Welcome to Jamaica Bay Wildlife Refuge
Gateway National Recreation Area was established in 1972 to offer a national park service experience to an urban audience. Gateway is a large, diverse urban park with 27,000 acres spanning Sandy Hook in N.J. and Jamaica Bay and Staten Island in N.Y. It is the 4th most visited National Park Service unit with more than 9.2 million annual visitors.
By Oyiza Adaba
Gateway National Recreation Area was established in 1972 to offer a national park service experience to an urban audience. Gateway is a large, diverse urban park with 27,000 acres spanning Sandy Hook in N.J. and Jamaica Bay and Staten Island in N.Y. It is the 4th most visited National Park Service unit with more than 9.2 million annual visitors.
Staff from Gateway National Recreation Area and Jamaica Bay Rockaway Parks Conservancy hosted foreign journalists for a press tour of the Jamaica Bay Wildlife Refuge. The Foreign Press Center New York organized this tour for members of the foreign press to cover the most recent park activities and initiatives to create a living shoreline, mitigate the impacts of extreme weather, and ensure overall climate resilience not only for this site but also for the surrounding communities. With the devastation and loss from recent hurricanes and floods, public-private partnerships like this are one of the ways coastal communities are working to mitigate environmental degradation and other losses.
LESSON FOR COP29
Climate conferences like the recently concluded COP29 can learn a lesson or two from Jamaica Wildlife Refuge - a prime example of one putting its climate dollar where its mouth is.
"In the distance, you can see the New York City skyline."
Tucked away in the Queen's Rockaway area is a wildlife refuge that houses a one mile gravel trail visited by 9.2 million visitors yearly, a wide species of rare birds and a preservation story that even Hurricane Sandy couldn't wash away.
It is no longer news that the earth's land mass is shifting and disappearing due to natural weather occurrences like hurricanes, erosion, drought, tsunamis, etc.
When Hurricane Sandy hit the New York area in 2017, much of the land where the Refuge sits, was wiped away, causing the devastating loss. For its minders, the Gateway National Recreation Area, it was an opportunity to find new ways to reclaim the conservatory.
Gateway, the fourth most visited national park unit, was established in 1972 to offer park services to urban audiences through its large diverse urban parks, with 27,000 acres spanning Sandy Hook in New Jersey and Jamaica Bay on Staten Island in New York.
On this day, Daphne Yun, Terri Carter and Elizabeth took members of the for press on the mile long tour that showed some of the experiments, trials, failures and ultimate success stories that went into rebuilding the shoreline after the storm.
With mitigating future impact in min, the team adopted both scientific and experimental tricks to
Worthy of emulation by coastal communities around the world is how the goal became attainable through public private partnership - a structure that kept all stakeholder accountable and paid attention to the littlest detail.
The Jamaica Wildlife Refuge is open to the public for trail walks, birdwatching. There is a shop/museum on the premises.
Photos by Africa-Related
Bruce Onobrakpeya's THE MASK AND THE CROSS Opens in Washington D.C.
The Smithsonian’s National Museum of African Art is showcasing works by sculptor and printmaker Bruce Onobrakpeya, considered one the fathers of postcolonial Nigerian modernism. On view June 21 - Jan. 21, 2025.
by OYIZA ADABA, Washington D.C.
Front view of The National Museum of African Art at The Smithsonian Institution. Photo by Africa-Related
The Smithsonian’s National Museum of African Art is showcasing works by sculptor and printmaker Bruce Onobrakpeya, considered one the fathers of postcolonial Nigerian modernism.
Image of the artist Bruce Onobrakpeya, towering over his exhibition.
Opening Night: Guest curator Janine Gaëlle Dieudji with Lauren Tate Baeza Curator of African Art at the High Museum of Art in Atlanta and Mudiare Onobrakpeya of Bruce Onobrakpeya Foundation.
Oyiza Adaba takes viewers inside “Bruce Onobrakpeya's: The Mask and the Cross”, on view June 21 - Jan. 21, 2025. The exhibition features works by the artist from 1966 through 1978, a period when he completed multiple commissions for the Catholic Church, including his seminal “Fourteen Stations of the Cross” series. The exhibition also recognizes Onobrakpeya’s legacy - inspiring generations of visual artists in Nigeria - with artworks from the museum’s collection that reflect Onobrakpeya’s influence. The opening ceremony was graced with dignitaries from diplomatic corp to art lovers, collectors and family members.
The National Museum of African Arts is celebrating 60 years of showcasing unique art from Africa, with a summer lineup that also include, ‘Benin Bronzes’: Ambassadors of the Oba, ‘Before Nollywood: The Ideal Photo Studio’, Ayana V Jackson’s 'Into The Deep’, John Akomfrah’s ‘Five Mumirations’, and ‘Water in African Arts’ exhibitions.
“Blending Christian iconography, Nigerian folklore and West African traditions, Onobrakpeya’s art interprets spiritualism through a global lens. Biblical stories are presented with Nigerian characters and environments, such as the “Passion of Christ” depicting Roman soldiers in British military uniforms and Jesus in Nigerian robes. ”
Oyiza Adaba reports. Video courtesy of Africa-Related.
PHOTOS: AFRICA-RELATED
THE MUSON CENTER - Akintola Williams' Parting Gift To Nigeria
The Musical Society of Nigeria Center otherwise called The MUSON Center, sits in Onikan Lagos and stands out as a cultural icon in the overall Nigeria art space. Mudiare Onobrakpeya reflects on the undeniable impact of its founder, Chief Akintola Williams at his funeral in Lagos. Thank you for The MUSON Center. Rest in peace Sir. From all art lovers and us at Africa-Related
The Musical Society of Nigeria Center otherwise called The MUSON Center, sits in Onikan Lagos and stands out as a cultural icon in the overall Nigeria art space. Mudiare Onobrakpeya reflects on the undeniable impact of its founder, Chief Akintola Williams at his funeral in Lagos. Thank you for The MUSON Center. Rest in peace Sir. From all art lovers and us at Africa-Related
By Mudiare Onobrakpeya
Prof. Bruce Onobrakpeya MNON signs the Condolence register of Mr. Anintola Williams. Photo by BOF
Renowned artist, Prof. Bruce Onobrakpeya MNON, made a solemn visit to the MUSON Center in Lagos. His purpose was to sign the Condolence register that had been opened to honor the memory of Mr. Anintola Williams, the founder of Muson and a distinguished patron of the arts.
Prof. Onobrakpeya, known for his contributions to the world of art, expressed his deep appreciation for the profound impact Mr. Williams had on the art community during his lifetime. As he carefully inscribed his name and heartfelt message in the register, he remembered the man who had been an unwavering supporter of the arts.
Mr. Williams had a unique ability to connect with artists and nurture their talents. He was not just a patron; he was a mentor and a friend. His warmth and generosity had touched the lives of many, including Prof. Onobrakpeya, who had shared countless conversations and artistic insights with him over the years.
As Prof. Onobrakpeya placed his signature on the page, he couldn't help but feel a sense of loss. Mr. Williams had been a guiding light, and his passing left a void in the art world that would be difficult to fill. But as he stood there surrounded by the beauty of the Muson Center, he knew that Mr. Williams' legacy would live on through the artists he had inspired and supported.
In that moment, amidst the somber atmosphere, Prof. Onobrakpeya found solace in the fact that the art community would continue to thrive, thanks to the enduring impact of Mr. Anintola Williams and his unwavering love for the arts.
Nigeria is 63: Good or Bad? Questions with OTA GBINOWE
Mudiare Onobrakpeya reflects on ‘Ota Gbinowe’ by Bruce Onobrakpeya. It serves as a parable, urging us to look within ourselves for answers, learn from our past experiences, and make choices that align with the principles of wisdom and selflessness.
“Ota Gbinowe‟(1974) by Bruce Onobrakpeya was presented to the Archbishop of Canterbury in 1979 - Photo courtesy of Bruce Onobrakpeya Foundation
By Mudiare Onobrakpeya - Lagos, Nigeria
Taken from my diary notes this morning Oct 1st, Nigeria's day of Independence 63 years ago. The expression Ota Gbinowe in Urhobo language, asks the question Will the Future be Good or Bad? It is the title of Bruce Onobrakpeya’s 1974 artwork.
Bruce Onobrakpeya tells us about Ota Gbinowe, which imparts valuable lessons about the pursuit of a better destiny and the consequences of one's choices. The story revolves around a dissatisfied man who embarks on a journey to the spirit world, seeking an improved fate. However, his encounter with an assembly in the spirit world, presided over by a flying spirit, with a white chalk on one hand and a sword on the other hand, leads to a profound revelation.
The man's inability to find his creator in the spirit world symbolizes the elusive nature of divine intervention in our lives. It underscores the idea that seeking external solutions to our problems may not always yield the desired results. This serves as a reminder that true transformation often begins from within.
The assembly scene, with the flying spirit holding a white chalk and a sword, serves as a powerful metaphor. The white chalk represents wisdom gained from past experiences, emphasizing the importance of learning from history. It suggests that societies or individuals who make decisions based on accumulated knowledge and selflessness are destined for a better future. On the other hand, the sword of destruction symbolizes the grim consequences of selfishness, corruption, and an unwillingness to learn from past mistakes. This part of the narrative teaches us that the choices we make have far-reaching implications, affecting the course of our lives and the world around us.
The oracle's explanation reinforces the narrative's lessons. It emphasizes the need to apply the wisdom of Ota Gbinowe to one's life. By doing so, an individual can align their actions with the principles of learning from the past, avoiding selfishness, and contributing positively to the future. This advice conveys the idea that personal growth and the reshaping of one's future begin with self-awareness and a commitment to making choices that reflect wisdom and selflessness.
In essence, Ota Gbinowe by Onobrakpeya serves as a parable, urging us to look within ourselves for answers, learn from our past experiences, and make choices that align with the principles of wisdom and selflessness. It reminds us that our destiny is shaped not only by external forces but also by the decisions we make and the values we uphold.
May the Spirit of OTA GBINOWE be with us in the month of October.
Mudiare Onobrakpeya
Bruce Onobrakpeya by Barrett Photography
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Reflections: "The Mask & The Cross" and Bruce Onobrakpeya at 91
Months before his 91st birthday on August 30, 2023, The High Museum of Art Atlanta hosted Bruce Onobrakpeya, the wood-carver’s son who’s life-long artistic journey sought to find a meeting point between The Mask & The Cross
By OYIZA ADABA
Africa-Related New York
The High Museum of Art Atlanta
The Mask & The Cross by Bruce Onobrakpeya
April 7-July 30, 2023
By Mudiare Onobrakpeya
"The Mask and the Cross" are artworks created by Bruce Onobrakpeya, set in the final days of colonial Nigeria and shortly after its independence. These works offer a unique African perspective, delving into the underlying teachings, principles, and lessons derived from the life of Christ and the Resurrection of Christ.
The artist refers to these pieces as "New Masks" because they represent his endeavor to reconstruct and reimagine artworks using ideas from old masks, many of which were discarded and burned by early Christian missionaries.
The New Masks by Onobrakpeya retain the aesthetic potency of the original masks, now manifested in various media such as paintings, plastocasts, low relief sculptures, and other techniques that he has developed and innovated throughout his nearly 65-year artistic career.
These artworks are infused with the same esoteric meanings, conveying a narrative that transcends geographical and chronological boundaries, making them accessible to people of any culture.
"The Cross and the Mask" serve as narratives that reinterpret the universal essence of goodness by focusing on the core values that should foster a deeper understanding of the Christian message. In these artworks, Jesus Christ and other religious figures are depicted as universal symbols, emphasizing the essence of Christianity rather than being bound by the geographical and anatomical contexts of the Jewish and Roman people.
2nd June 2023
Postscript
The Solo exhibition by Onobrakpeya which was extremely well received at the prestigious High Museum in Atlanta, came to a close, at the end of July. "The Mask and tne Cross" is now billed to travel to The Smithsonian Museum, Washington D.C., in the second quarter of 2024 and the National Museum of Montreal, Canada shortly after.
3rd Sept 2023
ARTIST TALK: The celebrated artist Bruce Onobrakpeya was joined in an in-depth conversation on opening night by renowned art historian and critic Dele Jegede , with keynote delivered by his daughter Kabari Onobrakpeya.
ARTIST TALK: Bruce Onobrakpeya and Dele Jegede with renowned art critic, with keynote by Kabari Onobrakpeya. Video Source: The High Museum
“Art is something which I think has proved to be a pattern of working as well as playing; and so I don't stop playing, I don't stop enjoying using my hands. And also I don't stop thinking.
- Bruce Onobrakpeya -
HAPPY 91st BIRTHDAY!
From us @ Africa-Related
To see and do this at 91, is the prayer…Sir Bruce at the Onobrakpeya's Art Center in Agbarha-Otoh Delta State, Nigeria Video courtesy of Bruce Onobrakpeya Foundation
Photos of high museum opening by Bruce Onobrakpeya Foundation
