By Tajudeen Sowole
Without westernised
preservation laboratory, a group of Osogbo-based Sacred Grove Artists appear to
have perfected the art and science of sustaining aesthetics of old cultural
works.
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Osogbo
Iya Moopo. Photo by: Adolphus Opara
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As commendable as the efforts of the Trust
and the Sacred Grove Artists is in getting the damaged works at the site restored,
observers would argue that preservation requires advance technique aided by
digital technology to sustain a proper management of the works. But there is
nothing to worry about. The artists, according to co-chair, Save Our Art!
Save Our Heritage! Robin Campbell, need little or no such input; the
traditional and native technique in preservation, which has been used for over
several decades are still resilient. She disclosed that even, Julius Berger, a
well-known expert company in cement came to the grove and assured that the
artists were on the right track in restoration and preservation, "though
gave the artists little advice." In cements, and with assistants of some
of the artists, most of the sculptures in the grove, were originally produced by
Wenger (1915 -2009).
Having sustained a global tangible cultural
status as well as institutionalisation of the matriarch, Wenger (1915 -2009),
the iconic Osun Osogbo Grove, southwest Nigeria is, clearly, frantically being
rescued from losing its artistic contents of over four decades. In 2005, the
global body, United Nations Educational Scientific and Cultural Organisation
(UNESCO) conferred its prestigious Heritage Site on Osun Grove. But to sustain
the cultural and artistic values of the site, the AOT is using the Save Our
Art! Save Our Heritage! exhibition to raise fund and keep the works of
restoration / preservation of the Grove alive.
Inside
Rufkatu Hall, on the first floor of Wheatbaker, some of the over 100 exhibits
were on display for preview shortly before a formal opening of the exhibition
and auction. Arguably, Save Our Art! Save Our Heritage! is the biggest
post-Wenger exhibition or art gathering in Nigeria. Also on display were works
of non-members of the Sacred Grove such as photographer, Adolphus Okpara and
painter, Polly Alakija. Two of Wenger's works: a batik donated to the event by
, Berlin and a painting were also on display. The batik, a colourful print,
according to Robin Campbell, co-chair of Save Our Art! Save Our Heritage!
"will be on auction."
Chair of Save Our Art! Save Our
Heritage! Mr Femi Akinsanya confirmed the eargerness of the old artists to
train young ones. He noted how keeping the artists working at the grove require
funding, Akinsanya said as a voluntary organisation, "there is a limit to
what we can offer." He hoped that the
Save Our Art! Save Our Heritage exhibition will help attract
attention to the nedds of the trust.
Basically, funding susteinance of the grove is
a challenge, which AOT is facing. One would think that the UNESCO listing of
the site provided an advantage to generate tourist destination - outside the
yearly Osun Osogbo Festival - that could at least sustain the preservation of
the grove. The tourism drive, according to Adesanya, was an ongoing effort,
which includes working with the National Commission for Museums and Monuments
(NCMM) and government of State of Osun. He assured that "once the works of
restoration are done at the grove tourism drive will be intensified."
Wenger, who spent most of her over 40 years
residence in Osogbo adopted the Yoruba culture and native religion just as she
organised workshops for the indigenous artists.
Separating Yoruba religious tradition from Isese
Translucent S.I. Media management agency for artists and art galleries
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