By Tajudeen Sowole
Whatever cultural value that
Nigeria has to infuse into the country's judicial process could be found in the
concept of Justice and Culture, which
is expressed in a figural sculpture mounted outside Faculty of Law building,
University of Lagos, Akoka.
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The Justice and Culture statue at the Faculty of Law building, Unilag.
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Donated to the university by a prominent art
collector, Omooba Yemisi Shyllon, the blend of culture in judicial process is
depicted in what could pass as a modified African version of the symbol of
justice. Sculptured by artist, Adeola Balogun, the Justice and Culture lady would, in future intellectual gatherings,
be a subject of debate over cultural value in jurisprudence space.
During a brief unveiling ceremony, the Dean,
Prof Akin Ibidapo-Obe argued that in law, the culture of a people cannot be
ignored. The whole idea behind the sculpture, "is to encourage our students
that culture has a place in law," the Dean told guests and members of the
faculty shortly before the unveiling. "For example, our needs are not the
same as the European's."
Earlier, he recalled that the mounting of the
sculpture "was not accidental; we had always wanted to do it." The
Shyllon donation intervention, he explained, was well deserved given the track
record of the donor's philanthropic gestures in the country. Apart from noting
that Shyllon "was an outstanding student" at the faculty, Ibidapo-Obe
stated that "he is an example for us to emulate."
The Dean's assertion about Shyllon couldn't be
faulted; just two days before the unveiling, the donor had extended his
generousity to Pan Atlantic University (PAU) Ajah, Lagos where he 'donated' a
proposed-museum facility and one thousand pieces of art. Also, in 2013, Shyllon
donated 18 sculptures by Balogun, Patrick Agose and Jagun to Freedom Park,
Lagos Island.
In his welcome address, the Vice Chancellor,
Prof Rahman Adisa Bello, stressed the passion of the donor in the area of art
and culture, of which the university’s Creative Art Department has benefited
from. Extending the philanthropic commitment to the Faculty of Law, Bello said,
"shows that there is a link between law and culture."
The choice of art and culture in his
philanthropic activities, Shyllon explained, was aimed at preserving the
people's identity. The donation to the Faculty, he added, goes beyond just a
sculpture to beautify space. The donor hoped that "this would influence how
we symbolise justice." Shyllon recommended: "This is Nigeria's symbol
of justice."
After the unveiling was done by Hon Justice
Amina A. Augie, Presiding Justice, Court of Appeal, Lagos Division, the artist
explained the concept and different native motifs used in the embellishment of
the statue. Balogun, a well-known signature in public space art stated that
quite a number of diverse Nigerian native contents in motifs and symbols are
encrypted in the work. Some of the features on the Justice and Culture lady include a hairdo known as shuku' from Yoruba, waist beads from
Benin as well as motifs from the Igbo culture, among others.
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Some of Balogun's works in public space
include statues of Obafemi Awolowo, on Allen Avenue, Ikeja, Lagos; Brigadier
Samuel Ademulegun, mounted at Akure/Ondo Junction as well as Madam Efunroye
Tinubu at Union Bank building, Lagos Island; and Funsho Williams statue at
Costain, Lagos.
For each of the works, there were challenges
and gains; the Justice and Culture
lady was not an exception. In a text that serves as Balogun's Artist Statement,
he disclosed that the brief given him "was to re-conceptualise the
universal symbol of justice in traditional Nigerian context."
Cast in bronze and standing nine ft with
marble basement of six ft, the sculpture retains the concept of universal
symbol of justice, but also highlights native contents, which Balogun described
as "justice, authority and honour as signified by the Eben, the Irukere and Udu respectively."
In the weeks ahead, critiques of Justice and Culture would be coming. In
fact, the spot - next to Creative Art Department - where the statue stands
makes it more vulnerable to critics' pen. Perhaps, preempting critics, Balogun
touched on issue that, most often is raised on public art. "when it comes
to quality public monuments, it has always been a controversial issue even in
advanced climes."
He advised that "public buildings need
to be imbued with aesthetic appeal." Balogun however warned that "we
might continue to get the reverse if it’s not done through
the right channel; the public should not be docile."
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