Helen Epega Lights Up the World Post-Pandemic #stylishlyhungry

Pandemic blues have inspired individuals to create works of art in all forms, whether it be a poem, a painting, a photography series, and so much more. Helen Epega, known as The Venus Bushfires, is a Nigerian/British opera singer, songwriter, composer and performance artist, who featured lockdown sounds and art at a virtual exhibition called “Her Dark Materials” showcased in Eye of the Huntress, not to mention an over-achieving artist who has claimed a seat at the table and composed the world’s first Pidgin English Opera.

“Many women of colour don't get a seat at the table...I stopped asking,” said Epega. “I made my own table, composed it into reality and painted it myself. We have to stop asking. Therefore, pull up a chair...better yet, build your own table.” 

A Pidgin, or Pidgin language, is a grammatically simplified means of communication that develops between two or more groups that do not have a language in common. 'Song Queen: A Pidgin Opera' was born from Epega’s first visit to the Royal Opera House in London, seeing 'Parsifal' by Richard Wagner. While attending, she wore a Nigerian head-tie and many people commented on the "art piece" she wore on her head. 

“I wore a gele headtie, the same as my mum had worn, my grandma before her, and so many other Nigerian and African women had,” she said. “But on this occasion it was a novelty. All I could think about was adding some flavour to the opera scene. I wanted to shake it up a little, make it more accessible.”

As she changed the landscape in the opera scene, Epega believes people of color shouldn’t be asking for a seat at the table, as there is a collective opportunity and responsibility for global equality at this moment in time. The world as a whole can not advance while people are oppressed because of the colour of their skin or gender, she expressed. Not to mention, that she is a mother of two and does not expect her children to be asking for a seat at the table when they grow up.

With this being stated, the idea was born for the first ever Pidgin English Opera, which Epega was set about bringing to the stage. It has now been performed in London, Lagos and Cape Town. Not to mention that there are more dates in the works for the opera to be shared in other cities in the UK, Europe and the US later this year and in 2022.  

“As an artist I've experienced a number of obstacles,” said Epega. “When I wrote 'Song Queen: A Pidgin Opera', a few people, actually in Nigeria, said that I'm an educated woman and asked why am I celebrating the Pidgin language…”, she said.

Epega responded to these questions by stating that educating society on Pidgin is what unites Nigeria's disparate communities and 350+ languages and dialects. Pidgin and Creole connect African, Caribbean, Brazilian, and Hawaiian diasporas around the world, she said.

Overall, she is really proud of writing and composing 'Song Queen: A Pidgin Opera' because not only is it the world's first Pidgin opera, but it was ground-breaking on so many levels. Not to mention, that it’s brought so many disparate groups together and celebrates Nigerian and African culture in an inclusive and enthusiastic way. It also fundamentally calls people to challenge notions of "high" and "low" art.

Her current project, Sounds of Us – A Sound Art Snapshot: Life, Love, Fear, Hope & Protest In The time Of Pandemic Lockdown’ is a special project featured in an exhibition called “Her Dark Materials” and is her first ever project released in 2021 since composing her ground-breaking opera.

The current sound art piece she created explores events that occurred each and every single day, along with sacred sounds recorded by members of the public in London and Lagos throughout 2020. This project surrounds music and technology that connects people globally through shared sounds, which will be promoted and shared in art galleries along at exhibitions in London and around the UK in the Summer and Autumn of 2021. 

“I'm equally as proud of my latest work 'Sounds of Us: A Sound Art Snapshot - Life, Love, Hope, Fear & Protest In Pandemic Lockdown',” she said. “I remember the day after the lockdown In the UK, I woke up and it felt like the world had stopped.”

Just like that, Epega didn't have  words to say, so she painted and painted until she released the fear she was feeling through rediscovering her love for the craft. She also realised that so many people in cities such as London and Lagos, which she refers to as home, were feeling the same. Through 'Sounds of Us', Epega created an audio snapshot and sacred space where people could share their feelings, fears and hopes throughout this critical time which let them be heard. 

“I'm all about finding commonalities and harnessing them to bring people together in a positive way,” she said. “That's my life's mission, and music and painting have been a gift from God that has illuminated and strengthened me through this beautiful human experience.”   

The sound art piece features recordings from London and Lagos people sent to Epega of birdsong, children playing, laughter, tears, fighting for breath and everything in between. The paintings were her response to the sound art piece. Overall, it took her 15 months to create this synthesising project.

“I feel honoured to have captured such a poignant moment in time through sound, art, and paintings that has brought comfort and light at such a challenging time and the new works are currently featured in Her Dark Materials (Virtual) Exhibition,” said Epega. 

To view 'Sounds of Us: A Sound Art Snapshot - Life, Love, Hope, Fear & Protest In Pandemic Lockdown' and other works of art part of the “Her Dark Materials’ exhibit, visit the Eye of the Huntress website, click on exhibitions, following with Her Dark Materials.