Yinka Olatunbosun
Ekombi dancers, adorned in colourful costumes, glided across the exhibition hall at the opening of Timi Kakandar’s show at Quintessence, Victoria Island, Lagos, on March 28. For the audience, the moment felt almost cinematic—a visual juxtaposition of live dancers in Efik attire and their painted counterparts. Titled Efik Elegance: Onyonyo and the Art of Adornment, the exhibition celebrates visual splendour with deep cultural resonance.
Focusing on Onyonyo, a symbol of feminine nobility in Efik culture, the paintings trace an evolution that transcends historical relics, positioning the tradition as a living heritage rooted in identity.
Kakandar’s ten paintings are characterised by vibrant colours and intricate elements—coral beads, floral motifs, layered fabrics, and graceful figures—that function as emblems of dignity, cultural heritage, and pride. They present Efik women as both muses and sovereign figures. In this context, adornment becomes more than decoration; it is a language of power.
Efik Elegance thus frames beauty as a cultural asset. In “Dance of Sovereignty,” a poised figure in mid-motion captures a fleeting moment between gesture and performance. “Regal Reverie” projects nobility through leaf motifs and feathered extensions; though depicted from the back, the figure exudes a commanding presence. In “Looking to Tomorrow,” Kakandar explores hope and continuity through a feminine figure with looped hair forms and textured sleeves, her gaze lifted upward.
In “Staff of Ceremony,” the figure radiates a ceremonial aura, holding a staff crowned with layered fabrics. The artist’s fidelity to historical detail is evident in the elaborate garment, reinforcing a strong sense of ritual presence.
Speaking at the exhibition opening, Kakandar reflected on the historico-cultural context of dress in the Niger Delta, tracing its evolution to Portuguese contact in the region.
“Over 150 years, the dressing of the people changed,” he said. “For the Efik, the Portuguese introduced the Victorian gown with elaborate designs. In ceremonial contexts, Efik people still incorporate elements of the 17th-century Victorian dress, albeit with modifications over time.
“For instance, the head covering echoes the Caucasian wigs of the past, which have since become cultural markers. The wig worn by one of the dancers earlier originates from that period. Kalabari chiefs who engaged with Europeans were similarly influenced by the Portuguese. It is a form of cultural appropriation. Through these paintings, I seek to tell part of our story, bringing to light an almost forgotten history.”
The artist further noted that, despite their beauty, such garments were often acquired in exchange for enslaved people taken by Efik traders. He explained that stronger communities raided weaker ones, capturing individuals who were then sold into slavery. The strength of Efik Elegance lies in its visual richness, celebratory tone, and unflinching acknowledgment of the complex heritage underpinning its aesthetic appeal.
Kakandar, a 1999 graduate of the University of Port Harcourt, has held over 30 exhibitions at home and abroad. He is renowned for his bold use of colour and his profound exploration of the human form.
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