Art Ova Yap: A Pyratical Exhibition

The National Association of Seadogs (NAS), otherwise known as the Pyrates Confraternity, have held annual meetings for years at different locations, with the aim of creating a sense of togetherness, choosing new leaders and reviewing the laws that bind the group. One of such is the National Konverge, an annual general meeting held at a chosen location within Nigeria, where a Deck is already situated.

In 2026, the National Association of Seadogs (Pyrates Confraternity) clocked seventy-four. The celebration of this remarkable feat lasted three days, with a significant number of member-only meetings, and other humanitarian events that cater to the host community. A new addition to the itinerary of last year’s event was an art exhibition in Owerri: Art Ova Yap. The art works on display were made by the confraternity members, professional artists who make up the Art Ova Yap collective.

Unlike other events scheduled for annual Konverge meetings, this exhibition was open to the public, including purchase of the art works. This exhibition served as a bridge between the confraternity and the general public, as it offered an insight as to what the Pyrates Confraternity’s core values are.

This year, the art exhibition returned for its second edition in Port Harcourt, combining a show of art works by selected artists—all NAS members, curated by Chuma Anagbado, and a collection of archival materials showing the history of the confraternity, curated by Elaye Youdeowei, and presented by the NAS archivist, Dr. A Sikuade MBBS, MA. PgD, MRCPsych.

As a social group, the confraternity has publicly expressed their opinions about the actions of Nigeria’s ruling class without vim. This interpretation can be seen in The Collectives’ Statement.

“This year’s exhibition features a special presents of archival Pyratical souvenirs chronicling the confraternity’s journey beginning from the 1973 ‘Worstest’ Pyrate Konverge on board the original Jolly Rogers Deck in Ibadan till date. Curated by Elaye Youdeowei, a seasoned pyrate, the presentation features a collection of time based objects that document, preserve and interpret values, culture and institutional memory.

This, in the end, is what a ‘Golden Voyage’ asks of its crew: not comfort, but continued vigilance manifested in actions. Fifty years in, the Confraternity’s founding restlessness against power abuse, and in fighting to better the conditions the Nigerian masses are made to live under, has not softened into nostalgia. Together, this collective does not offer a single thesis so much as a shared discipline. Our thorough-line approach and fluidity remains at the core strategy driving the purpose behind the founding of the Art Ova Yap platform.

We are art pressed into the service of advocacy and honest reckoning, without surrendering craft, placing our deck before our egos and ‘arting’ (acting) ova yapping.”

The exhibiting artists: Pius Waritimi, Ike Chikezie, Ebun Aleshinloye, Emeka Ihejirika, Abiodun Fagbohun, Chuma Anagbado, and Odigie (NAS) Etinosa employed the use of vibrant colours on canvas, carvings, and installations to show qualities that distinguish the Pyrates.

Ebun Aleshinloye’s Where is the Distressed Economy? (2024) boldly engages in socio-political discourse, seeking accountability and self reflection. His works engage editorial cartoons, a staple in print newspapers, to discuss important matters of state and the ripple effects on the economy and society at large.

For seventy-four years, the Pyrates Confraternity has amassed a large number of members, establishing Decks in locations far away from Nigeria. Despite this, Emeka Ihejirika’s pieces show the stark reality of human existence: though we are together, we are alone. In Mustang (2021), a Pyrate decked in full pyratical attire sits alone, deep in thought. Mustang immortalises Efeduma Eseoghene.

Ike Chikezie’s triptych, Before Canticles, is a three paneled work. The first shines light on the passing of humans, and how death comes as an inevitable part of life, hence the skull and crossed bones. The second depicts the character of a ‘living man’ (another Pyratical term for a Seadog) experiencing liberation, and being truthful in all his ways. The third explains that there is no barrier to liberation, neither religion or race. Truth is before canticles - this is drawn from one of the Pyrate maxims, Truth Before Cant.

Chuma Anagbado stays true to his cultural roots with the titling of his pieces, while imbibing pyratical themes into his work. Uwaa: The Creation Story (2026), uses chalk pastel, acrylic, soft pastel, oil stick and charcoal on canvas to replicate the allegory of the Big Bang Theory using hand-drawn beads. Igwebuike: Strength in Numbers (2026), multiple uniform-sized paintings that form a larger whole, shows strength in numbers and communal existence, hinting at the Konverge gathering. Ndi Mmiri: The Water People (2026) being people of the water, links to Pyrates seafaring: a fundamental concept of the confraternity which involves being sailors sojourning on large bodies of water.

Odigie (NAS) Etinosa’s works are a mix of Pyratical activities and pivotal moments in life. In Daily Protest (2026) and Sally II (2026), he uses gouache on paper to show Pyrates in gyration mode during a sally (coined from sailing). Blind Justice (2026) is a unique mix of acrylic, paper and yarn on canvas, with the yarn creating a textured effect that draws viewers in. Just Two of Us (2026), Purple Generation (2026), and Hail Mary (2026) are done using acrylic on canvas.

Abiodun Fagbohun’s Seascape and Sailing series present a plethora of works that show the active imagination of a Seadog’s life; a journey characterised by gusty winds, some turbulent or calm waters, and a sturdy ship that takes them through it all. His semi-abstract style helps the traditional Pyrate colors shine through.

Fagbohun moves beyond painting to show Pyrates in full regalia using mannequins. During his tour, Wole Soyinka bestowed these with pyratical titles (derived from the codified language of the confraternity)—names of quintessential Seadogs. They were donated by the artist to the National Association of Seadogs (NAS) headquarters, located in Abuja.

Pius Waritimi’s intricate wood work: the Bone Stool installation, includes chairs carved from wood and bone, varnished to shine. At the center of this display, a table whose top bears semblance to Nigeria’s map takes up space. A striking piece in this set up bears an effigy of Wole Soyinka’s face, carved into the headrest of a chair and a large pendant placed on the same chair. This was unveiled and presented to the Nobel Laureate upon his visit to the art exhibition. These were donated to him during the ceremony.

Alongside Waritimi’s gifts to the confraternity’s founder, he was also presented with a book published by Professor Adesugba, DBA, Ed.D, BL, FCIArB, which was displayed as part of the archival materials.

The archival materials contained time capsules highlighting significant moments in the confraternity’s history, including bannarettes, souvenirs, flags, and calendars. These spurred sentimental discussions and memories about the Pyratical events from the past.

The second edition of Art Ova Yap was held at Beverly Hills Hotel, G.R.A. Port Harcourt from July 30 — August 1 2026.