Fulani Women (1968) exemplifies Jimoh Akolo’s remarkable ability to capture mood and colour, showcasing his early artistic prowess while also reflecting his broader influence on Nigerian art and culture. Akolo was a pivotal member of the Zaria Art Society, a revolutionary group that shaped the evolution of modern Nigerian art. Studying at the Nigerian College of Arts, Science, and Technology (now Ahmadu Bello University) and graduating in 1961, Akolo stood alongside luminaries like Bruce Onobrakpeya, Uche Okeke, Yusuf Grillo, and others in a movement defined by theoretical rigour, ideological conviction, and cultural authenticity. Their ideas spread across Nigeria, leaving an indelible mark on the nation’s artistic landscape.
This artwork reflects the essence of Zaria’s artistic ethos—creating art that is deeply rooted in the Nigerian experience. Fulani Women presents a vivid yet understated depiction of two Northern milkmaids, iconic figures within the Zaria community, engaged in selling fura de nono (a traditional milk and millet drink). These industrious and graceful women, who fascinated Akolo and his contemporaries, symbolize the vibrancy and resilience of Northern culture.
Akolo’s restrained palette and rhythmic composition lend the work a poetic quality, distilling the scene into a quiet, reflective celebration of his subject. The tempered hues and mellow tones highlight Akolo’s unique style, offering a soft yet compelling narrative that captures the elegance and dignity of these women while situating them within a distinctly Nigerian cultural context.
Beyond his artistic practice, Akolo made profound contributions as an educator. Teaching at Ahmadu Bello University from 1966 to 1998, he mentored generations of Nigerian artists, embedding the principles of the Zaria Art Society into the country’s artistic fabric. Fulani Women stands not only as a testament to Akolo’s mastery of mood and colour but also as a representation of his enduring influence on Nigerian art, culture, and sentiment.