The recently auctioned record-setting artwork of the Nigerian/British artist, Olaolu Slawn, is titled, ‘Alara, Ajero, and Orangun’. These three Yoruba ‘Obas’ are children of Oduduwa in the corpus of Yoruba history and philosophy.

However, this artwork is characterised by exaggerated facial features resembling those of monkeys, a portrayal often seen in the Western media, and has historically been condemned as a racist form of dehumanisation.

This comparison inflicted deep wounds on African identity, perpetuating a demeaning narrative that has persisted over time. As indicated by the title, it is evident that Olaolu is aware of his Yoruba heritage, and rather than make assumptions, I would prefer to raise questions about his intentions.

• Why would someone familiar with his heritage ridicule his own community?
• Why provide colonialists with material for their amusement at the expense of his own people?
• Who is the intended audience for this piece?
• If he seeks to provoke a response, from whom?
• Could he be a disillusioned individual who is resorting to provocative actions out of frustration with the treatment received from his people: African Elders or his mates?
• Is he ridiculing himself (his race) to see the delight of racists?

This work seems to have stirred the most reaction among Africans.

In the tapestry of African history, there are moments where influential African figures have uttered words or performed actions that, at first glance, appeared to be insulting to Africans themselves.

However, upon deeper reflection, these instances have served as catalysts for positive change, challenging societal norms, and igniting movements towards liberation and empowerment, with the hope of sparking a mental revolution or a moment of self-reflection.

Through the lens of individuals such as Malcolm X, Bob Marley, and Fela Kuti, we can explore the transformative power of seemingly offensive remarks or artistic expressions and their enduring impact on African society.

Malcolm X, a towering figure in the struggle for civil rights, once remarked, “If you want to hide something from black people, put it in a book.” This statement, though initially perceived as derogatory, highlighted a prevalent issue within African communities: the lack of access to education and the stigma surrounding intellectual pursuits. Despite the presence of esteemed African scholars, activists, and educational institutions, illiteracy and educational disparities persisted.

Similarly, Bob Marley, through his iconic song ‘Redemption Song’, sang, “Emancipate yourself from mental slavery.” By addressing Africans as victims of colonial mental imprisonment, Marley challenged entrenched notions of cultural inferiority and dependency.

While some may have initially recoiled at being labelled as slaves, Marley’s message resonated deeply, sparking a movement towards self-awareness and cultural reclamation.

Furthermore, Fela Kuti, the Afrobeat pioneer, in his song, ‘Zombie’, brazenly referred to Nigerian soldiers as mindless automatons. This bold critique of state authority and military oppression challenged prevailing notions of reverence and respect for the armed forces.

While some may argue that Fela’s outspokenness only fueled animosity towards the military and his lyrics as disrespectful and incendiary, it cannot be denied that others recognised the underlying message of accountability and the need for reform within the military establishment.

I am unfamiliar with Olaolu and his work, but it appears he has achieved his goal of triggering reactions and sparking discussions. This brings us to the question,

Why do we Africans find the ape (monkey) disparaging? Is it because the white man dictated it to us?

Yet, we find other animals like the lion, leopard, or even the tiger majestic, even though the ape is one of the smartest animals on earth.

Countries across the continent, such as Nigeria, Ghana, Cameroun, Kenya, and even Egypt, incorporate the ape into their cultural symbolism.

Whether it’s through proverbs, folklore, or ceremonial rituals, the presence of apes in African narratives serves as a testament to the spirit of Africa and its people, celebrating ingenuity, interconnectedness, and the enduring bond between humans and nature.

However, despite the monkey’s intelligence and rich cultural significance in African folklore, its portrayal as inferior has overshadowed its positive attributes. Conversely, animals like lions, leopards, and tigers are revered for their strength and majesty, reflecting a subconscious bias influenced by colonial ideology. Embracing our cultural heritage and reclaiming positive representations of animals like the monkey can empower us to reject derogatory stereotypes.

So let’s ask ourselves, what action can we take in response to this provocation?

As the colonialists enjoy their laughter, what can we, as a people, do next?

Is it time to ask: Why do we let the Western world’s judgements dictate our self-worth?

What must we do to reclaim our history?

Ultimately, the power lies within us to redefine our narrative, reclaim our dignity, and reshape our perceptions. Breaking free from the shackles of colonialism requires a collective effort to celebrate diverse identities and challenge oppressive narratives.

Now, will Africans respond to these reactions in a significant or impactful way or are we likely to resort to merely criticising the artist, expressing our frustrations, and then eventually moving on, forgetting both the artist and his artwork within a few days?

Rotimi Amaechi said while emphasising the docile nature of Nigerians and by extension Africans, “Nothing will happen” !!!.

This indifferent approach mirrors the same nonchalant attitude that possibly spurred the artist to create the provocative piece in the first place. Meanwhile, the racists will continue to find amusement in our inactions or unfitting responses, treating us as if we are simply entertainment for their own enjoyment.

Imagine a Jewish artist created a piece derogatory towards Jews, or if a Middle Eastern artist lampooned their own community (excluding religion). The person would face severe backlash, with every possible platform used against the individual, particularly by the media under their control.

In contrast, despite this artist’s contentious work, there has been absolute silence from every reputable media outlet in Africa, let alone Nigeria, his home country. There has been zero media outrage. However, if it were a scandal involving popular figures like D’Banj impregnating Davido’s wife, even reputable media houses like Channels TV would jump on the story.

Bob Marley, Fela Kuti, and every other activist attempted to ignite a revolutionary spirit within Africans but unfortunately did not witness the transformation they had hoped for.

Their tireless efforts eventually came to an end as they departed from this world. This underscores the concerning reality that we, as a people, may indeed be easily swayed and governed. It appears that politicians and leaders of states are eager to seize power over us precisely because ruling Africans is perceived as a relatively straightforward task.

Furthermore, this vulnerability may explain why we are constantly perceived as helpless orphans, seeking rescue from external forces such as Europe, America, or even China.

As Africans, we are often quick to find excuses for not using our means or platforms to fight for the common good, especially if it doesn’t directly benefit us.

These excuses may include statements such as, “I don’t want anyone to know my worth for my own safety,” “the good deeds I did before backfired, so I’ll just keep to myself,” or “no one will appreciate my efforts as they may respond with negativity.” We speak as though such challenges do not occur in other parts of the world that we admire.

The reality is that humans and their actions are universally similar; the key difference lies in how we respond to situations, manage circumstances, and prioritise our goals. These questions prompt us to examine the enduring influence of these influential figures and their contributions to the ongoing quest for social justice and empowerment in Africa.

In conclusion, the paradoxical wisdom of African influential figures lies in their ability to transform seemingly insulting remarks or artistic expressions into catalysts for positive change.

Through their words and actions, individuals like Malcolm X, Bob Marley, and Fela Kuti challenged societal norms, sparked movements, and inspired generations to confront injustice and pursue liberation. While their messages may have been initially provocative, their enduring impact underscores the power of truth, resilience, and collective action in shaping the destiny of Africa and its people.

We rightfully criticise this artist for ridiculing his own people, but amid controversy surrounding an artwork featuring monkeys reminiscent of Yoruba Obas, it’s crucial to pause and reflect on the artist’s intention.

While the portrayal may evoke discomfort due to historical contexts of racial dehumanisation, rushing to condemnation without understanding the message misses the point of art. Just as Fela’s ‘Zombie’ and Bob Marley’s ‘Redemption’ sparked change, this piece may serve as a catalyst for dialogue.

Like Malcolm X’s provocative words, it’s essential to see beyond initial reactions and explore the positive impact it could have on addressing societal issues. Let’s engage in constructive discourse rather than knee-jerk reactions. As we reflect on this issue, consider what actions you can take in response to this provocation. It is through contemplation and active engagement that meaningful change can begin to take shape.