In a quiet corner of Ile-Ife, the ancient cradle of Yoruba civilisation, veteran wood sculptor Gabriel Afolayan continues to shape wood into culture, history, and identity. But behind the artistry lies a difficult truth: local patronage for traditional craft has declined sharply, leaving many artisans struggling to survive.
Speaking during The Ife Dialogue, an interview series on Ifecityblog TV hosted by Kayode Olawuni, the veteran sculptor revealed that support from Nigerians in the diaspora has become the lifeline keeping his workshop alive.
“Most of the people who buy my works today are Nigerians abroad. Without them, it would have been very difficult to continue this craft.”
According to Afolayan, the situation reflects a broader cultural challenge — the gradual decline in appreciation for African art and indigenous craftsmanship among people at home.
Declining Interest in Traditional Craft
Beyond low patronage, the veteran sculptor also expressed deep concern about the younger generation’s lack of interest in learning the craft. Despite decades of practice, Afolayan disclosed that he has not had a single apprentice for nearly twenty years.
“Young people no longer come to learn this work. It has been almost two decades since I had an apprentice.”
For a craft that once thrived through apprenticeship and generational transfer of knowledge, the absence of learners raises serious questions about the future of traditional wood sculpture in Yoruba land.
A Craft Learned, Not Inherited
Interestingly, Afolayan did not inherit the trade through family lineage. Instead, he learned the craft himself and built a life around it through dedication and skill.
Through the years, the craft has supported him in raising and educating his children, some of whom have gone on to pursue tertiary education. “This work trained my children and helped me take care of my family.”
Hand Tools and the Promise of Modern Equipment
Inside his modest workshop, most of Afolayan’s tools remain simple hand instruments. While they allow him to create remarkable sculptures, he believes access to more modern equipment could significantly increase both production and quality.
“If we have better tools and machines, we can do more and produce even better works.” His comment reflects the broader challenge faced by many local artisans — talent and experience are abundant, but access to modern production support is limited.
Breaking Misconceptions About Sculptures
Another issue the sculptor addressed was the misconception many people hold about statues and carvings. According to him, many Nigerians wrongly associate sculptures primarily with spiritual or ritual practices, a perception that discourages potential buyers. But Afolayan insists that most sculptures today serve artistic, decorative, and cultural purposes.
“People should stop thinking sculptures are only for spiritual purposes. Many of them are simply for beautification, decoration, and preserving culture.”
A Call to Youth and the Public
As the interview concluded, the veteran artisan made two passionate appeals — one to young people and another to the general public.
To the youth, he said traditional craft remains a viable and profitable skill when pursued with commitment and patience. “This work can be lucrative if you take it seriously and learn it well.”
To Nigerians at home, he urged greater support for local artisans whose work preserves cultural heritage. “People should patronise our works more. When you support local artists, you help preserve our culture.”
His story highlights a deeper cultural question facing many African societies today: if traditional artists depend mostly on diaspora buyers to survive, what does that mean for the future of indigenous art at home?
