Category: Life – The Midweek Magazine

THE Ninth African Arts and Crafts Expo (AFAC 2016) has opened in Abuja with indigenous arts and crafts products from within and outside Nigeria on display.
Participants in the expo, organised by National Council for Arts and Culture (NCAC), include state governments, non-governmental organisations, tertiary institutions, professional groups, and individual exhibitors from across the country. Ghana, Mali, Sudan, Cameroon, Burkina Faso and China are also taking part in the event.
Since it made its debut in 2008, AFAC has remained a veritable platform, not only for marketing various indigenuous products, but also a forum for producers of arts and crafts, financial sector operators as well as relevant government agencies to brainstorm on how to move the cultural and creative industry forward.
Aside the business potential, the regional platform also serves to share ideas and network with other practitioners in all areas of competence including production, marketing, packaging and presentation techniques, towards achieving global standard.
Declaring the two-week market open, Minister of Information and Culture, Alhaji Lai Mohammed said AFAC was initiated to highlight the economic opportunities that abound in the creative industries.
He recalled that since the middle of the 20th Century, culture and tourism have remained preferred forms of economic development tools at local, regional and national levels.
“Indeed, many governments have integrated culture and tourism firmly into their economic development strategies in recognition of their potential and as response to particular economic situations, such as ours.
”It is against this backdrop that this administration will be delighted to see this fair fully developed to exploit the innate capacity of our people, particularly those living in rural areas,” Mohammed said.
According to the Minister, hosting AFAC was one way of demonstrating Nigeria’s leadership role in realising the goals of the New Partnership for African Development (NEPAD) as well as the African Growth and Opportunities Act (AGOA).
This, he said, had been by creating a vibrant marketplace in Nigeria that serves Africa’s cultural industries.
NCAC Director-General, Mrs Dayo Keshi, said the choice of the theme, African arts and craft: A catalyst for investment in the Nigerian creative industries, was a reflection of the past glory and dignity of the creative industry.
She emphasised that the industry, in spite of its funding challenges, has remained a significant player in revenue generation.
“Equally, it challenges our collective resourcefulness in providing alternative road-maps out of our current national economic recession. A number of countries are now developing strategies to integrate and promote traditional or indigenous industries in national development,” Keshi said.
According to her, the need to mainstream cultural industries into national economic policy of the nation was influenced by the growing recognition of its roles in the socio-economic development of any nation.
“Ghana has expanded its ambitious diversification plan to include developing traditional arts and crafts products that can create a niche market and generate employment. It also hopes to develop a continental market for its cultural goods. China from inception has invested in such industries as a pillar for its development which has continued to play major roles in China’s rise to economic stardom,’’ she added.
“Back home, the African Arts and Crafts Expo is one of such initiatives that provide a platform for artistry, craftsmanship and entrepreneurial skills in the areas of our cultural industry to be discovered, developed and showcased with a view to exploring the investment opportunities and economic potentials that abound in the sector,” she added.
Considering its level of acceptance and participation, especially among African countries, Keshi believed strongly that AFAC has the potentials to drive the economic diversification efforts of government.
“This year’s AFAC is emphatic about showcasing elements of good product design, perfect finishing as well as standard packaging and presentation aimed at global market standard. It is through product improvement that we can actually raise the value of the arts and crafts industry to becoming attractive source of job creation and wealth creation,” she said.
Mrs Keshi therefore challenged the collective resourcefulness of arts and crafts promoters, vendors as well as investors to take advantage of the potentials to invest in the sector.

America’s award-winning documentary by Leslie Chilcott, CodeGirl, has been screened at the Silverbird Cinema in Lagos. In this review, EVELYN OSAGIE recounts the journey of Nigerian high school ‘codegirls’ who won a $10,000 prize in the United States (US) after hitting technological stardom.

America’s award-winning filmmaker, Leslie Chilcott’s documentary, CodeGirl, is a crowd puller anyday.

The hall of the Silverbird Cinema on Victoria Island, Lagos, was packed full when it was screened.

Not finding seats, some guests took the aisles; others stood at the entrance. The audience comprised members of the United States (US) Consulate (Lagos), members of the Nigerian film industry, journalists, film lovers and students.

There was pin-drop silence. One could almost feel the excitement in the air with gazes fixed on the screen as guests waited for the movie to begin. The organisers of the Eko International Film Festival and the US Embassy had whetted the audience’s appetite, few minutes before the screening, with a juicy introduction on CodeGirl. The film, along with I am a Racist, Am I?, were the two American documentaries featured at the festival.

 

Raising new generation of women

problem solvers

CodeGirl, a 107-minute film, focuses on the lives of 15-year-old secondary school girls who entered for the 2015 Technovation’s $10,000-challenge. It shows how teenagers in 10 teams, after beating thousands of other girls from over 60 countries and different backgrouds, set out to identify and solve problems in their communities, using technology and coding/programming. The teams, from the US, Brazil, Moldova, India, Mexico and Nigeria, were part of over 5,000 girls that entered for the competition.

From the beginning, one is not given the hint as to which team would win, but having a Nigerian team in the competition, left the audience anxious from the start.

Sonam Kumar, Praise David-Oku, Grace Akpoiroro and Nmesoma Ogbonna are members of Team Charis representing Nigeria from  Calabar, Cross River State. They developed a mobile app, ‘App Discard-ious’, which tackles waste disposal challenge in Nigeria.

While highlighting the gender stereotypes within the computer science industry, CodeGirl also shows how Technovation yearly competition for girls ages 10 to 18 helps to increase the number of women app developers and tech start-ups enterprenuers. It was said that by 2017, the app market will be valued at $77 Biliion and 80 per cent of app developers are male.

During the Technovation World Pitch event in the film, the founder of Iridescent, organiser of the non-profit contest, Tara Chklovski, notes: “Only  seven per cent of tech startups are led by women, and the number of women who are mobile app developers, are only four in every 100.”

It was interesting watching each team, supported by mentors and guided by a curriculum, building a mobile app, and a business plan to launch the app. As the film progressed, each process and team came with its suspense and thrill.

The competitive spirit of the girls drove the anticipation and excitements of guests. Even though the film follows girl-teams from last year’s edition, the thematic pre-occupations of entrepreneurship and technological innovation makes the movie evergreen and timely. The girls’ attempts at becoming scientists, global technological problem-solvers and entrepreneurs through in the face of recession was noteworthy.

 

The journey begins

The film, which is now on YouTube, begins in Stefanesti with five girls who won the 2014 edition with their ‘App Pura’ that maps the level of contamination from hepatitis, E. coli and heavy metals in wells around Stefanesti, Moldova. And so the participants are challenged to come up with a more innovative app.

The mood was further heightened by the suspense created as the filmmaker crisscrosses continents with the girls, showing their efforts.

 

Despite visa problem, Nigeria makes final

Navigating the lives of girls as they set about their business, it was easy for the audience to follow the process. After journeying from Stefanesti to Drochia, which is also in Moldova, the US and Mexico, the film then focuses on the final six teams. Nigeria’s Team Charis makes the  final with three US teams – Puppy Sized Elephant (My Cash Count app), Team Woco(Praise Pop app) and Team Ameka, Massachusetts (Safeguard Driving app that came third place) – Team Brazil (app to safeguard the wastage of water) and India’s Team X-Women (cAppAble that connect users with disabilities to NGO and corporations for employment opportunities).

Featuring Nigerian team towards the end of the film added to the suspense. And so when the much awaited Nigerian “dream” team came on screen, their appearance evoked a rousing applause from Nigerian audience. From then on, they watched with kin interest and concentration.

After arriving Lagos for their  travelling arrangements bound for the world pitch at San Francisco, there was a chance that Nigeria’s team would not be able to travel due to an online visa problem experienced by the US State Department which affected foreign travels during the period.

While watching the Nigerian teenagers go through the hurdles, many of the audience empathised with the girls. It was almost as if they were part of the competition. The audience, not only followed the scenes with much concerns, many cried when the girls lamented their plights with teary eyes, fearing they may miss the trip.

It was a loud ovation that ensued when the girls are cleared and finally make the trip, arriving at the world pitch some minutes before presenting their app.

As they set at their cause to  prepare the pitch for their app, the viewers followed, anxiously.  And as if to calm the anxious crowd, the girls then mount the stage with an inspiring amount of confidence to explain Discard-ious, their per-user friendly app through which users can request carts for safe waste disposal in their state.

They explain further that the lack of proper trash collection yields an unhealthy environment, making individuals prone to illnesses, such as dysentery, malaria and typhoid.

After confidently pitching their app and chanting the maxim: “Join us to provide a cleaner, greener and safer environment”, the Nigerian girls stole the hearts of the judges and tech executives in the US, as well as the audience. This was the highpoint of the documentary.

And as the results are being announced, from the runner-ups to the first position, the audience’s curiosity heightened. The hall broke into thunderous shouts, and tears when the Nigerian team was named winner of the $10,000 prize, hugging and congratulating one another as if they had won a huge lottery ticket. And so, the film ended in a celebratory note, leaving behind lessons for Nigerian government, corporate bodies, parents and the young, especially talented girls. Whether or not, the event in the film had taken place a year ago did not matter. What mattered was its inspiring story, even though it was easy for the audience to think that the filmmaker deliberately kept the winning team towards the end of the documentary.

But after watching the movie, the audience said the filmmaker’s job was not yet done as they were looking forward to seeing documentaries on how the 2015 winners actualised their dream, and the story of this year’s edition.

Chilcott’s efforts at documenting history through her film was highly commendable. Without her efforts, Nigerians, and indeed the world, would not have known about the inspiring story and efforts of the girls at inventing solutions to better their world, it was said.

The US government, American Film Showcase (AFS), Eko International Film Festival was praised by the audience for bringing the film to Lagos; while they commended Technovation for discovering scientific talents in girls and raising young women entrepreneurs. They added that the film should be screened in cinemas across the country.

 

 

For three weeks, 12 Nigerian top flight artists will be showcasing their paintings in Paris, France in a group show titled: Echoes from Afar. Assistant Editor (Arts) OZOLUA UHAKHEME reports. 

WORKS  of seven top flight artists will be on parade at the world exhibition  holding between November 29 and  December 20 at FABRIQUE on Rue du Faubourg Saint–Honore, Paris. The event is titled: Echoes from Afar.

The artists are Abraham Uyovbisere Emmanuel Ekefrey (self-taught artist), Sam Ovraiti, Joe Amenechi, Tola Wewe, Zinno Orara and Duke Asidere. Each is expected to feature 12 paintings.

Echoes from Afar will showcase artists with various styles and mediums, themes, and institutional influences. The objective of the group exhibition, among others, includes promoting the creative and artistic education of Nigeria in France, which is largely dominated by the African-French speaking countries.

The artists are diverse, rich and representative of the major art schools in Nigeria, namely the Obafemi Awolowo University, Ile Ife, Auchi Polytechnic, Yaba College of Technology, Lagos and Ahmadu Bello University, Zaria.

Curator of the exhibition Bose Fagbemi said the previous exhibitions of  Tola Wewe and Duke Asidere (2015 and last May ) in Paris were eye-openers to a lot of people in France, as the last major  exhibition held in Paris was in 2004.

According to her, the idea of the show is to continue to promote Nigeria’s rich culture through art as distinct from crafts, music and movies.

“I used the theme Echoes from Afar because of the message each artist has and expressed through their mediums. Some are social stories, some biblical and others are Nigerian issues,” she added.

Fagbemi disclosed that the gallery has validated the show since last year, but that she was only on the waiting list at the venue. A few of the exhibiting artists are expected to be at the opening ceremony on November 29.

She said the choice of the artists was informed by their schools, styles and known subjects in the past, adding that Ekefrey is well documented in France and has had several exhibitions in France too.

“Also, being the only self-taught among them, it gives a balance of appreciation to show a typical art from Nigeria as distinct from influences from educational institutions,” she said.

On modern Nigerian art in France, she said: “It is easier to hear about the artworks by Muraina Oyelami, Twin Seven, Uche Okeke, Bruce Onobrakpeya, among others than Nigerian contemporary art. And it is the same in Europe. Contemporary Nigerian art is beginning to be well recognised due to frequent exposures and exhibitions. But, it still depends on the country.”

The collection, which is insured, will include Wewe’s Sambisa Blues (acrylic on canvas), Uyovbisere’s Zaria school: Ese at the city gate, an oil on canvas (the Story of Ese Oruru), Asidere’s Music maker (oil on canvas) Ekefry’s Molue Bus (acrylic on canvas), Amenechi’s Adam and Eve ( biblical-etching), Ovraiti’s Father, Mother, Child  (oil on canvas) the traditional family, Orara’s Ibadan (oil on canvas).

 

Josy Ajiboye’s general attitude to life reflects on all his paintings. It’s all about reality. It’s all about being natural. It’s all about being humble. It’s all about being down-to-earth. His paintings address his deeper, natural and perceptible feelings. His emotions are poured out on canvas just the way they come; no dilution, no fabrication, no distortion, no abstraction and no stylisation.”

This remark by Mufu Onifade captured all that Josy Ajiboye presented at his solo art exhibition tagged: 40 years of art exhibitions held at the National Gallery of Crafts and Design, National Theatre, Iganmu, Lagos.

The solo exhibition was organised by the National Council for Arts and Culture (NCAC) in honour of one of Nigeria’s foremost legends whose experiences as an illustrator and cartoonist traversed publications such as the Daily Times, Sunday Times, Evening Times and Weekend Times.

The exhibition chronicles the ‘’outstanding achievements and artistic initiatives of the great artist who has for years used the platform of art as a vehicle to channel his contribution and give back to the society’’.

Instructively, the exhibition is featuring a combination of some old and new works in a retrospective manner to comment on the current development in art. For four decades, Ajiboye has used different artworks – illustrations, cartoons, paintings to express himself on contemporary issues as well as to document Nigerian history and culture.

Omooba Yemisi Adedoyin Shyllon Art Foundation (OYASAF) founder Prince Yemisi Shyllon, who chaired the opening, said artists needed to be honoured as they contributed immensely to nation building.

“Ajiboye is not just a painter, he played a major role in post-Nigeria independence. In fact, artists should be honoured for their roles in documenting history,” he added.

The exhibits on display range from cartoons to drawings and paintings, which dwell on politics, economy, socio-cultural and environment. The collection covers realism on common place activities such as festival, dancing, beach life, village scene and animal kingdom. Ajiboye’s paintings are described as ‘realistic encapsulation of natural occurrences. He is never fascinated by illusion and inexplicable ideas. Little wonder he has no respect for those artists who hide their deficiencies under the guise of abstract.’

Works in this category of realism include Elephant, Bible scene, Efik Girl, Farmer’s son, Eyo, peacock Girl and Ram Portrait.

One of his cartoons, HELP! is a visual representation of the state of the nation’s naira whose value is constantly sliding to an all time low in exchange. It captures an image of a man in naira robe drowning in an ocean. The crying figure raises his hands up shouting for help. But there seems to be no help in sight except for any miracle from heaven-he looks up to the sky as the wave takes him further into the ocean. The ocean is symbolic of the world economy in which Nigeria finds itself performing badly.

The state of the hall did not enhance the presentation and appreciation of the works. Apart from the untidy nature of the floors and walls, some of the air-conditioners were stripped of their covers and dripping water.

Inadequate illumination of the works was also a setback. The hall, especially, should have been given a facelift for such a landmark show meant to honour an icon such as Josy Ajiboye. The exhibition ended on November 9.

Hope Rekindled is an exceptional literary work on the socio, political and economic development of the country. From a retrospective look at the progress of the country since its formation in 1914 to this day, the book has situated the problems of the nation, bemoaning its abysmal retrogression on all fronts 56 years after independence while some of its peers of then that were far behind its development level have not only progressed but have leap-frogged from third to the group of first world nations.

To an average Nigerian, the major problems of this country are bad leadership, corruption, high cost of governance, tribalism and the defective   structure of the federation which are in the main discussed subjectively without facts and data but as this book has equally made us to realise, beyond those well identified issues of the nation, the socio, political, economic and religious contradictions of the people are not only a significant contributor to the problem, they are in fact largely holding the nation down. The contradictions do not only need to be urgently tackled, everything, in the view of the author, needs to be done to change the ways of the people and   believe in them. To the author, such popular believe and saying by some of our people like ishe kekere owonla does not encourage hard work, productivity and transparency. He also wonders while we all daily go to the religious homes, read the holy books, listen to the homilies and sermons and return to continue to live false lives, dishonestly and treat our neighbours and fellow compatriots as “bush meat” forgetting that what goes around, comes around! Another of the contradictions is the love and cry by all for democracy while in practice we detest the ethos of one man, one vote to allow the wisdom of the crowd to prevail in our electoral system.

Again, the challenge is that we are no t good students of history as our memories both personal and institutional are very short. Consequently from a gradual history of the crystalisation of the many ethnic, linguistic, cultural and religious diverse groups and nations into a single country that has become today’s modern Nigeria, Hope Rekindled traces the  country’s historic fortunes and misfortunes of the once glorious nation, unravels her political, economic, governance and  other problems and proffer  solutions.

On the political front, the military’s refusal to allow the country and her political class to make mistakes, learn and perfect from them was a complete misadventure into her life. The intervention did not only cut short her learning process, it destroyed the nation’s carefully established developmental process, the hard earned values of freedom  from the colonialists, magnified the ethno-religious and political differences of the country by ‘backwardly’ transforming  her politically from a fiscal federal state into a unitary state and by instigating the country to dump the inherited cheap and transparent parliamentary system of government from the colonial masters for the corruption-driven and expensive American presidential system that has become a drain pipe on the nation’s learn resources.

The book has hard knocks for all of the nation’s past rulers for their economic and political illiteracy and what  it called scape goat economic policies that for decades disallowed economic freedom and ease of doing business. This also   held down the country’s economic development until the International Monetary Funds(IMF’s) Structural Adjustment programme (SAP), which halted the nation’s scape goat economic policies, induced some level of economic freedom and opened up the economy for the first time to experience genuine economic development and growth.

But how did the country actually become a laggard among its historical peers of all times?

The author, Sam S.O. Afemikhe, a leading Chartered Accountant,   Transparency, Business and Value for Money Consultant and Strategist, in trying to find answers to that thought-provoking question, began by benchmarking the country against nine other countries- India, South Africa, Malaysia, Singapore, Ghana, Botswana, South Korea, Brazil and Indonesia. All of which were its closest peers with comparative history and levels of development at independence.

It carefully catalogues its findings and illustrates clearly with data and graphs, using the annual metrics and indicators generated by international organisations to rank the social, economic and political performance of countries worldwide.

The challenge confronting the nation, which range lately from wide scale terrorist activists in the Northeast, the dare-devil  militant groups in the Niger Delta and  the general appalling state of insecurity to the worrying problem of nationhood challenge, threatening to dismember the country, the author further noted, were not only compounding the nation’s woes, but have assumed dangerous dimensions that unless something urgent is done to arrest the situation, the country, he feared,  does not inly stand the risk of collapse, the receding movement to precipice could prove catastrophic.

He was unsparing in the first part of the book in which  he described Nigeria in the first chapter as “a sleeping giant,” noting with regret that “the country is still ranked as a developing country with many indices of development abysmally looking downwards and getting lower. To all effects, the education system has collapsed.

Part 3 (Quest for Justice, Equity and Peace) comes under four chapters- Grappling with the Structural Defect, Political Misadventure, A Deadly Venom and Please, Help, We Are Drowning. On what it terms the nation’s structural defects, the book argues that the multiplicity of states has only succeeded in increasing the cost of government “with more and more resources of government devoted to recurrent expenditure.” In the author’s opinion, with less and less to spend on the people, the nation’s human development index has dimmed negatively.

 

Part four of the book with three chapters – A Nation of Contradictions, Do the Right Things and Do Things Right and Return to Go- envisions how to achieve a new Nigeria, counseling the nation’s leadership to take charge and chart a vision for Nigeria that will liberate all citizens and unleash their innate capabilities. Hope Rekindled showed that its objective is not only aimed at fault-finding, it proffers solutions to the nation’s festering political and economic challenges,  arguing strongly for a re-adoption of the parliamentary system to end the high cost of governance of the presidential system, adoption of fiscal federalism, total war against corruption, a socio, economic and political rebirth to jettison our lives of political, social, cultural and religious contradictions, a total overhaul of the country’s justice system to strengthen the rule of law and property rights and total a enthronement of the doctrine of economic freedom and ease of doing business.

The 804-page work is not only a thorough study, analysis and solutions to the nation’s fiasco but alsoand a recommended literary companion for all lovers of this great country, it is a revelation of the author’s high sense of patriotism and beliefve in the unity and greatness of the fatherland. which have remained potentials that must be realized..

 

 

 

 

In museums all over the world, the use of multimedia applications continues to spread. Now that the early technological problems of the early experimental years have largely been solved, museums are focusing more on the needs and the quality of the interactive experience; the museums community globally is becoming increasingly aware of the use of multimedia in exhibiting their collections.

Multimedia is simply a combination of two or more media. Computerised systems form part of a long tradition of interpretative and explanatory technologies and techniques that follow slide shows, text plates, and dioramas. Strictly defined, multimedia results when two or more media are combined to provide information about a subject. The media may be text, drawings, graphics, still photography, moving images from video and audio etc.

Famuyiwa (2012) agreed that multimedia enable learning to become fun and friendly, without fear of inadequacy or failure.

However, some challenges are militating against the effective use of multimedia in the National Commission for Museums and Monuments in Nigeria, among which are inadequate policy formulation on Information Communication Technology (ICT), lack of infrastructural facilities and bureaucratic bottleneck, among others.

This paper, therefore, examines the effectiveness of multimedia applications for exhibition interpretation and looks at ways by which multimedia application can fully be integrated in enhancing museum exhibitions.

Multimedia and museum

exhibitions

Fenrich as quoted by B. Famuyiwa (2012) defined multimedia as “an exciting combination of computer hardware and software that allows you to integrate video, animation and audio graphics and test resources to develop effective presentations on an affordable desktop computer”.

Recent user studies analysing the patrons of web museums have discovered that a majority are seeking exhibits that go beyond a database of disparate objects. Visitors to virtual museums are looking for guided tours and exhibits that take advantage of new technologies and present information in a way that helps them to understand and appreciate the artifacts in their artistic and historical context.

According to Koester (1991), “multimedia is really neither a specific technology nor a product, though many use the word in that way. Instead it is multi-sensory ways through the integration of disparate media and pieces of information”. This integration results in a multi-purpose device that in most cases is under the immediate control of a personal computer, and the ultimate control of the designer and user. From what has been discussed, it shows that using multimedia is not a choice but a necessity that will lead National Commission for Museums and Monuments to automation.

 

Multimedia devices for

enhancing exhibitions

Various screen-based mobile guides have been adopted by a range of museum worldwide since the turn of the century. This is mainly due to the great potential that such solutions offer to museums and their visitors. Advantages include: variety of interpretation, engagement of visitors, outreach to new audiences, support for orientation and flexibility with content distribution.

These multimedia devices among others include:

 

Audio guide

This provides a recorded spoken commentary, normally through a hand held device to a visitor in a museum. They are also available for self-guided tours of outdoor locations, or as part of an organised tour. It provides background, context and information on the things being viewed. Audio guides are often in multilingual versions and can be made available in different ways. Some of the more elaborate tours may include original music and interviews. Some audio guides are free or included in the entrance fee, others have to be rented separately.

 

Multimedia electronic guide

This is a device specially designed to provide audio, visual or textual content to the museum visitors with or without user’s interaction. It may also provide alternative content corresponding to various personal preferences. It may include accessories such as headphones, a digital pen and displays with Liquid Crystal Display (LCD). It May also be operated to supply content in different languages and accents, with different voice alternatives like (man/woman/child/native speaker etc), with text and with age group specific content.

These electronic guides can also provide the museum management with useful statistics and report, which may include tour statistics, visitor statistics, opinions and other surveys.

 

Cell phone tour

This is an audio tour where pre-recorded or stream audio interpretation for a heritage site or a cultural exhibit is provided via a cell phone. Cell phone audio tours have the advantage such that most visitors already have the equipment needed to take the audio tour, being their cell phones. Each venue is assigned a phone number with appropriate stop numbers, displayed next to the exhibit. Once a visitor has dialed in, he will be prompted and can enter the corresponding stop number of the exhibit they are viewing, to hear the recorded content. These tours also enable the visitors to fast forward, rewind, and pause, as well as leave a feedback message for each exhibit or the whole tour, simply by pressing a number.

In addition to audio content, some providers are also able to stream videos and text messages of recent visitors with updates.

 

Video projector

This is an image projector that receives a video signal and projects the corresponding image on a projection screen using lens system. All video projectors use a very bright light to project the image and most modern ones can correct any curves, blurriness and other inconsistencies through manual settings. Video projectors are widely used for many applications such as conference room presentations, class room training, home theatre and most importantly to enhance museum exhibitions.

Projectors are used in many museums around the globe, sometimes connected to an interactive whiteboard to interactively teach visitors about the museum display.

 

Liquid-crystal-display

 television (LCD TV)

This is a television that uses LCD display technology to produce images. LCDs can be used in an exhibition for recorded spoken commentary, video clips of important festivals, archaeological finds and heritage sites. It is usually connected to the system or plugged in a memory device that contains the recorded clips.