Ben Enwonwu

Lagos, Lagos Art Auction, Terra Kulture Mydrim Gallery Auction House (TKMG), 20 April 2012

''The old art of Benin, which ranged from the geometric and stylistic symbols of ancestral spirits, to the sophisticated naturalistic portrait bronzes cast in cere perdue technique, has become a thing of the past and the traditions which inspired it are going, in fact, almost gone.'' (the artist, interview with the Harmon Foundation, 8 December 1950)

Ben Enwonwu's Royal Dance, Benin (1970) is a masterful oil on canvas that encapsulates the artist's lifelong fascination with Benin culture and his profound connection to traditional African dance. This vibrant work, executed at a pivotal moment in Nigerian history, stands as a testament to Enwonwu's artistic vision and his role as a cultural ambassador.

Benin held a special place in Ben Enwonwu's heart and artistic journey. Born in Onitsha in 1917, Enwonwu's ancestral roots traced back to Benin, a connection that deeply influenced his artistic sensibilities. Onitsha, with its rich cultural ties to the ancient Benin Kingdom, provided Enwonwu with early exposure to the artistic traditions that would shape his career. Benedict Enwonwu lived in Benin between 1941 and 1944. During his time in the city, he was immersed in studying Edo cultural traditions, observing traditional festivals, understudying the Benin brass casters, and imparting knowledge in the arts to a group of young boys in the prestigious all-male high school known as Edo College. This formative experience not only honed his technical skills but also deepened his appreciation for the intricate craftsmanship and symbolic language of Benin art. The influence of this period is evident in the meticulous attention to detail and the incorporation of traditional motifs in Royal Dance, Benin.

Throughout his career, Enwonwu returned to Benin themes repeatedly, creating a series of works that celebrated the region's cultural heritage. Notable among these are his paintings The Glory of Ancient Benin, Song of the City and The Court of the Oba of Benin (sold in these rooms in 2021) as well as the drawing A Benin Master (sold in these rooms in 2023). Royal Dance, Benin stands as a culmination of this lifelong engagement, synthesising Enwonwu's technical mastery with his deep cultural knowledge.

Dance was a recurring motif in Enwonwu's work, serving as a powerful metaphor for the vitality and continuity of African culture. His celebrated "Africa Dances" series, begun in the 1940s, explored the rhythmic movements and spiritual essence of traditional African dances. Similarly, the "Ogolo" series, inspired by the masquerade dances of his Igbo heritage, demonstrated Enwonwu's ability to capture the dynamic energy of ritual performances. Royal Dance, Benin builds upon these earlier explorations, focusing on the regal dances associated with Benin royalty. The painting's central figure, is depicted in mid-movement, his body arched in a pose that suggests both power and grace. The surrounding figures, their forms more abstracted, contribute to the overall sense of rhythm and motion that permeates the canvas.

The year 1970 marked a significant moment in Nigerian history, coming on the heels of the Nigerian Civil War (1967-1970). As the country embarked on a process of reconciliation and reconstruction, there was a renewed emphasis on cultural unity and national identity. Enwonwu, who had remained in Nigeria throughout the conflict, found himself at the forefront of efforts to use art as a means of healing and national reaffirmation. For Enwonwu personally, this period saw him consolidating his position as Nigeria's pre-eminent artist. His international reputation was at its peak, with major exhibitions and commissions both at home and abroad. Royal Dance, Benin can be seen as a reflection of this confident, mature period in the artist's career, blending his modernist sensibilities with a deep appreciation for traditional culture.

Royal Dance, Benin depicts a celebration or commemoration which is likely to have taken place in the expansive open foreground of the palace of the Oba of Benin. Enwonwu captured this event during the reign of His Majesty, Oba Akenzua II (R.1933-1978) whose tenure overlapped with the period of his stay in Benin. Several festivals or commemorative events are held in Benin, the most popular being the annual Igue festival which is celebrated as a form of thanksgiving and rejuvenation of the connections between man and God. These festivals by their very nature lend colour, sound and movement in their pomp and pageantry, and provides the painter with the latitude to explore his colour palette.

Royal Dance, Benin is a tour de force of colour and movement. One can almost hear the beats of the drums as the dancers respond in frenzied moves. The central figure, resplendent in traditional regalia and hoisting the Ada (royal scimitar), dominates the composition. Enwonwu's masterful handling of paint brings to life the intricate details of the dancer's attire, from the coral beaded headdress to the ornate staff held aloft. Particularly striking is the treatment of the main subject's skirt. Enwonwu employs a vibrant palette of reds, yellows, and blues to create a swirling mass of colour that seems to pulse with kinetic energy. The fabric's movement is rendered with bold, gestural brushstrokes that capture the essence of the dance while verging on abstraction.

The background figures, though more loosely defined, contribute to the overall sense of rhythm and ceremony. Their forms blend into a tapestry of colour and movement, suggesting the communal nature of the dance and its significance within Benin culture. Traditional objects, likely ceremonial instruments or royal insignia, are interspersed throughout the composition. These elements, rendered with careful attention to detail, anchor the work in the rich material culture of Benin, demonstrating Enwonwu's deep knowledge of and respect for these traditions.

Royal Dance, Benin stands as an important work within Ben Enwonwu's oeuvre, synthesising many of the themes and techniques that defined his artistic career. It represents a mature statement from an artist at the height of his powers, confidently blending modernist techniques with a profound understanding of African cultural traditions. The painting's significance extends beyond its aesthetic merits. Created at a crucial juncture in Nigerian history, it speaks to the enduring power of cultural traditions in the face of modernisation and political upheaval. As such, Royal Dance, Benin is not merely a depiction of a traditional performance but a powerful affirmation of cultural identity and continuity.

For collectors and institutions, this work represents an opportunity to acquire an important and historic work by one of Africa's most renowned artists. Its vibrant execution, cultural significance, and historical context make it a valuable addition to any collection focused on modern African art or global modernism. Royal Dance, Benin is a testament to Ben Enwonwu's unique vision and his enduring legacy as a pioneer of modern Nigerian art.