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Yoruba monarch threatens Uzo Njoku over ‘Owambe’ show 

Yoruba monarch threatens Uzo Njoku over ‘Owambe’ show 

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HRM Oba Omotooyosi Bayo M. Akinleye, the Olukosi of Ilukosi-Ijesa, has declared a full-scale response to Nigerian-American artist Uzo Njoku’s upcoming exhibition, “An Owambe Exhibition,” set to open in Lagos this November.

HRM Oba Omotooyosi Bayo M. Akinleye, the Olukosi of Ilukosi-Ijesa, has declared a full-scale response to Nigerian-American artist Uzo Njoku’s upcoming exhibition, “An Owambe Exhibition,” set to open in Lagos this November.

In a tweet on Monday, the traditional ruler wrote: “My team and I arrived in Lagos this morning to take every necessary action against Miss Uzo’s scheduled exhibition to disrespect our heritage. It’s going to be a long week for those planning to spit on our culture. Ẹ ku ojumọ…”

Oba Akinleye had previously warned on Sunday that Njoku and her crew would not only face Lagosians but also representatives from Oyo, Ogun, Osun, Ondo, Ekiti, Kwara, and Kabba, saying: “This is not about Lagos; it’s about the entire Yoruba people. It’s our collective heritage they want to spit on…”

The exhibition, which Njoku describes as a celebration of Nigerian creatives in Lagos, has stirred controversy over concerns of cultural appropriation. “My job is not to highlight Yoruba heritage, and that’s not what the show is about. The show is about my artwork & highlighting Nigerian creatives in Lagos, and capturing this melting pot. This is nothing about Yoruba cultural heritage. I know they want it to be, but it’s not,” Njoku told TVC.

The term “Owambe” refers to traditional Yoruba parties known for music, dance, and communal celebration. Critics, however, argue that Njoku, who is of Igbo descent, is misusing the term without proper acknowledgment of its cultural significance. An online petition calling for the exhibition’s cancellation has already gathered over 10,000 signatures, with supporters claiming it misrepresents Yoruba culture.

The debate has sparked broader discussions on cultural ownership and representation, with some supporting Njoku’s artistic vision while others insist cultural expressions should be represented by the communities they originate from.

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