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Tag: artists

  • Nigerian artists showcase their best

    Every year, members of Society of Nigerian Artists (SNA), Lagos State chapter, gather its numerous members to organize and showcase their works in what has come to be known as October Rain Exhibition.  Last weekend, at the Nike Art Gallery, Lekki, Lagos, the opening ceremony of this year’s edition took place in what the officials of SNA tagged Open House.  Open House, in the sense that over 50 artists of all levels were admitted into the fold this year.  It was open to many artists with diverse ideas, styles and forms to give the outing the best show so far in its history.

    The array of works on display showed the level of artistic output of Nigerian artists.  Inside the gallery, the works proved that Nigerian fine artists have come a long way in terms of the richness of their expressions and recourse to displaying the many areas of concern in the society.  From sculpture works to iron casts, paintings, ceramics and oil on canvas, they all depicted a people at home with the issues of contemporary works in which the needs of the society are properly taken care of.

    In his opening remarks, Andrew Ine, an art collector and patron described an average Nigerian visual artist as an impressionist who is at home with his art.  He said, “these collections are among the best in the world.  When you go in there, the first thing that strikes you, is that these works can effectively compete with any set of art works in the world.  I mean, I have been to several galleries in the world.  This quality of works cannot be seen in one single place in the world.  As artists, you have been destined for greatness.  Please keep working hard and also believe in yourself.”

    In his own remarks, Sammy Olagbaju, one of the greatest art collectors in Nigeria, advised the artists to be of good cheer from time to time, “since you have kept this sector active from time to time.  You don’t need to give up because of the prevailing economic situation in Nigeria.  The sky is big enough for everyone.  So if you have ideas, if you have problems, share them with one another.  Teach yourselves, extend your knowledge to others and that way you can ensure that what you have extends to all the frontiers of your profession.”

    Describing Nigerian artists as some of the greatest heroes of the larger society, Olagbaju said, “all you have are great minds and great artists.  You have to serve the nation with more diligence and purposefulness.  Implore more wisdom where necessary so that the world will see in you the best there is.  This is not time to bicker or quarrel; rather it is time for you to produce more world-class works that can make it to the National Gallery of Art (NGA).”

    The artists numbering over a hundred, cutting across age and class were in their full epitome and zeal for the exhibition meant to last for one week.  They were ever ready to be part of this larger show of professionalism where those who had been selected were proud to prove their mettle.  “If your work is not good enough, you cannot make it to this level; you cannot even pass through the jury usually set up to screen the works,” so said DotunAlabi, the SNA Chairman.  Alibi explained that this standard has to be maintained so as to keep artists on their toes.

    “We need to maintain the class for which our works are known,” Alabi further stressed.  “It makes no sense when we have on display works that cannot be seen to be good enough and we call this the gathering of Nigerian artists.”

    Present at the occasion were KoladeOsinowo, KunleAdeyemi, Oliver Enwonwu, Nike Okundaye, and others whose presence added glamour to the outing.

  • Artists in alliance for Today in history

    Seven years ago, the Iponri Artists stunned the Lagos art scene with quality works of art when they made their debut exhibition New Dawn, at the National Museum, Onikan Lagos.  In 2009, they had a follow-up, Isokan (Togetherness) at Terra Kulture, Victoria Island, which confirmed the arrival of this new generation of gifted young artists. In tandem with the independence anniversary of Nigeria, the group is in alliance with other young talented artists to host an independence show at Abuja, titled Today in History, showing from October 22 to 28, at The Thought Pyramid Art Centre, Abuja.

    The artists are Tayo Olayode, Bede Umeh, Kehinde Oso and  Sanusi Abdullahi who are in alliance with non-members such as Bimbo Adenugba, Gerald Chukwuma, Uchay Joel Chima and Bolaji Ogunwo.

    For the group, showing with non-members is not new because in 2011, the group, had, in Abuja exhibited with other artists, and a year after continued with an international collaboration when the artists showed in Accra, Ghana, again with non-members.

    According to Olayode during a preview session in Lagos, the partnership will continue in the next few years, and may take the artists to U.S or Europe next year for exhibitions. He disclosed that the choice of Thought Pyramid Centre as a space has to do “with our diverse and big canvas.”

    Apart from the pedigree of Iponri Artists’ name, none of the exhibiting artists is a stranger to the Nigerian art scene as each has made a mark on the Nigerian art space. From Olayode, to Chukwuma, a mixed media relief sculptor artist, Umeh, a painter with depth of skills on the canvas; Abdulahi, a metal sculptor, Adenugba, a painter with strong passion for realism and Chima, a mixed media artist, the group outing at Thought Pyramid, Abuja may be a turning point.

    Some of the works include A Time To Ponder, Umeh’s painting that takes the texture of an embossed portrait. Other works of the artist for the show include Adaobi, a multiplication effect; and Delegation, a stylised figural of people in gathering.

    Since their return from residency at Vermont in the U.S., Olayode and Chima have been sharing their wealth of experiences.  For Olayode his signature is distinct in his painting of figures, where he uses crowd effect. Night Market and Royal Procession are two of his works at the group exhibition and it confirms that the artist is stepping up his game.

    One year after, Chima had his first post-residency show titled Connection, a two-artist’s exhibition. But, his outing with Iponri Artists is a fresh window to celebrate his new technique. Chima, again brings his narrative about burns and darkness as explained in portraiture of a couple rendered in black rubber pieces.

    Chima is known for his eclectic use of alluring materials and unique artistic process, often questioning environmental and social issues around the world. Chima’s works have continued to evolve, remaining relevant to developments in contemporary art. Weaving a tapestry of memory, imagination, societal happenings and emotion, he combines various fond objects, including strings, sand, wax, charcoal, old sacks, with paint and other mediums in an aesthetic that informs his oeuvre. He creates thought-provoking presentations, which address the realities around us whilst employing a mixture of conventional and unconventional approaches in his unceasing explorations.

    Ogunwo explained his work: “My art is informed by the people and events that permeate my immediate milieu. In the course of my artistic career   spanning over a decade, I have resolved not to be led by just the trending thematic and stylistic culture in the art practice  but to see and represent ideas the way I feel and not just the way they are, hence my art is cathartic; a purgation of my emotions on frenzied canvases. I ventilate loudly through my pallette addresing socio-political issues ranging from corruption and moral deficit knowing full well that Nigeria will soon assume her position as the giant of Africa indeed.”

    The only sculptor in the group, Abdullahi flaunts the beauty of natural metal with works such as Our Domain, a depiction of insects on cobweb;  drummer of native Yoruba dance steps, in Bata; and another insect life, Tussle, where butterflies perch on a hibiscus flower. Perhaps adding painterly touch to Tussle with red hibiscus and yellow butterfly, Abdullahi offers quite a choice in collection tastes.

    As for the non-members such as Adenugba he brings his new canvas of realism into the gathering with works such as Ecstassy, Green For Sale anf Fragment. In the last few years, he has populated his realism canvas with signs and motifs, some of which are pronounced, for example in Ecstacy, a piece about ladies in sensuous dancing.

  • Artists unveil plan for SPANfest 2015

    The Society for the Performing Arts in Nigeria (SPAN) has unveiled plans for the second edition of SPANfest which holds between November 7 and 22.

    The society while outlining activities for the festival tagged ‘Voice of The Voiceless’ said “SPANfest is a combination of workshops and ground breaking presentations with various mediums of the performing arts to achieve memorable breathtaking Music, Dance, Spoken Word, Visual art, Theatre and Comedy.”

    The first ten days is expected to be an intensive performing art workshop with international professors, followed by four performance nights to showcase diverse cultural heritage and a grand finale with 200 dancers, musicians and actors.

    According to the founder of SPAN, Mrs. Sarah Boulos, “I have faith that SPANfest 2015 will also rekindle in our community a desire to invest in performing art education and performances to sustain a vibrant and healthy environment in our Lagos – the city we cherish. Only then will Lagosians live and experience the full potential for which they were created and find purpose as well as a sense of significance in their city.”

    Boulos, added that the festival will reveal an understanding and awareness of the historical diversity and cultural context of the people.

    Other activities lined up are the Movement in Moments, A Musical Adventure, Hear Word, Performing Arts Management and Motivational Talks, The Era (Era of Legends) and the Voice of the Voiceless – a performing art piece of music, dance and drama.

  • Artists make case for change

    Artists make case for change

    •Onobrakpeya writes letter to Chibok girls

    It was an artistic statement that canvassed for change in all spheres of the society. It was the day 12 renowned Nigerian artists set ablaze the creative atmosphere of an Ogun State suburb, Olambe. The 12, led by the celebrated master artist, Bruce Onobrakpeya, joined the on-going conversations on change at the GreenHouse Art Empowerment Centre (GHAEC) exhibition, which opened last Saturday. Their artistic voices called for a people-oriented transformation, reports EVELYN OSAGIE. 

    They came advocating change in the polity, with particular emphasis on infrastructure. They braved the coarse and hellish roads leading to Lagos suburbs of Ojodu through Akute and Iju-Ishaga through Oke-aro to the rustic community of Olambe in Ogun State.

    They waded through muddy puddles, dusty potholes and endured the inclement  weather from rain heavy showers to scorching sun.

    The love for the arts and the calibre of the artists drew guests to the opening of a 12-artist exhibition organised by the GreenHouse Art Empowerment Centre (GHAEC) in Olambe, Ogun State last Saturday. The day also featured the formal presentation of GHAEC Art Journal.

    The dignitaries included Major Bamidele Unigbe; a Director at Skye Bank, Mr Abdul Bello; celebrated poet Odia Ofeimun; Mr David Nwamara; former Creative Arts Head of Department, University of Lagos (UNILAG), Prof Peju Layiwola; Director, ThirstMate Water Company, Mrs Catherine Bolanle Isijola and The Nation Managing Editor (Online), Lekan Otufodunrin.

    “By the time you get here. You forget the hell you went through to come, on seeing the rich array of works and the depth of artistic expression that welcomes you to the place. It was not easy coming straight from Ondo State to the place. You wonder whether you are lost or still on course.

    “But it is good that one finally made it. It is always a pleasure visiting a place that one can encounter art – old and present ones. To have established such an edifice, I commend founders of the art centre. They remind me of the kind of things I intend to do in Edo State in time to come,”Ofeimun said.

    Perhaps to ease off the stress of the long travel, traditional drummers and dancers began thrilling guests with folk beats and acrobatic steps. Their rendition of the National Anthem was particularly touching, along with the news that the drummers featured a United Kingdom-based lady economist, Modupe Johnson.

    But the highlight of the event was the exhibition and keynote address delivered by the renowned artist, Bruce Onobrakpeya.

    Tagged: Nigerian Visual Artists and Politics, the group exhibition featured works of 12 renowned artists in different artistic skills, including: installations, painting, watercolour, textile, ceramics/pottery, mixed-media, sculpture and photography.

    With the works of Onobrakpeya in the lead, GHAEC artistic line-up also comprised Sam Ovraiti; Ato Arinze; Princess Theresa Iyase-Odozi; Dr Mabel Oluremi Awogbade; Stella Awoh; Kolawole Kosoko Olojo; Juliet Ezenwa Pearce; Bolaji Ogunwo; Stella Ubigho; Oke Ibem Oke and Osagie.

    As if to join their voice with the founders of GHAEC and the people of Olambe on the construction of good roads, the artists advocated change in sectors. Indeed, they joined their voices with the on-going conversations on change and national reorientation. Each of their works expressed thoughts on Nigeria’s political and artistic landscape, policy and infrastructural change, increased funding for the arts, nature, textile and many more.

    Onobrakpeya’s piece is particularly engaging. Through his installation, tagged: Sambisa Forest, guests were reminded of the plights of the over 200 secondary school girls abducted last year at Chibok. The artist, who read from his handwritten letter to the Chibok girls, who have spent over 510 days in the hands of the insurgents, urged the government to look into the plights of the girls by intensifying efforts to release them. He called for a collective and intensified campaign for their release through his letter and the installation which showed naked protesting women at the background of totems representing the girls and the armed insurgents, among other motifs.

    The installation and letter, Onobrakpeya said, were meant to create awareness and rouse the feeling of people on the plights of the girls in the hands of the insurgents. He said: “I am using both to urge the government and well-meaning people, who have the means, to do what it takes to release and get them out of their suffering. Both are both an advocacy and prayer for them. The government knows more than everyone about the situation. They should double whatever efforts they are making to release those girls from suffering.

    “Imagine if they were not kidnapped, some would have furthered their education or learnt a trade. They would have moved on in life like their peers. The government should do more to get them released so that they can continue to live their lives from where it stopped. They should be given the opportunity to progress in life just like any other Nigerian.”

    The letter reads thus:  “09-09-15

    Dear Chibok Girls,

    “This is to let you know that our spirit are there with you in the Sambisa forest, where you have been suffering in the hands of kidnappers for a period of over 510 days. As grandparents, parents, brothers, sisters, friends, citizens of Nigeria and the World, we share your pains. We daily work and pray for your release from the Forbidden Forest. I feel intensely what you are going through because I too had been kidnapped as a child during the Ekene festival, but was miraculously rescued before being taken away into the forest.

    “I dedicate this installation called Sambisa Forest to you. It is a prayer to the supreme intelligence for your release.

    “In the picture, protesting mothers parade behind totems which represent you girls, the armed insurgents, denied or delayed laurels, and most importantly staves of empowerment which you will receive at the end of your travail.

    “Finally dear girls, don’t lose hope, your present state may be a design by the Creator to put you at the top of the world.

    Sincerely Obo-me-yoma”

    Onobrakpeya, in his keynote address, entitled: The role of visual artists in people’s empowerment and politics in Nigeria, also called for improved funding for the art and artists. Apart from reflecting the goings-on in society, he said: “If harnessed, visual arts can make a country great. Because it is a desirable commodity of value, it is also a veritable source of wealth and empowerment.”

    Like Onobrakpeya’s, GHAEC’s Founder/Chief Executive Officer, Princess Theresa Iyase-Odozi’s work is equally catchy. Entitled: Nigerian Condrum II, the 4ft by 6ft in mixed media technique, also added the artist’s voice to the “bring back the girls campaign”.  Inside gigantic piece, showing diverse headlines, pictures, drawings of different scenes, people and naira notes, one could see that she was calling for the end of violence, especially in the north-eastern states. The piece also showcased the diverse challenges that the country is passing through.

    She said: “The theme of the exhibition, Nigerian Visual Artists and Politics, afforded me the opportunity to depict the various challenges facing the nation, especially on the eve of the 2015 general elections. It has truly been a year of political challenges and intrigues. My work simply poses the question: ‘Where do we go from here?”

    Having Onobrakpeya as guest artist and keynote speaker, Iyase-Odozi said, was done in recognition of his contributions to the development of the arts sector, especially in Africa. According to her, the master artist “remains an inspiration to me and many artists across the country”.

    Celebrated artist, Ovraiti’s oil on canvas piece, That way out, depicted the tension in the political landscape in the country. The tension, he said, “is caused by lots of unanswered questions that the politicians use as elections promises”.

    Awogbade’s acrylic on bisque ware, entitled: Set me free, advocated the effects of corruption in the polity.

    Arinze’s 6ft scultpture, Debacle 1, which was the first in the series of three masked sculpture, was inspired by Dr Olatunji Dare’s art Debacle in The Guardian during the June 12 Saga.

    As administration has taken on the baton of leadership, Oyovwe-Ubigho’s piece, We can see, depicted the eyes of the masses on the political class.

    Olojo’s pastel painting, Reaction, predicted doom as aftermath of bad leadership. Thus, he called for a political reorientation and improvement in the plights of the masses. “The Reaction shows the mass action by the aggrieved citizens, who took to the streets in protest against misrule,” he said.

    Maja-Pearce’s plastograph plate, entitled: The political-additive, focused on the integrity and vulnerability of the law.

    Other guests included ThisDay Deputy Editor (Sunday), Mr Okechukwu Uwaezuoke, who was the event’s compere; Mrs Abimbola Izu;  The Nation correspondents Taiwo Abiodun and Gboyega Alaka.

     

  • Fresh push for Nigerian art, artists

    Fresh push for Nigerian art, artists

    Art scholars and stakeholders converged on Lagos to address the many fundamental issues plaguing artists and the practice of their profession, Assistant Editor (Arts) OZOLUA UHAKHEME reports. 

    How do studio masters who live solely on art practice conduct their business? What is the implication of this for curatorial capacity building? How can such ways be integrated into our training programmes for artists in training? Are these masters actually in-charge of the business in Nigeria? Does it not appear as if the field is controlled by some money bags, who dictate to supposed professionals?”

    These and many more posers were among issues addressed by different speakers at this year’s international conference on the theme: State of visual arts scholarship in the country in Nigeria in the era of globalism held in Lagos.

    For four days, arts scholars drawn from many arts schools across the nation converged simultaneously on two venues in Lagos (Yaba College of Technology and University of Lagos) to discuss salient issues such as quality assurance via quality human capital, curricular review and continuous updating of infrastructures. The conference provided opportunity for participants to interrogate and critically review the recent policy shifts in the education sector, especially as it affects quality of training of artists.

    The opening ceremony was held at the Nigerian Institute for International Affairs (NIIA), Victoria Island, Lagos. It was organised by The Society of Non-Fiction Authors of Nigeria (SONFAN) in collaboration with stakeholders in the arts. It opened with a keynote lecture titled: Research and the academic visibility of artists in the ivory tower in Nigeria by Prof Osa Egonwa of Delta State University, Abraka.

    Paper presenters spoke on issues ranging from why artists have lost grip of the art market to dictatorial collectors, to dearth of authoritative art publications, how to ensure quality in the graduate programmes in the art schools and state of research in visual art practice.

    In his keynote, Prof Egonwa said quality assurance checkmates impurities, which pollute and eventually mortify. He urged participants to embrace practices that promote quality, saying that quality assurance, impactful presence and professional engagement of the visual arts for dominion as leaders in the field are key factors.

    He also called for the need for establishing a standing leadership forum for leaders in the visual arts, (art and design) in tertiary institutions. “Quality engagement in visual arts studies is the key to the academic and administrative visibility of colleagues in the Ivory Tower. There is the globally referenced College Art Association of America (CAA). Perhaps a Nigerian version may be helpful. Funds for it should be sought and a proper administrative structure put in place before it takes off. There is need for periodic research/practice sharing forum for leaders and followers. There is need to speak up and fight for our rights at relevant levels of governance so we can be empowered to perform better,” he added.

    Prof Egonwa observed that over the years, visual art as an academic discipline has witnessed desirable and undesirable developments.

    According to him, the limitations range from improper definition of purpose, to mission and vision, nebulous methods of instruction, mixed system of staff hire and  fire, wrong research methods,  infrastructural and curricular inadequacies and poor text book development. All these, he said, are leading to poor professional engagement of trained artists amongst others. He added that these issues in turn contribute largely to the hesitant acceptance and poor visibility of the Nigerian artist in the academia.

    Prof Frank Ugiomoh of the University of Port Harcourt, Rivers State said historiography of art history demonstrates that the production of knowledge is always historically determined and knows no closure. This realisation, he said, permits artists to understand more fully the interpretations proposed by the scholars of the past, that is, ‘it sensitises us to how the values of their own time coloured their accounts of the past, as it makes us cognisant of the social and political function of our own activity as purveyors of culture.’

    “The understanding of history, which previous historical interpretations expose, analysed critically, will always reveal how they are coloured or tainted by differing biases. In the same token, the practice of history in our time may not be different after all from such guilt. But has the compromises that shape the historian’s narrative in any way made history unrealistic? No; for history will remain, from the perspective of post-structuralism, narratives of time, but not the same as the event or object of is not a narrative reproduction of an object of art or event,” he said.

    In his lead paper title: A revisionist overview of the historiography of African art history, disciplinary authenticity and western mindset, Prof Ugiomoh explained that where a discipline is wanting in its methodological outline the authenticity of such a discipline is said to be in misery and suffering from self-abnegation. According to him, evaluating the historiography of the history of art opens for the art historian insights into the critique of method, and the how and when a discipline has retooled with regard to its usefulness to humanity.

    President Society of Nigerian Artists (SNA), Mr. Oliver Enwonwu, who commended organisers of the conference said that SNA is in the forefront of supporting programmes in the development of visual art. He noted that the theme of the conference is relevant is relevant today particularly as the world is getting smaller because of internet and as it is geared towards making us to be part of the global village.’

    In a 14-point communiqué, the organisers of the conference resolved that research in visual arts should be designed according to the nature of the discipline and that the practice-led or practice-based methods are suitable for the character of knowledge production in the visual arts. Arts curriculum, it said, should be more functional to prepare recipients for the world of work. The communiqué also resolved among others:

    • that art exhibitions properly documented are a measure of scholarly productivity, should be used for staff appraisal in tertiary institutions, colleges of education, polytechnic subject to the professional specifications of the Society of Nigerian Artists;
    • the National Universities Commission (NUC) should note that there is distinction  between the literary Ph. D ( in Art History,  Religious Studies , Art Criticism, or Art Education ) and the Studio Art Ph.D – drawing  and painting,  sculpture, ceramics, textiles, photography and new media ) and this should  be reflected  in studio art degree curriculum. The MFA and (Ph.D) studio should have an updated benchmark for the sake of Quality Assurance,
    • All institutions offering visual arts should enforce Classroom –to- Industry Transition in their curricular specifications: ensure that faculty members teach what they are certified to teach,
    • credit in Fine Arts should no longer compulsorily be a prerequisite for enrolment into B.A, HND, NCE programs in art. Five (5) credit passes in Arts, Social science or Science combinations is adequate. Similarly, mathematics should not be made compulsory for Post Graduate admission requirements.
    • Federal and State Ministries of Tourism, Culture, and National Orientation and cognate parastatals should show genuine and as much interests in the advancement of visual arts scholarship as in art and culture festivals. The National Endowment for the Arts already set in motion years ago should be actualised.
  • Artists blame lack of awareness for poor tourism

    Artists blame lack of awareness for poor tourism

    Abuja arts and culture village which would have been one of its best tourism sights is today a sleepy centre which most residents of the city have little or no knowledge about.

    Arts and Crafts Village lies at the heart of the city flanked on either side by magnificent monuments, Shehu Musa Yar’Adua Centre on the right and Silverbird Entertainment Centre on the left. Just opposite the village is Sheraton Hotels and Towers. But in spite of nestling around entertainment hubs, artists complain of low patronage.

    This, the artists attributed to lack of knowledge of its existence by the residents of Abuja.

    A walk around the arts village in the early hours of the day revealed its profound serenity. Men were seen lying on their mats outside their shops while some others sat on benches chatting with colleagues. Only few were inside their shops, though doing nothing. Some shops were at the moment of visitation without shop-attendants. This was because there were no customers’ insights.

    However, the arts centre becomes a little busy only in the evening hours when few expatriates come out to appreciate and buy art works.

    A painter, Yusuf Omoniyi said that although so many people love to patronise the work of arts, they do not know where to get them.

    He appealed to government to support them by creating a world-wide awareness of the arts and culture village in Abuja.

    Yusuf said: “We need publicity and apart from that, we need an event centre in this place. Something that can bring tourists to come to see what we are doing here.”

    The artist who also blamed the low patronage of their arts work on “the great economy problem” noted that arts appreciation is not complete without finance.

    He said: “I believe that if the economy is better, we will have more patronage so government needs to work on the economy of the nation.”

    Suggesting other ways government can help boost tourism in the arts centre, he explained: “Government should commission artists to work. We need a lot of arts in the city here. If you look at a lot of buildings here, they are so flat, not even a single work of art on them. There are a lot of beautiful art works that are supposed to be done on buildings that will make the city even more beautiful”, adding that it will help encourage a lot of artists to venture into the business.

    The artist who is also a member of Society of Nigerian Artists, Abuja branch, lamented that they have not had light at the centre for over three months running.

    For the general manager of Tambari Theatre in arts and culture centre, Malami Abraham, government is to blame, for the low tourism development in Abuja, adding that Abuja arts and culture centre lacks publicity.

    The Tambari Theatre boss regrets that the few people who come for sightseeing do not appreciate the Nigerian arts and culture the way they should.

    He said: “If government can say this place should be for only cultural performance anybody that comes here should pay. I was in Egypt when I wanted to enter that Sahara Pyramid, I had to pay almost $20 just to watch that pyramid. But here it is free. Foreigners will come here and snap pictures of things for free and carry them to their countries to re-do them.”

    He urged government to equip the centre with everything that can help develop the area, mount security and gates so that tourists will better appreciate the centre and more foreign currencies will be generate into the city.

    For Umar Mustapha Farouk, a trader in coral beads, sea shells, precious stones from gombe and Baluchi and other assorted traditional clothings, the centre is not booming like it should because too many people are ignorant of its existence.

    He said: “we need support from government. With government everything can move faster by inviting journalists to come and advertise the place as a tourist centre so that many people can see them on Television, Radio, newspapers, and other means so that people will come and see what is happening here. That way, everything will move fine.”

    He emphasized on the need for government to empower artists and craftsmen by lending loans to them.

    He said: “With good capital, we can buy many things and create many art works so that many people will see it. Because if we don’t have enough money, we cannot do such thing here because everything here is hard work and Nigerian made.”

    Meanwhile a Whiteman, Rob Ten who our correspondent saw observing the beauty of Nigerian arts and culture recommended that foreigners’ attention could be drawn to the arts centre by exhibiting some of these arts in hotels, adding that some local music should be played in the centre.

    “What I will truly recommend is that you make some arts in Sharaton,also in the Hilton.Draw the attention of the people by making advertisements in the hotels.

    “What you could also add is some music, some local music not too loud but to create a bit more local atmosphere. I don’t mean the atmosphere with modern cars, but to the original feeling of Nigeria.”

     

  • Artists of Nigeria: Symphony of histories

    “I Never wanted to consider the daunting challenge of funding. But, leaving my family behind in Enugu was one big challenge. Also, my architectural and studio practices were put on hold in order to realise this project.” This was the revelation by a Lagos-based artist, Onyema Offoedu-Okeke and author of Artists of Nigeria, a 677-page book launched at Wheatbaker Hotel in Lagos last Sunday. He said the cloak of anonymity hoisted over the creative authority of African artists in pre-colonial times has been his challenge as he undertook the writing of the book to excavate the grey areas of the narratives of African authority in science, mathematics and technology.

    He described the book as his gift to humanity, hoping that it would stimulate discussions and initiatives to drive the economic revolution Nigeria needs. He stated that in writing the book, he directs the separate creative energies emanating from all the zones into a synchronized and recognizable history. “Boosted with lavish colourful images, the book stylistically presents a narrative-style befitting Nigeria’s complex nature. Unlike literary anthologies before it, Artists of Nigeria recognizes the faces of some of the human agencies active in the building of the nation’s fantastic artistic legacies. He noted that the book is not an encyclopedia because there are many artists mot included in the book.

    “I would have loved to have them in the book but for some factors beyond my control. In fact, some artists did not have my time while others were simply not interested in the project when I started. Such artists do not have images, bio-data among other relevant information to give to me. I had to plead with some in order to get what I needed from them. Again, for those missing in the book, I can understand their feelings because it is the first time we are having such publication,” he added.

    Present at the presentation included His Royal Majesty, Igwe Nnaemeka Alfred Achebe, the Obi of Onitsha, Prof. JP Clark, Chief Rasheed Gbadamosi, Pa JD Okhai Ojeikere, Femi Akinsanya, Sammy Olagbaju, Mr. Robert Mbonu and Mr. Paul Onwulu.

    His Royal Majesty, Igwe Nnaemeka Alfred Achebe, the Obi of Onitsha praised the author for devoting12 years of his life to writing a book that is first of its kind. He noted that Ford Foundation’s sponsor of the project, has shown the way on corporate sponsorship of the arts. But he observed that the book features few female artists and also asked when would the next edition roll out of the press?

    Gbadamosi described the book as unprecedented as the author has beaten everyone to the publication of such a book on Nigerian art and artists.

    Executive Director, Heritage Bank, Mr. Robert Mbonu who spoke on Arts investment in Nigeria, said the bank strongly believes in the diverse heritage of Nigeria adding that investing in the art is a wise decision as there are good returns on investment in the future, especially on works by younger artists.

     

     

  • Diamond Bank rewards young artists

    Diamond Bank rewards young artists

    These are as masterful as Picasso. I am not pretending that we are having geniuses here, but we are identifying some of them. In fact, I was fascinated by the kids’ works, their consciousness and interpretative skill.”

    Those were the words of Nobel laureate, Prof Wole Soyinka at the award and gala night for winners of this year’s Vision of The Child Painting Competition held at Oriental Hotel, Lagos.

    The painting competition, which is sponsored by Diamond Bank Plc, is one of the events of the annual Lagos Black Heritage Festival. The theme for the competition was One thousand faces of corruption and it featured 32 students drawn from Lagos State schools.

    Festival Consultant, Soyinka however urged parents to allow their children and wards to freely participate in the competition warning that any candidate whose parent bother the organisers on issues other than materials and venue of the competition, stands disqualified.

    Lagos State Commissioner for Tourism and Inter-Governmental Relations, Mr. Disun Holloway, said he felt sad when he saw how masterfully the kids captured the many faces of corruption in their paintings. He said as adults Nigerians should reflect on what the kids have painted of corruption. “We see value in things like this, and we thank Diamond Bank for keeping faith,” Holloway noted.

    Former Ondo State Commissioner for Culture and Tourism, Tola Wewe who led the team of jurists, said selecting the final six winners was not an easy task as almost all the entries were master pieces. He said he was not surprised at the technical proficiency of the kids adding that their art is from unpolluted minds.

    “But what baffled me is how they handled the theme. It shows that kids in Lagos are well informed about goings on- they paint about police, Boko Haram, Niger Delta and many more. To arrive at this stage, we first screened the entries down to the best 10, before picking the last six. And to do this, we considered the technicality, aesthetic quality, among others,” Wewe said.

    Other members of the jurists include Chief Nike Okundaye, a renowned artist, CEO of Nike Art Gallery and Mr Tunde Afolayan, a US-based renowned artist.

    Nine year-old Precious Tiamiyu of Legacy Preparatory School, Sha-Sha, won N250, 000 as the overall best winner, while 10 year-old Alli Bakare of Onitolo Community High School, Surulere won N200, 000 as second place winner, and Samuel Yomi Faseun, 12, of the Apostolic Faith Secondary School, Anthony Village, won N180,000 as third place winner.

    The fourth position went to Somtochukwu Okoli, 12, of Badagry Jnr Grammar School. He went home with N150,000, while Bolaji Olaniran,11, of Onitolo Community High School, Surulere N120,000 as fifth place winner. Twelve year-old Oluchukwu Nwaokorie of Reagan Memorial Baptist Girls School, Yaba won the sixth position and got N100,000. Apart from the cash prize, all the kids went home with a copy of Jimi Solanke’s book, Kindle and Kindle fire each, which is pre-loaded with books, games and applications for 8 to 12 year olds. These, according to the organisers, is to promote and cultivate reading culture that is practically non-existent in the lives of today’s Nigerian child, while the games are to stimulate the mind of a child and expand the depth of their curiosity and creativity. Also, Diamond Bank promised to open individual savings account for the 32 kids.

    Guests at the gala night were thrilled to musical performances by an up-coming female singer, Jemiriye and Olumide who presented some of their popular songs. Among guests that attended the award ceremony included Erelu Dosumu, Chief Yemi Ogunbiyi, Mr Femi Falana (SAN), Executive Director, Diamond Bank, Carolina Anyanwu, Mrs Eliza Larkin Nascimento and the MD/CEO, WaveTek Nig Ltd, Mr Ken Spann.

     

  • Abia gospel artists sweep awards

    ABIA armature gospel artists, Izuchukwu (Umuahia), Sarah Micha (Igbere, Bende) and IGN group (Aba) emerged 1st, 2nd and 3rd best armature gospel artists and won a N300, 000 worth of music recording deal each with Grand Mix Studio in a keenly contested musical concert organised for the South East and South South upcoming gospel artists.

    The artists also went home with plaques, certificate of participation and a Vision Africa customised radio.

    The music concert organised by Vision Africa Radio (VOA), Love 104.1 Fm Umuahia, Abia State had in attendance 27 registered upcoming gospel artists from Anambra, Akwa Ibom, Enugu, Abia, Rivers, among other states in the South East and South South geo-political zones which saw the auditorium of Binez Hotels Aba (venue of the event) filled to capacity.

    According to Mr. Nduaka Ekpe, the Marketing Manager VOA, the aim of the gospel concert was to harness and bring to limelight young talented gospel artists who did not or may not have the opportunity to showcase their talent to for the society to see or hear.

    “We want to use this opportunity to harness them and to bring them into limelight and at the same time entertain the audience who have come to witness or be part of the event.”

    Ekpe said that, outside the record deal for the best three, “plans are on the way to help them (all the contestants) to develop the more after the event.”

    He further added, “we shall use one of our radio programmes (top 10 new songs) to play and promote their music to make them popular.