‘As I watched the amala maker stir the “ọmọrogùn”, I noticed that she moved ever so slowly, gently pouring some amala powder on top of the hot thickening paste. I mused and wondered, this must be an expert lady at her craft, no lumps whatsoever, the amala so smooth, light and earth brown, awaiting to be sent over to the stew department, to be tempered on a plate and adorned with the enriched mix of vegetables. ‘ –
'As I watched the amala maker stir the "ọmọrogùn", I noticed that she moved ever so slowly, gently pouring some amala powder on top of the hot thickening paste. I mused and wondered, this must be an expert lady at her craft, no lumps whatsoever, the amala so smooth, light and earth brown, awaiting to be sent over to the stew department, to be tempered on a plate and adorned with the enriched mix of vegetables. ' -
Long before Nigeria had formal art schools, Aina Onabolu (born in 1882) was already painting portraits with a level of realism that defied colonial stereotypes. A self-taught artist, he took on the widely held European belief that Africans lacked the skill to master “fine” or academic art. By the early 1900s, Onabolu was painting distinguished Nigerians—such as judges, doctors, and merchants—with remarkable technical detail. He later studied art formally in London and Paris, equipping himself with international credentials that helped ...
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