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While the Black Arts Movement redefined African-American art in the 1960s and ’70s, Nigeria’s Oshogbo School was developing its own culture-specific canvas. Oshogbo artists articulated a nationalistic, spiritual consciousness that often placed Yoruba folklore and its pantheon of orishas—male and female deities—at the center of their medium. Nike (pronounced Ne-kay) Davies was initially on the fringes of the Oshogbo school, due greatly to the fact that she was a woman. In Batiks by Nike: An African Woman Talks about Patriarchy and the Empowerment of Women, Davies—the former wife of a polygamous husband and mother of five—illuminates the sexism that shrouded the school and Nigeria. As a teenage assistant to an Oshogbo artist, Davies says she was beaten so much when she refused his sexual advances that she had to substitute her lapa for less-traditional trousers because the skirt would unwrap itself during beatings. Showing with Batiks by Nike is Oba Koso (“The King Did Not Hang”), where mystical power subdues physical prowess. The myth of Shango—the Yoruba storm god who promised his disloyal followers everlasting protection in exchange for eternal worship—is dramatized by director Duro Ladipo, a prominent Oshogbo artist. Batiks by Nike: An African Women Talks About Patriarchy and the Empowerment of Women, Oba Koso, and Duro Ladipo screen in conjunction with the exhibition “A Concrete Vision: Oshogbo Art in the 1960s” (“Barnabas Child” is pictured). At 7 p.m. Friday, Aug. 25, at the Ripley Center’s Lecture Hall, 1100 Jefferson Drive SW. Free. (202) 357-2700. (Nefretiti Makenta)