Footnotes

Provenance
Acquired directly from the artist;
By direct descent;
A private collection.

Vibrant and dynamic, this work exemplifies Ben Enwonwu's remarkable ability to evoke movement and rhythm. It stands as an impressive and striking testament to the artist's mastery in capturing kinetic energy. The composition resonates with other notable works by Enwonwu, such as Rhythm of Market Women 1967. In both pieces, scenes of women dancing coalesce within a palette of varied hues, creating a compelling sense of perspective that significantly enhances the perception of motion within the static medium. As Ogbechie observes, "In his paintings, he had tried to capture this essence [of Dance] by tracking the body in its motions through space, using fractal surfaces and many figures to convey the idea of vigorous movement, which carried the eye in quick jumps to multiple points of focus."

On the reverse of the work, inscribed in what appears to be Enwonwu's handwriting, is the notation 'No. 18' located in the upper left corner. This suggests the piece's inclusion in an exhibition, most likely at the Italian Embassy in Lagos in 1973—ten years post-creation. The exhibition catalogue lists a work titled From Legon Dance Ensemble with a valuation of 600 Naira, which may correspond to this watercolour; another work under the same title appears later in the list with a valuation of 5,000 Naira. The significant discrepancy in their attributed values suggests that the lower-priced piece could be an oil painting, potentially the work currently held in the Nigerian National Collection under the title Ghana Dance Ensemble. Given that Legon is the location of the main campus of The University of Ghana, it is plausible that the two works are related or represent the same scene. If this watercolour is indeed Number 18 from the exhibition, its intrinsic value is further reinforced by the fact that Enwonwu retained it for a decade. Its association with the oil version, which holds considerable national importance, enhances its significance.

Early in his career, Enwonwu frequently travelled to Ghana, working closely with H. Meyerowitz at Achimota College. Meyerowitz, who had been highly impressed by Enwonwu following his 1937 exhibition at the Zwemmer Gallery, had also attempted to persuade the artist to undertake a teaching role at Achimota College. This effort was part of Meyerowitz's broader ambitions in arts education for the colonial office, although Kenneth Murray, then a prominent figure in the artistic community, was opposed to the idea, favouring the younger Enwonwu and his promising protégé.