As Professor Emeritus Dele Jegede approaches his 80th birthday on April 19, the renowned artist, scholar and former cartoonist reflects on a lifetime of creative evolution, cultural advocacy, and the enduring influence of his Nigerian roots in this interview with thenationonlineng.net. Known for his socially conscious art, Jegede will celebrate this milestone with a solo exhibition, “dele jegede: recent work,” at Calabar Gallery in Brooklyn, US, in June—a testament to his undiminished artistic vigor.
For Jegede, turning 80 is less about personal achievement and more about divine grace. “Attaining this age is not by my design; I have Olodumare to thank,” he says, reflecting on his childhood in Ikere-Ekiti, a town whose cultural festivals and communal values deeply shaped his worldview. The annual Ògún òyè festival, with its temporary suspension of social decorum, left an indelible mark on his artistic sensibility. “It was a licence to be vulgar and lewd for three days, followed by a public apology at the marketplace,” he recalls with amusement.
Jegede’s work has long engaged with pressing societal issues. His 2016 exhibition, “Transition,” at Lagos’ Terra Kulture, tackled Boko Haram, the Chibok girls’ abduction, and internally displaced persons. “My art is selfish—a declaration of my testaments,” he says. “I seek to produce paintings that jolt and cajole simultaneously.”
Recently, his focus has shifted to global injustices—racism, police brutality, and political turmoil—sparked by the 2020 murder of George Floyd. Now, he explores non-figurative aesthetics, using colour to evoke hope. “I’m fixated on creating non-particularistic images that inspire,” he explains.
Poet Niyi Osundare once dubbed Jegede a “total artist,” a nod to his multifaceted career. As Director of the University of Lagos’ Centre for Cultural Studies in the late 1980s, he orchestrated music festivals featuring legends like Ebenezer Obey and Oliver de Coque. He also led a performing troupe on international tours and revitalised the Society of Nigerian Artists (SNA), advocating for the National Gallery of Art’s establishment.
From cartooning at Daily Times to academia in the US, Jegede’s journey embodies what he calls “the warp and weft of my calling.”
Jegede dismisses the notion of Western art centres dominating global discourse. “Creativity isn’t geographically based,” he argues. “Africans must assert our agency with unqualified chutzpah.” He praises Nigeria’s thriving art market but calls for a world-class biennale and a proper National Gallery edifice. “States must recognise galleries as cultural assets,” he insists.
Asked about reviving his 1970s cartoon strip Kole the Menace, Jegede envisions a syndicated series celebrating Nigerian childhood. “Kole would rule the world, critique society and maybe become an animated streamable show,” he laughs.
Retiring twice—from Unilag in 1992 and Miami University in 2015—Jegede relishes the freedom to paint and write. Health concerns led him to abandon oil for acrylics, but his productivity remains undimmed.
Among his proudest achievements—a First Class from Zaria, Fulbright scholarship and professorial chairs—the sudden loss of his son, Ayo, in 2011 remains a profound sorrow. The family honours him through scholarships, including one at Unilag’s Political Science Department.
On what he misses about Lagos.
“Everything!” Jegede exclaims, listing Lagos’ chaotic charm: “Area boys, bus conductors’ wit, NEPA, even mosquitoes!” He chuckles before adding, “Èkó ò ní bàje o!”
As he turns 80, Jegede’s legacy—like his art—is a vibrant tapestry of memory, critique and unyielding hope.
