Pa Edward Ckukwunwike Madukego, a septuagenarian wood and stone carver, reflects on art and the opportunities it gave him
 |
| pa-edward-c-madukego-6.jpg |
By Sylvester Asoya
Edward Ckukwunwike Madukego arrived Lagos, the famed land of opportunities, with high hopes and expectation at the dawn of independence. But like most first time visitors without any relative in Lagos, the young Edward had a rough time sleeping at the Iddo Motor Park. He had come to Lagos when he heard that the city was in dire need of drivers who would drive the new cars that were bound to come with independence. Fortunately, he had taken a short course in driving and auto repair, so he headed to Lagos.
The young man did not have to wait for too long. He eventually got a driving job at Imperial Chemical Industries in Apapa. Then one day, he drove the company’s director’s wife, a certain Mrs. Badgate, to Kingsway on Broad Street for the usual weekly shopping. As an art lover, the woman decided to buy some sculptural works, but to the amazement of Madukego, Mrs. Badgate paid a huge sum of money to the seller. “I can carve these things you are buying,” the driver said.
Initially, the director’s wife did not believe that Madukego had any other skill outside driving but later, after the artist’s explanation, the woman agreed to speak with her husband on the matter. “Are you sure you can actually carve?” Mr. Badgate later asked him. “If I find out that you are not a sculptor like you claimed, I will sack you,” the husband threatened.
The following day, according to Madukego, Mr. Badgate took him to UTC, a department store where he bought all the tools needed for the carving and warned him to stay away from work for two weeks. A week after, the artist returned with finished jobs. But Badgate was not impressed. He immediately became suspicious, alleging that Madukego borrowed the works from other artists. However, the director became convinced after his unscheduled visit to the artist’s workshop. That was how Madukego’s life changed. Almost immediately, he was sent to London for further studies in visual art and related areas. On his return, his company organised a major exhibition involving prominent artists in the country. At the end of the exhibition, he emerged winner and went home with a prize money of £20. That was how Madukego joined the big league. He became a regular face at practically all high profile exhibitions and also became known everywhere.
The civil war, in a way, seriously affected his career. He narrowly escaped death in Lagos following the clampdown on the Igbo by soldiers on the federal side. So he left Lagos in a hurry, only to be kidnapped by Biafran soldiers who immediately conscripted him into the Biafran Army. The following day he was flown to Haiti, a Caribbean country, for a two-week training on self-defence, laying of ambush and how to handle guns. Within a short time, the Biafran military officials saw a real fighter in Madukego, so he was again sent to Moscow for training in martial arts.
However, the artist’s military career ended abruptly when he suffered a grenade attack. He was subsequently redeployed to the arts and craft sector. There, he produced numerous works that highlighted the terrible conditions under which women and children lived. After the war, Madukego returned to Nkwere, his home town in Imo State, and continued with his craft. But he still maintained a good relationship with officials of the Council for Arts and Culture back in Lagos. In fact, they visited his Nkwere gallery promising to assist him in case he wanted to return to Lagos.
By the time he made up his mind to come back to Lagos, he had established what later became known as Nkwere carving industry. In Lagos, Madukego quickly re-connected with his friends and colleagues. A few years later, the artist’s unique wood and stone carving attracted global attention. He received over a dozen invitations and attended numerous art workshops in different parts of Europe, Asia and the United States of America. Today, Madukego is a shadow of his old self. For a man who had received rave reviews in local and international journals to be tucked away in one obscure part of Ogun State definitely raises some questions. He is also unhappy about the way issues of creativity are treated by government at the various levels and their agents.
But Madukego provided some answers. He told TheNEWS that corruption, insincerity and nepotism remain the root cause of Nigeria’s problems. “In those days, we had honest leaders who were concerned about the country and its people. Today, everybody thinks about his or her own pocket, that is why this country can never make any meaningful progress. We were also more united and hopeful about the future. Now, nobody cares. Look at our universities and the number of our children who graduate every year? No job, no future and you think such a country can ever develop?” he asked.
His anger therefore, stems from government’s obvious lack of interest in art and related things. He also lamented the deplorable state of art schools and practitioners who are left to fend for themselves after many years of meaningful contribution to the country. Madukego, who became the president of the Association of Nigerian National Artists in 1972, is also sad that no form of recognition has come his way despite attracting international fellowships and awards.
Madukego, whose works adorn many public places, including the National Theatre, did not at any time undergo any formal training in art. He was born into a family of artists. His mother was a weaver, his father and grandfather were carvers and local gun makers. He told this magazine that he actually started showing interest in carving before his fourth birthday. He began first, using clay before he finally started carving at the age of seven.
The artist is still active and making a living from his work. He told this magazine that he still carves, both on wood and stone. Sometimes, the walking sticks he carves which are occasionally requested for by his contacts abroad sell for as high as $500, while at other times, he depends on the local market. At 76, Madukego wants to be remembered as the first photographer of God. According to him, his works which include masks, idols, effigies and other images are what a majority of people worship as their god, “but I serve God Himself,” he said.
Comment