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A Note on The Pan-African Circle of Artists

The Pan-African Circle of Artists (PACA) was founded at the University of Nigeria, Nsukka, in 1991 by some young artists of Nigerian and Ghanaian origins. Part of the aim was to create a forum on which art and culture in Africa could be promoted and disseminated from inside by Africans and on Africa’s terms.

Contemplating eastern concepts condenses and incorporates sceneries into an old iconic form; packed with sacred motifs and emblems constituting the work of art. This concept confirms the interactive and conversing narrative characteristic that takes numerous sensual, realistic and abstract geometric forms, swinging between the peripheral and inner dimensions of impressionist formation and art work structure. The interaction between plastic arts components incorporates the essential characteristics of expression, forming my simplification order based on insignia that combines narration with expression.

In February 1897, the British Empire waged war on the old Benin Kingdom. At the end of the battle, Benin City was burnt to ashes. The Oba of Benin was deposed, most of his chiefs murdered, numerous innocent lives were lost. The war, apparently Obinali Egele, general manager of Markets and Investments, producers of Crown Fraud, said was punishment for the Benin people for not accepting the occupation of the white men who invaded their lands. The British invaders also looted over 3000 Benin artefacts of monumental cultural heritage, which held the secret to the events that shaped the history of Benin

In 1807 the slave trade was outlawed within the British Empire, however enslaved workers did not become finally free until 1838. After the abolition, sugar plantation owners quickly turned their sights to an alternative supply of workers. Indian workers were recruited to Trinidad, to work on the plantations in harsh conditions. The exhibition features remarkable images of the Indian community in Trinidad, many wearing beautiful traditional dress.

Kenyan family, but the university has others, she said. Hampton has more than 90 remaining in its collection. Asked what institutions such as Hampton should do with vigangos in their possession, she said, "I think they should return them because nobody owns them but the Gohu people," referring to a semi-secret fraternal society within the Mijikenda. "Nobody can buy them," she said. "They should return them — all of them." Each sculpture has its unique style and pattern.