'white' religion take over a black nation. Coz am sure there were black people around during Jesus time, no? Is this an erasure or denial of the origins of wo/man? (Thinking of Lucy here - sorry I forget the Ethiopian name). I think this is a great work because it allows us to really discuss everything- society, religion, art, artists and their roles, politics, colonialism, post colonialism, neo colonialism, decoloniality basically to discuss who are and who we want to be. In essence our identity.

All students should be made to analyse this work contextually and how it relates to Nigeria even Africa. Is this an African Sistine Chapel? Also this resonates at a time of art historical revision with scholarly research, publications and exhibition on the image of the black person in western art. This is an appropriate opportunity to consider the image of the white person in African art. Ayo Akinwande Charles Okereke Rikki Wemega-Kwawu Eze Chimalio [ artists tagged to draw their attention]

Eyob Kitaba : 'Dinik Nesh' (you are marvelous) home version to Lucy.

Olabisi Silva : Eyob Kitaba thanks Eyob hope you are well.

Eyob Kitaba : Olabisi Silva I am very well. Thanks dear madam, hope you are doing great too.

Jude : Olabisi Silva, I am particularly happy with the consciousness the work has enkindled. I appreciate

Olabisi Silva : Jude Onah I am fascinated by the way it allows us to discuss religion, race and representation from an African perspective. Those opportunities have been rare at least in art.

Rikki Wemega-Kwawu : This is a cultural travesty of the highest proportion!!! The artist, Jude Onah, should have insisted on making the figures Africans or refused to undertake this commission, no matter how grandiose and, obviously, lucrative the project was. Mimicking European Christian Church painting in an African Christian Church, situated in an African setting, is a gross insult to the consciousness of the Black African. By this painting, the artist and his patron are imputing that the African has no place in Jesus Christ's Salvation Message. Tintorreto, Michelangelo, Leonardo Da Vinci, Fra Angelico, and all those Renaissance Masters illustrated the figures in their scriptural paintings as Caucasians, because they interpreted the scriptures from their own cultural perspective as White Europeans. It is about time African also saw their their God and Saviour as a Black man. It is an anormally for Africans to be hanging images of a White-looking man as Jesus in their homes.

The long-term psychological effect of this is, Africans grow up from childhood, believing that it is a White man who holds the key to liberating them from poverty and all the economic quagmire and political imbroglio entangling the entire continent. We have no intiative, whatsoever, of our own for anything. It is, indeed, a deplorable situation. It is a White man who has to come to do literally everything for us, because he is our God. As nice as it is, I am not impressed one-bit by this church ceiling/ dome illustration. It is not just the techinical dexterity - Jude Onah amply exhibits enough here - which makes a painting/ sculpture a great work of art, but most importantly, particularly in this church context, it is the content! I score Judeabsolute zero here, I am sorry.

The Church illustrations in Europe were made at a time when people didn't have easy access to the Bible. The reading of the Bible was the sole preserve of the clergy and, sometimes, the elite in society. The illustrations on the church walls and ceilings and domes of the church were, therefore, mearnt to educate the largely illiterate congregation. So, the ilustrations were euphemistically called the Bible of the poor/ illiterate. Church paintings, beyond decor, are primarily mearnt to educate. Jude's Church painting sends the wrong, inimical education to the African. It should be scrapped off the walls/ ceiling, in my candid opinion. As Bisi has suggested, the work calls for serious discussion not only among those in the African art world, but African theologians, scholars and "Men of God.' What does it mean to be African Christian today? Do we continue to worship a White God?

C. Ben Bosah : Hmmm. Rikki Wemega-Kwawu, easy o. Man must wack. Your point is not off target, but you have to recognize his situation, too. The scorn should be reserved for the (choose your adjective) who commissioned the work.

Olabisi Silva : C. Ben Bosah I think the discussion could be richer if we don't pour scorn on anybody - the Artist decided he must wack and the commissioner shows his inferiority complex - hahaha God no fit be black nah. But we should focus on content and the message it is giving within an African context.

Olabisi Silva : In thinking about content, and a work of artistic merit - not technical merit - were these images copied from book/photographs provided by client or through research or the result of the artists imagination? Am very curious. Jude Onah

C. Ben : Olabisi Silva Very good questions. Jude OnahOver to you.

Jide Aje : Rikki Wemega-Kwawu An insult to our conciousness? Do we have it? Are most of us even woke?

Jude : Rikki wemega-Kwawu, Olabisi Silva, C. Ben Bosah, I appreciate you for your genuine perspectives. I so much agree with you that it takes more than skillful rendition to make an artwork successful. The culture, time, location, theme, cosmology and believe systems are also considered. I subscribe to the Africanization of our religious figures but most times, our clients think otherwise even when you bring it up. Only one of my clients supported this idea and black figures were used in his. In fact, the faces of his parishioners were used. But I observed that the parishioners would have preferred white figures. It is true that the artist has the option of turning down offers, but I must be honest, it is not easy to survive as an artist around here. Aunty Silva, the paintings were done from pictures selected by the client and not from the artist's imagination.

C. Ben Bosah : Jude Onah Perhaps you could share the perspectives of the individuals commenting here about the pieces. As you know, no one is questioning the skill you bring to the commission, but the long term effect on the consciousness of our people. And it is not a good one. I will volunteer to talk with the commissioner if you so wish. Ichie Atakatagbua ekele kwa gi.

Jude : Dalu Ichie. I will keep all these in mind.

Obi Nwaegbe : C C. Ben Bosah I perfectly agree. I hold those ones even more accountable because they hold the aces.

Olabisi Silva : C. Ben Bosah thanks for the comeback Jude Onah. First of all I appreciate your financial explanation as one has to live. Very interesting the parishioners response too. Obvious they are still at that primitive stage where the white face is superior so still a long way to decolonisation. To me that translates as the white man has been success in an insidious form of continuing colonisation of the mind. With these kinds of images and iconography it could continue for generations to come. The other day I was thinking about the writing of contemporary African art mainly being written outside the continent and the way it is decontextualised, and ahistorical and how problematic that remains. But it is because discussions such as this don't happen. So appreciate all contributions here.

Jide Aje : Olabisi Silva This is an issue that can be viewed from a few angles. The peoples in the original Biblical narratives were neither European nor African, they were Asian. The depictions became European as a result of conversion and cultural assimilation: Christianity and European pretty much became one and the same. This was what most Africans (except Ethiopians and Egyptians) pretty much got. From this view, the images are factually accurate and truthful. We then have to examine exactly why we need to depict the characters as African if in fact they were not. Let's remember that we accepted the new religion lock, stock and barrel pretty much with very little examination and reflection. I'm not sure the clients are necessarily at that primitive stage or in need of decolonization....a test would be helpful. What sayeth thou?

Olabisi Silva : Yes that is an interesting angle too but the religion has also been Africanised - like African Methodist Church etc etc. The images we have are not direct life copies of the people - unless we are all taking from sketches of Jesus. Who knew what he looked like? If the Europeans can take the biblical narratives and change the characters to European to suit their context why can't Africans?Jide Aje

Jide Aje : Olabisi Silva Yes, in fact, we can, we should and we have already.

Charles Okereke : Interesting discourse; it all shows the contents of our minds. Indoctrination and cultural alienation is a powerful force in the skill of brainwash. Like a race lost in the vast ocean of time, we can no longer retrace our roots, the reason we cling tenaciously to foreign concepts, language, food, lifestyle.... the list is endless. Art is supposed to correct this, but alas! the western style of education was also used in our schools. We were taught western art history than the study of our indigenous art forms; so the acculturation is not only on religion, but permeates all of our thought processes, conscious and unconsciously too.

The big question is, 'how was it in former times?; before the colonialists came. Cloaking or replacing the religious figures with black personalities will yet not answer the question of how to retrace our identity....much is to be done in deleting from our memories the implants of the colonialists with a rethink that begins to value and reevaluate our lost but traceable essences...and that's the place of the arts. Art can be used as a tool of cultural revolution, or we acquiesce still more to slavish precepts that perennially shackles our identity...while seeking for daily bread.....we need a change in the structures of our educational system, it is the same method of a brainwash, worst than even the churches.

Silver Victor : Well,I am neither a good writer nor a good speaker.Everyone is subjected to his/her opinion.I just believe we all remember that Christianity is a cultural believe of the Western world,which has more to do with faith.The record made us to know the history and the origin of the authors of this faith.(i.e Jesus from Nazareth.etc).Otherwise we want to turn this to fantasy and fiction,we just have to keep it real.Jesus of Nazareth cannot be Jesus of Cameroon,and so on.We know about the Pharaoh and his people in Egypt,the visitation of the Israelites which is part of the history.All these are realities that cannot be altered.

What do you want to tell the younger ones about the black jesus in the alter?Jesus of Ghana?maybe we want to write our own story,fiction indeed rather than the one of faith.We have our own gods.We can pro.ote them by painting them in our traditional worship centers.Ogun or Amadioha cannot be painted white by anyone arround the globe without getting a warning from us.They are all fixed,they are part of history,they are culture,and the cannot be altered. Jude you are sure making history...but if your faith not strong in this,just call me next time you get its kind.I promise to return your tithe

C. Ben Bosah : Silver Victor You have just shown that you are not a good writer or speaker, and also that you do not have a good grasp of history and anthropology. The people of the region where Jesus was born and raised have brown skin and if the Europeans who have chosen to show him in a paler skin than he most likely was, they have succeeded in brainwashing you, again. You are probably not more religious or seeking to be Christ-like as most of us. Please return Jude's tithe to me. That is another misguided practice of most churches in Nigeria where wolves in sheep's clothing propagate deceptive practices to separate people from their money.

Jide Aje : C. Ben Bosah Were they African? At the time of European depictions, Christianity was already in the culture. It is unlikely the artists were aware of what the peoples in the Bible looked like.

C. Ben Bosah : Jide Aje Exactly my point.

Jide Aje : C. Ben Bosah that was my point, I claimed it first! Ayò AkínwándéI'll love to know the location of this work - the church I mean. Thanks

Michael Enejison : Ayo Akinwande Watch the video. He mentioned it. Hehe. Meanwhile make ona chill small for the guy o.

Olabisi Silva : Michael Enejison What does that mean chill small. He is an experienced artist and lecturer and I am sure able to handle such discussions. I just can't bare that we can't accept anything that is not congratulatory. That is why art is in a process of stasis here.

Jude Onah : Thanks Michael Enejison, I appreciate, people have their opinions and they have the right to share it. These diverse perspectives make the discuss richer. We learn better when we keep an open mind.

Jude Onah : Ayo Akinwande, the work is at St Mulumba Catholic Church, Azuiyiokwu Abakaliki, Ebonyi State.

Ayò Akínwándé : Jude Onah Thank you 🙏🏿

Michael Enejison : Olabisi Silva I believe he should at least say something about his motive for the work before this extent of critiquing. I hope he eventually does.

Michael Enejison : Jude Onah Yes o. Hopefully you get to say something to make the conversation not single ended one.

Olabisi Silva : Michael Enejison critique and analysis can happen in many ways with or without the artist's voice. Imagine having to talk to an artist first each time. One a work is put into the public arena it is up for a sorts of responses. As I continue to say in this part of the world all non congratulatory comments are discouraged, seen as personal attack and at time even violently shut down. I fight against that. If any artist can't take criticism except good he should keep his work in his studio.

Rikki Wemega-Kwawu : @ Jude Onah: I don't mean any offense with my critique and, please, no offense be taken! I'm only being blunt and saying it as it is. I seriously think you should have sought a more critical and informed opinion before carrying out this laborous undertaking. As a painter, I know, the technical troubles and difficulties you must have endured to complete this assignment. Congratulations, anyway, my brother for the hard work! My only beef is, this is not just a small easel painting on canvas which can be hidden somewhere when it meets with a public outcry and disfavor.

This is a monumental work in a public view. It's outreach will be vast and can't be quantified. The negativity of its cultural impact and the devastating blow on the psyche of the African congregation in that church, for now and generations to come, is what I find very bothersome. The Sistine Chapel at the Vatican was painted by Michelangelo in the 00s, that is over 00 years ago. Assuming your illustrations on the walls of this church have to survive this long, for 00 years, you will be telling Africans their God was not a Black man, but a White. Can you imagine that? I am afraid, that is what your commissioned work, perfectly executed, in fact, seeks to achieve.

Jude Onah : Rikki Wemega-Kwawu, thank you very much. I perfectly understand where you are coming from. Your contributions have given a topic a robust outlook, who knows,the next client might share your perspective. I appreciate.

Eze Chimalio : Jude Onah work is as 'confrontational' as it is passive. It raises more questions than it answers and addresses issues that are not only political, sociological but financial. If, as a commission it pleases its commissioner who in turn rendered to the artist his mettle so be it and congratulations to Jude Onah but as regards the work in a public space, night falls. I do not think the artist should have been involved in this mock-theatre even with its grace, colour and fanfare. It is too 'white' and overtly romantic.

Depiction of Christ and the Christian story in places of worship is 'pagan' and ideolatry even when it is meant to be some 'spiritual' narrative of Christianity. Changing the face and body of Christ, his mother, disciples, saints or whoever is resident or apparent in the canon of church liturgy to the of a black person is a surrender and a weakness to 'new' populist taste, thus comparisons that harbour an inferiority complex, and a failure to avoid the temptation of 'parity'. As African artists we do this at own peril in the sense that we perpetrate the maxim that 'We' are aping our 'superiors'

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