In winter of 1977 Jarrell and Jae visited Lagos , Nigeria , as part of the Second World Black and African Festival of Arts and Culture , making this the couple 's first international exhibition . Other AFRICOBRA members journeyed there as well . Jarrell was influenced heavily by the bronze lost-wax castings of Benin and the woodcarving and textile arts of Oshogbo , which he believed solidified the mission of AFRI-COBRA 's symbolic work through " intuitive space . " Jarrell also revisited his passion for horse racing , attending the Grand Durbar in Kaduna . On Jarrell 's return , AFRI-COBRA formed their next show " AFRI-COBRA/Farafindugu " ; '' farafindugu '' inferring " black world " in Mandinka . The exhibit , at the African American Museum in Philadelphia , featured two works by Jarrell created as a response to his journey to Africa : '' Mojo Workin '' and '' Soweto '' ( both 1977 ) . '' Mojo Workin '' featured a contribution from his then six-year-old eldest daughter , Jennifer . She created the drawing '' The Magic Lady '' and with Jarrell 's painting it was believed that mojo was expressed when others encountered the work . This is one of the first times Jarrell uses a stained canvas . '' Soweto '' reflects the struggles of African people , specifically those suffering from the apartheid in South Africa . The painting is named after the city of Soweto , where a massacre of students occurred in 1976 . Continuing to be inspired by his travels to Nigeria , Jarrell completed the work '' Zulu Sunday '' which was created to express similarities between African Americans and Nigerians through a celebration of a Sunday afternoon social affair . The painting shows Zulus dressed in ornate traditional dress , socializing on the street , unified by a sunburst
massacre of students
Soweto uprising
Wadsworth Jarrell