Ladi Kwali was more than just a potter; she was a cultural icon who broke through the barriers of gender and tradition to become a celebrated artist of international repute. In the annals of Nigeria’s history, few figures stand out as vividly as Ladi Kwali, a woman whose artistry and cultural impact have earned her a place of honour on the N20 note.
Born into a society where pottery was primarily a domestic craft, Ladi Kwali revolutionised the art form, turning everyday objects into masterpieces that garnered attention far beyond her homeland. Her work was not just about creating functional items; it was about preserving and promoting the rich heritage of her people through the medium of clay. The legacy of Ladi Kwali extends beyond her pottery; she is a symbol of what can be achieved when talent is nurtured, and cultural heritage is preserved.
Dr. Hadiza Ladi Kwali was born around 1925 in the small village of Kwali, located in the Gwari region of Northern Nigeria. The Gwari people were known for their traditional pottery, a craft that was primarily practiced by women and passed down from generation to generation. Pottery in Gwari culture was not just an art form but also an essential part of daily life, used for storing water, cooking, and other domestic purposes.
Ladi Kwali was born into a family of potters, and from a young age, she was introduced to the craft by her aunt. She quickly showed an exceptional talent for pottery, mastering the traditional techniques that had been used by her ancestors for centuries. The pottery created by the women of Kwali village was renowned for its durability and functional design, but Ladi Kwali’s work soon began to stand out for its aesthetic beauty and intricate detailing. She made large pots for use as water jars and cooking pots from coils of clay, beaten from the inside with a flat wooden paddle, decorated with incised geometric and stylised figurative patterns.
Ladi Kwali’s journey from a village potter to an internationally acclaimed artist began when her work caught the attention of Michael Cardew, a British studio potter who was the then Chief Pottery Officer of Nigeria. Several of her pots were acquired by notable figures for decorative purposes, including the Emir of Abuja, Alhaji Suleiman Barau. In his care, the pots were spotted in 1950 by Michael Cardew. Cardew had established a pottery training centre in Abuja (now known as Suleja) in 1950, with the aim of modernising traditional Nigerian pottery and promoting it on the global stage.
In 1954, Ladi Kwali joined the Abuja Pottery Training Centre as the only female potter, where she received formal training in modern pottery techniques. Cardew was impressed by her natural talent and her ability to seamlessly blend traditional Gwari pottery techniques with the modern methods he was teaching. Ladi Kwali’s work became a fusion of the old and the new, retaining the cultural essence of her Gwari heritage while incorporating new styles and forms.
Her pots, often large water jars, were characterised by their intricate decorations, which featured animal and geometric motifs. These decorations were incised or applied onto the surface of the pots, showcasing her skill in both pottery and storytelling through art. Her pieces were not just functional items but works of art that told the stories of her people and their connection to nature and the world around them.
Ladi Kwali’s work soon began to attract attention beyond the borders of Nigeria. Her pottery was exhibited in major art galleries and museums around the world, including the prestigious Berkeley Galleries in London. Her exhibitions were met with critical acclaim, and she became one of the most celebrated African potters of her time.
In 1958, Ladi Kwali’s work was showcased at the International Conference of Potters and Weavers in Salisbury, Rhodesia (now Zimbabwe), where she received widespread recognition for her unique style and craftsmanship. Her success at this conference marked the beginning of her international career, and she went on to participate in numerous exhibitions across Europe and America. Also, in the late 1950s and early 1960s, Ladi’s work was shown to great acclaim in London at the Berkeley Galleries
One of the most significant moments in Ladi Kwali’s career came in 1962 when she was awarded the Member of the Order of the British Empire (MBE) by Queen Elizabeth II in recognition of her contributions to the arts. This honour was a testament to her impact on the global art scene and her role in elevating Nigerian pottery to new heights. She was also awarded an honorary doctoral degree from Ahmadu Bello University in Zaria in 1977, the Nigerian National Order of Merit Award in 1980 (the highest national honour for academic and intellectual achievement in Nigeria), and the national honour of the Officer of the Order of the Niger (OON) in 1981.
In addition to her artistic achievements, Ladi Kwali was also an educator and mentor. She continued to work at the Abuja Pottery Training Centre for many years, where she trained a new generation of potters. Her dedication to teaching ensured that the skills and techniques she had mastered were passed on to future generations, helping to preserve the craft for posterity.
Perhaps the most enduring symbol of Ladi Kwali’s legacy is her appearance on the N20 note. In 1977, the Central Bank of Nigeria decided to honour her by featuring her image on the note, making her the first and only Nigerian woman to be so honoured. The N20 note serves as a daily reminder of her contributions to Nigerian art and culture, ensuring that her legacy continues to inspire future generations. Dr. Kwali died in Minna on 12th August, 1984 at the age of 59, but left behind a great legacy.
