Nigeria’s Cultural Traditions Preserved By Survivors of Slavery – Chief Styles

Well-known across the United States and Nigeria for his longstanding commitment and illustrious career dedicated to developing sustainable cultural enterprise for indigenous communities around the world, High Chief Styles is an African-American who has devoted his time and energy to uniting Africans through culture.  After discovering his love for Nigeria and traveling across all parts of Africa, his studies brought him face to face with the rich cultural practices, and he became increasingly passionate about bringing the many religious and cultural traditions to the Diaspora in the U.S.

 Chief Nathaniel B. Styles, Jr.  (Olosun) is the firstborn of his parents and naturally sees himself as a leader. While studying International Affairs and Business at American Universities in the USA, England, and Italy in the 80s, the first continental Africans he met were Nigerians while studying in Italy. They were three brothers, a set of twins who worked in the arts, music, and theatre, and Eddie, a Professor of Architecture. Hosted in Nigeria during his first visit by Olorogun Michael Ibru, he received a bird’ eye view of business success in Nigeria. Through him, he knew about Nigeria, the heart of Africa. Through the Ibru family, he was exposed to many luxury brands integrated with traditional object d’art. Shortly thereafter, Styles completed University in London and returned to the USA where he incorporated Ethnic of Ybor with Nassim Saidi, a businessman in Lagos, producing accessories, clothing, and furniture in Nigeria and distributing to JC Penney throughout the USA.

They also supplied several Museum stores, boutiques, galleries, and theme parks throughout USA and Caribbean, utilizing traditional craftsmen to manufacture contemporary items that were created to sustain traditional crafts and the families that created them.

Having studied under the late Adunni Olorisa, Susanne Wenger, mother of the New Sacred Art Movement, he believes that culture should be used as a tool to create sustainable cultural enterprise, driving trade and tourism that will aid in economically transforming and uniting communities. As a result, in 2005, he was actively engaged in the visioning and architectural planning of what is now known as the African and Caribbean Cultural Arts Corridor and Osun’s Village.  In 2006, along with Business Associate Harlan E. Woodard, the High Chief was instrumental in the development and unanimous passage of state legislation (Senate Bill 308) establishing the 43 city block area in Miami’s Liberty City community designed to promote the arts and culture of the countries and participating sister cities, to build the economic and creative capacity of participants.

High Chief Styles Jr. was once asked, “Why are you so in love with Nigerian culture?

He replied thus:

“I love Nigeria because, although I, like so many in the Diaspora, am not in Nigeria, Nigeria is in us. I was taught very early that Africa is the mother of civilization and with that understanding, it was clear to me that the world’s cultures originate from Africa. As a child, I was raised in a spiritual temple in South Florida. I was always intrigued by spirituality and watching the elders work magic. It was through Afro Cuban Yoruba practitioners in our community that I became aware of the fact that many of my family’s spiritual practices were, in fact, from our West African ancestors. The Babalawo identified many of the spiritual practices of my stepfather as ancient customs and traditions inherited from his Nupe ancestors. Many of these same practices were taught to him by his Yoruba ancestors in Cuba. Although we were not consciously practicing African spirituality, as far as we were concerned, we were spiritualists practicing metaphysics. My mother is from the Gullah Geechee area of the US in the Carolinas. The Geechee originally from the Mende and Yoruba tribes of Sierra Leone, has preserved their distinct African traditions despite centuries of existence in the USA. My late mother’s employment in travel and tourism allowed me to fly across the globe and have direct exposure to the culture at my discretion. Florida is the capital of the Diaspora and since my childhood, I have seen Africanisms expressed through the Caribbean carnivals in Miami, like those in Salvador, Brazil, the Bahamian Junkanoo, and Moko Jumbie stilt walkers from Trinidad, like the Egungun dancers of Nigeria. These are all Africanisms that were present in my life as I grew up. We celebrated sacred spiritual days, watch night services to bring in the new year, the feast of the Epiphany on January 6 where we would devour delicious home-cooked Southern meals prepared by men and women members of our temple. We observed ceremonies to welcome newly born babies into our families and community.  Our coming of age was marked by ceremonies with family and friends present. Culture has always been engraved in my consciousness. It’s what we live, eat and breathe. My first love in my adult life was Nigeria; it’s through her that I made a direct connection to my roots.”