By Jimoh Babatunde:
In a quiet, timeworn corner of Benin City, far removed from the applause that once celebrated his artistry, lives Pa. Joseph Alufa Igbinovia — the man whose work became a defining symbol of one of Africa’s most historic cultural events. Today, his life reflects a painful contrast: remarkable talent overshadowed by years of neglect.
Now 78, Igbinovia faces declining health, with worsening vision and hearing, while struggling to survive in poverty. His modest residence along Upper Sokponba Road stands as a stark reminder of how far he has fallen from the global recognition his work once attracted.
Decades earlier, as a young artist, Igbinovia was among a select group of five carvers tasked with recreating the iconic Queen Mother Idia ivory mask. The original, held by the British Museum, had not been released to Nigeria despite official requests. Undeterred, the team set out to produce replicas—but it was Igbinovia’s version that stood apart.
His intricately carved ivory piece, noted for its detail and artistic depth, was ultimately chosen as the official emblem of FESTAC ’77, briefly thrusting him into national and international prominence.
“I was carried on the shoulders of admirers,” he recalls, his words carrying both pride and quiet sorrow. The recognition, however, proved short-lived.
According to Igbinovia, promises of lasting reward never came. Aside from a N1,000 token from the then Bendel State government, he says the Federal Government offered no meaningful compensation for the emblem that came to symbolise FESTAC ’77 globally. He also claims that payment for another artwork, “Olokun,” acquired during the festival’s preparations, remains outstanding.
Attempts to seek redress through legal means yielded no success, leaving him disheartened. Over time, the strain of unmet expectations forced him to sell personal property and abandon his pursuit of justice.
Today, the toll is evident—not just in his failing health, but in the quiet despair that fills his home. “Is this where I should be?” he asks, gesturing around him—a question that underscores a broader reflection on how a nation remembers, or forgets, its cultural pioneers.
Credit: Vanguard
