In ‘Women of the Elephant Tusk’, REWA highlights African female empowerment, cultural cohesion through art

Despite foreign influence, training and exposure, REWA, a rising global visual artist, will always connect back to her rich African roots.

The University College London-trained Physiology and Pharmacology (Combined Honours) graduate, who left his training to pursue a career is the arts, has done well for herself in visual art, amid a showcase of shere creativity.

Today, she is a globally celebrated visual artist whose heritage-inspired art has

been featured in fairs, museum and gallery exhibitions across Africa, Asia,

Europe and North America.

With all these going for the young artist, she is stilling dearing more for art, her passion.

This time, a major art project took REWA back to her root, amid researches, documentations and tireless efforts that resulted in a laudable artistic showcase.

The result of her research is now made public in an exhibition titled ‘Women of the Elephant Tusk’, Otu Odu.

Displaying powerful portraits of traditional matriarchs the exhibition opens at the Africa Center in London on September 8, 2024.

Also, the works, which are curated by SMO Contemporary Art, celebrate century old systems of African feminism and leadership, coinciding with Black History month in the UK, and the Africa Center’s 60th anniversary.

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It features eight large scale paintings by REWA, who traces the story of initiation into the Otu Odu female chieftancy group in Onitsha, eastern Nigeria. Through the artists’ two year exploration of family history and archival materials, researching intimate narratives about the roles and experiences of members of Otu Odu, REWA shares a compelling story of how traditional women leaders in her hometown, have safeguarded profound traditional knowledge systems and values.

“The Otu Odu women serve as guardians of Igbo customs, a beacon of tradition dating back to the 16th century. The very name, Odu, meaning elephant tusk, encapsulates the majesty and reverence bestowed on its members, who proudly wear ivory tusks (or ivory replicas in modern times) as symbols of their identity and status,” explained REWA in her artist statement.

“The stories and triumphs of my grandmothers and aunts, esteemed members of the Otu Odu society, are a mainstay of this body of work. Like the tusks themselves, they embodied strength, wisdom, and resilience.”

The exhibition’s cover image, The Elder and the Chaperone, shows a young girl carrying a large umbrella, shielding a seated elder adorned with rich traditional textiles, from the sun. The umbrella becomes a powerful metaphor, which speaks to the artist’s intention of protecting these sacred stories from being lost.

REWA’s portraits reflect the tight relational bonds within culturally diverse communities. Her bold use of color within a complex web of geometric shapes, giving a stained glass effect, reflect her artistic sensitivity and depth of expression. The portrait of her British maternal grandmother, who was a proud member of the society, reveals a wonderful diversity of cultures within African traditional societies.

REWA’s paintings take us on an intimate journey of inspiration and initiation, connecting ancient social influencers with contemporary women’s groups in Nigeria and within Onitsha communities in the Diaspora. It is a story of pride and female empowerment.

“Otu Odu is the highest cultural and social society for Onitsha women. The members are well accomplished in their respective vocations in life and are the shining examples for womanhood in the community. They are fondly referred to as women of influence and affluence”, commented Nnaemeka A. Achebe, Obi of Onitsha.

“By this exhibition, REWA has earned her place of honour on the distinguished list of Onitsha visual artists of international repute, including Professors Ben Enwonwu, Oseloka Osadebe, and Okechukwu Odita of the earlier generations, and Emma Mbanefo, George Nwadiogbu, Ato Arinze, Oliver Enwonwu and George Edozie of the present generation.”

“The Otu Odu society embodies the spirit of communalism, women’s participation in economic activities, maintenance of social order of the society, and preservation of ancient and age-long tradition,” said Gloria Chuku, a professor and chair of Africana Studies, University of Maryland, Baltimore, USA.

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“REWA’s art is a celebration of Onitsha, Igbo, Nigerian, and African womanhood, strength, resilience, grace, and elegance; it covers such themes as power, identity, fashion, ornamentation, political authority, community, family, Africanness, Blackness, race, ethnicity, women’s role and agency, history, and contemporary experiences.”

On his part, Obi Asika (Ojinnaka), director general, National Council for Arts and Culture Nigeria (NCAC), explained that, “Through exhibitions like this, we not only safeguard our cultural artifacts but also ensure that the stories, values, and wisdom of our people continue to inspire and empower us all.

“Women of the Elephant Tusk” is not just an exhibition; it is a celebration of our identity and an affirmation of our shared heritage.”

For Sandra Mbanefo Obiago, the exhibition curator and founder of SMO Contemporary Art, the exhibition is timely, coming at a time when the United Kingdom has experienced one of the worst summers of racial tension in modern history, and it is a perfect way to usher in the Black History Month.

“It reminds us of the natural integration of the artist’s British grandmother within post-independence Nigeria, despite the painful history of colonial rule. The Otu Odu women ensured there was acceptance and friendship between all members of society,” Obiago said.

“However, the artist says her work seeks to empower women while fostering a deeper understanding of Igbo culture and its enduring legacy.

“My goal is to celebrate African heritage and provoke thought and dialogue about the social significance and historical narratives that shape our identities today,” REWA concluded.

Meanwhile, the exhibition will opens on September 8th at the Africa Center in London, will run until the end of September 2024, before returning home to Nigeria.