SMO is pleased to present "Women of the Elephant Tusk: ndi otu odu", an exhibition of works by Nigerian visual artist REWA at the Africa Centre in London, from September 8-29, 2024.
REWA’s works are a “heartfelt tribute” to the distinguished women of the Otu Odu Society in her hometown Onitsha, a rich and historic cultural and commercial hub in Eastern Nigeria. Women of the Elephant Tusk: ndi otu odu is an homage to traditional African feminism, seen through the lens of a prestigious socio-political women's group, dating back to the 16th century, preserving and promoting Igbo customs and traditions.
REWA’s powerful portraits celebrate these strong women leaders who have shaped their communities and played a vital role in governance and societal unity. She intertwines her heritage within the society through archival materials and family history, connecting with her personal lineage while celebrating African women's empowerment across the continent.
The month long exhibition mark’s Black History month in the UK, and celebrates the 60th Anniversary of The Africa Centre in London.
Rewa has distinguished herself as an investment banker by day, and a prolific self taught artist in her spare time. While juggling a grueling work schedule, she has spent the last two years working on this important body of work, tracing an intriguing story of the women of the elephant tusk by drawing inspiration from her rich family history.
Her portraits depict the different stages of initiation into the Otu Odu society, reflecting the complex intertwined stories of generations of Otu Odu women, who have passed down traditional customs through their matriarchal positions within society. Their leadership dates back to the 16 th century, and Rewa’s paintings connect these ancient influencers to contemporary women’s groups in Nigeria and within Onitsha communities across the globe. She has carefully documented the intricate facets of this respected and sometimes even feared group, from an external perspective, as well as from a deeply personal vantage point. Her paintings take us on an intimate journey of inspiration and initiation.
REWA’s portraits reveal the strong ties of friendship these women share amongst themselves and across generations. The exhibition’s cover image, The Elder and the Chaperone, shows a young girl carrying a large umbrella, shielding a seated elder woman from the sun, a powerful introduction to this important body of work.
The umbrella becomes a beautiful metaphor which speaks to the artist’s intention of protecting these sacred stories from being lost. It is almost like the artist is mirrored in the younger generation, providing shade and repose to age old tradition. The wrinkles on the elder’s face are beautifully contrasted by the layered folds of the flowing fabric draped across her shoulders and waist. Her two hands rest confidently on her knees framed by thick ivory bangles on her wrists and ankles. Her knowing gaze reflect wisdom, courage and patience, as the single strand of orange coral or aka beads, hang to her left, as if the artist has deliberately placed them over her heart. Both the elder woman and the young girl at her side, engage us with a clear, unperturbed gaze.
Rewa’s portraits reflect the tight relational bonds within complex and diverse communities. Her subjects are clad in carefully rendered textiles, perfectly in tune with the geometric patterns crisscrossing their faces and bodies. Her composition are a wonderful homage to the high fashion sense of Nigerian women. The different stages of the initiation ceremony are reflected in a rich
display of exquisite style and grace; the artist’s detailed flowing fabrics, accentuated by matching accessories, jewelry and flamboyant head wraps, allow us to take part in the splendor of these colorful festive ceremonies.
The only male figure in this entire body of work is a painting of a couple embracing. The man wears a hat with an eagle’s feather, signifying he is a member of the revered Agbalanze Society of Onitsha, the highest governing society within Onitsha. He is draped in layers of rich traditional fabric. The artist shows him seated and laughing, while he embraces one of the Otu Odu women, bending down towards him. This portrait, called igba ilo: The Procession, appears a subtle reference to how men within traditional Onitsha society pay homage to the Otu Odu women, acknowledging their important contribution to the health and wealth of the community.
Rewa’s portrait of her maternal grandmother, seated with her hands folded in her lap, speaks to the wonderful diversity of cultures within traditional societies, and how local communities are often the place where this complex mosaic of heritage was birthed and has grown into a tightly knit, multi-generational tapestry.
At a time when the United Kingdom is going through one of the worst summers of racial tension in modern history, this exhibition is a perfect way to usher in Black History Month. It reminds us of the perfect integration of the artist’s grandmother within post-independence Nigeria. Despite the difficult and painful history of subjugation under British colonial rule, there has always been acceptance and friendship on the human level between all members of society.
Women of the Elephant Tusk reminds us that it is possible for all members of society to be integrated, protected and justly represented within local governance. It also reminds us that for centuries, women leaders have fearlessly paved the way for younger generations to understand and embrace their diverse identities, providing balance and cohesion within the community, while guiding us towards a just and equitable society.
Women of the Elephant Tusk is an invitation for everyone to celebrate their personal cultural histories, and by celebrating these deep and rich familial roots, pave the way for everyone to thrive within a culturally diverse and progressive society.
Sandra Mbanefo Obiago
Founder & Artistic Director, SMO Contemporary Art
