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In conjunction with Olowe’s grandson, Mr. Olajide Ologbon Olowe, and the Director General of the Ekiti State Bureau of Tourism Development, Wale Ojo-Lanre, I am starting a movement to remake that home, turn it into the Olowe Museum, and begin a campaign to return all of those works stolen and taken abroadStye of his house now
I FIRST encountered Olowe of Ise about 15 years ago. An American friend of mine, Kathleen Mead, who works at the Smithsonian Institute in Washington, DC, invited me to visit. She said she had a surprise for me. I arrived at the vast premises, and she led me to this fairly big space housing the works of Baba Olowe, also known as Olowe Ise. “Meet your statesman and his body of work,”, she said to me. My mouth was agape. I went around, looked at the works, and sought out Olowe’s profile.
Back home, I had never heard of this genius nor seen any of his works. No museum in my state, and neither in the whole of Nigeria, houses any of his works. His work and style of carving are not taught in our schools, but here we are in another man’s country, and they are putting high value on the work of the unlettered carver, celebrated all over the art world and studied in most of the reputable art schools for his unique style of carving.
I have since fallen in love with Baba Olowe and his wood carvings. Wherever I have had the opportunity, I have introduced his work to art aficionados.
Last week I went beyond this. I undertook a journey of discovery to Ise town in the southern part of Ekiti State in search of him, his works, if any could still be found, and his offspring.
Luck smiled at me. I came by his grandson, who, though not a carver, is well tutored in grandpa’s craft and the family history.
Olowe lived in the 19th and 20th centuries. He died precisely in 1934 after a meritorious career as a carver and a priest of Ogun, the god of creativity. He spent all his days and nights carving for kings and palaces across Yoruba land as well as divining. Ifa divination was his forte, and his grandson, Olajide Ologbon seems to have inherited and is very adept at it.
Most of Olowe’s works were stolen and carted away by colonial officials, while many others were stolen by locals and sold cheaply at art black markets. A particular massive entrance door and the throne of a past Ogoga of Ikere-Ekiti were taken away from him by trickery by some Europeans who came bearing the gift of a modern throne.
His works, masterful as they are, if they surface today at world-top auctions, will sell for millions of dollars apiece.
At Ise, virtually every adult has heard of the celebrity. This, however, is not for his artistic production but for being one whose lineage is the custodian of Ogun worship.
A couple of days before I visited, nine dogs were slaughtered to propitiate Ogun, right in front of Olowe’s house. A few of his works left in family custody were on display that day and won’t be available again until next year.
People in that town know little or nothing about his carvings. The house he built and lives in is run down and almost collapsing. In spite of all the honours abroad, he has had no mention in high circles in his town, in his state of origin, or in his country.
A few door carvings by Olowe are still holding on at Arinjale of Ise’s palace, and they may soon give way for the new and modern palace under construction.
Olowe’s grandson, Olajide Ologbpn Olowe
In conjunction with Olowe’s grandson, Mr. Olajide Ologbon Olowe, and the Director General of the Ekiti State Bureau of Tourism Development, Wale Ojo-Lanre, I am starting a movement to remake that home, turn it into the Olowe Museum, and begin a campaign to return all of those works stolen and taken abroad. Also important is a scheme to seek compensation for members of his family for the millions of dollars museums and art galleries in the West have made from viewers of these works over the decades.
This is the beginning of justice for Olowe of Ise.
– Babafemi Ojudu
