Neil MacGregor, Director, British Museum
This extraordinary painted steel sculpture was made in London by British/Nigerian artist Sokari Douglas Camp, CBE. It depicts a man of the Kalabari people of southern Nigeria in an Otobo or hippopotamus masquerade costume; masquerade is a composite phenomenon in which song, movement, music and the different elements of the dancer’s costume are all integral parts of the performance.
The Otobo masquerade has been danced by Kalabari men for at least 200 years, yet here is a version made by a woman working in metal, a traditionally male medium of expression in Africa. Masquerade in Africa is an art of transformation, harnessing the powers of the natural and spirit worlds for the benefit of humankind, so Sokari’s innovative re-interpretation of a long-standing tradition would seem entirely appropriate.
Sokari was born in 1958 in Buguma, Nigeria, the cultural capital of the Kalabari people who live on 23 islands in the Niger Delta. She moved to Britain as a child and now lives and works near the Elephant and Castle in London. “My work is about what’s going on in London” she says, though part of that is a celebration of her own Kalabari culture, a theme which occurs in different ways in her work. “I live the reality of being both Nigerian and British, but feeling outside both cultures”.
The UK’s largest Nigerian population is found in the capital, in Lambeth and Southwark, but in particular, Peckham. Census figures show Peckham – one of the most diverse areas of the country – with the most Nigerian-born people in Britain.
Sokari’s version of an Otobo masquerader is displayed in the African Galleries next to three examples of carved wooden Otobo masks, one of which (collected by Sokari herself) was made in the late twentieth century, over a century after the other two, though stylistically they are almost identical.
However, avant-garde European artists of the early twentieth century would almost certainly have assumed these masks to be examples of spontaneous creativity, unfettered by the artistic conventions of Western tradition, rather than representing slowly changing, highly conservative artistic traditions – the very things European artists were trying to escape.
The African Galleries – with the help of artists such as Sokari – seek to overturn this approach, showing the strength and diversity of art from across the continent from the earliest times to the best of contemporary art from Africa.
This was first published in the London Evening Standard on 4 October 2012.