By
Kunde T. Matthew
(B.A. Art History, M.A. Art History)
Email: kundetiem@gmail.com
Phone: 08032390139, 08094382118
Department of Fine Arts, Faculty of Environmental Design,
Ahmadu Bello University, Zaria.
A Paper Presented at the 4th National Symposium on Nigerian Art, Organized by the National Gallery of Art (NGA) and held at Yaba College of Technology,Yaba, Lagos. 29th November – 3rd December, 2009.
ABSTRACT
Nigeria is a nation endowed with rich human and natural resources. One of the key things that has contributed in slowing her level of development is the bad image associated with the country and her people. This is due to the fraudulent acts of a few Nigerians at home and abroad. It is therefore pertinent that Nigeria needs image rebranding to help change the perception of outsiders and even some Nigerians. This paper has examined the role of art and artists in the ‘Rebranding Nigeria’ initiative especially as it relates to the growth and development of the society. It is observed that Rebranding Nigeria requires the willingness and cooperation of Nigerians and the role of visual Art/artists in this project especially in educating, enlightening and building the spirit of confidence and national consciousness among Nigerians for its success can not be over emphasized. Attempt is however made to suggest ways that visual art/artists can be incorporated into the project for its success and for the general growth and development of Nigeria.
Introduction
The call to rebrand Nigeria deserves a collaborated efforts from relevant government bodies and private organizations as well as all Nigerians (home and abroad) who have the interest of the nation at heart. Since Nigeria got her independence in 1960, the nation has been struggling with bad labels which make it difficult for people who have not dare the shores of this nation to believe that anything good can come out of Nigeria. The most popular of such labels which has terribly worked against the nation’s image is “corruption”. While some regards Nigeria as a nation where no policy can work, others believe that all Nigerians are dubious people and very often, religiously intolerant. This certainly is not the true image of a greater percentage of Nigerians at home and diaspora. It is therefore heart warming that the government has found it necessary to rebrand Nigeria’s image. However, for Nigeria to achieve meaningful result in this project of Rebranding Nigeria, there is need for truthful engagement by all stake holders as well as, participants in the rebranding process.
Take politics for example, Nigeria has had the highest number of leaders (presidents) in Africa which supposedly indicates that her political system should be more advanced compare to those of other African nations. Yet the beginning and ending of every political dispensation is witnessed by crises of all sorts. Some of these crises threaten even the unity of our beloved nation Nigeria. This is more or less like a tradition which this generation is packaging for future generations. Dr Ken Okoli once said that when a wrong thing is continually done in the society and children born in that generation grow up to see adults doing it, they embrace it as a tradition1. The questions now are: How can the concept of rebranding be explained to a child who is born of this generation? Can such a child fit or effectively participate in the campaign without pretending to join the queue? To put it in another language: Can a visual artist whose practice has been greatly stagnated due to harsh economic conditions caused by undue government policies find a place to fit in the rebranding campaign? What role would the artist play in the rebranding campaign? What would be the benefits of rebranding to practicing artists if Nigeria is finally rebranded? These are few among the many questions trailing the issue of Rebranding as its affects the art sector. Although the issue of rebranding Nigeria has received many criticisms, especially because, similar projects in the past like “Nigeria the Heart of Africa” initiated by former president Olusegun Obasnjo’s government, did not yield meaningful results. Attempt is being made in this paper to look at the positive side of the project (rebranding Nigeria) especially as it will offer artists another great opportunity to contribute to development of Nigerian society.
This paper, therefore, discusses the issue of rebranding Nigeria as it relates to the practice of art in contemporary Nigerian society with the view to examine the role of Nigerian art/artists in the process.
What does Rebranding mean.
With bias to my profession as an art historian and with the intention of this paper not to digress from the issue in discourse, it will be safe not to go into conflicting definitions / marketing theories that business scholars have propounded about the term ‘rebranding’. However, to understand the concept of rebranding, there is need to know the meaning of ‘brand’, ‘branding’, before one will get a clear picture of what ‘rebranding’, is all about. The term brand is usually associated with the marketing of products or manufacturer’s name, (usually a trademark) for a particular product with specific (quality) attributes which identify it as distinct from other products of similar kind in the market. In business when such products are introduced, the advertisement team creates a brand name as a strategy in marketing them. This strategy is also known as image advertising. By means of that, advertisers seek to give the product a personality that is unique, appealing, and appropriate for consumers to choose it over similar products that might fulfill the same need.
The personality is created partly by the product's design and packaging but, more importantly, by the words and pictures the advertisements associate the product with. This personality is known as a brand image2. Branding, on the other hand is describe as a mark of identity that embraced: Design, packaging, words, and pictures which make a product unique, attractive and most demanded for in the market. According to Umerah (2009), “It involves designing a product’s brand name, trade mark, brand attributes (benefits and value) as well as other attributes of the product which are either psychological or physical in customers’ mind”. Originally, branding was known to be a way of searing flesh with a hot iron to produce a scar with an easily recognizable pattern for identification or other purposes. At first, it was primarily as proof of ownership, but today branding is done to keep records or mark on quality especially in manufacturing industry. During the slave trade, branding was used on human beings especially as a mark of proof but the practice is now limited to identifying animals3. In art, branding is used as a special technique in making body art (skin surface designs) with the use of chemicals to create exciting design-motifs in form of tattoo or ear-notching. Rebranding therefore suggests to either change or modify a product’s attributes, benefits and values in order to give it a new look/image in the market. It should be noted, however, that rebranding of a product is usually carried out to increase the market value of the product.
In view of the above, the rebranding initiative has placed Nigeria as a product in the world’s market competing among other countries. The aim of rebranding Nigeria, therefore, is to create a distinct image for its people and as a nation. The need to rebrand Nigeria, however, arises from the nation’s current brand attributes known to the outside world as a corrupt nation with clouds of extravagant, squanderous and ostentatious life-style, crises-ridden, poor and fraudulent people. In rebranding, the intention therefore will be to change positive towards attributes that will truly connote “Good People, Great Nation” as it is often sang on the nation’s media stations (N.T.A. and Radio Nigeria).
How does the Issue of Rebranding Affects Visual Art/Artists
In an Inaugural exhibition of the Guild of Professional Fine Artists of Nigeria (GPFAN), Ogiugo (2008:5) stresses that: “Inspite of the huge and glorious possibilities and potentials of this emerging giant sub-sector of the Nigeria economy, the most apparent and vivid threat to its crystallization is the psychological and economic well-being of the professional artists, who is the foundation block of the structure”. In this regard, two things mentioned by Ogiugo are vital in this discussion: The ‘psychological well-being’ and ‘economic well-being’ of the professional artist. These two can either mar or project the practice of art in a given society and unless Nigeria is rebranded, the two shall remain major weaknesses, not only for practicing artists but also other Nigerian citizens carrying out businesses within and outside the country.
Take economic well-being for instance. The general pattern of life in Nigeria is reflective of the general reality of post colonial African countries with just a few exceptions here or there. Way back in history when Africa was under colonial rule, the currency weight in terms of value was overwhelmingly appreciated unlike now. Those were the days when a dollar could be exchanged for just a few naira. During that period, if a work of art is sold for twenty thousand naira, the artist can afford to favorably pay some bills and still have some change to attend to other needs of necessity in life. Today one sells sometimes more than five paintings (art works) without comfortably paying for house rent. The present economic hardships have pushed the artists to the brink resulting in an obvious accrual gains which condenses into a total negation of creativity. According to Gbaden (2001:67), this has eventually staged two kinds of artists in contemporary Nigerian art scene. The first kind is described as the group that follows the mediocre pedigree of the populist culture, while the second group takes on the highway of creativity, embracing integrity and social commitment as creeds for their fertile minds. While the first group focuses its entire practice on financial gains by creating any kind of art even when it does not contribute to the growth and development of the society, the second group is the opposite in practice. Observation shows that that the second group, to some extent, only exists in theory or in a low percentage, given the fact that man must chop and since those (galleries and collectors) who sometimes play a vital role in the marketing (promotion) of visual art products, may requires the services of artists but in the other way round4. Rebranding Nigeria initiative focuses on all sectors of government including economic sector, hence its success will give visual art/artists the opportunities to enjoy the benefits of a revamp economy both in the bumper sale of art products and in the value of currency. This is achievable when visual artists genuinely contribute to realizing this vision: Rebranding Nigeria.
Again the psychological well-being of person can determine the levels of his/her productivity as well as it does affect his/her self perception and self-image. Some writers have noted how the issue of bad labels on Nigeria’s image like corruption has affected some artists’ psychologically, and could bear imprints on the kind of art the artist creates. That does not mean that his/her experiences do not count in the art making process. This is certainly, the case when Amodu said “it is realistic to assume… that, some Nigerian artists are suffering from defeatist syndrome coupled with deep psychological complex of uncertainty and low self esteem”. He continued that:
This is due to over a decade bias of negative tag of corruption on our psyche by the international media and some foreign governments, because of the fraudulent activities of few Nigerians abroad and at home. But no country on earth is crime free, all nations have their own share of indigenous criminals in whatever shades or tints (Amodu, 2008: 85).
Amodu also liken the 29 years of military rule to be reason for the fall in moral and ethical standard among Nigerian citizens which has inevitably led to corrupt/indecent practices, lack of faith in constitutional matters and poor cultural up-rightness in Nigerian society. Being a Nigerian who seem to have the interest of the nation at heart, he encouraged the Nigerian artists to be organized both as individuals and as a group inorder to forge a strong team for the challenges ahead especially in the drive towards globalization. Although, he made the comment in line with the issue of globalization, his views are equally important in the growing need to rebrand our nation’s image. According to Amodu:
The more remedy we are able to get for our national malady in whatever form, the more willing many more Nigerian artists will be to mix with their foreign counterparts. We really have to continue to cure ourselves locally, trust and love ourselves more before we can truly make a successful impact globally (Amodu, ibid).
Therefore, the vision of rebranding Nigeria is liken to European renaissance which took place in around 15th-16th century and eventually changed European countries in all ramifications. In achieving meaningful results in the rebranding project is synonymous for putting the economy among other things in good shape. This will offer artists local and international opportunities for improvement in their practice as well as the confidence and pride to mingle with other foreign artists without feeling a dent of their country’s image.
How can Nigeria be rebranded?
Before we discuss how Nigeria can be rebranded, it is important to consider certain facts that if over-looked by the main actors of the rebranding initiative, success of the project will be far from achieving. First, unlike Britain (her colonial father), Nigeria is a heterogeneous nation with three dominant ethnic regions (Yoruba-west, Hausa-north, Ibo-East) and over five hundred ethnic groups. This means that we are different, and our differences are more pronounced in terms of tribal, ethnic, cultural, religious and socio-political backgrounds. The manifestation of our differences is what often take shape in our arts which is seen during exhibitions. The only thing that can effectively melt our differences into a unified whole is art. Art has a universal language that transcends all barriers irrespective of cultures, religions, or ethnic origins. Hence, the importance as well as the role of visual art/artists in the rebranding process is vital and can not be over emphasized.
Secondly, it is noteworthy to also mentioned that at some points the language spoken by art could be misunderstood and the consequences may be grievous. Hence, the intended message (probably of unity) the artist may desire to pass across to his/her audience using certain concepts, motifs or symbols may trigger pandemonium against the artist’s intention. An incident that in 1994 led to the closure of Kashim Ibrahim Library (KIL) for three days in Ahmadu Bello University, Zaria is a good example of the kind of uproar that could arise when a message of an art work is misunderstood by its audience5. This means that Nigerian people need ‘education’ and the kind of education Nigerians desire at the moment to gain tremendous success in the rebranding project is art education: Education of the Nigerian people through art.
In view of the above, Rebranding Nigeria project as championed by the Minister of Information, Prof (Mrs) Dora Akuyili should see artists as major stakeholders of the initiative as well as consider art a major tool, not only for redeeming Nigeria’s image to the outside world, but also to awaken the spirit of national consciousness in Nigerians by creating thought provoking art pieces that will educate and enlighten citizens to cooperate with the rebranding initiative. This is because its success requires visual artists to reshape their modes of cultural representations and create a national identity through art using concepts, symbols combine with thought provoking messages that reflect the ideals of an endearing nation.
The Role of Visual art/Artists in the Rebranding Nigeria initiative.
Art is the centre of human life and it plays multiple functions in any given society (religious, economic, social etcetera). This means that its role in this period of rebranding is significant. Therefore, in all the sectors of the nation which are to receive serious attention from the rebranding project, culture is one of them. This is because culture entails a totality of life in a given society and art is regarded as a strong element of culture which represents among other things, a totality of all tangible aspects of human creations6. Its messages do not only interpret social events as they affect people in the society but also champion a course of change in the society when a situation demands. Hence, the paramount role of visual art/artists in this period of rebranding can not be over emphasized.
According to Ogiugo (ibid), “Visual art helps in the cultivation of the mind, it revives values and brings to the fore the right atmosphere that inspires excellence”. In view of this, the incorporation of visual art into the project of rebranding Nigeria will ensure great success because artists will use concepts, motifs, themes and subjects matter that will cultivate the right attitudes in the minds of Nigerian citizens, revive the downward moral values of Nigerian youths which are leading to social vices, and inspire the spirit of excellence that will elevate Nigeria to a greater height. Therefore, the role of art/artists in this in the rebranding project can be historically derived (as well as understood) using the French society as an example. When the French Revolution advances, most artists change the mode of their artistic representations to portray the demands of French society at that period. Things became more severe and the type and quality of emotions changes even in the artistic representations.
During that period, French artists greatly favoured human sensibilities in a manner that characterized moral virtue, civic dedication, heroism, and self-sacrifice against the gentleness and tenderness that were expressions inherent in art works done prior to that time like the portraits (paintings) of Mrs. Richard Brinsley Sheridan7, Lord Heathfield8, and The Swing (painted by Jean Honore F. in 1766). For example, the works of artists like Jacques Louis David greatly contributed to positive changes in French society during the revolution. David believe that “the arts must contribute forcefully to the education of the public”. With this doctrine, David created the Oath of Horatii. When the work was exhibited in Paris 1785, the painting cause visual sensation and became semi-official voice of the French revolution. Although some critics bicker that Oath of Horatii was painted under royal patronage and not at all revolutionary intent, the subject matter of the work, the message its conveyed and the force of its influence on the French citizens who desire change at that time was tremendous.
In the work, David selected a story from republican Rome, the heroic phase of Roman history that had been pushed to the foreground of public interest. The subject is between love and patriotism and is base on popular play performed in Paris several years ago and well known to Parisian public. According to the story, the leaders of Roman and Alban armies poised for battle,
and decided to resolve their conflicts in a triple combat among three representative from each side. The Roman choice fell on the three Horatius brothers, while that of the Albans from three sons of Curatius family. Unfortunately, a sister of the Horatii, Camilla, was the bride-to-be of one of the Curatius’ sons. David’s painting shows the three sons (the Horatii) as they swear on their swords to win or die for Roman despite the anguish and sorrow of their sister.
The theme of the work is stated with admirable force and clarity. Above all, the work exhibited such virtues as courage, patriotism and unwavering loyalty to a cause which are emphasized over the less heroic emotion of love, sorrow and despair symbolized by women in the painting. The message was clear and in such a way that the pre-revolutionary French public understood and could readily identified with. Gardner describe the work/artist creative mindset as follows:
Oath of Horatii reflects his (David) politically didactic purpose and his doctrine of educational power of classical form, as well as his method of composing the neoclassical picture. Most important of all to David, as artistic descendant of the old academy, is the subject matter (which he always emphasize that) “It must have grandeur and moral”. If effectively presented, David wrote, the “marks of heroism and civic virtue offered the eyes of the people will electrify its soul, and plan the seed of glory and devotion the fatherland” (Gardner, 1985:713).
The position David took in using art to contribute meaningfully to the growth and development of France as a nation is what is expected of Nigerian visual artists in this period of rebranding Nigeria. Aspects of visual art like cartoon, painting, sculpture, film among others should be areas of focus by the rebranding initiative. All these aspects of art have been known in the past, not only as a means of effective communication but also as a powerful way of influencing positive changes in human behavior. Since 1840s cartoons, for instance, has played the role of communicating messages to the public through the media in a humorous, satirical, or opinionated drawing, typically printed in newspapers or magazines, with or without a short text. The drawing and the text (cast within the cartoon as speech or set as a caption) may portray a joke or witticism, yet carries a message that either aim at correcting or educating the public for an intended action that will bring meaningful development. Rebranding Nigeria, therefore, requires visual artists to use cartoons in the same manner that Akinola Lasekon used during the nationalist struggle9. Not to make jest of Nigeria’s image but to revive values which will be of tremendous impact to the development of the society.
In this regard, the second national visual art competition organized by National Gallery of Art, is a good step towards achieving the role of art in the rebranding process10. However, art exhibitions should be organized not only at federal (National) level but also at states levels as well as in various institutions of learning, with themes that will promote good values and inspire the spirit of civic dedication, selfless service, and national consciousness in Nigerians. The best works should be positioned in strategic places in public buildings where they can be seen and a short message to accompany them. This will certainly provoke the reasoning of Nigerian citizens who will strive to live up to their society’s demands; because the whole concept of rebranding (as understood by the writer) dwells on attitudinal change/character reformation that will result in positive/practical implications for meaningful developments of Nigeria.
Alternatively, institutions of learning (especially the various art departments) should serve(s) as campaign stations where Nigerians can come and acquire visual representations that nourish the aura of Good People, Great Nation. Clubs like “Art for Good Governance”(AGG), “Rebranding Nigeria’s Image Through Art” (RNITA), and other similar ones, should be sponsored either by the government or private organizations for the participation of youths in higher institutions where standard values are inculcated into youth for the development of the society. This will encourage the cultivation of good values among youths who later will contribute to the growth and development of Nigeria. With these being done it is hoped that the project will not only achieve its aim of rebranding the nations image but also, it will lay a foundation of high moral consciousness for latter generations to come.
The government should, therefore, through the help of cultural experts, draw up a blue-print that will not only involve active participation of cultural organizations like National Gallery of Art (NGA) and National Council for Museums and Monuments (NCMM) in the rebranding Nigeria project but will also sponsor national symposia on art using themes that will support the rebranding Nigeria initiative. This will hopefully reveal the positive imprints/historical landmarks Nigeria and her people have made in the progress of the sub-region Africa and perhaps the world at large. The outstanding contributions selected from the total presentations can be published and circulated to Nigerians (home and abroad) and even to people of other countries of the world. This will not only go a long way redeeming the image of Nigeria and her people but will open new horizons in partnership with other countries for the growth and development of our loving nation, Nigeria.
Conclusion
It is a fact that the image of Nigeria has been relegated among nations of the world due to some fraudulent cases associated with a few Nigerians within and outside the country. The campaign to redeem Nigeria’s image can not be handled by government alone, neither is it an issue meant for a selected few. The “Rebranding Nigeria” initiative is a good project and it needs the participation of all Nigerians from different works of life. Its success depends on character reformation/attitudinal change of Nigerians in their immediate places of work and at informal settings. To achieve this requires the contributions and participation of visual art/artists especially in educating, enlightening, and gingering the spirit of national consciousness of Nigerian citizens to encourage cooperation with the government in whatever form for the growth and development of the country.
On the whole, the works of modern Nigerian artists should therefore, focus on themes and subject matter using concepts, motifs and symbols that are tantamount for reviving the nation and inspiring the spirit of ‘civic virtue’ and ‘devotion to our fatherland’. It is only then that Nigerian citizens would be seen as Good People and Nigeria will be regarded truly as a Great Nation.
***Use Visual Art to Promote Nigeria’s Image for the Growth and Development of our Country***
Notes
1. Dr Ken Okoli is a lecturer in Department of Fine Arts, Ahmadu Bello University, Zaria. This statement was made in one of the departmental art forum (Art-mongering) while trying to correct the erroneous belief that Industrial design has a separate root from Fine arts.
2. Advertisers believe that brand image often leads consumers to select one brand of product over another or instead of a less expensive generic product. Brand image is especially important for commodities such as detergents, jeans, hamburgers, and soft drinks, because within these product categories there are few, if any, major differences.
3. Livestock were branded by the early Egyptians as early as 2000 BC. The practice of branding horses and cattle was brought to North America in the 16th century by the Spanish conqueror Hernán Cortés. In most cattle states, registration of brands is required by law, and altering a brand is a criminal offense. Also in criminal law, branding of prisoners was a form of punishment used by the Greeks and Romans and later adopted by the Anglo-Saxons. Criminals, slaves, and army deserters have often been branded. The practice declined about the middle of the 19th century.
4. Some galleries and art collectors are too business minded and in their quest to keep the art business going with high gains often welcome only the art that sells. This phenomenon sometimes leads to even dictating what artists create instead of encouraging the artist original creative ideas /intuition which may, perhaps address issues of national development.
5. In 1994, an work titled In The Grave led to the closing down of ABU Zaria’s main library for 3 days. The crisis were caused by misinterpretation which was as a result lack of art education. The work was produced by Mu’azu Sani, a lecturer in department of Fine Arts, Ahmadu Bello University, Zaria.
6. According to Bodley (2008), “a people’s culture includes their beliefs, rules of behavior, language, rituals, art, technology, styles of dress, ways of producing and cooking food, religion, and political and economic systems”.
7. The portrait painting “Mrs. Richard Brinsley Sheridan” was painted by a French artist, Thomas Gainsborough (1785), Size:60”x86” Collection: Andrew Melon collection, USA.
8. The cited work Title: “Lord Heathfield” was painted by a French artist, Joshua Raynolds, Year: 1787, Size: 56”x45”, Collection: National Gallery, London.
9. Akinola Lasekan is one of the pioneers of modern art in Nigeria. In his early days as a practicing artist, he worked in a newspaper media (West African Pilot newspaper) as a cartoonist and contributed immensely to the decolonazation activities that finally lead Nigeria to independence in October 1, 1960.
10. The National Gallery of Art (NGA) organized the national visual art competition with theme: Rebranding Nigeria Through Visual Art. Sub-themes were: Nigeria: A good Nation, 7 Point Agenda and Visual Art, Visual Art: A means of Effective Communication, Visual Art: Our Wealth, our Strength. The Award/Price giving ceremony was on the 21st October, 2009.
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*** Art in Disguise ***
