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Tag: arts

  • Invest in arts, govt advised

    Invest in arts, govt advised

    Proprietor of WinArc Gallery in Ikeja, Lagos, Mr Godwin Archie-Abia, has urged the Federal Government to invest in the arts.

    In an interview with The Nation in his gallery, Archie-Abia, who is a strong advocate of economic diversification, said Buhari’s administration must think outside the box to rescue the economy from the doldrums.

    The self-taught artist urged the administration to walk its talk on diversification policy, adding that the government should evolve a viable supportive economic platform for the country. He said no serious nation will undermine the critical role of its creative industry, in which visual art plays a vital role.

    “In developing economy like Nigeria, where total dependence on a mono-product has exposed the country’s economic strength to unsettled instability, all hands must be on deck to evolve a supporting and alternative economic platform for the country to lean on in order to survive. The government from inception has not taken seriously the development of arts sector as vital platform for the re-engineering of the national economy.

    “My appeal to the government, banks and investment institutions is to invest in the arts sector. I advocate that there should be an Art Investment Fund that will not only assist the artist but also provides investors with exposure to the benefit of an appreciating market,” he said.

    He also urged the government to give tax incentives to hospitality business organisations and private firms that deal in arts. He said by so doing, artists would be more productive and consequently reduce unemployment in the sector.

    According to him, artists are trained to create jobs while the government is responsible for providing enabling laws that support and encourage entrepreneurs.

    “The government should come up with a policy that encourages art embellishment of office in our foreign embassies, organising of art exhibitions for artists thereby exposing them to global art market. A society with a bad creative life gets a bad technological growth and a society that lacks these two important things will produce bad leaders,” he added.

    On his new style of painting tagged ‘graven painting’, the Eket-born artist said the medium is unique because of the richness of the materials and colour effect of impasto. “Having practised arts for more than 26 years, I have gained enough knowledge to think and create a medium that will stand the test of time. My new style is ‘graven painting’. The materials are glued to either a board or canvas panel to create a relief format. First, I sketched, provide the materials, engrave the materials before I glue to either board or canvas panel to create a super relief effect. Then I prime the materials on the panel and allowed to dry before applying colours to it. At the end of the day, I am out with a super and unique work,” he recalled the steps to creating his new style.

    Archie-Abia, who is a graduate of History and International Relations from Lagos State University, Ojo, (LASU), has held many solo and group exhibitions in leading art galleries in Lagos.

    He has also done many commissioned projects for private and corporate bodies.They include Franklin Gulf Park, Boston USA, FSB International Bank, Chartered Bank, Covenant University Guest House, Honeywell Group, Dangote Group and Cadbury Plc.

    With over two decades’experience, Archie-Abia’s passion for the art gave rise to the expansion of a new frontier in arts and a platform for dialogue and evangelism.

    Such platforms are the bone collage, mixed media and metal fabrication he finds interesting and challenging. One of his major outdoor pieces is the metal gate to the Tin Can Island Port, Lagos.

  • Jelili Atiku: Not just about the arts

    Jelili Atiku: Not just about the arts

    When Jelili Atiku was arrested recently following a performance in Ejigbo, the local and international art community felt the artist’s freedom of expression was under threat. What many didn’t know, however, is that there has been a battle for years between Atiku and the traditional ruler, who is also his uncle and that it only escalated this year. Udemma Chukwuma, who recently got to the root of the matter, reports…

    If you have been following the news lately, the story of Jelili Akitu, a performance artist and sculptor, who got arrested recently, would not be new to you. It all started when the artist announced on his Facebook wall on Sunday, the 17th of this month that he had been arrested. Because the artiste didn’t provide much information, apart from the lone sentence, “I have been arrested by the police,” speculations emerged and few knew which version to believe.

    That post also led to series of protests. Among the protesters were members of the Society of Nigerian Artists (SNA), who gathered at the National Theatre, Iganmu, Lagos. On their banner was written: “Nigerian Artists say yes to Freedom of Expression, Nigerian artists condemn the incarceration of Jelili Atiku.”

    Comments followed comments on Atiku’s Facebook wall, and more comments even when he announced that he had been released. “I was arrested around 10:45 pm,” Atiku recalled, “I just returned home from my nephew’s place downtown, when nine policemen stormed my family house in Ejigbo with guns.

    “They knocked at my door and I opened it, and they entered with big guns. When I asked what they were looking for, they said the Divisional Police Officer (DPO) wanted to see me.  When I tried to probe further, one of them shouted at me and said ‘you criminal, go and dress up’ because I was half naked.” Atiku, who said he was frightened “because they were with guns,” obeyed the command and followed them to Ejigbo Divisional Headquarters, not far from his house.

    At the station, Atiku said he was ushered into the DPO’s office, who ordered them to take him downstairs. There, the policewomen at the counter told him they had to detain him. When he asked for what reason, they replied him in pidgin that ‘na only DPO go tell you that one’.

    When he also asked if he could call two of his lawyers, Atiku said, “They said no. I was asked to drop every item on me and that they had to put me in a cell. I had N1,700 on me. I removed my shoes and my cell phone. I later requested that they should give me my phone, so I could turn it off. I collected the phone, opened it, and quickly typed on my Facebook that I have been arrested. We were about fifteen in the cell.”

    The artist said he was asked to make a statement even though he didn’t know why he was arrested. “In the night, I heard some voices outside the police station. They were my people and friends. It was around 8:00 am; one woman, Omowumi Alabi, said she was the sergeant in charge of the case. I asked what case? She said, ‘There was a complaint from the oba’s council.’ I asked, What complain? They said I walked the street of Ejibgo in masquerade.”

    Atiku said three people who were familiar faces were brought into the cell and asked to make statements. He also got information that some people, including members of the OPC were at his house and threatening to burn it down.

    Atiku said he knew that the oba of Ejigbo (Lagos) Oba Morufu Ojoola, was behind his arrest. He said the oba told him while he was in the police van and waiting to be taken to court the following day (Monday) that “I am ready to make war with you.” He was granted bail by the court, but was detained in Kirikiri Minimum Prison (where he was taken after the court session) until Wednesday when he was able to meet the bail condition. He also said the case was adjourned till February 1 (2016).

     

    The Oba’s story

    When this reporter visited the oba’s palace to get his own side of the story, he insisted that he would only grant an interview if all the reporters would come together at the same time, as he was tired of granting interviews in piecemeal to journalists, whom he said had been flocking to his palace on the same matter. His chiefs however prevailed on him to have a chat with this reporter. They said Atiku was arrested because he committed an abomination by parading a masquerade on Thursday, January 14, this year, which is not allowed in Ejigbo.

    Atiku on the hand said he was just doing his performance, which he said is a tool of communication for him as an artist and was never in any masquerade. But the chiefs said Atiku is a cultist hiding under the art. They said Aragamago oo, which was the title of Atiku’s performance, is the name of the cult which Atiku belongs to. Stating that Atiku and his members were performing a ritual on the day, they explained that “People may start dying in Ejigbo and terrible things may start happening because of his action, which is what we are afraid of.”

    One light complexioned man who was with the chiefs said, “Atiku mobilised his cult members to disturb the neighbourhood, hiding under art.”

    Atiku claimed that they went to his house while he was in prison to destroy his artworks and even attempted to rape a girl who lives with him, but the chiefs denied it, saying the last time they went to his house was back in 2014, when they heard a similar issue with him.

    During a visit to Atiku’s house, this reporter however saw heaps of artworks and broken glasses dumped together like refuse in his living room, which also serves as his studio.

    Atiku said all he was doing was campaigning and creating awareness on what he called “local terrorism,” which has been taking place in Ejibgo. He said he has been performing in Ejibgo for years and has had many confrontations with the oba and his chiefs.

    But the chiefs said Atiku didn’t just parade the area in a masquerade, but that he and his members on the day of the performance, threw stones into the oba’s palace, chanting the oba’s name and beating a gong.

    Atiku denied this and said they merely shared flyers, which “we flung into different directions for people to pick. In the flyer were written things such as “Clean Ejigbo from DOMESTIC TERRORISM AND IMPUNITY. Awonamajaoo, Ifa Priest of dream-worlds, Yepa! Won’t you tell us the cause of the continuation of OPC clash in 2001 and 2002 in Ejigbo – where many people lost their lives.”

    The chiefs who were about eight accused Atiku of going to the shrine where the oba performs rituals every three months, to drag a goat meant for sacrifices that month and slaughter it at the oba’s gate. This was in 2015.

    Atiku agreed that a goat was killed at the oba’s palace gate in October last year. He said “It was a deliberate attempt to stop the oba from entering the main shrine called Omagbo. But I was not there when the goat was killed, I was at the police station.”

    Atiku said his problem with the oba, who is his uncle, started in 1998. The oba at a point during this interaction rejected any kind of relationship with Atiku, although his chiefs acknowledged that Atiku is indeed related to the king and that he even trained him through school. They alleged therefore that “Atiku is biting the finger that fed him.”

    Atiku said: “The oba is related to me; he is my uncle; but he did not train me through school. My grandfather, who was very rich and a successful farmer, trained me in school. The oba’s maternal grandfather was the head of our family before my grandfather.”

    Atiku said the hitches between him and the oba started after the well publicised ‘sodomisation’ saga in Ejigbo market, which he says is his family land. He said some unknown person was selling the land, even though there had been a court injunction that nobody should sell the land. I went to the radio to announce that every member of the family should come for a meeting. We were about 120 people who came for the meeting. A committee was set up to verify who was selling our lands. When we went to the head of the family (the oba), he said he was not aware of the sodomy and knew nothing about the person selling our lands. We were also at the police station to make a report, but instead of the kabiesyi (oba) to resolve the problem, he went to the shrine. This angered the youths, because we have told him several times that the shrine which he usually goes to is an abomination.

    “The water, which they use to worship in the shrine was fenced in 1987 and he cannot get water from there. The stream is called the Odo-ogbe. The worshipers protested, but nobody did anything. The first thing the oba ought to have done when he was crowned, was to open up a space, through which they can get water from the stream for ritual performances.”

    Atiku said there are two shrines there: the outer, and the inner shrine, in which one must worship before the outer. Atiku said the oba has never told the family, who are the only eligible people permitted to worship in the inner shrine to do so since he ascended the throne.

    Atiku said it was the fact that the oba has been performing rituals at the shrine without the water that infuriated the youths and made them resolve that they would not allow the oba to perform any ritual until water is obtained from the designated stream. Atiku also concluded that it was the oba who was selling the family lands despite the court injunction.

    Recounting his Kirikiri ordeal, Atiku said: “I have never been so downgraded in my life before. I was striped naked and put in cell with other people. We slept on the cold floor and the food we ate was terrible.

    Aside Atiku, other people who were arrested were Fatai Oluwole, Jelilat Daramola (Mrs), Monsurat Fashola, Adeola Goloba and Azeez (often written as Lasisi) Muraino.

    However, all have been released on bail.

    Meanwhile, the DPO at Ejigbo Police Station, where he was initially arrested, declined to comment on the matter, saying it was already in court.

  • FirstBank promotes visual arts

    First Bank of Nigeria Limited, a subsidiary of FBN Holdings Plc and a prime promoter of the creative arts industry in Nigeria, is supporting the visual arts festival in Enugu tagged: “Life in my City”. The bank is supporting the event driven by the quest to promote the arts and preserve cultural heritage.

    “Life in My City” is a visual arts festival targeted at young Nigerian artists below the age of 35 and will provide opportunities for participants to make significant statements about their environment through art exhibitions. This festival has created another opportunity to support Nigerian youth and encourage the growth and developments of natural talents in Nigeria.

    The bank is supporting the event to build capacity, enhance wealth creation for the youth and enable Nigerians to compete favourably at the international art market.

    Through First@arts, FirstBank has encouraged home-grown human capacity development and enhance the creation of employment opportunities within the arts industry, thereby creating a sustainable value chain and contributing to the growth and development of an evolving art economy in Nigeria. The Bank believes that promoting the arts and preserving contemporary culture is essential for our generation and the future generations.

    According to the Bank’s spokesperson, Folake Ani-Mumuney, the lender has through the years influenced the history and growth of the country through the sponsorship of several arts initiatives across diverse cultures. “We intend to promote the arts as a veritable vehicle for interconnection in our nation while we solidify our position as the leading brand in this space through our First@arts initiative,” she said.

     

     

  • A teacher’s love for arts

    A teacher’s love for arts

    Chief James Olatunbosun Lawal is a lover of arts. He is  also a collector and runs a zoological garden. He says man should be closer to animals. He spoke to TAIWO ABIODUN. 

    For Chief James Olatunbosun Lawal, collecting art works and keeping live animals are not a past time. They have become a hobby.

    If Lawal, the proprietor of Greater Tomorrow International College (GTIC), weren’t a teacher, he would have been an art collector or a zoologist.

    Lawal has a big fine art studio and a zoological garden where he keeps some animals, such as Arabian camel, tortoise, donkeys and horses of various species. He also keeps  birds, such as ostrich and peacocks .

    He said: “When I was young, I was very inquisitive about animals and used to draw them thinking I would become a fine artist one day. Again, I thought I would become a pastor, preaching the gospel or a teacher. When I established Greater Tomorrow International College ( GTIC) in Agbaluku, Akoko, Ondo State, I felt it was an opportunity to practise what I’d had in mind – the arts and caring for animals.”

    His belief that the arts sector is a goldmine worth investing in has led to his collecting artworks by various artists. His love and support for the arts also led to the establishment of a well-stocked fine art studio in his school. With it, Lawal is nurturing the talent in his pupils, who he hopes would become  world-class artists.

    “I want my pupils to be great artists and sculptors, like Pablo Picasso, the famous Nigerian painter and first professor of Art Ben Enwonwu and professor in Art History Rowland Abiodun. That is what inspired the establishment of the studio. I am determined to give all it takes to ensure my pupils become first-class fine artists, and whatever they may want to be in the arts. I’m urging them not to relent in their efforts, but to strive be great like those renowned artists in different specialities.

    “We still remember Festival of Arts and Culture (FESTAC ’77) today that attracted all lovers of the arts and culture to Nigeria. If we really mean it as a country, we can make more money from the arts and culture more than the oil we are depending on. If you know how much an artwork costs and appreciates you would like to go into it. No wonder, some of our artists and art collectors are millionaires,” he said.

    Beyond wealth, Lawal said that the arts have the power to shape life positively for the progress of humanity. According to him, the love and expression of the arts can be nurtured by all. He said: “The world we live in is shaped by art. God is the greatest artist as is seen in His creation. The universe, as it were, is God’s design. He created man in His own image, the animal, water, hills, and so on. Indeed, art is not an exclusive to some special persons. You can a sculptor, a textile designer and an art historian, if you develop and nurture the interest. You can also become a carver like the late Professor Lamidi Fakeye, who carved the Oduduwa statue which is still at the Obafemi Awolowo University today.”

    The art advocate is also a lover of animals. He condemned poaching of animals. He expressed sadness over the death of the most loved Lioness Cecil killed by an American dentist, Walter Palmer at the Hwange National Park in Zimbabwe.

    He said: “I was sad and devastated when I heard of the death of the lioness. It is high time people stopped poaching to avoid the extinction of our animals. It’s lovely to have animals; it tells you how great God is to have created and moulded different animals with different shapes and characters. Although it is expensive and time consuming caring for animals, it is also important for the educational development of the child. That is why I think we need them in schools to let our pupils would see them, feel them and understand them better. Without cramming their textbooks, my pupils can write an essay on each of the animals.

    “I am glad people also come from outside to see how our animals. Some had never seen an Ostrich, which the Yoruba call Ogongo Baba Eiye. Many only see these animals on pages of their books. Whenever I come here, they remind me of tales woven around them. I learnt this tortoise is about 75 years of age. Each time I go there to look at it and tell her its stories it would crawls into its shell as if it’s angry at its own ugly stories.”

    For those thinking of owning a zoological garden , he advised: “You would need a lot of money to take proper care of the animals. You must have a veterinary doctor that would be caring for their health.”

    Asked why he didn’t have wild animals, such as lion, tiger, chimpanzee, Lawal  laugh and said: “We wouldn’t want to scare our pupils, would we. The ones we have here are just friendly animals”.

     

  • Using arts to boost economy

    National Gallery of Art (NGA) Director-General Abdullahi Mukus believes that the arts sector was neglected in the past. He is determined to make things better.  In an interactive session with reporters in Lagos, Muku sheds light on his programmes for a better tomorrow, Edozie Udeze reports

    Most lovers of the art and stakeholders in the culture sector are often at a crossroads as to why the federal government has been finding it hard to decide on a befitting National Gallery for the nation’s topmost modern arts.  Most culture activists involved in this endless debate hinge their concern on the fact that most civilised countries of the world take their time to plan, build and present exquisite monuments and institution where their modern and contemporary works of art are kept.

    These works are specially hung in cozy halls and buildings not only because they represent the history and culture of the nation, they equally serve as points of reference, a place where art enthusiasts and tourists visit often to relax and also view the personages that contributed to the growth, emancipation and development of the society.  If that is the case, why wouldn’t the Nigerian situation be more encouraging? Why wouldn’t the National Gallery of Art as headed by Abdullahi Muku be as good and as edifying as what obtains in South Africa, Egypt and Senegal?

    There are some of the topmost African nations where contemporary arts are given due recognition and attention by the government.  There are still some of the prominent places where artists, mostly Nigerians, go to to unwind and be at home with artworks that have been kept in good order from time immemorial.  However, the Nigerian situation becomes more worrisome not only because no one seems to care.  The leaders themselves still perceive modern works of arts as those issues that do not mean much to the country.

    In spite of all these negative sentiments, the Director General of the National Gallery of Modern Art, (NGA), Abdullahi Muku, for the past six years or so, has been consistent in his avowed resolve to the make the department an enviable place and a role model.  Now, faced with paucity of funds, he still ensures that the sector is kept alive and active.  But more worrisome to those who know best is why the National Theatre, Iganmu, Lagos, where a temporary gallery has been provided for these all-important works has not been expanded or relocated to a more appealing and friendly environment.

    A visit to the place indeed shows that even though the paintings of some of the former prominent leaders of Nigeria, like Dr. Nnamdi Azikiwe, Obafem Awolowo, Yakubu Gowon, Muhammdu Buhari, Ibrahim Babangida and others are hung in the hall, there are other equally important paintings that do not have enough space for attention.  “We have written severally to the government to release some of the federal government buildings that are of no more use in Lagos for our purpose,” Muku said in an interactive session with the press penultimate week.  “Yet the response from government is what we are still waiting for.  The art, especially modern art, should be given its proper place in the day-to-day running of the society,” Muku averred.

    What government ought to do with vigorous commitment is the involvement of Private Partnership Participation (PPP) to sort out some of these sensitive issues in order to create more jobs for the Nigerian youths.  “A conducive environment is good for creativity,” Muku enthused.  “And this is what we are here to do, to ensure that the proper indices are put in place to take modern art to the next level.”  This is why, in spite of the dwindling fortunes of the culture sector at the present moment, Muku, with his able team, has continued to expand the frontiers of the modern arts.

    For instance, the Abuja Biennial which is a programme the NGA is committed to has been in the front burner over the years.  He said: “The Abuja Biennial is a programme the NGA is committed to, both for its economic benefits to the country generally and the artists in particular.  For 14 days, renowned artists from Nigeria, Africa, the Diaspora and the world gathered in Abuja to showcase the best of the best of the their works with art collectors, art dealers and art lovers buying these works.  Having participated in the Dakar Biennale almost from inception, we discovered that they have been able to make good money from organising the event compared to what they spend.  We are hoping to do the same by getting the private sector fully involved and other key stakeholders.

    “The Abuja Biennial is an art market that will bring together artists, art and culture administrators, art collectors/connoisseurs, political leaders and administrators, tourists and tourism practitioners.  It is so named to identify with the world standard as every biennial is named after its host city.  Abuja being the capital city of Nigeria is chosen for its economic vantage position and is keying into Mr. President’s vision of diversifying the economy.”

    Muku contended that the event will not only provide opportunities for artists to sell their works but also enable them to network.  This programme is also expected to provide job opportunities for the youth and boost the tourism industry.

    To him, “this is a dream we are hoping to realise with this 8th Assembly.  The Act if enacted will make it mandatory for every public building as well as bridges in Nigeria to have some kind of embellishment, especially art works with a percentage of the construction cost set aside for this purpose.  When this happens, you will agree with me that our artists would never lack.  Apart from the fact that the pool of money set aside is going to be available to the artists to access through the sale of their works, it would make them sit up and bring out the best in them.  With the Artist Royalty entrenched in the Act, if an artist sells his work to somebody and that person resells it, a percentage of it will go to the artist or his/her family.  This is a residual income that will benefit artists just like royalty that performing artists enjoy for the playing of their musical works in any medium.”

    NGA has continued to innovate in terms of its programmes and activities in promoting and propagating the Visual Arts sub-sector.  Some of these includes: Nupe Art conference and exhibition which has been an outstanding show so far.

    This event which took place in the ancient city of Bida, Niger State interrogated the place of Nupe Art in Nigeria.  It had in attendance traditional artists from the nooks and crannies of the old Nupe Kingdom who displayed different works ranging from paintings, sculptures and textiles.  In his lecture, titled, Nupe Arts: A Renaissance, Dr. Ndagi Abdullahi, Secretary, Nupe Culture and Resource Centre, Bida, asserted that the ancient Nupe people were not just the masters of Arts, but were by and large the originators of the arts of ancient Nigeria.

    Art of friendship was also initiated in 2012 as a platform for Nigerian artists to cross-fertilize ideas with their counterparts from other nations through their embassies in Nigeria.  The second edition took place last year with Nigeria and four other countries: Republic of Czech, France, Italy and South Korea.  The exhibition which took place at the FCT Archives and History Bureau, Abuja, witnessed an impressive crowd, which included management and staff of the gallery, ambassadors of the participating countries and their cultural attachees, artists residing in Abuja and numerous foreign and local art lovers.  There were 40 works of art on display, comprising paintings, mix-media, drawings, sculptures and printmakings.

    More heartwarming was the maiden of NGA Children Funfair which took place last year at the International Conference Centre (ICC), Abuja.  Tagged, Rainbow Art Children Art Expression, with the theme, Unlocking Creativity-Christmas through the eyes of the child it is geared towards stimulating values, identifying talents, motivating parents to love art and encouraging young ones to choose art as a career.  The fair featured six segments: Art Competition, Folktale, Face Painting, Hat/Bead Making, Head Tying and Cartoon Characters.  Each category has specific tasks for the children to bring out their innate talents.

    The Director explained that The Art Fair was inaugurated by NGA in 2013 as a deliberate move to encourage professional artists in its employ to produce works for public exhibitions thereby sharpening their skills and developing bodies of works just like their peers in studio practice.  The first edition took place in Kaduna while the second edition was held in Enugu and Kaduna respectively.

    The 5th edition of National Visual Arts Competition took place at the Shehu Yar’Adua Centre featuring works in the primary, secondary, tertiary and professional categories.  The exhibited works showed great promise from the budding artists.  The winners were rewarded with cash prizes as incentive to do more and a motivation for others to strive for excellence.

    What all these mean is that if more funds are raised to pursue these ideals, the sector will take its proper position towards the economic and social growth of the nation.  Now, with the plan to have NGA offices in the 36 states of the federation, it becomes more imperative to give NGA a chance.

  • ‘Arts not for dullard’

    ‘Arts not for dullard’

    Director General of the National Council for Arts and Culture, (NCAC), Mrs Dayo Keshi, has urged educational institutions to place more emphasis on the teaching of Arts subjects because of the inherent benefits to youths.

    Mrs Keshi, who gave the advice in Abuja at the second Nigeria Arts Olympiad and Taiwan award presentation, said  the creative industry is now made up ot artists who are millionaires.

    She said: “The teaching of Arts should be compulsory in school curriculum, compulsory in the sense that it will be regarded as one of the main subjects that children should be encouraged to take, especially the creative ones.

    “Arts is not for dullard but for those that have interest in it”

    “So if you don’t channel it right, you might even have children who might be frustrated. So, Arts should be one of the main subjects that our children should be encouraged to offer.

    “I see Arts taking over oil as a new source of revenue for  Nigeria in less than 10 years time because the truth of the matter is that it is natural for you to keep focusing on one area of the economy, so long as it is natural.

    “ But the truth of the matter is that great countries in the world, including China, have placed premium on their Arts, so why not Nigeria which has a number of young creative people who should know that this is where we should encourage our people and children. This is an area we need to invest in heavily”she said

    Mrs Keshi urged embassies, high commissions, corporate organisations and donor agencies to partner with the NCAC in order to keep encouraging children to participate in future competitions both locally and abroad.

    She said the contest was organised to promote cross-cultural understanding amongst the younger generation through the use of art and creativity.

    “It is also worthy of note that the NCAC coordinated the competition in collaboration with the FCT Universal Basic Education Commission, UBEC and private school owners Association in Nigeria

    She said the art Olympiad with the theme, “My favourite sport was organised by the international Child Arts Foundation(ICAF) Washington DC, USA through a structured school plan where the children were encouraged to break the old stereotype and embrace Artistes-athlete ideal of a creative mind

    At the end of the competition, Ibrahim Mustapha of Holy Child Private school, Dutse, Abuja emerged with the first position,  Abdulmalik Ibrahim also of the same school school took the second position while Tiffany Hezekiah Uraiaku of ANG International School, Rivers State took the third position.

  • Buhari: patron or lover of arts?

    Buhari: patron or lover of arts?

    Going by his antecedent, President–Elect  Muhammadu Buhari may not be a frontline patron of the arts. But, some of his contributions qualify him as a lover of the arts. Former Deputy Editor of The Guardian  Mr Ben Tomoloju reflects on the cultural legacies Buhari left behind between December 1983 and August 1985 as Head of State.  

    Thank you. But I wish not to take the issue of discipline for granted in assessing a man of culture. Whether it is in terms of environment, society, a people’s spiritual engagement and world-view, or their creative and inventive capacities, discipline is paramount. So your admission concerning ‘his discipline’ presupposes, in the first place that he is a man of culture. A man of culture has the potential of being visionary, though his effort at making such vision a reality is a different kettle of fish. A man or woman of culture exudes great passion in pursuit whatever he or she considers a societal ideal. In the same vein, a man or woman of culture cherishes ideas and lives by them; which saying that he is a dynamic agent of enlightenment who applies his vast intellectual resources to the development of society.

     

    By these parameters, I believe that General Buhari can be described as a man of culture except for aspects of the last criterion where he had a terrible reputation in press censorship and the jailing of Fela Anikulapo-Kuti when he was a military Head-of-State.

     

    It is an established cultural imperative that a good statesman must be a patron of the arts. One cannot say precisely now that Buhari is a patron of the arts judging by his record nearly thirty years. Yet, for some who governed Nigeria for a year and seven months or so, he had a few points that qualified him to be referred to as a lover of the arts. But he must go beyond being a lover of the arts to that of a grand patron of the arts in his present, re-nascent presidential status.

     

    What were the cultural legacies of Buhari as Head-of-State between December 1983 and August, 1986?

     

    Yes, I believe it was General Buhari’s military administration that laid the foundation for an enhanced ministerial status for the cultural sector. And this is very very important. Before his administration, culture was lumped into one ministerial behemoth called Ministry of Information, Youth, Sports and Culture.

    But sometime in 1986, the Buhari administration appointed a Federal Sole-Administrator for Culture and Archives in the person of Colonel Tunde Akogun. The Federal Sole-Administrator, by that appointment was equivalent to the present-day Minister of State and he reported directly to the Supreme Military Council. This initiative of the Buhari administration, however shortlived, energised the cultural sector, although not without some sour experiences.

     

     Can you be specific in this regard?

     On the positive side, the Sole-Administrator restructured the sector. The Department of Culture and Archives was split. The two former divisions became autonomous departments in their own rights.

    But, beyond this, Buhari set up the panel on the review of Theatre and Film, chaired by seasoned University don and Artistic Director, Mr. Bayo Oduneye. Some of the members included, pioneering culture administrator and poet, Mr Frank Aig-Imoukhuede, Mr. Ben Murray-Bruce and representatives from other relevant ministries, including the police and armed forces. The recommendations of that Review Panel went a long way to open up the cultural sector and release its potentials as it made positive projections on the desirability of a National Troupe, the film industry, copyright matters and generally the promotion, propagation and preservation of culture among others.

    Part of the credit goes to the then Group Captain Sampson Emeka Omerua who was the Minister of Information, Youth, Sports and Culture.

    One of the problems culture stakeholders had with the Buhari administration of the military era was its side-lining of the National Festival of Arts and Culture (NAFEST). On record, the 1993 edition of the festival was the last before the Buhari administration came to power. In spite of its high quality in concept and implementation, it was squeezed out of the nation’s cultural calendar. I do agree with those who remark that such posturing by anybody or government against a national cultural heritage cripples the collective intelligence. This happened nearly thirty years ago. I believe the General has experience more than a simple measure of the the democratisation process to encourage creative and other forms of expression to flourish. But it has to be admitted that, it nowadays, culture sometimes appears as the senior partner in a ministerial arrangement, Buhari charted the course.

     

    Can you recall such moments he lent support to major cultural event.

     

    You see….I don’t know….It seemed fashionable in those days for soldiers to look tough, wear stony, unsmiling faces except when they were in the mess. Buhari wasn’t caught out attending shows. It was his Minister, Omeruah and Sole-Administrator, Akogun who frequent the arts beats and clubs like the theatre, Art Alade’s Arts Place, the Jazz Club of Nigeria events, Jazz 39, Bala Miller and NUTAF Port Harcourt among others. But, the General actually was the Special Guest-of-Honour at the Command Performance of Ori, a drama production of the Lagos State Council for Arts and Culture. It was written and directed by Funmi Odusolu and Produced by the State’s Director of Culture, (now Oba) Gbenga Sonuga. That was on February 5, 1985. As Command Performance, it meant that the Head-of-State ordered the presentation of the play, which went on to tour the United States a year later even before the establishment of a National Troupe. I don’t if it was just one-off thing, but it was significant.

     

    Any chance of him re-enacting such in this new dispensation?

     

    Really, it’s not about General Buhari attending drama shows, art exhibitions and concerts, but to ensure that the democratisation process also guarantees the full democratisation of culture. If he had had the erroneous impression that the creative industry was on the fringe of the economy, developments in the movie, music and the popular arts in general today has proved otherwise. The good thing is that he laid the superstructure to some of these developments. You know, after the Oduneye Panel, enlarged group of culture stakeholders was constituted shortly before Buhari was overthrown on August 27, 1985. Papa Steve Rhodes, Mr Frank Aig-Imoukhuede, Bruce Onobrakpeya, Demas Nwoko, Bala Miller, Taiwo Okupe, Naiwu Osahon and Dan Awodoye were among the members. Permit me, I can’t remember all, but they were the leading lights. Ben Murray-Bruce and my humble self were the youngest. The Buhari administration gathered them from across Nigeria. Although he was overthrown in August, the brain-storming still held for two days in September, 1985 because the Federal Sole-Administrator whom Buhari appointed was retained by the successor. The group set a long term agenda for the cultural sector. And I think, Buhari should not find it difficult now to relate to the practical demands of the sector; for instance, job-creation and wealth-creation. Government should invest directly in culture. If it is possible for Governor Fashola to build mini-stadia across the Local Governments in Lagos, there is no reason why cottage theatres and art centres to accommodate the mass of artistic talents cannot be established in every Local Government Area in States where they are viable. This is our advocacy in Nigerian theatre today and one of the practical demands of the culture sector. And I think there is a chance of pulling this and other strategic agenda through because of the foundational role he played in the past. Government should encourage inputs into policy formulation and implementation from all interest groups, so that we can all claim the heritage and celebrate it as “Nigerian”.’

     

  • Theatre Arts initiates freshers

    Theatre Arts initiates freshers

    The chief priest and his assistants led the procession. The inductees trailed them. All clad in white attires with palm fronds held across their mouths. They all headed to the shrine to perform initiation rite on the inductees.

    This was the scene at the Faculty of Arts of the Lagos State University (LASU) when Association of Theatre Arts Students (ATAS) held its sessional induction ceremony to welcome freshers. The induction started with performances by the freshers to entertain students, who gathered to witness the ceremony. The ‘shrine’ was stationed beside the School Theatre Arts auditorium.

    As the procession approached the shrine, the chief priest, Emmanuel Adejumo, chanted incantations to appease the ‘gods’ to accept the sacrifice. Busola Balogun, the ATAS Vice President, who bore an ash-coated calabash, rendered poetical composition to sing the praises of the ’ancestors’.

    At the shrine, the inductees were asked to squat to receive the blessings from the ‘gods’. The priest touched all of them with the palm fronds to initiate them into the fold. Afterwards, they were led into the auditorium, where the faculty staff and students were waiting to receive them.

    The association leaders took turns to orientate the freshers on the rules and regulation of the faculty. The General Secretary, Victor Odoche, said 35 students were present for the induction, stressing that any student who did not show up for the ceremony would be penalised by the thespian community.

    The Sports Director, Charles Ayodeji, said the ritual was a formal way of welcoming freshers, saying the ceremony would prepare the students for the task ahead.

    The Treasurer, Edward Mbodi, said there was no spiritual connotation in the rite, noting that many believe Arts students are fetish. “Most people view the initiation ritual as spiritual undertaking because of the manner with which performed. There is nothing spiritual about it. We deliberately chose to perform the rite in that way because it is a process of initiating a newcomer into a group in Yoruba tradition,” he said.

  • Anambra shines at Arts Expo

    Anambra shines at Arts Expo

    With the theme: African Arts and Crafts: tools for economic empowerment, the seventh edition of the African Arts and Craft Expo came to a close penultimate weekend with all its artistic and cultural thrills and frills.

    The exhibition, which was organised by the National Council For Arts and Culture, Abuja, featured exhibitors from the 36 states and other African and Asian countries. On display were rich and diverse African crafts, fashion and cultural designs, interior decorations, raffia works, leather designs, classical ceramics and pottery works, coral beads, textiles and fascinating jewelries. The fair provided great opportunities for effective and focused promotional marketing incentives for would be sponsors.

    Anambra State was one of those that shone during the week-long exhibition, winning three awards in Best Product and Brand Designs in Brass and Metal Works; Most Enterprising Exhibitor categories, and a third position as the Best in Pavilion Preparation category. The state’s pavilion had on display rich various African crafts, fashion and cultural designs, interior decorations, raffia works, among others.

    The fair was organised primarily to showcase some aspects of Nigeria’s rich culture, promote export and import business of arts and crafts to buyers worldwide, impact requisite knowledge of import and export guidelines to arts and crafts producers and marketers as well as sensitise investors on the need to invest in arts and crafts sector as a way of encouraging enterprise development and export-oriented production.

     

  • Centre announces Wole Soyinka arts exhibition panel

    Centre announces Wole Soyinka arts exhibition panel

    •Steve Ayorinde is panel chair

    The Centre for International Advanced and Professional Studies (CIAPS) has nominated Nigerian journalist and arts critic, Steve Ayorinde, to chair this year’s CIAPS Arts Festival.

    The CIAPS 2014 Arts Festival is an arts exhibition dedicated to the life and works of Nobel laureate Prof. Wole Soyinka.

    The event, dubbed: WS in Arts, will hold in the last week of September at CIAPS. It will feature artists and students of Arts from Nigeria other African and European countries.

    Ayorinde will chair an international panel comprising of arts critics, academics, artists, art dealers and art lovers who will evaluate and award prizes to the works of exhibiting artists.

    Interested artists have till 30 August to submit their works.

    The event will showcase paintings, drawings, sculptures, photography, among others, on themes from books, poems, plays and essays of Prof Wole Soyinka.

    Other members of the panel are: Prof. Roberto Francavilla (Italy), Prof. Inocência Mata (Portugal), Dr Katarina Kort (Germany), Dr Sandra Rowe (USA), Clearance Peters (Nigeria) and Frances Trought (UK). The exhibition is managed by scholars and students of CIAPS as part of their professional training.

    In a statement by Olumuyiwa Ayoola and David Uduma (both students of Banking and Finance), the centre’s director Prof. Anthony Kila said: “The aims of the exhibition are to let literature meet visual arts for the benefit of the public and to let CIAPS graduates put into practice the skills and knowledge they have acquired in their professional programmes by working with top international professionals.”

    The exhibition is treated as a project and the newly nominated international panel will be working closely with a select team of students of Business Administration, led by Oludewa Jemide, Olajuwon Okunubi, Romanus Undie, Abbas Adesina, Christopher Orororo and David Obatusin.

    It is also an opportunity for talented emerging artists to showcase their works in an international context.

    CIAPS is the first paperless institution in Africa and it is running career-oriented programmes aimed at getting graduates into jobs in their chosen professions.

    The main areas of study are: Journalism, Business Administration, Banking and Finance, Office management, Education and Project Management.

    Talented artists and other art lovers who wish to participate in the project are to visit the centre website: www.ciaps.org