The media coverage of visual art activities in Nigeria like exhibitions, art workshops and other art related events has been lukewarm or to some extent, non existent. Apart from Lagos and Abuja where art business is thriving with a good pace, it is rare to find one media organization in other states that can boast of covering visual art events. According to Amodu (2008) the “print and electronic media” are crucial means to “help improve the promotion of international visual arts / fine arts related programmes and events taking place in different parts of the world”. But the issue remains that, how fair is this media coverage in terms of visual art event/ activities in Nigeria?
Generally speaking, the coverage of visual art in the media has not been encouraging. Jegede (1983), noted this when he was writing on the problems and anticipations of Nigerian artists when he stated that, “A constant reassessment of cultural and artistic values cannot be expedited in a situation where the role of mass media is per functionary and flattery distasteful”. The impression created by this is that, the mass media are culpable ignorant of the role they should play in stimulating a healthy artistic atmosphere in Nigeria. If this is so, it therefore means that the media has to be properly educated as well as encouraged to take up this challenge of carrying out programmes or moving out to cover cultural events/ activities which of course visual art will not be left out. Jegede (ibid), having recognized the overwhelming influence of the media in the society especially in generating some awareness to the general public which can be healthy for the practice of art commented that:
Only one or two television stations ever gave thought to the idea of reviewing artists and their works some of the programmes that were aired in the name of culture reveal on unpardonable lack of cultural appreciation, our newspapers are no less guilty (of this unhealthy development). Only few newspapers organizations dole out columns devoted entirely to art and culture. And some have been turned to a forum for praise- singing rather than that of a crucial objective assessment of work, (Jegede, 1983:33).
The undue attitude of the media toward visual arts coverage in Nigeria has contributed to low appreciation of visual art by the populace and this has done less good to the growth and development of art generally. In essence, it has made certain aspects of the society un- popular and un-heard of, since people hear very little or nothing about them. Chika Okeke, paints a picture of what seem to have necessitated the creation of Committee of Relevant Art in Lagos and link it to the general attitude of the media in covering art events in Nigeria. According to Okeke in Mhonda (2001):
We recognize the fact that inspite of the plethora publications in Nigeria, there are hundreds of newspaper publishing in Nigeria and inspite of that, there is still a lot that don’t care about the newspaper. Inspite of the fact that its supposed to be popular media, it is not popular in the essential sense. So we set up in Lagos a Committee of Relevant Art…..Now this committee meets every quarter and invites people to an open party, a lot of things get discussed because we also recognize the fact that condition of popularity in Nigeria and else where in African still hold true. We gather and talk about arts. If there are journalists, and writers who have the courage and tools to transcribe these and publish them in magazine and journals, its for them and the audience (Okeke in Tony Mhonda 1999:66).
The formation of Committee Relevant Art as painted by Okeke is a deliberate effort to promote art by making it popular. The quarterly meetings which are often held by the committee in form of throwing a party to attract journalists are effort put in place as strategies that will encourage media coverage especially in society like Nigeria where the issue of art and culture are not the first priority. It therefore stands to reason that a popular media in a true sense must be popular with a variety of issues of society including those of contemporary culture with visual art fully represented.
Oloidi (1990), while tracing the factors that are responsible for lack of art promotion and patronage in Africa, also link part of the issue to attitude of the media toward visual art coverage. According to Oloidi, the patronage interests of the electronic media in art is almost restricted to only arts like drama, music, poetry, among others. In the print media, however, they use the service of the cartoonist and commercial artist, and although they seemed to be generally very promising in their art coverage, they don’t really feature ambitious programmes that can help advance the course of a dynamic visual art in Nigeria; Oloidi (1992). It means therefore that patronage of art is some how partly dependant on effective media coverage of visual art event/activities. This is however, confirmed by Onuchko’s (1996) comment after experiencing the works of a Spanish painter which he stated that:
I have long been interested in the Spanish artist, Savador Dali. The moment I saw his disquieting, feverish works I know this was a complex, expressive and eccentric personality, a strange genius. Now that an exhibition of his works has at long last been held in Moscow and the Soviet press has featured objective articles, essays, and biographical note on him, I see that my first impression of him and his works was on the whole correct (Onuchko,1996, the artist and society, pg. 4).
This statement clearly paints a picture of how some members of the public react to media publications especially in confirmation of their already existing belief about a particular phenomenon of a perceive societal importance. To some extent, People tend to rely heavily on press / media sources without minding the shortcomings that are sometimes found in media reports. This is because there are several instances where the media has announced or published their shortcomings (in form of an apology) over misrepresentation of issues in previous publications or broadcasts. Despite this, it still controls a large group of the population as the major source of information. From the above statement, one could notice that, Onuchko had his own personal and private observations/ judgment of Salvador Dali paintings which seem very positive any way but it was when the Soviet press wrote articles, essays, and biographical notes on Salvador and his works that Onuchko considers his judgment correct, or else, he would have definitely abandon his believe of the reality he has noticed and seen in the works of the Spanish artist.
In this regard, the advantageous position of the mass media in the promotion of visual art through increased awareness/ education of the public on art issues cannot be over emphasized. This is tantamount to boosting the art market and paving way for a flourishing art practice in Nigeria. Also it will lead to economic growth especially in the art sector for self reliance of Nigerian artists and reduce over dependence on government.
Reference:
Reference:
Amodu, R. (2008), “ The Modern Nigerian Artists and Globalization”, Visual Vanguard: A Journal of Contemporary Art, Design, and Architecture, Vol: 1, no:2, pp.83-86.
Jegede, D. (1983), “Made in Nigeria Artists”: Problems and Anticipations, Nigerian Magazine, No. 144, pp. 22-37.
Oloidi, O. (1990), “Art Patronage and Professionalism: Towards a Golden Era in Nigeria”, Dept. of Fine and Applied Arts, Nsukka, Nigeria, pp.5-8.
Okeke, C. in Mhonda T. (2001) “Art Criticism as advocate”, Art Criticism and Africa, Katy Deepwell (edited), published by Saffron Books, United Kingdom, pp. 66.
Onuchko (1996), The artist and society, pg. 4
