Lagos Artist Uzo Njoku’s “Owambe” Exhibition Sparks Cultural Appropriation Debate as Oba Akiolu Denies Involvement

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Nigerian American visual artist Uzo Njoku has found herself at the center of a heated cultural debate following the announcement of her upcoming “Owambe” art exhibition, scheduled to open in Ikoyi, Lagos, from November 27, 2025, to January 22, 2026.

The exhibition, themed around Nigeria’s vibrant party culture, has been accused by some groups of cultural appropriation, particularly of Yoruba language and traditions, with critics alleging that the artist—who is of Igbo descent—used the popular Yoruba term “Owambe” for marketing and aesthetic appeal without proper representation or consent from the community.

Tensions escalated after a petition reportedly signed by over 10,000 Yoruba cultural advocates circulated online, calling for the cancellation of the event. The petition claimed that Njoku’s exhibition “commercializes Yoruba identity” under the guise of artistic freedom.

Adding fuel to the controversy, a letter purportedly signed by the Oba of Lagos, Rilwan Akiolu, surfaced, allegedly requesting that the Lagos State Government halt the event “to prevent potential unrest.” However, the Oba’s palace swiftly debunked the letter, calling it fake and clarifying that the monarch had no knowledge of such correspondence or the exhibition itself.

In response, Uzo Njoku has defended her work, insisting that “Owambe” is not an appropriation but a celebration of Nigeria’s collective culture. She emphasized that the exhibition is self-funded and inclusive of multiple ethnic influences, reflecting her global identity and appreciation for the country’s cultural richness.

“My intention has always been to highlight the beauty, joy, and unity that define Nigerian celebrations,” Njoku said in a statement. “Art should be a bridge, not a battlefield.”

The controversy has ignited wider discussions about artistic freedom, cultural ownership, and ethnic sensitivities in Nigeria’s creative industry. While some critics accuse Njoku of “artwashing” Yoruba heritage, others argue that her work embodies the fusion and interconnectedness that define modern Nigerian identity.

The Lagos State Ministry of Tourism and Culture has yet to comment officially, but sources suggest that security agencies are monitoring the situation ahead of the exhibition’s debut at the artist’s private studio space in Ikoyi.