By Enotie Ogbebor
In my studio (Nosona Studios) in Benin City, where the warm breeze carries the scent of ancient earth and my walls are lined with sketches capturing Nigeria’s resilient spirit, I reflect on our nation at 65. This milestone, marking our independence on October 1st, 1960, should radiate with pride, yet it’s shadowed by unkept promises. As an artist from a comfortable background, I grew up shaped by my father’s military career, moving from the oil-rich energy of Port Harcourt to the bustling chaos of Lagos until his abrupt retirement in 1976. His subsequent success in business afforded me a childhood free from material want, enriched by travels to Ethiopia, Egypt, Kenya, the UK, USA, Greece, and Spain, where I absorbed global cultures and artistic traditions. Yet, no privilege could shield me from Nigeria’s failing public services—unreliable power, scarce water, roads that strangle ambition.
Schooled at Federal Government College, Azare, in Bauchi State, under vast northern skies, and later at the University of Benin, where I earned my first degree in Economics and Statistics, I was part of a generation brimming with optimism, certain our leaders would match our dreams. But successive regimes have betrayed that hope, leaving us to navigate limited opportunities, where flourishing demands relentless effort. At 65, Nigeria remains a canvas of untapped potential, but as an artist, an activist against bad governance, and a member of the Benin Dialogue Group fighting for the return of our stolen Benin Bronzes, I’ve seen art wield a transformative force—shaping lives, sparking dialogue, and driving change.
My childhood, weaving through Benin City’s cultural heartbeat, Port Harcourt’s industrial hub, and Lagos’s frenetic rhythm, was enriched by global exposure. Visits to Egypt’s pyramids, Greece’s ancient ruins, and the USA’s vibrant galleries ignited my love for art as a universal language. In Azare, where harmattan winds dusted our classrooms, I saw art’s power to reflect truth. A classmate’s story about an unpaid teacher stirred us, fuelling debates that stretched beyond school walls.
At the University of Benin, studying Economics and Statistics, I analysed Nigeria’s challenges through data—unemployment rates, inflation spikes—but found art to be a more visceral way to address them. Art became my lens to highlight resilience, like the market women who thrive despite systemic failures or the youth who dream beyond constraints. I’ve seen how art confronts Nigeria’s wounds—crippling inflation, youth unemployment festering like an open sore.
In 2023, when fuel subsidy removals hit hard, artists’ works—songs, plays, sculptures—amplified community efforts. A poet’s verse, shared on X, captured the nation’s hunger, going viral with thousands of retweets and inspiring food drives in Alaba Market. Art doesn’t just mirror pain; it mobilizes action. It’s the performance that lifts a community’s spirit, the poem that exposes corruption’s toll, the installation that honours resilience. A theatre piece I saw in Freedom Park, depicting a mother’s struggle, moved a local trader to organise a voter education drive, registering dozens for the 2023 elections. That’s art’s ripple effect—it transforms lives, one soul at a time.
My deepest fight is for our stolen heritage—the Benin Bronzes and artifacts looted in 1897 by British forces, now scattered across museums in London, New York, and Berlin. Growing up in Benin City, passing the Oba’s palace, I felt their absence like a lost ancestor. These bronzes—plaques, heads, bells—are our Edo soul, our history’s voice. As a member of the Benin Dialogue Group, I’ve poured my heart into their repatriation.
Our campaigns—petitions, global exhibitions, and advocacy—have secured victories: Germany’s return of 22 bronzes in 2022, the Smithsonian’s 29 that same year, and the Netherlands’ 100-plus in June 2025. My efforts, through organising workshops and supporting exhibitions, have educated youth about our heritage. A 2023 exhibition of my works in the British museum in London showed a painting and a bronze work and drew global attention to the debilitating issue of human trafficking. Shared widely on X, fb, insta it sparked diaspora support, amplifying our call. These returns aren’t just artifacts; they’re a reclaiming of identity, a spark for Nigerian artists to reconnect with our roots. Yet, with thousands still held in foreign vaults, our work continues, driven by art’s power to inspire and educate. A workshop I helped organize in Benin City drew 200 locals to a repatriation rally, their voices demanding: bring our history home.
Nigeria at 65 is a paradox—a nation of boundless promise bound by broken trust. My comfortable childhood, enriched by global travels and my father’s success, spared me material hardship but not the hunger for justice, for opportunity, for a Nigeria that honours its youth’s dreams. From Benin City to Port Harcourt, Lagos to Azare, and through my years at the University of Benin, I’ve learned art is more than beauty—it’s a catalyst, a healer, a call to action.
It’s the song that fuels a community drive in Surulere, the play that inspires a repatriation effort in Benin City, the story that carries hope through despair. As an artist and activist, I’ve seen art change lives: a bronze-focused lecture I co-hosted inspired a student to study Edo history.
At 65, Nigeria may falter, but its artists—its people—stand firm. We create, we demand, we rebuild. The canvas is vast, the colours are ours, and the change is unfolding, one inspired heart at a time.
Enotie Ogbebor is a celebrated Nigerian artist known for his multidisciplinary approach, blending painting, sculpture, music, and performance art. Born in Benin City, Enotie studied Statistics and Economics at the University of Benin before pursuing his passion for art. His work often explores themes of cultural restitution, environmental issues, and human relationships, showcasing his unique perspective on these complex topics.
Key Highlights:
- Early Life and Inspiration: Enotie’s love for art began in childhood, influenced by his mother’s encouragement and visits to the Igun bronze casters in Benin. Travels to historical destinations like Egypt, Greece, and Ethiopia further sparked his creativity.
- Artistic Practice: Enotie’s art often blends traditional and contemporary elements, reflecting his experiences and perspectives on cultural heritage and identity.
- Exhibitions and Recognition: He has exhibited his work globally, including solo exhibitions at the British Museum and Cambridge MAA. Enotie was also selected to showcase his work at the Oba of Benin Royal Art exhibitions in 1997, commemorating the centennial of the British invasion of Benin Kingdom.
- Collaborations and Initiatives: Enotie collaborates with Sir David Adjaye on the design of the Edo Museum for West African Arts (EMOWAA) and is a director on the board of the Legacy Restoration Trust. He also founded Nosona Studios, a creative hub for fine artists in Benin.
- Awards and Residencies: Enotie is a visiting fellow at Cambridge University and a fellow of the DAAD artist residency program in Berlin.
Museums that have Acquired Enotie’s Works:
- Stedelijk Museum Amsterdam: Features Enotie’s works as part of its collection
- Grassi Museum Leipzig: Acquired three of Enotie’s works, including “Iye’s Role” and “As a Witness”, created during a live-painting performance in 2022
- MARKK Hamburg Museum: Houses Enotie’s works, reflecting his exploration of cultural restitution and identity
- Cambridge MAA: Features Enotie’s triptych painting “From Eden to Ecocide: A Tale of Human Impact”, which explores themes of environmental degradation and cultural loss
- The British Museum: Hosted Enotie’s solo exhibition, showcasing his works on human trafficking and political migration
