President Booksellers Association of Nigeria and Managing Director, CSS Bookshops Limited Mr. Dare M. Oluwatuyi has frowned at the poor representation of the book sector in the recently inaugurated Post-Covid-19 Committee for the creative industry by Minister of Information and Culture, Alhaji Lai Mohammed.
He said the association is not happy that in drawing up the list of the committee members, the books sector of the creative industry, and notably the booksellers segment was not properly represented.
“We also want to heavily underscore the fact that the book industry may even be worse hit than the entertainment industry,” he said, noting that one of the effects of COVID-19 pandemic is the shutdown of schools, which also meant the closure of book industry.
“COVID-19 pandemic effect on the book industry today is the fact that schools (the prime patrons of books in the country) are closed down? The simple implication of this is that the book industry has literally also been closed down,” he added.
Oluwatuyi in a statement titled Booksellers position on the inauguration of the Post COVID-19 Committee for the Creative Industry stated that a little more need to be done to help booksellers in Nigeria cope with the travails induced on the sector in particular by the current crisis and going forward.
Decrying the composition of the committee, he said: “When the committee was expanded, all the thirteen entertainment industry (Nollywood) associations had a representative each.
In contrast, only Mr. Bala Hassan was picked as a lone representative of the publishing industry to represent the book sector, notwithstanding the fact that the book trade encapsulates group segments like the Booksellers Association of Nigeria (BAN), Nigerian Publishers Association (NPA), Chartered Institute of Practicing Printers of Nigeria (CIPPON), Association of Nigeria Authors (ANA) and Nigerian Library Association (NLA).”
He noted that while not attempting to query the parameters presumably used in arriving at the decisions reached in the choice of new members for the committee, government should begin to do more to give the book the right pride of place in her policies.
According to him, in Nigeria’s history, long before the emergence of Nollywood, there have been booksellers (pioneered by CSS Bookshops Limited that was established in 1869), and then authors, publishers, printers and librarians.
“Again, different administrations have made the point about the dwindling reading culture in the country and its negative effect on the educational and social fabric of the nation.
But, how will the reading culture be improved when the book industry does not receive the right support from the government? Again, over the years, the book industry has suffered untold hardship at the hands of book pirates almost without let,” he stressed.
He therefore urged federal government to provide more slots for the book industry in the Post-Covid-19 Committee for Creative Industry as the starting point for even broader engagement with the sector.
A new study has emphasised the need to counter the advent of fake news and hate speech in Nigeria as well as stem the surge and its damaging impact on the polity. ASSISTANT EDITOR Bola Olajuwon reports.
A new study on the twin concepts of fake news and hate speech will soon be made available to broaden the horizon of the Nigerian media practitioners, the academia, politicians and other critical stakeholders.
The report, which was a product of research work by three distinguished lecturers – former Dean at the School of Communication, Lagos State University (LASU), Prof. Lai Osho and Dr. Seyi Soremekun and Dr. Jide Jimoh, also of LASU, went through the first of a series of validation by a panel of journalists and mass communication lecturers in Lagos recently.
Addressing the stakeholders at the event, former Dean at the School of Communication, Lagos State University (LASU), Prof. Lai Osho, said the report, which was funded by the United Nations Educational, Scientific and Cultural Organisation (UNESCO), will also be presented to two other enlarged stakeholders.
The university don noted that the speed with which the internet enables the media to manufacture, process and disseminate information in this digital age has become dizzying.
Prof. Osho, who presented the report, explained that the easy access it has given to hitherto unrecognised participants in information production and dissemination has broken boundaries of professional and ethical gates leading to a flurry of unprocessed information flow.
“Confronted by the consequences of the situation, society has also responded through studies by scholars and voices of concerned citizens to the emerging realities.
It is within the need for a continuous critical assessment of the situation and finding lasting solutions that this study is situated.
With the rise of right-wing extremism worldwide and the somewhat disruptive and vituperative discourse that attended the 2016 United States (U.S.) elections that produced Donald Trump as president, interest has heightened on the use of fake news and hate speeches as instruments of political contestations.
“In Nigeria, the 2015 and 2019 general elections have also witnessed the upsurge in the use of fake news and hate speeches. A clear understanding of the pattern of use and implications and counter-measures has become even more imperative.
Thus, this study focuses on the 2019 elections in Nigeria by apprehending fake news and hate speeches in the run-up to, during and after the election with a view to providing a road map for countering the malodorous effects on the polity.
According to the university, the general objective of the study was to find out the influence of fake news and hate speech in 2019 elections in Nigeria, with specific objectives, which include: to establish the extent of fake news and hate speech in the 2019 general elections in Nigeria; to determine the extent of fake news and hate speech in Nigerian social media; to find out dominant issues in fake news and hate speech and to analyse the probable implications of fake news and hate speech on the outcome of the 2019 elections.
The method used in the study, the researchers said, was content analysis supported by In-Depth Interview (IDI) of major social media influencers.
The choice of social media by the researchers was due to the fact that they have now become the major spaces for social discourse especially among the youth.
“Social media have greatly widened the public sphere and enhanced higher level of public engagement and participation of hitherto neglected and/or marginalised social segment of the populace. The kind of professional restraint (gatekeeping) we find in the mainstream media are largely absent on social media platforms,” Prof. Osho said.
A total of 103 stories were found to be either fake news or hate speeches in the various social media studied. Out of the 103 items analysed for fake news and hate speeches, 57 (55.3%) were fake news and 45 (43, 7%) were hate speeches.
The study found more hate news than hate speeches within the study period. This may not indicate the prevalence of hate speech over fake news generally but it is an indication of the high level of prevalence of both in the 2019 general election in Nigeria.
“Interestingly, the study also found one story that is both a hate speech and fake news. This lethal combination highlights the need to pay more attention to both phenomena in the political and other spheres of the polity. Thus, the study found that there is a high prevalence of fake news and hate speech in the 2019 Elections in Nigeria.
“The statistics from content analysis and views from in-depth interviews agree on the high prevalence of fake news and hate speech in the pre, during and after the 2019 General Elections in Nigeria.
“It is also of interest to this study to find the media mostly used for the dissemination of fake news and hate speech in the 2019 elections in Nigeria.
Online news platforms have the highest with 36 counts (35%). Twitter takes the second position with 33, representing 33%, of the total. This is a pointer to the increasing popularity of the social medium of twitter in the discourse of political issues in Nigeria.
Facebook comes a distant third with 10 (9.7%) and blogs with eight counts (7.8%). Thus online news platforms, twitter and blogs are the most significant social media used to disseminate fake and hate speeches.
Other media such as WhatsApp was also used but because of its end-to-end encryption, it more difficult to track by non-members of the group.
Nevertheless, the hate speech and fake news tracked on other platforms are also shared by members in the WhatsApp group rapidly.
The male dominance of discourse in Nigeria is further supported by findings from this study. Male voices account for 69 (67%) as against female 8 (7.8%) only.
The study, according to the writers, found a high prevalence of both fake news and hate speech in the run-up to, during and after the 2019 elections in Nigeria.
One of the emerging United States-based Nigerian visual artists, Obinna Obioma is among brilliant minds whose works have traversed the globe seeking a new order.
Obioma, a self-taught artist, fashion and photographer, had his formal education in United Kingdom and at the International Centre of Photography, New York, US. Currently, he shuttles around UK, US and Nigeria, where he runs a private studio.
But central to his creative photographs is investigating the human condition, touching on specific themes such as individuality, African heritage and identity, which are mostly portrayed best with his love for people and portraiture elements while still celebrating his strong African heritage.
His work has metamorphosed from simple portraiture to having its defined style, theme, motives and direction.
In his Diaspora Blues, he examines issues that most young people are facing or have faced in their lives. With globalisation, many young people find themselves born in countries that are not their ancestral homes; creating an “other” factor for these young people who find themselves in an identity comatose.
The work, through still photographs investigates this phenomenon through the view of first generation Africans and Caribbean’s born in the US, who view themselves as the other in both their ancestral counties and the country of their birth, showcasing and celebrating their dual cultural identities of being African and American.
But, in reaction to the ongoing COVID-19 pandemic that is ravaging the world, Obioma dedicated his Through The Screen project to interrogate the redefinition of human interaction, no thanks to the scourge.
“Humans have always had an unquenchable need to connect with one another; be it through pigeon messages, notes in bottles, telegraphs, phone calls or through the internet and social media, we have always found a way to stay in touch.
With the outbreak of coronavirus (COVID-19), spreading like wildfire predominantly through touch, killing thousands and causing a global pandemic, with no immediate vaccine for the virus, the world was plunged into social distancing to halt its spread. This meant that the fabric of human nature; to physically connect, was also being attacked,” he said.
With the aid of photography, Through the Screen investigates people around the world during these unprecedented times, showing how they are dealing with the new guidelines to socially distance, work from home and in some worse cases, quarantine.
Using technology and the internet as a means to connect with these individuals in isolation but also cut across borders, the work creates and captures the images of these persons in their self-quarantine and social distancing spaces.
On his Noir project, he said: “I embarked on a photography project called Noir Project, which is an open-ended project that cuts across creeds, age, gender, nationalities, ethnicities and locations. At its centre, is individuality and identity, this is why the images are created in black and white and lit with just natural (window) light to remove all distractions from the subject.”
His Alter Ego series and its creative direction were birth from themes of identity, individuality, otherness and African heritage using both conventional photographs and having fashion illustrations. He also draws emphasis on the styling as a tool to further talk about identity and African heritage.
The work, Alter Ego, through still photographs investigates this phenomenon buttressed through the lens of fashion, the view of a woman showcasing and celebrating her dual cultural identities of being African and Western.
Obioma has worked with major brands and clients both in Nigeria and abroad and his works have been published in major magazines, such as Picton Magazine, Vogue Italia, Ellement Magazine, Elegant Magazine, and Bella Naija.
His subjects include Jacqueline Norberto – New York, Nafisa Bukar – Berlin, Tosan Esangbedo -Paris, Salem King – Abuja, and Paula Jemitola – Milton Keynes.
For the third consecutive weekend, the National Council for Arts and Culture (NCAC) rallied critical stakeholders in the creative industry to chart a post-COVID-19 recovery path for the sector.
Last Saturday, NCAC, in partnership with the National Association of Nigerian Travel Agencies (NANTA) held an online conference calling for intensified collaborations between operators in the tourism value-chain.
Tagged COVID-19: Creating new business opportunities for travel agents, the collaboration according to the two bodies become necessary at a time like now for the speedy recovery of the tourism following the negative impact of COVID-19 on the sector.
NCAC Director-General Otunba Olusegun Runsewe urged tourism and travel practitioners to work harmoniously in revamping the industry, adding that deliberate efforts should be made to promote the nation’s culture, which according to him, is the content tourism feeds on.
He noted that NCAC had not relented in ensuring that the nation’s culture takes its pride of place even as pandemic ravages the world.
Runsewe, who commended the efforts of security outfits, on the minimised crime rate, said: “At this critical period, networking is key among culture, tourism, travel and entertainment practitioners to revitalise the creative industry. NCAC is open to welcome whatever form of collaboration.
“I appreciate everyone for this programme and hope to see you again next week because it will continue to hold on a weekly basis until we are able to finally combat COVID-19.”
Keynote speaker and National President NANTA, Mrs Susan Akporiaye said it was time for practitioners in the tourism industry to coordinate tourism to revive the economy.
She said the initiative would involve practitioners, such as musicians, restaurateurs, artistes, tour operators, travel agents, tour guides as well as visual and performing artists.
She noted that tourism cuts across all facets of life, ranging from agro, cultural, medical and educational tourism.
“The tourism industry is the most affected sector, due to the ravaging COVID-19 pandemic but we as practitioners must come together to work for the progress of the industry and the nation at large.
“The pandemic has happened but we must forge, ahead by taking the bull by the horn and not start crying over spilled milk.
‘’We can have tours arranged locally with some other packages like film show, night life exploration and other activities capable of attracting tourists and this can only be possible when tourism practitioners collaborate and work unanimously.
“For the industry to pick up speedily, collaboration is the way forward. Travel agents, tour operators and cultural outfits can’t do it alone,” she added.
Akporaiye urged travel agents to diversify from mere travel ticket sales to work as cargo agents, charter agents and to engage in farm tours and youth exchange programmes, stressing the need to promote the nation’s culture. She also advised Nigerians to explore local content in terms of tourism offerings.
“As a professional body, we have started organising some collaboration with cargo and charter companies so that we can assist our members to get back to business as travels have been totally cancelled.
“Operators can also organise farm tours for local tourists to see how small farms or fish ponds are operated. This will also serve as a means of education.
‘’Diversification is necessary at this critical period that is one of the lessons learnt from the occurrence of COVID-19. An institution with one line of income should be a thing of the past.
‘’Our culture should also be explored. Culture as a tourism product increases people’s curiosity and that is what Nigeria and Africa are rich with.
“I advise tour operators to identify some tourist attractions within their state. Do short videos of these sites and display them on their social media handles for people to see that the nation is well endowed with beautiful sites,” she added.
As the COVID-19 pandemic rages, artists, irrespective of gender, are not finding it easy. With art galleries, museums, art studios, schools, arts and crafts outlets shut, artists and art organisations are battling low and zero patronage in the face of the pandemic. But, how have artists been able to keep afloat? EVELYN OSAGIE, in this piece, writes on how some Nigerian female artists are navigating the rough tide, while battling to stay afloat.
As the fight against COVID-19 lingers and the world continues to count its losses, it is indeed a most trying time for the creative sector globally and Nigeria is not left out. The country’s creative sector and its key players, particularly artists are finding it hard to keep afloat.
With paid rents for studios, offices and other expenses still running on account of the downturn, local and international exhibitions cancelled, fairs and business proposals remain stalled.
The losses by every account seem endless. Some female artists are reflecting on ways they are navigating this period to stay afloat.
‘I slashed prices for my online training’
“Before COVID-19, artists were already suffering low and no sales. The pandemic only heightened it,” began Mayen Owodiong , a textile artist, who specialises in diverse crafts, as she recounted her experiences.
“But as a creative, I took some innovative steps to stay afloat. I held online fascinator training but had to slash prices due to low turnout. I also hosted free canvas app training for over 300 participants on different days as mental exercise to keep my sanity.
“I sent arts and love messages to healthcare officers/frontliners as I made nose and mouth mask using ankara, batik and adire for sales. But I made low sales.
Also, I reached out to few artists to buy adire in a way of encouragement, but I reached my breaking point and couldn’t keep up. Since everything moved online, I also upgraded myself academically and took advantage of some free online courses.”
•Ojobo
To the government, Owodiong says: “Grants would be of great assistance to artists to cushion the lingering effects of the pandemic.
Also, the government should make conscious effort to patronise art and craft sector, to infuse our indigenous craft and arts into government spaces, like secretariats, houses, parastatals, schools, all offices and constructions.
They should enact favourable policies to address duties on art and craft materials to help the artists; and hold regular art and craft festivals to attract foreign participation to help the sector and growth of the economy.”
‘I learnt new skills’
Like Owodiong, Aisha Idirisu, a graduate of Ahmadu Bello University (ABU), also found ways to reinvent herself.
As a widely travelled mix media artist, who loves teaching children about arts, her passion has seen her volunteering to teach children with special needs in the last few years.
However, she stated that her 16 years voyage into the world of art has not been an easy one, adding that the COVID-19 pandemic made things worse.
Her words: “It has been a tough journey. Unfortunately, art, which is a very important part of life, has been luxury for many over the years. But it’s nothing compared to what we are experiencing with the COVID-19 global outbreak. It has really slowed things down for lots of us.
“In this time of pandemic, many are only thinking of survival, not buying arts. I thank God l still have a job, even though my salary is now less than half.
On how I used my time during the lockdown: unlike others, l did not start painting immediately it started. I had to take a step back and rethink the future.
I realised that to survive this period, as artists, we have to create a need using our arts. I have always believed that artists should have more than one stream of income. So, I’m using this period to acquire new skills and venturing into a business.”
‘I didn’t know the lockdown would last that long’
For the President, Female Artists Association of Nigeria (FEAAN), Chinze Ojobo, a mixed media painter, who specialised in acrylic on canvas and jute, this is a very crucial time.
Although the COVID-19 saga came unexpectedly, Ojobo, a graduate of Fine and Applied Arts at the University of Nigeria, Nsukka (UNN) and a former student of renowned Ghanaian artist, El Anatsui, said she’s rising to the occasion to make ends meet.
“I didn’t know the lockdown would last that long, so I didn’t think of buying materials. When I exhausted what I had, I had to think out of the box.
So, I experimented with different media. Initially, it looked like it slowed down business for me but I believe, in the real sense it opened us, artists, up to more global opportunities.
Change is the only constant thing; so, in my opinion, flow with the changes and adjust to the ‘new normal’,” She said.
Omovo
She urged the government to go beyond lip service to investing in the visual art sector and artists, especially women artists.
“There should be world-standard museums and galleries, run by creative minds and made affordable for artists’use. Women play a vital role in the development of the society.
Government should also commission women artists with public artworks and give them medical insurance, among other grants for art education, exhibitions and productions,”she said.
‘The pandemic prevented my schduled overseas trips’
On her part, Ayoola Oluwaseun Omovo, a graduate of the University of Benin, who specialises in painting, said the pandemic prevented her scheduled trips to the United States.
Like Aisha, Omovo, an active member of Society of Nigerian Artists (SNA) and FEAAN, also teaches children art and crafts as a part-time school’s art instructor.
“Three international art events in USA I was scheduled to attend were cancelled due to the pandemic. There has been no sales of works since the lockedown began.
During the first two weeks of the lockdown, I was involved in diverse online art activities. In the process, I finished my paints, got improvised and started working on pencils and charcoal.
“It was really hard to adjust and get myself around but determination puts me on my feet to produce works. I have created lots of new works on COVID-19.
I have also learnt to produce works for everyday use, like painting on handbags for shopping. And I’m looking at producing works on mug and throw pillows. It would be great if the government can assist artist financially with cash.”
As the world tackles the COVID-19 pandemic, CORA-Arterial Network Nigeria has identified the creative sector as the most distressed.
While joining other lead representatives in the creative sector across the country, the group has called for “a refocused approach to how the interventions, palliatives and stimulus, should be developed and deployed both transparently and creditably”.
The group made the call in a statement signed by its Chairman (Steering Committee), Fola Martins.
While observing that virtually all of the activities in the creative sector impact on nearly other industries which interact with it for their own economic outputs with the loss of any or perhaps all self-generated incomes since the lockdown, it stated that it is most urgent and critical that any financial stimulus or basket of stimuli filled with both fiscal, monetary and work incentives from the Nigerian Government, are rolled out urgently to help flatten the curve of infections that could be threatened by possible breaches.
“As a leading civil society group in the country, has spearheaded various capacity building activities and developmental programmes for the Nigerian creative economy, covering not just the advocacy for cultural developments but also preserving the rights of such diverse practitioners and professionals as Authors, Dramatic and Visual Artists, Electronic Media Practitioners, Publishing Houses, Musicians, Moviemakers, Photographers, Fashion Designers, Dancers, alongside sharing knowledge on IP and Copyrights Laws, etc.
“Therefore, strategising for the survival and sustainability of the creative economy under the rampaging threat of the pandemic has to be, first and foremost, as all-inclusive as our broadly defined creative expressions are laid out. For instance, Cinema Exhibitors Association who as Owners of Cinema outlets are reporting losses to COVID-19 in the region of N2b, yet the association like so many other strategic stakeholders, is not represented in the Ministerial Advisory Committee.”
No fewer than 200 critical creative industry stakeholders including artists, thespians, gallery owners, art collectors, culture administrators and diplomats participated in a virtual conference last Thursday to chart the way forward for the sector following the outbreak of COVID-19 pandemic. It was organised by National Council for Arts and Culture (NCAC), Abuja, Assistant Editor Arts OZOLUA UHAKHEME reports.
There could not have been a more appropriate time than now for the Nigerian art community to seek alternative platforms and modes of producing and promoting their works of art, no thanks to COVID-19.
The virtual conference, which afforded the participants the opportunities to share fresh ideas, appraise the sector performances, raise some issues affecting the art aAnd artists was coordinated by the Director-General, National Council for Arts and Culture(NCAC)Otunba Olusegun Runsewe.
He said that the shock of the effects of COVID-19 on the Nigerian economy is devastating, which informed the urgent need for economic diversification.
This, he said, is why artists must think outside the box, adding that the creative industry offers vast opportunities in the nation’s search for economic diversification.
“About 250 billion dollars annual revenue is generated globally from the sector. It also accounts for about 29.5 million jobs. Nigeria must take advantage of the potentials available in the sector,” he added.
According to him, nothing succeeds without proper planning and effective coordination, noting that this makes the need for agenda setting for the sector imperative, to harness and channel the vast opportunities in the sector to empower our people and strengthen our economy.
OLU AJAYI
He described the virtual interaction as very necessary at such a time to chart the way forward for tourism practitioners and the creative industry.
He added that it would be held henceforth on a weekly basis to keep investors in the creative industry abreast of developments and brainstorm on ways forward.
“Our documentary on experiences before, during and after COVID-19 will help us keep history to enable people have a detailed understanding of how it has affected the creative industry,” he said.
Guest speaker and President National Association of Nigerian Theatre Arts Practitioners (NANTAP), Mr Israel Eboh urged art community to embrace digital exhibitions as alternative platform to market their works of art.
Eboh, who is a producer, director said this would mitigate the effect of COVID-19 pandemic on the Nigerian creative industry, which had great potential of generating huge revenue and employment for the nation.
On how to get the best from the culture sector, he called for the creation of a separate Ministry of Culture in order to focus effectively in the serious business of promoting the nation’s heritage. According to him, keeping culture as an appendage to Information will continue to make it the poorer brother of that relationship.
He stated that the visual artists can showcase their works on virtual platforms, while performing artistes can also produce play lets to be exhibited on different social media platforms such as YouTube for viewers to appreciate the talents of Nigerians.
He said that tour operators, travel agents and other tourism practitioners could have video clips of destinations to be exhibited on different digital platforms to create awareness of the existence of such sites.
“Through this, businesses can still continue in the industry, rather than the total collapse we are experiencing. COVID-19 has seriously dealt with the creative industry because the industry is people-driven. That is the reason digitalising our crafts has become very necessary.
“Gallery owners and artists are not also left out. They need to create works and have online exhibitions so we can take our art to the people. The creative industry must ensure that whatever we are producing now must be deep and beautifully created.
‘’Online fashion shows can also be organised. This will be creating good market for Nigeria while the country becomes relevant culturally and socio-economically as we take advantage of the pandemic and build on the possibilities,” he said.
Eboh urged the Federal Government to create sustainable infrastructure that would grow the sector at such a critical time as this, such as electricity, internet connections and more.
He also called on the government to give some monetary palliatives to the creative industry as done in some developed countries to cushion the effect of COVID-19 pandemic.
Corroborating Eboh’s position, one of Nigeria’s leading fine artists and former Chairman Society of Nigerian Artists (Lagos Chapter), Mr Olu Ajayi called for the establishment of Virtual Museum for Arts and Culture, capable of projecting works of Nigerian artists.
He said artists should embrace technological innovations to exhibit their works in response to the lockdown. This, he said, will enable artists across the world to have access to works collected from Nigerians as well as give room for collaboration.
He noted that with such virtual museum in place, Nigeria could generate over N100 million within a week as individuals who assess the platform pay. According to him, this would help the artists cushion the effect of the ravaging COVID-19 pandemic as they would also get share of whatever revenue was generated.
“With COVID-19 ravaging the world and social distancing, artists can no longer have exhibitions in the conventional way. We need virtual museum where our works can be exhibited.
“Nigerian crafts, sculptures, paintings, local fabrics and more will be displayed on such virtual platform. The establishment of the virtual museum will help the artists to stay in business at such critical period. There are virtual museums in other developed countries, it’s time to have ours,” he said.
Chairman, Society of Nigerian Artists (Lagos chapter) Mr. Idowu Sonaya urged government to cushion the effect of the pandemic on the Nigerian artists by providing palliatives while complaining of poor patronage due to the ravaging COVID-19 pandemic.
He also called on the Central Bank of Nigeria to make the already available palliatives provided for artists accessible to all without partisanship. “We are seriously affected with this lockdown; we need help from government; we need to continue having collaboration with international artists. Most artists do not have money to produce works, we need some palliatives,” he said.
For Mr Rockson Igelige, the challenge of piracy was his concern and he therefore urged the Federal Government to enact laws that will protect works of arts, which are usually put online to guide against duplication and piracy. He, however, charged practitioners in the sector to embrace technological innovations as the best option for now.
The critical role of data base in planning and execution of arts events was raised by The Guardian Newspaper Arts Editor Gregory Nwakunor, who urged organisers of events never to lose sight of the need to keep up to date data base for effective project execution.
No fewer than 130 ministers and vice-ministers of Culture drawn from across the globe recently participated in a virtual conference convened by the United Nations Educational, Scientific and Cultural Organisation (UNESCO) in Paris to discuss actions to bolster the cultural sector, which is facing unprecedented upheaval due to the COVID-19 pandemic, Assistant Editor (Arts) Ozolua Uhakheme reports.
Director-General UNESCO, Audrey Azoulay has said that the world needs culture to help sustain the shock of the COVID-19 pandemic. He assured that UNESCO would fully play its role in the process. “We need culture, so we need to help it to sustain this shock. We must assess the impact of the crisis, launch a joint reflection and coordinated initiatives. UNESCO fully intends to play its role in this process, in line with its mandate,” he added.
Assistant Director-General for Culture, Ernesto Ottone Ramirez noted that ‘there can be no future without culture’ adding that ‘’this meeting has shown your great commitment and UNESCO will continue to support you. We cannot reverse the progress seen over the past few years in the cultural sector. It is through culture that we will forge our collective resilience and it is culture that will bring us closer together.’’
Zhang Xu
The ministers spoke of the direct effects of the current crisis on tourism, museums, cultural production and artists as well as the measures that they have taken to mitigate the impact of the crisis. They noted that artists and creative professionals are among the hardest hit in the crisis due to the fragility of the sector, with many being self-employed, employed in small and medium-sized enterprises and, in some cases, working in the informal sector. They observed that the collapse of cultural life and production was having a dire impact on the tourism sector – which, in some countries, corresponds to more than half of the country’s economic activity. Recent figures from the World Travel and Tourism Council show that 75 million jobs in the tourism sector are under threat.
They, however, reaffirmed their commitment to intergovernmental dialogue and international solidarity in order to strengthen and unite their efforts.
Highlighting the social and economic benefits of the culture sector in their countries, the ministers agreed on the urgent need to invest in the sector during and following the crisis. “The mobility restrictions and containment measures that governments have been forced to adopt due to the pandemic have drastically curbed access to culture in the short term and – if action is not taken – could weaken the entire cultural ecosystem for generations to come,” they resolved.
Large majority of countries cited the closures of their World Heritage sites and cultural institutions and the ripple effect this is having within their countries. Indeed, to date, 90 percent of countries have closed or partially closed their UNESCO World Heritage sites and 128 countries have closed their cultural institutions. In addition to these closures, traditional festivals and a wide array of other events have been cancelled, impacting the cultural life of communities and the income of creative professionals, whose work is often seasonal.
Culture is a vital part of the solution
The ministers paid tribute to their national artists and all workers in the cultural sector, including heritage site managers, for their talents and their role in ensuring access to culture in these times of confinement, as well as their commitment to raising awareness about the pandemic through their activities. Thanks to online platforms, access to culture has been ensured in many parts of the world, including through virtual museums, galleries and libraries. Countless musicians, dancers, visual artists and writers have made their works accessible online. Many such initiatives are also ensuring the continuity of arts education activities. However, culture is not only being disseminated via digital platforms, as many parts of the world do not have the relevant infrastructure. Cooperation with television stations, radio and the press are also ensuring that people can connect with culture as a source of comfort, wellbeing and togetherness during these traumatic times.
Director-General UNESCO, Audrey Azoulay
To address the fact that the cultural sector has been one of the first to be affected by this crisis, and yet often the last to receive budgetary support, many ministers highlighted the emergency funding packages that they have put in place in their countries to safeguard the livelihoods of artists, artisans and creative professionals in the short term. These include commissioning new works, often adapted to the new reality of the digital environment, to provide a continued income for individuals and access to culture for society as a whole.
Whilst countries are at various stages of the COVID-19 pandemic, many have begun to undertake impact assessments to address not only the short-term impact but also to devise strategies in the longer term. For a great number of governments, the expansion of digital technologies will be a major part of the strategy. The UAE noted that “we must begin discussions on a holistic digital cultural economy and plan to support culture that does not easily translate in the virtual world.” Yet, as many ministers pointed out, culture is also a collective experience of our shared humanity and it will be important to revitalise human contact when it is safe to do so.
Building a broad coalition to support the cultural ecosystem
The massive participation in the meeting itself was a testament to the need for international solidarity at this time, a sentiment that was echoed repeatedly by the ministers. For example, China, the first country to be affected by COVID-19, noted that “culture can – and should – bring us together, boost international commitment and restore hope and confidence.” Several other member states called for a strengthened platform for dialogue to share good practices among states. Others highlighted the need for international financial mechanisms to support the countries least able to reinforce their cultural sectors. Even the enhancement of UNESCO normative instruments was cited as a long-term goal, as the crisis has brought into stark relief the importance of culture for society, as well as its vulnerability. As the Czech Republic underscored, “Culture is an essential part of society, it is not a luxury.”
Ottone
Many ministers noted that the impact of the crisis on the cultural sector is not to be understated and the world will look different after the lifting of these exceptional measures. Sweden implored fellow ministers to “join our efforts to defend open and democratic societies where creators can work under free, fair and safe conditions and where artistic freedom is protected and promoted”. Indeed, many countries said that in the long term we must adapt to a “new normal”, with countries such as Mali saying that “this crisis is an opportunity to develop a global and strategic reflection on culture.” Quite simply, stated Mexico, “culture has always saved us in the past and this time will not be any different”.
Barely 24 hours after the Federal Government announced the setting up of a committee of industry stakeholders to advise it on the best way to mitigate the effects of the Coronavirus pandemic on the creative industry last Wednesday, 11 presidents of Nollywood associations and guilds have kicked against the composition, urging the Minister of Information and Culture, Alhaji Lai Mohammed, to reconstitute the committee to reflect the actual representatives of the industry.
Last Wednesday, the Federal Government announced the setting up of the committee made up of Ali Baba – comedy, film, and Tv (Chairman); Bolanle Austen Peters – film and performing arts (TerraKulture); Charles Novia – television and independent producer (TeenTV); Segun Arinze- actor and producer; Ali Jita – actor and musician; Baba Agba – film director (BCI Studios); Kene Okwuosa – cinema and distribution (Filmhouse); Efe Omoregbe – record labels and collective rights management (Hypertek/Now Muzik); Prince Daniel Aboki – Radio and Film (CoolFM/WaZoBia); Chioma Ude – Streaming (Envivo); Olumade Adesemowo – television and platform (FreeTV); Dare Art Alade – Livespot Entertainment; Hajia Sa’a Ibrahim – Broadcasting Organisations of Nigeria (BON); Anita Eboigbe – News Agency of Nigeria (Secretary).
According to Mohammed, the committee will be assessing the expected impact of the pandemic on the industry in general.
It will advise the government on how to mitigate job and revenue losses in the sector as well as to create succour for the industry small businesses
“The committee will also suggest the type of taxation and financing that is best for the industry at this time to encourage growth. They are expected to advise the government on any other measure or measures that can be undertaken to support the industry. Accordingly, the minister named members of the committee to include,
He added: “We are still expecting the representatives of the fashion, publishing, photography as well as hospitality and travel sectors.The committee has four weeks from today to submit its report,” he added.
In a statement tagged: Nollywood Guilds and associations, the group said that Nollywood has leadership founded and anchored on their guilds and associations and ‘we urge the Honourable Minister of Information or any other representative of the Federal Government, its parastatals and agencies planning any intended dealings with Nollywood to humbly but officially do so through the Guilds and Associations.’
“How can a government anywhere on earth truly appreciate the workings of a sub-sector of the economy if the leadership of that sector were not consulted prior to major decisions affecting the sector?
“Nollywood is one of the priority sectors identified by the government for its economic recovery and growth plans with a projected US$1billion export revenue in 2020. This is the more reason why the government should involve the leadership of the industry on critical issues affecting the industry rather than hand-picking a few practitioners no matter how prominent they may be,” it added.
Among the presidents that signed the statement are Ralph Nwadike (AMP), Emeka Rollas (AGN), Fred Amata (DGN) Yinka Ogun (SWGN) Daisy Madu (ANCOP) Ahmad Sarari (MOPPAN), Sele O Sele (CDGN), Emeka Aduah (FVPMAN), Yinka Oduniyi (ITPAN), Barrister Izu Osuigwe (MACDAN) and Peddie Okhao (CEMP).
But in his reaction, the Chairman of the Committee, renowned comedian Ali Baba in an Instagram statement at the weekend said that while the committee acknowledges roles of union heads, what matters most is the overall well-being of the creative sector ravaged by the pandemic.
He called for industry players’ cooperation while affirming the committee’s commitment to ensuring everyone is heard.
“We have received several messages, on the back of the newly constituted COVID-19 Creative Industry Committee, set up to ascertain the damage to the sector. While some of them have been congratulatory, many wanted to know what the committee was all about. Others have volunteered to assist with needed information to help with the mandate.
“A few have been livid and upset as to the constitution of the committee. And rightly so. We all have where our interests lie. It may not necessarily be for the good of all. But, could be. Members of the committee have been working on how to make sure that the effects of the pandemic on all players in each sector and sub-sectors are heard.
“To this end, we are committed and as such will be looking to receiving all cases by individual players in each sector, while asking the leadership in those areas to help inform their members to let us have their cases, early enough, to be included in the final report to the government.
“We, as members of the committee, totally recognise the role of heads of unions and associations. This though is not about associations. It’s about curating the impact of the pandemic on the practitioners of the creative sector.
“It’s like taxes to the government, it’s not routed through unions and associations, but leaders of such bodies can advise members to make sure they comply. We look forward to hearing from all in the creative industry,” he said.
The Faculty of Arts, Federal University of Lafia in collaboration with the National Film and Video Censors Board (NFVCB) has called on scholars of film to submit articles for consideration in a book proposed with the title Censoring Nollywood in a global economy.
According to a statement by the faculty, the objective of the book project is to broaden the enlightenment on and interrogate the concept, operation and issues in film regulatory practice. The potential audience includes film practitioners, regulators, scholars, media practitioners, lecturers and students of film.
Writers are expected to consider the following aspects of film, film regulation and industry developments but are not limited to the following themes; philosophical questions around the concept of film censorship, historical issues of Censorship of the Film industry in Nigeria, creativity, film and censorship, film censorship and conflict of interests, technological innovation and the concept of censorship, cultural issues in film censorship, Nollywood and the global economy, film censorship in a digital economy, and landmarks, major actors and epochs of film censorship in Nigeria. Others are gaps in the regulatory framework for film censorship in Nigeria, the role of archiving in film censorship and technical issues in Film Censorship.
Entries are expected to be well-researched and scholarly articles in APA referencing style and should be in MS-word with double column in double spaced typed not more than 15 pages in 12 font size of New Times Roman.
The article, which should not have been published or simultaneously submitted for publication elsewhere, is to be forwarded electronically to svdugga@gmail.com on or before 15th May 2020.
Each article should be preceded by a concise title and an abstract of not more than 250 words followed by at most five keywords. Contributors should indicate boldly their names, place of work / institution of affiliation, academic qualifications, phone numbers and e-mail addresses.
Each contributor to the book shall receive two copies free of charge. However, more copies (up to 20 ) can be obtained subsequently at request by any contributor at half the price.
Film in Nigeria according to the statement, has developed a characteristic of being a private sector- driven innovating industry and it does not lack heroes /heroines nor does it stay fixated with classics.
It added that it is within such a quickly evolving environment that the need for the study of regulatory mechanisms like censorship becomes apparent.
“The NFVCB was established as a regulatory body and has grown in its activities alongside the fledgling Nigerian film industry. From a concentric role of classifying films, the board has had to grapple with developments in technology and global trends in the film industry. The notion of classification and censorship has in recent times, been challenged by Internet based film technology. These are defining moments for film practitioners, regulators, economists and scholars,” it noted.
