Babatunde Odubanwo
For an artist whose repertoire is generally considered as the visual reflection of Fela Anikulapo-Kuti’s constant music, sacrificing the graced opportunity of avoiding Lagos traffic on a Monday evening is gratifying. Call him an enigma, a pathfinder, a pioneer, a quintessential artist, and more. Lemi Ghariokwu is a force to reckon in the artosphere the world over.Â
In his illustrious career, Lemi has worked with thousands of artists. Despite his several accolades and decoration as an accomplished Illustrator, designer, and fine artist, the 56-year-old is always quick to point out that he, unlike Fela,‘’ Evolutionary’’.
It was Monday, June 28, 2021, the first day of the week – the busiest day of the new week. As customary of the boisterous Lagos metropolis, there was a mad rush of motor users and pedestrians in the early hours of the day as Lagosians went about their businesses. The same is expected at the close of the day’s work because the fear of the Lagos traffic is the beginning of proactive measures.
In different areas of Lagos, the occurrence of traffic (especially on Mondays) is constant. No thanks to the dense population estimated at 20 million people. For regulars to the Island part of the State, there was no denying the fact that plying the Third Mainland and Eko bridges (the main routes linking the Mainland to the Island), there was the need for a calculative precision for a guide which determines what hour is best to hit the road to avoid being caught in the long traffic that sometimes lasts for hours.
But then, you may ask, why will anyone want to give up such privilege of the free-traffic window towards the close of the day – to be part of an event, and risk the imminent traffic to and fro the Island? The answer is clear: Where a man is, there lies his treasure. Simply put, the purpose for which anyone undertakes a task is based on interests, passion, admiration, and or financial gains. In this case, nothing short of avowed respect for a man whose body of works has inspired a generation of the artist(s) in the 21st century is worth going back to one’s destination to be drenched in the night rains, soaked in the retrospective aura of the ‘’August’’ meeting.
Lemi Ghariokwu, the ‘‘’ Evolutionary’’ had just kick-started a solo exhibition at the palatial edifice of the Alliance Francaise located in the heart of Ikoyi, Lagos. As part of the opening glee for the exhibition was a Meet and Greet session with Lemi tagged, ‘’Meet the artist, King of Covers’’. The imposing white building that accommodates the French Cultural Institute in Lagos is an architectural masterpiece, the colour signifying the universal nature of the arts. Not minding the silence (save for the wheezing passage of vehicles outside the main gate) that pervaded the Osbourne road, the warm admittance of the security men at the electronic gate upon entry, quickly reminds of life and affableness of the ever-smiling Lemi Ghariokwu.
Entering the dark, cozy auditorium of the Alliance Francaise with guests seated to learn and engage the legendary artiste in a conversation, I quietly said to myself: ‘’The traffic can come later’’. The evening event started with a documentary of Lemi’s exhibition in Paris, an interaction with some Young Africans, a visit to Mama Awa’s restaurant, and a visit to a music show before announcing that he would be leaving for Boston the next day.
After the documentary ended, the lights came up to show the face of Mr. Charles Courdent, the moderator of the day. He let the audience into why celebrating the works of Lemi Ghariokwu is compulsory. He says, ‘’Since Nigeria would not recognise Lemi, we will’’. A deliberative forum consisted of Lemi Ghariokwu, ID from France, and Duro Ikujenyo – Fela’s Pianist dubbed as the three musketeers (otherwise known as the YAP boys by Fela).
The trio who were prodigy of Fela’s during his lifetime takes the journey about how they all met the Abami Eda in circumstances that Lemi Ghariokwu said: ‘’I believe in destiny. I believe in the foundation of every man: Man knows thyself. I knew myself as a teenager and stood by it’’. He stressed further about how he rejected his father’s offer to become a Mechanical Engineer and self-tutored himself in fine artistry. He recalled how he met Fela through the Late Journalist Babatunde Harrison whom he met through a client – a pub owner.
Lemi also spoke of his first piece of work, Alagbon Close. The legendary Lemi Ghariokwu designed 26 album sleeves out of a record total of Fela’s 55 albums.
Conversations around the arts of Lemi, the personality of Fela, and their lifestyle during those good old days elicited reminiscence, laughter, regrets, and lessons for many. The YAP boys are nowhere close to the boys they were four decades ago. They are successful artists in their own rights. ID recounted his experience when he found the path of self-consciousness that came from books he read under Fela’s tutelage.
He said of a time when he was a Sales Clerk at one of the divisions of Kingsway Stores. In opposing the foisted racial ideologue of the colonialists, he said that he had refused to wear a tie to work (which was supposed to be part of his dressing). He was issued a query. ID and his comrades, Lemi and Duro, wrote a four-page response to the management. To nail it, Fela also visited the store, and Id lost his job.
Duro, Lemi, and ID recounted how their parents forbade the friends from visiting the houses. At a time, ID was sent out of the office by his father, and he jokingly said that the Afrobeat King told him to his father to ‘’go to his own father’s house’’. The trio advised that the youths should read and know their history. ID opined that ‘’the protest is no longer in the streets. We need to be innovative. The first basis of anything is the organization’’.
