The Asele Institute - A cornerstone in Art Education

Published 21 November 2024 in The Legacy

Uche Okeke Legacy Editorial

The Asele Institute, located in Nimo, Anambra State, Nigeria, holds a vital place in Nigeria’s cultural and artistic history. Established in 1958 by Uche Okeke, the Asele Institute was designed to be a hub for art, culture, and education, and became a space where the synthesis of modern and traditional Nigerian art forms could thrive, encouraging the growth of artists and intellectuals in a time when the country was fighting for its own independence and identity. Amidst the uncertain environment, The Asele Institute became a nexus of Nigerian Modernism and cultural renaissance.

“The foundation of Asele was more than a project - it was a vision of artistic freedom, cultural expression, and Nigerian identity,” Uche Okeke

Uche Okeke, Preparation for the Jos Solo Exhibition, Asele Institute Archive

The History of the Asele Institute

Uche Okeke founded the Asele Institute in the midst of significant change in Nigeria. The country’s approaching independence in the 1960s brought a renewed sense of expression and a desire to reclaim its cultural heritage, and for artists like Okeke, it was a time to challenge Western influences that had dominated the artistic landscape and instead elevate indigenous practices to their rightful place alongside them. 

Between the 1950s and 1960s, this brewing freedom from colonial rule saw Nigeria grappling with establishing a new national identity, and cultural institutions like the Asele Institute became crucial in not only shaping this, but reintegrating the traditional practices and values that were at the heart of the country. They provided platforms where artists and intellectuals could challenge the dominance of Western art traditions and embrace indigenous culture as a source of pride and innovation. This was particularly vital during a time when many African nations sought to reclaim their sovereignty, and it was against this backdrop that Okeke’s Natural Synthesis was born. This philosophy and movement came as a response to the tense period and significant changes they were subject to, and was not merely an artistic movement but a statement of resistance and reclamation. 

Okeke’s vision for a Nigeria embodied Natural Synthesis and would celebrate the many different aspects that had shaped the country with a new form of expression to reflect this, and the Asele Institute became its tangible manifestation. Housing a museum, library, and archive, the institute was more than an art space - it was a hub for preserving and distributing Nigerian cultural history which is upheld to this day. The museum continues to house an extensive collection of traditional Nigerian art, a large portion of which is “…comprised of masks, artefacts, metal tools, ceramics, textiles, wooden and ivory carvings, ornaments, jewellery and ritual objects of the Igbo people from which he [Uche Okeke] hailed. The rest of the collection covers other Nigerian nationalities from the South to the Far North as well as items from West, Central and North Africa. There were also interesting curios from his travels in Eastern Europe, Germany, South America and Eastern Asia” according to Chuma Uche-Okeke, and the Institutes' library houses Uche Okeke’s personal collection of books totalling more than 100,000 volumes covering a wide range of subjects, and was often visited by researchers from national and international institutions in the past.

Not only was The Asele Institute been an ongoing wealth of resource, it also functioned as a meeting ground for artists, writers, and intellectuals, hosting workshops, exhibitions, and seminars, and providing a collaborative space to experiment together and share ideas This spirit of collaboration and experimentation was central to its mission and helped cement its place as a cornerstone of Nigerian modernism. Alongside this incredible display of Nigerian historical items are contemporary works created by Okeke and his peers, such as Demas Nwoko, Bruce Onobrakpeya, Yusuff Grillo, Solomon Wangboje, Jimoh Akolo, Oseloka Osadebe and Emily Imuokhuede. Further works by his junior colleagues El Anatsui, Chuka Amaefunah, V. Udosen, Ludwig Von Stoker and Sam Anku, and students and apprentices such as Obiora Udechukwu, Ndidi Dike, Kaego Uche-Okeke, Tayo Adenaike, Liz Willis, Chinedu Chukueggu, Blaise Gundu Gbaden, Chris Afuba, Chudi Sigismund Okeke, are also housed at the Institute. 

The Asele Institute continues to uphold its museum, library, and archive, and maintains its reputation as a significant point of reference for Nigerian cultural history, and from 2021 to 2024, the property underwent extensive renovations to ensure it continues to aptly house the valuable assets kept there. Further, Uche Okeke Legacy has also undertaken significant efforts to digitise the collection in order to make it more accessible to scholars and researchers globally, continuing the culture of sharing and preserving for future generations.

Igbo-Ukwu Shell Vessel with Leopard, Wikimedia Commons

Purpose and Vision of the Asele Institute

The Asele Institute’s primary purpose was, and continues to be, the preservation and promotion of Nigerian culture through artistic expression. Uche Okeke envisioned the institute as a space where artists could freely explore their heritage while embracing what the modern world had to offer.

Uche Okeke believed that education, both formal and informal, was crucial for the  development of any individual, and the integration of art and education was at the heart of the Institute which became a safe and explorative space for the study, documentation and continuation of Nigerian heritage. Workshops that encouraged artists to explore new techniques and ideas were offered, study of their ancestral traditions and practices was keenly encouraged, and Okeke’s extensive collection of books, manuscripts, and artefacts formed the basis of the institute’s library and archive from which the students and visitors could learn. This blend of education, cultural preservation, and artistic development helped the Asele Institute become a beacon for the growing Nigerian art scene, and attracted many of the most important Nigerian artists and scholars of its time, several of whom were also members of the Zaria Art Society. Bruce Onobrakpeya, Yusuf Grillo and Demas Nwoko were key not only to the development of the Zaria Art Society, but also to Natural Synthesis as a whole - all factors that contributed to the space that Asele became -, and would visit regularly, as would academics from both local and international institutions such as the University of Ibadan, the University of Nigeria, Nsukka, and the University of Birmingham visited the Institute. Notably, art historians like Frank Willett, known for his work on African art at Northwestern University, and scholar Simon Ottenberg from the University of Washington, took a keen interest in the Institute and its resources. The adaptive blend of art and education taught in this way significantly shifted educational and artistic teachings in Nigeria, and had a massive impact on Nigerian Modernism through its nurturing of Natural Synthesis.