As a culture vulture (devotee of art), I trust in soft diplomacy more than hard diplomacy. I believe that, more can be done through peaceful means in solving a problem or addressing an issue that threatens to bring war or conflict between different interest groups in a country or region. Base on that, I consider any form of international diplomacy (UN mediation, negotiation, peacekeeping team) that warrants the use of ‘extreme coercive measures’ like using arms to over-throw a government in order to install another leader as a failed diplomatic mission. Such measures often claim innocent lives, destroy properties and contribute to taking away the peace of people in the society, all in the name of collateral damages. It is on this note that UN, AU, ECOWAS should be commended for averting a sheer civil war in Ivory Coast. Although, from December 2010 to April 2011 that Gbagbo’s leadership was finally incapacitated, lives were lost, properties were destroyed and peace went into comma; however, the magnitude of damage can not be compared to what Ivoirians could have experienced if the issue resulted in a complete civil war.
Within this period of unpredictability, UN forces in Ivory Coast protected President Quatara in the ‘Hotel of Refuge’ (The Golf Hotel) till his time of glory finally comes. In this way, it was difficult for government soldiers loyal to Gbagbo to access the hotel and cause harm to him (President Quatara). Also, the series of meetings organized by these bodies did not seek out-right measures of pushing Gbagbo out of power even though he was an expired president who just wanted to cause confusion unjustifiably. Instead, the change of signatory to West African Development Bank, cutting trade relations and continuous visits to Gbagbo by other African leaders, making him to see reasons and handover power were diplomatic measures that were meant to exhaust his pride and ego and eventually deflate his pomposity in favour peace.
The expiration of Gbagbo’s claim to presidency, which was militarily influenced by French soldiers, in this case, can not be said to be glorious no matter what. This is because, the set-back that Gbagbo has brought to Ivory Coast’s economy, the lives lost, the properties destroyed, the post psychological trauma that people are still experiencing are far greater than the mere Gbagbo’s exit. Rather, UN, AU, and ECOWAS should be commended for their steadfastness to ensure that peace return Ivory Coast within a short time.
At this point, one can proudly say that African politics is currently under-going changes that will eventually make the continent an endearing place to live, work or visit by foreigners without second thought. The role of United Nations (UN) is to continue to support this change for transformation to take place.
From monarchical rule, Africa finds itself in the hands of colonial rule. After colonialism was displaced, military rule exercised its dominance in most parts of the continent. The coming of democracy brought another challenge. Most leaders who got power through democratic means were not ready to welcome a new democratic government. In this way, they prefer to violently oppose any political group that criticized their policies and instead stay in power for as long as its takes. This phenomenon led Africa into a stage of “power sharing”. In this way, if a leader refuses to let go, power should be shared between the ruling party (the serving president) and the opposition party in order to foster peace among the groups. The common ground for establishing a power sharing government was to let peace rain. With the successful deposal of Gbagbo by French soldiers (even though they claim otherwise) with the support of UN, AU and ECOWAS in Ivory Coast, it can be assumed that the era of power sharing has also come to an end. Coupled with the political development in North Africa, it is clear that, Africa is going through politically refined process that after it is complete, it shall never be the same again.
All that United Nations (UN) needs to do in this process is to offer continuous support to other African nations who desire and are working toward a positive change to better the lives of their populace. On the whole, the role of UN in Ivory Coast is commendable. At least, other African leaders thinking of power sharing deal after losing elections will take note.
*** Art in Disguise ***
Saturday, April 23, 2011
Thursday, April 14, 2011
The Art of Recycling Waste
One of the biggest problems of developing countries especially in Africa is how to manage all kinds of waste products which have posed a threat/harm to the lives of people in the society. Take Nigeria for example, there are many streams and rivers in the Niger delta region that have seriously been damaged by the constant release of liquid waste from activities of oil companies. On the other hand, it is common to walk in major Nigerian cities like Lagos, Kaduna, Ibadan, Aba, etc and find heaps of refuse dumps which composed of solid waste as well as discarded materials like used-polythene bags, empty cans, e-waste products (like used recharged cards), vehicle/engine parts, and so on. The gathering point of some of these solid waste can be anywhere irrespective of whether it is near a major market, or close to a residential area.
Recently, new forms of artistic expression, most especially in sculpture have emerged and many artists have resorted to using discarded materials and recycling them, artistically, into beautiful art works. This form of art, essentially, focuses on the conversion of discarded materials into a more environmental friendly products that can be used either at homes or in public places. European artists like Subodh Gupta (“Very Hungry God”, 2006) and Michel Tuffery (“Pisupo Lau Afe”, 2000) are among individuals who have produced works in this direction. In Africa, the works of El Anatsui is a good example of this form of art. Anatsui’s “Peak Project” consists of used milk can-lids of about 3-foot high forming an anthills’ composition. The work also reflected, symbolically, a pattern of consumption which often generates trashes that are common in developing countries. It is against this background that the works of Anthony S. Ekpe, a young and vibrant contemporary Nigerian artist, genuinely caught my attention.
The works of Anthony are not only aesthetically pleasing but also environmentally meaningful (friendly). The artist usually move about collecting everyday waste materials like empty beverage containers from households, or visit waste bins and garbage heaps. After gathering a sizable number (quantity) of such materials required to start and finish a work, he will make sketches of the art forms he intends to create. According to the artist, “the conceptual formation of ideas for the art forms preceded sketches from model diagrams, photographs, and work actualization. The images sought for could be animals, human figures, mask or natural forms”. This is latter proceeded by taking mould of the image to be constructed after which the artist starts beating, compressing and doing repousse as well as joining (welding) the partitions of the entire work into an ideal shape.
Given this medium of exploration, Anthony employed stylization and abstraction as basic styles in rendering various sculptural forms of artistic standard. The “Trumpeter”(2009), for instance, the artist used iron rods and constructed anatomical frame on which the red compressed cans were selectively welded to cover parts of the work to achieve the shape/form of a person blowing trumpet. In this way, other parts of work are neatly covered while others are deliberately left, exposing the frame in a stylized manner.
The work is significant in two ways. First, the waste (discarded) materials used by Anthony in making the work qualify it (the “Trumpeter”) an environmental friendly art piece. This has contributed (no matter how little) positively in addressing part of the environmental issues which Nigeria is facing currently. Secondly, the image captured by the artist has cultural connotation to the lives of people in northern Nigeria which is the immediate practicing environment of the artist. Hence, it can said that the artist made use of trash (waste materials) in projecting the culture of the people in Northern Nigeria; a view which might sound controversial but realistically unassuming. Base on these significance, it is therefore, safe to conclude that, the “Trumpeter” is a work that is not only environmental friendly, but also cultural friendly since it portrays an image that is commonly associated with the popular culture of the people.
Recently, new forms of artistic expression, most especially in sculpture have emerged and many artists have resorted to using discarded materials and recycling them, artistically, into beautiful art works. This form of art, essentially, focuses on the conversion of discarded materials into a more environmental friendly products that can be used either at homes or in public places. European artists like Subodh Gupta (“Very Hungry God”, 2006) and Michel Tuffery (“Pisupo Lau Afe”, 2000) are among individuals who have produced works in this direction. In Africa, the works of El Anatsui is a good example of this form of art. Anatsui’s “Peak Project” consists of used milk can-lids of about 3-foot high forming an anthills’ composition. The work also reflected, symbolically, a pattern of consumption which often generates trashes that are common in developing countries. It is against this background that the works of Anthony S. Ekpe, a young and vibrant contemporary Nigerian artist, genuinely caught my attention.
The works of Anthony are not only aesthetically pleasing but also environmentally meaningful (friendly). The artist usually move about collecting everyday waste materials like empty beverage containers from households, or visit waste bins and garbage heaps. After gathering a sizable number (quantity) of such materials required to start and finish a work, he will make sketches of the art forms he intends to create. According to the artist, “the conceptual formation of ideas for the art forms preceded sketches from model diagrams, photographs, and work actualization. The images sought for could be animals, human figures, mask or natural forms”. This is latter proceeded by taking mould of the image to be constructed after which the artist starts beating, compressing and doing repousse as well as joining (welding) the partitions of the entire work into an ideal shape.
Given this medium of exploration, Anthony employed stylization and abstraction as basic styles in rendering various sculptural forms of artistic standard. The “Trumpeter”(2009), for instance, the artist used iron rods and constructed anatomical frame on which the red compressed cans were selectively welded to cover parts of the work to achieve the shape/form of a person blowing trumpet. In this way, other parts of work are neatly covered while others are deliberately left, exposing the frame in a stylized manner.
The work is significant in two ways. First, the waste (discarded) materials used by Anthony in making the work qualify it (the “Trumpeter”) an environmental friendly art piece. This has contributed (no matter how little) positively in addressing part of the environmental issues which Nigeria is facing currently. Secondly, the image captured by the artist has cultural connotation to the lives of people in northern Nigeria which is the immediate practicing environment of the artist. Hence, it can said that the artist made use of trash (waste materials) in projecting the culture of the people in Northern Nigeria; a view which might sound controversial but realistically unassuming. Base on these significance, it is therefore, safe to conclude that, the “Trumpeter” is a work that is not only environmental friendly, but also cultural friendly since it portrays an image that is commonly associated with the popular culture of the people.
Saturday, April 9, 2011
Africa, a Masquerade from Heaven
In an art historical field work, there is always a tendency for one to experience a strong or powerful work of art that will, unconsciously, threatens to redirect the purpose of his/her research on a given topic. This was the exact way I felt after experiencing “Masquerade from Heaven (2009)”, an installation work done by Gerald Chukwuma and exhibited in Goethe Institut, Lagos, in December, 2009. Before that time, I have come across a number of phrases describing Africa as “a God forsaken land”, “a black continent” and so on. My contention on most of these phrases hinged on the fact that, none gives a desired picture of the continent and her people. For example, calling Africa “a black continent” means that people in the Maghreb states are visitors and the sub-saharan states with black population are the real owners of Africa. Although the continent is obviously the root of the black race, calling it “a black continent” does not give a true representation of what Africa is.
Also, if Africa is labeled as “a God forsaken land” probably because of the disasters (wars, diseases, HIV and other forms of crisis) taking place on the continent, that is still not a suitable way of describing Africa. This is because other continents also do experience a fair share of some of these disasters mentioned above, either in natural (as in the case of Japan’s earthquake) or un-natural way (like the civil disturbance/wars in Iraq, Afghanistan, Palestinian etc). Base on these, it will be out of point to say that Africa is the only God forsaken continent in the world. It is in line with such views that “Masquerade from Heaven” find its relevance especially in redefining Africa amidst the controversial views differently held by others about the continent.
The work is an installation art that represents the relationship between Africa and the outside world. The artist make use of compressed empty cans, used recharge cards, pieces of wood, and other light-weight waste materials of varying shapes and sizes, and knitted them together using copper wire. This resulted into a wide multi-colour surface that was neatly tied around a constructed frame of about 6 feet high. The different colours of the materials used were aesthetically pleasing such that, if viewed from a distance, look more like an interesting mosaic. The design of the installation kept viewers wondering what could be inside the chamber of this motionless masquerade. This is probably the same way Africa is being treated. While many people approached it from the outside, no body knows the true situation of things as actually happening in Africa.
On the whole, the artist considers Africa as a masquerade with evils features like wars, sickness, poverty, corruption; yet the West and so called “first and second” world countries have profound interest in her rich and valuable resources. The work, in a way, revealed something about the negative image of Africa which countries like Nigeria have engaged in active campaign (Rebrand Nigeria- Good people, great nation) to help change the negative beliefs/thoughts stereotypically held against the African continent or people of African origin by the outside world.
Also, if Africa is labeled as “a God forsaken land” probably because of the disasters (wars, diseases, HIV and other forms of crisis) taking place on the continent, that is still not a suitable way of describing Africa. This is because other continents also do experience a fair share of some of these disasters mentioned above, either in natural (as in the case of Japan’s earthquake) or un-natural way (like the civil disturbance/wars in Iraq, Afghanistan, Palestinian etc). Base on these, it will be out of point to say that Africa is the only God forsaken continent in the world. It is in line with such views that “Masquerade from Heaven” find its relevance especially in redefining Africa amidst the controversial views differently held by others about the continent.
The work is an installation art that represents the relationship between Africa and the outside world. The artist make use of compressed empty cans, used recharge cards, pieces of wood, and other light-weight waste materials of varying shapes and sizes, and knitted them together using copper wire. This resulted into a wide multi-colour surface that was neatly tied around a constructed frame of about 6 feet high. The different colours of the materials used were aesthetically pleasing such that, if viewed from a distance, look more like an interesting mosaic. The design of the installation kept viewers wondering what could be inside the chamber of this motionless masquerade. This is probably the same way Africa is being treated. While many people approached it from the outside, no body knows the true situation of things as actually happening in Africa.
On the whole, the artist considers Africa as a masquerade with evils features like wars, sickness, poverty, corruption; yet the West and so called “first and second” world countries have profound interest in her rich and valuable resources. The work, in a way, revealed something about the negative image of Africa which countries like Nigeria have engaged in active campaign (Rebrand Nigeria- Good people, great nation) to help change the negative beliefs/thoughts stereotypically held against the African continent or people of African origin by the outside world.
Sunday, April 3, 2011
The Postponement of National Assembly’s Election and its Implications on April 2011 Election
It was hardly 7:30 am when I started seeing people troop in a nearby government school close to where I reside in Sabo, one of the heavily populated areas in Kaduna city. By the time I joined them a few minutes passed eight o’clock, the whole corridors of the school blocks were occupied mostly by relatively aged men and women, while the teeming youths were scattered around, waiting for INEC officials to surface. At around 12:00 pm, hunger, tiredness and the effect of the scorching sun was already telling on the faces of everyone in the polling station. Yet, everyone seems to be determined to wait till they cast their vote.
One good thing about the waiting voters was the confidence they seem to have that the current INEC/election will be different from the past ones. Majority of the people were capitalizing on Jega’s (the INEC boss) statement of “One Man, One Vote” to presume the fairness of the election. However, the expectations of the people could not be met as news latter filtered in the waiting crowd (around 1:00pm) that the election has been postponed to Monday April 4, 2011. This was followed by signs of dissatisfaction with the system as almost everybody who speaks was not happy about the situation. After Nigerians began making arrangement against Monday, another news arrived that, the Monday election has been cancel and taken to Saturday which supposed to be a date scheduled for governorship elections. The question now is that, what implication would this have on the general 2011 elections?
It is important to know that, Nigerians have shown great commitment to participate in this year’s election, but based on the past experiences, Nigerians are beginning to loss hope in the credibility of Jega’s INEC regime. While some people look at the current situation as a deliberate way to confused Nigerians and allow manipulation to set in, others expressed faith in the Jega led INEC regime. From the time being, it appears the postponement will definitely affect turn-up of voters on Monday.
Another thing is that, in Kaduna North Local Government Area, the final list that include the names of all NYSC (Corps) members as well as INEC ad-hoc staff who were to participate in the election could not be placed until around 7:30pm on Friday. In this way, it was difficult for those involved to travel to various destinations (polling units) on time as many did not even know the exact locations of the polling stations they were assigned to go to. This was also viewed as a deliberate hitch to frustrate the smoothness of the election. Where the issue gets complicated is that, despite all these elections were held in some places that voters’ materials arrived in good time. For example, voting took place in some polling stations in Kagoro in Kaura Local Government Area of Kaduna state. The question now is, would INEC allow the results of such elections to be valid or the people have to recast their vote for the second time?
In whichever way one chooses to view this issue, two things are involved. First, it appears that the billions of naira invested in INEC for the purpose of these 2011 elections is showing no significant positive result. Secondly, if Nigeria has billions of naira to invest in elections that will come and go, instead of fixing the roads to reduce accidents, then the government should be prepared to compensate citizens for the inconveniences caused by INEC in such unwholesome postponement of subsequent elections.
One good thing about the waiting voters was the confidence they seem to have that the current INEC/election will be different from the past ones. Majority of the people were capitalizing on Jega’s (the INEC boss) statement of “One Man, One Vote” to presume the fairness of the election. However, the expectations of the people could not be met as news latter filtered in the waiting crowd (around 1:00pm) that the election has been postponed to Monday April 4, 2011. This was followed by signs of dissatisfaction with the system as almost everybody who speaks was not happy about the situation. After Nigerians began making arrangement against Monday, another news arrived that, the Monday election has been cancel and taken to Saturday which supposed to be a date scheduled for governorship elections. The question now is that, what implication would this have on the general 2011 elections?
It is important to know that, Nigerians have shown great commitment to participate in this year’s election, but based on the past experiences, Nigerians are beginning to loss hope in the credibility of Jega’s INEC regime. While some people look at the current situation as a deliberate way to confused Nigerians and allow manipulation to set in, others expressed faith in the Jega led INEC regime. From the time being, it appears the postponement will definitely affect turn-up of voters on Monday.
Another thing is that, in Kaduna North Local Government Area, the final list that include the names of all NYSC (Corps) members as well as INEC ad-hoc staff who were to participate in the election could not be placed until around 7:30pm on Friday. In this way, it was difficult for those involved to travel to various destinations (polling units) on time as many did not even know the exact locations of the polling stations they were assigned to go to. This was also viewed as a deliberate hitch to frustrate the smoothness of the election. Where the issue gets complicated is that, despite all these elections were held in some places that voters’ materials arrived in good time. For example, voting took place in some polling stations in Kagoro in Kaura Local Government Area of Kaduna state. The question now is, would INEC allow the results of such elections to be valid or the people have to recast their vote for the second time?
In whichever way one chooses to view this issue, two things are involved. First, it appears that the billions of naira invested in INEC for the purpose of these 2011 elections is showing no significant positive result. Secondly, if Nigeria has billions of naira to invest in elections that will come and go, instead of fixing the roads to reduce accidents, then the government should be prepared to compensate citizens for the inconveniences caused by INEC in such unwholesome postponement of subsequent elections.
Friday, April 1, 2011
The Sculpture Garden: A Cultural Resource Point in ABU-Zaria
The Ahmadu Bello University (ABU), Zaria has been labeled as one of the biggest university south of Sahara. It is one of the earliest universities established in Nigeria which has contributed to educational development of the nation in various fields: Engineering, sciences, arts, etc. One of the factors which make the university so popular is the fact that, it is located in the ancient city of Zaria which historically is considered as one of the powerful kingdoms in Africa once ruled by a woman: Queen Amina. More importantly, the university is also viewed as the foundation school for the training of modern artists in Nigeria. The Department of Fine Arts, ABU Zaria, is uncontestable the oldest (formal) school of art in Nigeria and probably, among the first three early schools of art in modern Africa.
The department is so unique such that, apart from the quality artistic training the it offers individuals on yearly basis due to the availability of its competent and experienced tutors, it also owns a “Sculpture Garden” which composed of works (mostly) produced by graduating students, particularly from the Sculpture section. The works in the garden, in a way, reveal the quality of the graduates who have passed out of the department over the years, as well as creative diversity inherent in the artistic training given to artists in the department.
Inside the Sculpture Garden, it is common to fine works executed in styles like cubism, realism, abstract, and installation, as well as representing different social themes like religion, politics, culture, military and so on. Example of works in the garden include “Ant Hill”, “Expectation”, and cubist sculptural portraits of some past Nigerian leaders like “Obasanjo”, “Gowon”, and “Buhari”. While at some places in the garden, the bases of the sculptural works are used as seats, in other locations, it is the sculptures themselves that serve as seats for visitors. The natural shed in the garden is complimented by scattered trees which also offer students a restful place to sit and wait for subsequent lectures. There is also a cool spot in the garden where soft drinks are sold. Close to the cool spot is a roasted meat (Suya) joint. All these add to the beauty and comfort of the garden and its visitors respectively.
The Sculpture Garden is one of the hottest points in the university such that, if one visits ABU Zaria without visiting the garden, it is normally assumed that the visit is practically not complete. It is a source of pride not only to the department but also to the university community at large. One thing about the garden is that, the works in durable materials last while those done using un-durable materials tear and wear; and in the long run, they are replaced by new sculptures. This make the garden the have new sculptures every year.
The department is so unique such that, apart from the quality artistic training the it offers individuals on yearly basis due to the availability of its competent and experienced tutors, it also owns a “Sculpture Garden” which composed of works (mostly) produced by graduating students, particularly from the Sculpture section. The works in the garden, in a way, reveal the quality of the graduates who have passed out of the department over the years, as well as creative diversity inherent in the artistic training given to artists in the department.
Inside the Sculpture Garden, it is common to fine works executed in styles like cubism, realism, abstract, and installation, as well as representing different social themes like religion, politics, culture, military and so on. Example of works in the garden include “Ant Hill”, “Expectation”, and cubist sculptural portraits of some past Nigerian leaders like “Obasanjo”, “Gowon”, and “Buhari”. While at some places in the garden, the bases of the sculptural works are used as seats, in other locations, it is the sculptures themselves that serve as seats for visitors. The natural shed in the garden is complimented by scattered trees which also offer students a restful place to sit and wait for subsequent lectures. There is also a cool spot in the garden where soft drinks are sold. Close to the cool spot is a roasted meat (Suya) joint. All these add to the beauty and comfort of the garden and its visitors respectively.
The Sculpture Garden is one of the hottest points in the university such that, if one visits ABU Zaria without visiting the garden, it is normally assumed that the visit is practically not complete. It is a source of pride not only to the department but also to the university community at large. One thing about the garden is that, the works in durable materials last while those done using un-durable materials tear and wear; and in the long run, they are replaced by new sculptures. This make the garden the have new sculptures every year.
Investing in the Unemployment Sector in Nigeria
Way back in history, one of the major problems of Nigeria was to get the required number of trained individuals to fill the over-whelming vacancies existing in both private and government establishments. For example, after independence in 1960, the nation gave special priorities for under graduate studies such that, the few established universities were provided with befitting facilities to equip the students with all that is necessary for the kind of training that will benefit the employment needs of the nation at that time. These were the days when graduates were given cars after graduation and would also receive multiple employment letters which they had to choose the one that best suited them.
The situation in the country now is quite contrary to what used to be in those days. Today, unemployment has become not only a major sector in Nigeria but also a lucrative business to invest in. While some of these investments (in the unemployment sector) can be said to be genuine and, somehow, benefitting on the part of the unemployed, others are not. Rather, they are various ways device to exploit or feed on the sweats of the suffering unemployed youths. For example, few months after I finished my service year in 2007, I discover many fake employment agencies which are operating in Nigeria. Their terms of operation involve creating mushroom offices and stationing a few staff there. These staff registers their customers (unemployed graduates) for a certain fee, collect Curriculum Vitae (CVs) from graduates promising them jobs. The conditions, sometimes, include clients forfeiting their first salary after helping them to secure a job. In some occasions, after getting a reasonable number of unemployed youths to register with them, they vacate the office and leave no trace of their new address. Sometimes, an unknown employment body will advertised for lucrative positions using the names of some of well paid multi-national corporations in Nigeria. After CVs have been submitted electronically, text will be sent to ‘shortlisted candidates’, inviting them for interview on a specified date. In such text, individuals are required to bring a certain fee for one thing or the other.
Another way which even the Nigerian government is guilty is the selling of employment forms. Candidates are, very often, cajoled into buying forms for positions that they are not fit to apply. For example, government establishments like National Eye Centre, Kaduna and National Examination Council (NECO) have sold employment forms to unemployed Nigerian youths during their employment exercises. In both cases, people wonder why a government must collect money from the unemployed to process their application forms for jobs that were not actually given but to a few numbers of persons. The gains are quite much and government is, in a way, benefitting from this too. A government establishment in this way can advertise for 68 jobs, and sell 18,000 forms, at an average price of N2, 000. This amount is quite affordable for poor suffering families to source for. The worst is that, sometimes a fake employment agency will use a government website to advertise jobs which are non-existent. In Kaduna, last year, some individuals used the Kaduna state website to advertise for UN positions. After they succeeded in gathering over 3,000 unemployed graduate and sold a number of forms to about one quarter of the population, luck ran out of them as they were identified as scammers.
Considering all these, it can be said that unemployment is a big sector in Nigeria to invest in. Recently, a national unemployment body called Unemployed Youths Association of Nigeria (UYAN) started operating in the country. Such association, to my opinion, is a time bomb that Nigerian government should defuse before it finds appropriate means to explode. Job creation can easily defuse this time bomb and make such associations baseless. Until Nigerian government look into this, the nation shall soon join her contemporaries in the North African (Egypt, Tunisia, and indeed Libya) to address unemployment issues in a tough way.
The situation in the country now is quite contrary to what used to be in those days. Today, unemployment has become not only a major sector in Nigeria but also a lucrative business to invest in. While some of these investments (in the unemployment sector) can be said to be genuine and, somehow, benefitting on the part of the unemployed, others are not. Rather, they are various ways device to exploit or feed on the sweats of the suffering unemployed youths. For example, few months after I finished my service year in 2007, I discover many fake employment agencies which are operating in Nigeria. Their terms of operation involve creating mushroom offices and stationing a few staff there. These staff registers their customers (unemployed graduates) for a certain fee, collect Curriculum Vitae (CVs) from graduates promising them jobs. The conditions, sometimes, include clients forfeiting their first salary after helping them to secure a job. In some occasions, after getting a reasonable number of unemployed youths to register with them, they vacate the office and leave no trace of their new address. Sometimes, an unknown employment body will advertised for lucrative positions using the names of some of well paid multi-national corporations in Nigeria. After CVs have been submitted electronically, text will be sent to ‘shortlisted candidates’, inviting them for interview on a specified date. In such text, individuals are required to bring a certain fee for one thing or the other.
Another way which even the Nigerian government is guilty is the selling of employment forms. Candidates are, very often, cajoled into buying forms for positions that they are not fit to apply. For example, government establishments like National Eye Centre, Kaduna and National Examination Council (NECO) have sold employment forms to unemployed Nigerian youths during their employment exercises. In both cases, people wonder why a government must collect money from the unemployed to process their application forms for jobs that were not actually given but to a few numbers of persons. The gains are quite much and government is, in a way, benefitting from this too. A government establishment in this way can advertise for 68 jobs, and sell 18,000 forms, at an average price of N2, 000. This amount is quite affordable for poor suffering families to source for. The worst is that, sometimes a fake employment agency will use a government website to advertise jobs which are non-existent. In Kaduna, last year, some individuals used the Kaduna state website to advertise for UN positions. After they succeeded in gathering over 3,000 unemployed graduate and sold a number of forms to about one quarter of the population, luck ran out of them as they were identified as scammers.
Considering all these, it can be said that unemployment is a big sector in Nigeria to invest in. Recently, a national unemployment body called Unemployed Youths Association of Nigeria (UYAN) started operating in the country. Such association, to my opinion, is a time bomb that Nigerian government should defuse before it finds appropriate means to explode. Job creation can easily defuse this time bomb and make such associations baseless. Until Nigerian government look into this, the nation shall soon join her contemporaries in the North African (Egypt, Tunisia, and indeed Libya) to address unemployment issues in a tough way.
Tuesday, March 29, 2011
“Cross-Current” of Nigerian and Italian Artists: A Critique on the Media Reports.
Diplomacy which can also be referred as an art of international relations has recorded major ‘success’ in the recent times due to intercultural events/activities involving people of two or more countries. Some of these successes are mostly seen either in terms of the immediate gains of people involved in such cross-cultural events or the cultural education which has benefitted the bilateral relationship between the nations involved. Without reservations, this kind of relationship is very healthy for peaceful co-existence of people on the globe. It is in view of this, that the M Contemporary Art would be commended for their courage and effort to stage “Cross Current”- a cross cultural exhibition involving Nigerian and Italian artists, which took place at the Civic Center in Victoria Island, Lagos (March 17-18, 2011).
However, it should be understood that in any diplomatic events between two or more countries, there is an undertone agenda (objective) to be achieved by the initiator(s) of the event. Having no opportunity of attending the Cross Current exhibition of ten Nigeria and ten Italian artists, I have relied solely on multiple media reports which are every where on the net. On the other hand, these media reports could not adequately satisfy readers by critically explaining the contextual meaning under which the exhibition was held.
Cross Current in context
First, it should be noted that, the exhibition was a clear avenue of exporting Italian culture to the outside world which Nigeria is more or less viewed as one of the best nations in Africa to market Italian visual culture. This was expressed by Marta Boazi of M Contemporary Art in the press conference that was held (15th March) prior to the exhibition. The issue now is that, why must Nigeria artists be involved? The participation of indigenous artists in the exhibition was, in a way, to neutralize home base criticisms which may arise as a result of staging an exhibition of, exclusively, Italian artists on Nigerian soil.
Criteria for Selection of works
From the reports of Safarinewsbeat.com, for example, it appears, “similarities between the works of Nigerian and Italian artists” was the yard stick or basis on which indigenous artists were being selected to participate in the exhibition. This per se contradicts the true panoramic picture (view) of Nigerian and Italian contemporary art in which Ms Boazi has been quoted to have mentioned in her speech during the conference. This is because, the “similarities in terms of work” as a bench mark for the selecting the participating artists only presents one out of the many sides of contemporary art practice in Nigeria. A fair selection would have drawn on the both differences and similarities existing between the works of Nigerian and Italian artists to represent the panoramic view. It seems also that, the choice of selection base on similarities was deliberate as it was neatly carved to enable the works of foreign artists find a subtle way of influencing Nigerian cultural environment in artistic way.
A Cross section of the participating artists
Nigeria artists that were choosing to take part in the exhibition can be said to be of high-profile in the contemporary art circle. For example, artists like Kalade Oshinowo and Oliver Enwonwu are well known figures in Nigerian art scene. The success of such artists in art has made them to experience as well as being influenced by the art practices of other parts of the world including contemporary Italian art. Their exposure in this way, made it is easy for them (the selected Nigerian artists) to beat the single curatorial criterion of ‘similarities’ as used by organizers of Cross Current exhibition. This is against many other creative talents which their works could have opened up other ways of viewing Nigerian art.
A return exhibition and the made in Nigerian factor.
The media reports also reveal that, the second version of the exhibition (involving Nigerian and Italian artists) would be held in Italy on a latter date which is yet to be announced. This obviously has one of two implications on the current made-in-Nigeria project. Although, Mr Meka Olowola (the representative of Oando plc, and one of the sponsors of the exhibition) view the exhibition of Nigerian art in Italy as a good avenue to “take the made in Nigeria dream and turn it into a world class project”; this greatly depends on the kind of art works which will be featured in the coming Italian-Nigerian art show in far away Italy. If the selection is going to be on the common ground of “similarities”, then it should be noted that Italians will not see any significant difference between what they would be rating as genuine Nigerian art to what they practice at the moment. This, in a way, will conflict his (Mr. Olowola’s) statement on the under representation of Nigerian art at international art shows. The category of works should be such that will represent the true values of the nation’s visual culture: Unity in ‘diversity’. The diversity should be seen in styles, materials used, indigenous artistic concepts, as well as the general motifs inherent in the works of the exhibiting artists.
The Way forward
At the moment, it appears as if Nigerian artists/art practice has an uncertain stand point in truly defining the nature of their/its art as against the views of outsiders on what Nigerian art is. If not so, Ms Boazi’s attention should have been drawn towards understanding that, a panoramic view involves an all-encompassing survey of a particular topic or issue. Base on this, a panoramic view of Nigerian art can not be sustained on the works of only ten artists more so that it was based on the similarity criterion. The Italy exhibition, if ever held, should be directed toward addressing this. It is only through this means that the made-in-Nigerian dream (project) would be relevant to the outside world.
However, it should be understood that in any diplomatic events between two or more countries, there is an undertone agenda (objective) to be achieved by the initiator(s) of the event. Having no opportunity of attending the Cross Current exhibition of ten Nigeria and ten Italian artists, I have relied solely on multiple media reports which are every where on the net. On the other hand, these media reports could not adequately satisfy readers by critically explaining the contextual meaning under which the exhibition was held.
Cross Current in context
First, it should be noted that, the exhibition was a clear avenue of exporting Italian culture to the outside world which Nigeria is more or less viewed as one of the best nations in Africa to market Italian visual culture. This was expressed by Marta Boazi of M Contemporary Art in the press conference that was held (15th March) prior to the exhibition. The issue now is that, why must Nigeria artists be involved? The participation of indigenous artists in the exhibition was, in a way, to neutralize home base criticisms which may arise as a result of staging an exhibition of, exclusively, Italian artists on Nigerian soil.
Criteria for Selection of works
From the reports of Safarinewsbeat.com, for example, it appears, “similarities between the works of Nigerian and Italian artists” was the yard stick or basis on which indigenous artists were being selected to participate in the exhibition. This per se contradicts the true panoramic picture (view) of Nigerian and Italian contemporary art in which Ms Boazi has been quoted to have mentioned in her speech during the conference. This is because, the “similarities in terms of work” as a bench mark for the selecting the participating artists only presents one out of the many sides of contemporary art practice in Nigeria. A fair selection would have drawn on the both differences and similarities existing between the works of Nigerian and Italian artists to represent the panoramic view. It seems also that, the choice of selection base on similarities was deliberate as it was neatly carved to enable the works of foreign artists find a subtle way of influencing Nigerian cultural environment in artistic way.
A Cross section of the participating artists
Nigeria artists that were choosing to take part in the exhibition can be said to be of high-profile in the contemporary art circle. For example, artists like Kalade Oshinowo and Oliver Enwonwu are well known figures in Nigerian art scene. The success of such artists in art has made them to experience as well as being influenced by the art practices of other parts of the world including contemporary Italian art. Their exposure in this way, made it is easy for them (the selected Nigerian artists) to beat the single curatorial criterion of ‘similarities’ as used by organizers of Cross Current exhibition. This is against many other creative talents which their works could have opened up other ways of viewing Nigerian art.
A return exhibition and the made in Nigerian factor.
The media reports also reveal that, the second version of the exhibition (involving Nigerian and Italian artists) would be held in Italy on a latter date which is yet to be announced. This obviously has one of two implications on the current made-in-Nigeria project. Although, Mr Meka Olowola (the representative of Oando plc, and one of the sponsors of the exhibition) view the exhibition of Nigerian art in Italy as a good avenue to “take the made in Nigeria dream and turn it into a world class project”; this greatly depends on the kind of art works which will be featured in the coming Italian-Nigerian art show in far away Italy. If the selection is going to be on the common ground of “similarities”, then it should be noted that Italians will not see any significant difference between what they would be rating as genuine Nigerian art to what they practice at the moment. This, in a way, will conflict his (Mr. Olowola’s) statement on the under representation of Nigerian art at international art shows. The category of works should be such that will represent the true values of the nation’s visual culture: Unity in ‘diversity’. The diversity should be seen in styles, materials used, indigenous artistic concepts, as well as the general motifs inherent in the works of the exhibiting artists.
The Way forward
At the moment, it appears as if Nigerian artists/art practice has an uncertain stand point in truly defining the nature of their/its art as against the views of outsiders on what Nigerian art is. If not so, Ms Boazi’s attention should have been drawn towards understanding that, a panoramic view involves an all-encompassing survey of a particular topic or issue. Base on this, a panoramic view of Nigerian art can not be sustained on the works of only ten artists more so that it was based on the similarity criterion. The Italy exhibition, if ever held, should be directed toward addressing this. It is only through this means that the made-in-Nigerian dream (project) would be relevant to the outside world.
The China’s Ancient Philosophy of Legalism and its Relevant to Current Nigeria’s Situation.
To build a strong, peaceful and orderly society greatly depends on the leadership that is truly committed to strict transformational values that will benefit not only the current society but also the future generations. Any leadership that continues to managed corruption instead of genuinely fighting it can not ensure the future of a nation. In the previous democratic regimes, Nigerian leaders have expressed there feelings over the slow pace of development, unemployment, increase in crime rate, bad roads, poor electricity and linked them to issues of corruption which they would address in their governments. Every campaign centres on these issues but in the end turns out not to address them.
In the mean time, Nigerians do not even know the right person to elect at the apex leadership seat since they seem to be good during campaigns but when they get in the seat of power, they turn out to be (evil) people who do not work for the interest of the suffering masses, but their own selfish aims. At the moment, it seems that only the China’s ‘legalism’ as a school of thought can work in Nigerian society.
The philosophy of Legalism became quite popular in China during the Hundred Flower era. Followers of this school of thought argued that, ‘human beings were by nature evil and would follow the correct order only if they are coerced by harsh laws and stiff punishments’. The legalists (also known as School of Law) believed that only firm actions by the state can genuinely bring about social order that can positively transform a state. This was against the Confucius school of thought which holds that “human nature was essentially good and the universe has a moral code”. The aspect of the legalists’ view, that seem to be more relevant in this regard is that “human nature is essentially corrupt hence, officials can not be trusted to carry out their duties in a fair manner, and only a strong ruler could create an orderly society”.
Following the recent presidential debate for the April 2011 general election, it appears that Nigeria is yet to have a strong leader that can genuinely transform the country. All the aspirants spoke on same or similar issues bothering Nigerians with just variations in the choice of words/language structure used in answering the questions. There was no traces of Obama in their words/speeches which obviously show lack of passion to truly transform Nigeria. Gen. Mohamadu Buhari, which many believe that, if come into power, will transform the nation with his undaunted nature of approaching issues of corruption proved otherwise in the debate. His concern seem to be more on accountability and probe. In this way, it can be reasoned that he (Gen. Buhari) will spend four to eight years of his regime reviewing cases of corruption which have never taken Nigeria forward.
At this point, it can be assumed that Nigeria democracy is still crawling and not yet on its feet. Nigeria, therefore, needs a strong will leader with a legalist approach, who will draw a line between old and new practices and move forward by facing the contemporary challenges for the benefit of Nigerians, yet addressing issues of corruption under his regime, not with manipulative lawful means but also with firm hands. War Against Indiscipline (WAI), once introduced by Gen. Buhari, is simply what Nigerians deserve from a leader. Not leaders who condone indiscipline of all sorts which tend to be evident in economic backwardness of the nation. Unless a leader with a legalist view handles and treat corrupt Nigerians with firm hands, Nigeria’s developmental pace will not be different from the speed of a forest snail.
In the mean time, Nigerians do not even know the right person to elect at the apex leadership seat since they seem to be good during campaigns but when they get in the seat of power, they turn out to be (evil) people who do not work for the interest of the suffering masses, but their own selfish aims. At the moment, it seems that only the China’s ‘legalism’ as a school of thought can work in Nigerian society.
The philosophy of Legalism became quite popular in China during the Hundred Flower era. Followers of this school of thought argued that, ‘human beings were by nature evil and would follow the correct order only if they are coerced by harsh laws and stiff punishments’. The legalists (also known as School of Law) believed that only firm actions by the state can genuinely bring about social order that can positively transform a state. This was against the Confucius school of thought which holds that “human nature was essentially good and the universe has a moral code”. The aspect of the legalists’ view, that seem to be more relevant in this regard is that “human nature is essentially corrupt hence, officials can not be trusted to carry out their duties in a fair manner, and only a strong ruler could create an orderly society”.
Following the recent presidential debate for the April 2011 general election, it appears that Nigeria is yet to have a strong leader that can genuinely transform the country. All the aspirants spoke on same or similar issues bothering Nigerians with just variations in the choice of words/language structure used in answering the questions. There was no traces of Obama in their words/speeches which obviously show lack of passion to truly transform Nigeria. Gen. Mohamadu Buhari, which many believe that, if come into power, will transform the nation with his undaunted nature of approaching issues of corruption proved otherwise in the debate. His concern seem to be more on accountability and probe. In this way, it can be reasoned that he (Gen. Buhari) will spend four to eight years of his regime reviewing cases of corruption which have never taken Nigeria forward.
At this point, it can be assumed that Nigeria democracy is still crawling and not yet on its feet. Nigeria, therefore, needs a strong will leader with a legalist approach, who will draw a line between old and new practices and move forward by facing the contemporary challenges for the benefit of Nigerians, yet addressing issues of corruption under his regime, not with manipulative lawful means but also with firm hands. War Against Indiscipline (WAI), once introduced by Gen. Buhari, is simply what Nigerians deserve from a leader. Not leaders who condone indiscipline of all sorts which tend to be evident in economic backwardness of the nation. Unless a leader with a legalist view handles and treat corrupt Nigerians with firm hands, Nigeria’s developmental pace will not be different from the speed of a forest snail.
Monday, March 28, 2011
The Artists’ Way of Addressing Environmental Issues.
Since 1920s which drew a historical mark between traditional and modern art practice on the African continent, Africa has continued to produce great artists that their works have had tremendous positive impact as well as contributed to solving great issues of serious concern to ‘man’ and ‘earth’. While some of the issues contained in the works of modern Nigerian artists seek to address pure social problems caused by man’s (human) relationship with one another in the society, others issues essentially, focus on man’s relationship to the environment. It was on social grounds, for example, that Akinola Lasekan (one of the pioneers of modern art in Africa) made his mark by using the opportunity offered by the decolonization process in Africa to create thought provoking works to sensitize the local populace. His works (cartoons and paintings) were a reflection of the socio-political conditions as well as needs of the African people as against the imperial powers.
On the other hand, contemporary Nigerian artists like Jerry Buhari have expressed a great concern over the nature of the unhealthy relationship between man and earth, especially as the depleting condition of the earth’s resources (due to human activities) poses a great threat to its inhabitants. The body of works presented in the exhibition: ‘Man and Earth (2009)”, held in Goethe-Institut, Lagos, reveal a great deal of this. “My works at the moment fostered a continuing dialogue that”, according to the Buhari, “started in 1992 with an abstract landscape painting of a ravage forest”. The exhibition (Man and Earth) was a visual statement expressing the hostile relationship of man and the environment and the need to use the God given resources without endangering the earth’s inhabitants.
In order to capture this artistically, Buhari’s “Decay and Regeneration” is suggestive of the kind of relationship that man should have with the earth by engaging the planet symbiotically rather than the destructive ways of tapping its resources, which are neither beneficial to the earth nor its inhabitants. One of the works produced by Buhari in 2009 that has a unifying effect upon this phenomenon (issues of environmental concern) is “Tablets of Meditation”. The work is produced by cutting a log of wood into series of round slabs of varying sizes which are probably painted or dyed in black colour. The use of black, in this case, is deliberate and can be said to connote two things. First, it seeks to show how humanity heats up the earth and make it uncomfortable for the living; this in makes man to fall prey of his activities. Secondly, the black is symbolically representing death caused by the illnesses commonly linked to pollution of the earth due to man’s (industrial) activities. For example, deforestation has eaten deep into the northern part of Nigeria, leaving a bare land for desert encroachment which has already claimed acres of land. In the Niger-Delta, gas flaring and water pollution due to oil activities have remained the major challenge of the people. This indeed calls for a time of meditation.
As African artists have joined the campaign to help address environmental issues bothering the world, the relevant authorities should act not only by formulating laws but also by ensuring that, such laws are adequately enforced for the benefit of the living. It is only through this way that the world would be a safe place for man.
On the other hand, contemporary Nigerian artists like Jerry Buhari have expressed a great concern over the nature of the unhealthy relationship between man and earth, especially as the depleting condition of the earth’s resources (due to human activities) poses a great threat to its inhabitants. The body of works presented in the exhibition: ‘Man and Earth (2009)”, held in Goethe-Institut, Lagos, reveal a great deal of this. “My works at the moment fostered a continuing dialogue that”, according to the Buhari, “started in 1992 with an abstract landscape painting of a ravage forest”. The exhibition (Man and Earth) was a visual statement expressing the hostile relationship of man and the environment and the need to use the God given resources without endangering the earth’s inhabitants.
In order to capture this artistically, Buhari’s “Decay and Regeneration” is suggestive of the kind of relationship that man should have with the earth by engaging the planet symbiotically rather than the destructive ways of tapping its resources, which are neither beneficial to the earth nor its inhabitants. One of the works produced by Buhari in 2009 that has a unifying effect upon this phenomenon (issues of environmental concern) is “Tablets of Meditation”. The work is produced by cutting a log of wood into series of round slabs of varying sizes which are probably painted or dyed in black colour. The use of black, in this case, is deliberate and can be said to connote two things. First, it seeks to show how humanity heats up the earth and make it uncomfortable for the living; this in makes man to fall prey of his activities. Secondly, the black is symbolically representing death caused by the illnesses commonly linked to pollution of the earth due to man’s (industrial) activities. For example, deforestation has eaten deep into the northern part of Nigeria, leaving a bare land for desert encroachment which has already claimed acres of land. In the Niger-Delta, gas flaring and water pollution due to oil activities have remained the major challenge of the people. This indeed calls for a time of meditation.
As African artists have joined the campaign to help address environmental issues bothering the world, the relevant authorities should act not only by formulating laws but also by ensuring that, such laws are adequately enforced for the benefit of the living. It is only through this way that the world would be a safe place for man.
The Dualism of Nature.
There is a philosophical belief about the dualism or the pairing nature of things in the universe. For example, as long as human nature is concerned, an individual can either be awake or asleep. While the day naturally governs the lively aspect of man’s activities in the conscious of his being, the night provides man with a restful atmosphere that allows his spirit to travel and wander in the unknown world. On the other hand, the day brings natural light to man while the night brings natural darkness to man. Each of them (day or night) do not cross the time frame as specified by the rules of nature. This means that, no matter how terrify the night is, it must give way for the day to come. Also, man’s activities of the day will not last longer than 12 hours as the night must definitely put a hold on them.
The other side of the dualism of nature can be express in terms of success and failure. For example, every conscious plan made by man ends in one of the two: Success or failure. The desiring nature of man is to be successful in anything he does. Yet failure sometimes has its fair share in most of plans made by man. This means that success and failure are two common things man must be prepared for when make plans to better his life. In terms of movement, it is either a backward or forward. In the military especially during war, it is ether one advance (forward) or retreat (move back). When a woman is pregnant, the parents normally expect the child to be either a boy or a girl. This is because, in a normal circumstance, only two sexes (male or female) can be the expected result of any birth.
Also, in civilize world where choice of a citizen is well respected, only one of two choices are given for people to make. For example, the American government created only two political groups (parties): The Democrat and the Republican. During election, citizens find it easy to choose a competent leader that will lead their nation base on presentations of the aspiring candidates. This means that, you are either on the left side or on the right in your choice making. This is unlike Nigeria where new political parties keep springing-up during every season of election.
In the court of law, after all facts are presented from both sides (plaintiff and accused), the presiding judge either finds one guilty or not guilty. This means that such a person is either freed or sentenced. There can’t be anything more than this in a normal court judgment.
Base on the above, it can be observed that almost everything in the world is governed by the natural law of dualism. This law is more pronounced when an individual is to make a choice in life. By simply saying YES or NO makes him/her responds to the law naturally without knowing. The pluralism in choice given sometimes make this law inactive but not totally non-existent. For example, any form of analysis that makes use of multiple choice like A,B,C, and D has hidden fact that tied the choices into two groups. On the whole, life is symmetrical in approach and it is either one chooses to be left or right. He or she can not be on both sides in decision making. At whatever thing you do, always remember to take a clear stand/side as doing so helps in putting things straight and bringing progress not only in your life but also to the society you live.
The other side of the dualism of nature can be express in terms of success and failure. For example, every conscious plan made by man ends in one of the two: Success or failure. The desiring nature of man is to be successful in anything he does. Yet failure sometimes has its fair share in most of plans made by man. This means that success and failure are two common things man must be prepared for when make plans to better his life. In terms of movement, it is either a backward or forward. In the military especially during war, it is ether one advance (forward) or retreat (move back). When a woman is pregnant, the parents normally expect the child to be either a boy or a girl. This is because, in a normal circumstance, only two sexes (male or female) can be the expected result of any birth.
Also, in civilize world where choice of a citizen is well respected, only one of two choices are given for people to make. For example, the American government created only two political groups (parties): The Democrat and the Republican. During election, citizens find it easy to choose a competent leader that will lead their nation base on presentations of the aspiring candidates. This means that, you are either on the left side or on the right in your choice making. This is unlike Nigeria where new political parties keep springing-up during every season of election.
In the court of law, after all facts are presented from both sides (plaintiff and accused), the presiding judge either finds one guilty or not guilty. This means that such a person is either freed or sentenced. There can’t be anything more than this in a normal court judgment.
Base on the above, it can be observed that almost everything in the world is governed by the natural law of dualism. This law is more pronounced when an individual is to make a choice in life. By simply saying YES or NO makes him/her responds to the law naturally without knowing. The pluralism in choice given sometimes make this law inactive but not totally non-existent. For example, any form of analysis that makes use of multiple choice like A,B,C, and D has hidden fact that tied the choices into two groups. On the whole, life is symmetrical in approach and it is either one chooses to be left or right. He or she can not be on both sides in decision making. At whatever thing you do, always remember to take a clear stand/side as doing so helps in putting things straight and bringing progress not only in your life but also to the society you live.
Monday, March 14, 2011
New Form of Rock Paintings Emerge in Nigeria
The universal role of art as an important means of communication has ushered Nigerian politicians new ways of communicating to the public during campaigns. Today, it is common to be driving on major roads connecting Nigerian cities and see portraits of Nigerian politicians on rock-surfaces found on either sides of the road. This kind of art is necessitated by the desire to communicate as well as make the political aspirant popular during election period. This type of rock painting is remarkably different from the ones discovered in Tassili in north Africa and other places in the world.
While the ancient rock paintings were products of the early men who were probably responding to pure expressive instincts, the new form of rock paintings in Nigeria are done by refined men of this age with the purpose to influence a candidate’s success in a particular election. Characteristically, the new form of rock paintings are usually executed in a manner that defies certain rules of design. For example, there is gross misplacement or inappropriate use of design principles like composition, balance, colour harmony etc by the makers (artists) of such artworks. The pictures of Alhaji Ahmed Yerima, which can be found along Kaduna – Zaria road at many rock surfaces, exhibits these traits. The lines are sometimes drawn using black paint. The artist then paints on the rock surfaces using raw colours. The view of such paintings are well enhanced from a distance but at close range, one will hardly come to term with the likeness of the image of the person portrayed.
The dominant style used by the artists is realism and the reason is obvious. All the artists in their sincerity do really want to depict the realistic picture of the political aspirants for the public to see and recognize them. However, in most cases they end up not really getting the resemblance of the face they are trying to portray. If one should take time to take photographic images of one political aspirant as differently painted on different rock surfaces, he or she will observe that, there is no corresponding resemblance in any one of them.
The underlying factor in this inconsistency of images of one person is that, the paintings are works of different artists most of which do not receive formal art training or even apprenticeship. One of the timid artists approached recently after I saw him painting the face of one senator said “sometimes when we draw the person and the face is not looking exactly like him, we write his name under to tell people that he is the one”. When asked about his art training background, the artist continue: “I no go school, but I sabi draw” which means I have not gone to any formal school but I know how to draw. It means that even the rock paintings’ contracts are not given to professional or qualified artists.
One fact, however, remains that if these rock art (paintings) eventually overcome the harshness of weather and survive for the next age see it, they will be highly regarded and cherished. Why not? They will become antiques of historical value to people of the next age.
While the ancient rock paintings were products of the early men who were probably responding to pure expressive instincts, the new form of rock paintings in Nigeria are done by refined men of this age with the purpose to influence a candidate’s success in a particular election. Characteristically, the new form of rock paintings are usually executed in a manner that defies certain rules of design. For example, there is gross misplacement or inappropriate use of design principles like composition, balance, colour harmony etc by the makers (artists) of such artworks. The pictures of Alhaji Ahmed Yerima, which can be found along Kaduna – Zaria road at many rock surfaces, exhibits these traits. The lines are sometimes drawn using black paint. The artist then paints on the rock surfaces using raw colours. The view of such paintings are well enhanced from a distance but at close range, one will hardly come to term with the likeness of the image of the person portrayed.
The dominant style used by the artists is realism and the reason is obvious. All the artists in their sincerity do really want to depict the realistic picture of the political aspirants for the public to see and recognize them. However, in most cases they end up not really getting the resemblance of the face they are trying to portray. If one should take time to take photographic images of one political aspirant as differently painted on different rock surfaces, he or she will observe that, there is no corresponding resemblance in any one of them.
The underlying factor in this inconsistency of images of one person is that, the paintings are works of different artists most of which do not receive formal art training or even apprenticeship. One of the timid artists approached recently after I saw him painting the face of one senator said “sometimes when we draw the person and the face is not looking exactly like him, we write his name under to tell people that he is the one”. When asked about his art training background, the artist continue: “I no go school, but I sabi draw” which means I have not gone to any formal school but I know how to draw. It means that even the rock paintings’ contracts are not given to professional or qualified artists.
One fact, however, remains that if these rock art (paintings) eventually overcome the harshness of weather and survive for the next age see it, they will be highly regarded and cherished. Why not? They will become antiques of historical value to people of the next age.
The Unique and Symbolic Nature of A’nger U Tiv.
The richness of African culture has generally been reduced since most aspects of its cultures have either replaced or grossly over-shadowed by colonial as well as post-colonial activities of the West and other cultures of the world. The thatched roof architecture have been grossly replaced with different kinds of modern forms of roofing. The informal learning methods which sometimes involve series of initiations at different stages in one’s life have been at some quarters partially replaced with formal education. In dressing, most ethnic groups in Africa have practically lost grip of their traditional form of dressing given way to the forces of civilization aided with technological advancement.
However, there are still ethnic groups in Africa that have not only retained some important cultural practices by way of commemoration but also preserved as well as keep on the production of certain cultural materials of unique appearances to date. One of such groups is the Tiv people of Benue state in Nigeria who have refused to let go the culture of producing their unique and symbolic cultural costume (traditional cloth) popularly known as A’nger. Or sometimes called and linked it with its cultural source as A’nger U Tiv.
The A’nger is woven with Black and white yarns to create beautiful features which makes the cloth to appear like live zebra skin. Traditionally, the a’nger is a cloth normally used in the decoration of illustrious sons and daughters of Tiv. The cloth is also worn by Tiv elders or chiefs during Tiv traditional council which is usually held in Gboko - the traditional headquarters of all Tiv people as well as the permanent place for the seat of the Tor-Tiv. The Tor-Tiv is title for the highest chief who rules over Tiv land and also have a final voice on all traditional issues or cases concerning the Tiv people living in other parts of Nigeria and indeed the world at large.
The colours (black and white) on the a’nger are literally signify the true nature of the Tiv people their believe concerning issues of life or existence. A Tiv man believes in taking a clear stand in any issue concerning life. In Tiv: It is either day or night, left or right, yes or no, death or life, etc. It this believe that is symbolically represented in two colours of nature: Black and White. Honesty and Sincerity in speaking or dealing with issues defines the character of a traditional Tiv man. Another way of viewing the black and white features of A’nger is terms of the peaceful nature of the Tiv people in general. In this way, the black and white symbolically represent the nature zebra in the wild. A zebra in the animal kingdom is one among the most peaceful, harmless and beautiful looking animal. The Tiv people are naturally peace loving and hardworking wherever they find themselves. There are many forms of traditional cloth (cultural costumes) of the Tiv which are worn at specific time honored periods in Tiv land, however, the A’nger is the most respected and highly valued among all the costumes.
Sometimes, when an individual of non-Tiv origin has made a landmark achievement and the Tiv traditional council want to honour him or her with a title, it is the A’nger that is used in decorating him. Although, most of such titles have been politicalized, the meaning and honour accorded to such have not change. Today, A’nger is generally used as form of cultural identification. Young boys and girls of Tiv and non-Tiv alike wear it during schools’ cultural week to showcase their culture. Because of the beautiful nature of the cloth, most individuals (men and women) who are non-Tiv, do wear the cap or tie it as the case may be.
During marriages involving an illustrious or respectable Tiv son and a non-Tiv lady, the a’nger cloth is usually used in decorating both of them. This means two things, first for the lady and the second for the man. First, that the lady has been accepted into the Tiv culture and she should not consider herself a stranger or alien in Tiv land anymore. On the part of the man, it means an honour given to him for coming of age to take responsibilities in the Tiv society.
However, there are still ethnic groups in Africa that have not only retained some important cultural practices by way of commemoration but also preserved as well as keep on the production of certain cultural materials of unique appearances to date. One of such groups is the Tiv people of Benue state in Nigeria who have refused to let go the culture of producing their unique and symbolic cultural costume (traditional cloth) popularly known as A’nger. Or sometimes called and linked it with its cultural source as A’nger U Tiv.
The A’nger is woven with Black and white yarns to create beautiful features which makes the cloth to appear like live zebra skin. Traditionally, the a’nger is a cloth normally used in the decoration of illustrious sons and daughters of Tiv. The cloth is also worn by Tiv elders or chiefs during Tiv traditional council which is usually held in Gboko - the traditional headquarters of all Tiv people as well as the permanent place for the seat of the Tor-Tiv. The Tor-Tiv is title for the highest chief who rules over Tiv land and also have a final voice on all traditional issues or cases concerning the Tiv people living in other parts of Nigeria and indeed the world at large.
The colours (black and white) on the a’nger are literally signify the true nature of the Tiv people their believe concerning issues of life or existence. A Tiv man believes in taking a clear stand in any issue concerning life. In Tiv: It is either day or night, left or right, yes or no, death or life, etc. It this believe that is symbolically represented in two colours of nature: Black and White. Honesty and Sincerity in speaking or dealing with issues defines the character of a traditional Tiv man. Another way of viewing the black and white features of A’nger is terms of the peaceful nature of the Tiv people in general. In this way, the black and white symbolically represent the nature zebra in the wild. A zebra in the animal kingdom is one among the most peaceful, harmless and beautiful looking animal. The Tiv people are naturally peace loving and hardworking wherever they find themselves. There are many forms of traditional cloth (cultural costumes) of the Tiv which are worn at specific time honored periods in Tiv land, however, the A’nger is the most respected and highly valued among all the costumes.
Sometimes, when an individual of non-Tiv origin has made a landmark achievement and the Tiv traditional council want to honour him or her with a title, it is the A’nger that is used in decorating him. Although, most of such titles have been politicalized, the meaning and honour accorded to such have not change. Today, A’nger is generally used as form of cultural identification. Young boys and girls of Tiv and non-Tiv alike wear it during schools’ cultural week to showcase their culture. Because of the beautiful nature of the cloth, most individuals (men and women) who are non-Tiv, do wear the cap or tie it as the case may be.
During marriages involving an illustrious or respectable Tiv son and a non-Tiv lady, the a’nger cloth is usually used in decorating both of them. This means two things, first for the lady and the second for the man. First, that the lady has been accepted into the Tiv culture and she should not consider herself a stranger or alien in Tiv land anymore. On the part of the man, it means an honour given to him for coming of age to take responsibilities in the Tiv society.
The Basic Tips for Analyzing Visual Artworks.
When artists create certain kinds of works, they sometimes lost grip of the ideas or feelings that motivated them at the particular moment when such works hit exhibition ground. In this way, they can not speck well or coherently in providing basic tips for an art historian or critic to build on the analysis of such a work. At some points, the artist never finds a suitable title for his/her work and end-up given it “Untitled” title. However, there is a way one can approach the analysis of such a work for proper understanding of the public.
First thing is to find a theme which the work falls under. The thematic categorization of visual art works helps in linking the work into a particular social backgrounds like political, religious, or cultural aspect of the society in which the work is created. The thematic meaning of an art work can be derived by looking at available evidence present on the body of the work. Such evidence may be the motifs, visual symbols or general appearance of the work.
The second thing is to consider the visual forms as well as shapes of the image(s) which make up the composition. Sometimes, the visual forms provide clues on certain ideas that were running through the artist’s mind while the work was being created. In this way, the critic or art historian can make analytical statements which are suggestive of certain thoughts which are probably true of the artist’s position. Such statements are not supposed to be judgmentally conclusive, rather they are avenues for provoking other views about the work to enhance general understanding of the work.
Another thing to consider in analyzing visual art works is colour. This is mostly in painting, as some artists make use of certain hue to complement the feelings in their heart. For example, when an artist feels love, peace or happy, he or she normally expresses it in colours by using cool colours like blues, tamed cool red, or other variations of sweet hues. When an artist is experiencing hard times and is probably angry about a particular situation, he or she uses colours that show displeasure in a particular visual expressions. On the whole, colour speaks volumes about the psychological nature of the artists. Colour interpretation reveals a lot about the feeling or nature of the artist in a particular work.
In sculpture however, the appearance of a work sometimes is a complete expression of the artist’s nature at a particular moment in life. When a sculpture is looking weak either by representing figures that tell on the human helpless nature, it may be indirectly revealing the true nature or feeling of the artist at the time such a work was being created.
Above all, a work of art provides multiple angles in viewing it. The artist stand point is the first to be considered. This is because the artist is the maker or creator of the work and must have been motivated by something before producing the work. The second is the environment in which the work is created. This is because the things that happen in the artist’s environment gives him or her inspirations in making works as visual commentary on various issues. The other angle is the individual view point that people have after looking at certain kinds of works. This also helps as it provides a general insight into knowing how people understand the work in their own way. All these put together help in providing tangible tips in analyzing an art work for proper understanding of the public.
First thing is to find a theme which the work falls under. The thematic categorization of visual art works helps in linking the work into a particular social backgrounds like political, religious, or cultural aspect of the society in which the work is created. The thematic meaning of an art work can be derived by looking at available evidence present on the body of the work. Such evidence may be the motifs, visual symbols or general appearance of the work.
The second thing is to consider the visual forms as well as shapes of the image(s) which make up the composition. Sometimes, the visual forms provide clues on certain ideas that were running through the artist’s mind while the work was being created. In this way, the critic or art historian can make analytical statements which are suggestive of certain thoughts which are probably true of the artist’s position. Such statements are not supposed to be judgmentally conclusive, rather they are avenues for provoking other views about the work to enhance general understanding of the work.
Another thing to consider in analyzing visual art works is colour. This is mostly in painting, as some artists make use of certain hue to complement the feelings in their heart. For example, when an artist feels love, peace or happy, he or she normally expresses it in colours by using cool colours like blues, tamed cool red, or other variations of sweet hues. When an artist is experiencing hard times and is probably angry about a particular situation, he or she uses colours that show displeasure in a particular visual expressions. On the whole, colour speaks volumes about the psychological nature of the artists. Colour interpretation reveals a lot about the feeling or nature of the artist in a particular work.
In sculpture however, the appearance of a work sometimes is a complete expression of the artist’s nature at a particular moment in life. When a sculpture is looking weak either by representing figures that tell on the human helpless nature, it may be indirectly revealing the true nature or feeling of the artist at the time such a work was being created.
Above all, a work of art provides multiple angles in viewing it. The artist stand point is the first to be considered. This is because the artist is the maker or creator of the work and must have been motivated by something before producing the work. The second is the environment in which the work is created. This is because the things that happen in the artist’s environment gives him or her inspirations in making works as visual commentary on various issues. The other angle is the individual view point that people have after looking at certain kinds of works. This also helps as it provides a general insight into knowing how people understand the work in their own way. All these put together help in providing tangible tips in analyzing an art work for proper understanding of the public.
Security in Kaduna, a plus for the government.
Security is the main stay of any peaceful society. If there is any thing worth remembering the two past governors of Kaduna state (Alhaji Muhammed Makarfi and Arch. Namandi Sambo) is their keen approach to security issues in Kaduna during their tenures. After 2000/2001 religious riots which took Kaduna state by surprise and created psychological divisions in the Christian and Moslem settlements, the security strategies created in the state offered Kaduna citizens more avenue to interact and move ahead against all odds. During Makarfi’s time, sub-barracks were built in volatile areas within the Kaduna metropolis and security personals were constantly on check within such areas. Their presence alone gives one no opportunity to think of igniting crisis by whatever act or starting any form of public disturbance without thinking of the consequences.
I remember vividly after the year 2000 crisis when we will be inside church on Sundays, while soldiers would be patrolling outside. If there is any small misunderstanding in an area, a small Air-force plane would be seen patrolling the town-ship air space to report on areas of mass movement, which will be quickly followed up by ground soldiers to fall stall peace within the area. After Arch. Namadi Sambo took over the leadership of the state, he created as well as launches a security theme/strategy called Operation Yaki. The word Yaki simply means ‘war’. This (Operation Yaki), therefore, suggest “War on Crime”. Police patrol vehicles and power bikes (motor cycles) flooded the streets of Kaduna, given 24 hours security service to the residents.
Whenever there is a public function, the organizers of the event must write to the nearest police station and get permission days before the main day of the event. In this way, people strive to achieve peace in every public function as disturbance will land the organizers or those involved in police net. The good thing about the security outfit in Kaduna state is that, the police and other security agencies do respond to rumours without waiting to be taken un-aware. The moment there is rumour threatening the security of people in the state, the town will begin to witness an increase in the number of armed security personals as well as swift patrol of security vehicles and bikes. This gives the people a restful mind to pursuing businesses and other activities without being scared of such rumours.
Governor Patrick Ibrahim Yakowa (the current governor of Kaduna state) also seems to maintain the security tradition already established by his predecessors. For example, Kaduna state has hosted mega-political rallies in the recent yet none of such has ended in crisis of any kind. This is unlike some states in Nigeria where party faithful keep clashing during rallies and other party activities. Above all, security is the first and probably the most paramount thing that the people desire from government. With election by the corner, leaders should put security as the first priority.
I remember vividly after the year 2000 crisis when we will be inside church on Sundays, while soldiers would be patrolling outside. If there is any small misunderstanding in an area, a small Air-force plane would be seen patrolling the town-ship air space to report on areas of mass movement, which will be quickly followed up by ground soldiers to fall stall peace within the area. After Arch. Namadi Sambo took over the leadership of the state, he created as well as launches a security theme/strategy called Operation Yaki. The word Yaki simply means ‘war’. This (Operation Yaki), therefore, suggest “War on Crime”. Police patrol vehicles and power bikes (motor cycles) flooded the streets of Kaduna, given 24 hours security service to the residents.
Whenever there is a public function, the organizers of the event must write to the nearest police station and get permission days before the main day of the event. In this way, people strive to achieve peace in every public function as disturbance will land the organizers or those involved in police net. The good thing about the security outfit in Kaduna state is that, the police and other security agencies do respond to rumours without waiting to be taken un-aware. The moment there is rumour threatening the security of people in the state, the town will begin to witness an increase in the number of armed security personals as well as swift patrol of security vehicles and bikes. This gives the people a restful mind to pursuing businesses and other activities without being scared of such rumours.
Governor Patrick Ibrahim Yakowa (the current governor of Kaduna state) also seems to maintain the security tradition already established by his predecessors. For example, Kaduna state has hosted mega-political rallies in the recent yet none of such has ended in crisis of any kind. This is unlike some states in Nigeria where party faithful keep clashing during rallies and other party activities. Above all, security is the first and probably the most paramount thing that the people desire from government. With election by the corner, leaders should put security as the first priority.
Security Observation: Categories of Bomb-blasts in Nigeria.
Bomb blasts have taken the central stage as one of the main security challenges in modern Nigeria. The ill-culture of bomb blast started years ago and until recently, Nigerians have never had a rethink on the tone it will take in the future. In those days when there was any case of bomb blast in any of the Nigerian cities, it was generally linked to a military set-up. The simple understanding behind this thought is that, only the military personals have the training as well as the technical proficiency to plant and detonate explosives without leaving traces. In the recent, civilians have shown that they too have the profound ability to carry out criminal acts which, by nature, are similar to military operations. The amnesty given to troubled youths in the Niger-Delta as a means of initiating developmental programmes in the region, exposed a huge amount of arms of different kinds on the Nigerian soil which include rocket-launchers. This shows that, not only the military have access to arms but also civilians. The issue now becomes too complex to handle as citizens sometimes avoid going to public functions of questionable or controversial themes.
From 1999 (which Nigeria was ushered into the circle of democratic nations) to date, there have been series of bomb blasts at different times and locations in Nigeria. These include Abuja Independence Bomb blast, Jos Christmas Eve Bomb blasts, Bayelsa South-South post amnesty conference bomb blast, and the recent Suleja Bomb blast in the political rally of the Peoples Democratic Party in Niger state. All these can be categorized into three groups.
The first is Political Bomb Blasts- this involves the detonation of explosives to disrupt political activities like rallies, conferences of other political parties or opponents within a party. The recent Suleja bomb blast which took place during a political rally is an example of this kind. The second type is Religious Bomb Blasts. This one is closely linked with the religious intolerance among the practitioners of different religious sects or groups in Nigeria. The Jos Christmas Eve bombings which took place at different worship centres on 24th December, 2010, fall in this category. The third is more or less like a Conditional Bomb Blast. This one is mostly carried out due to failed interest in the demands of a particular group. They are mostly used as threats to force the government to meet certain unlawful demands for a group. For example, the bombings in the Niger-Delta demanding the release of Okah and other militants under SSS custody, fall in this category.
The incessant explosions in Nigerian cities have grievous implications on the security system of the nation as many people are fast loosing (or have already lost) confidence in the nation’s civil security system. The presidency has constituted a terrorist squad to work hand-in-hand with State’s Security Service (SSS) to arrest this before it goes in top-gear. However, there have not been reports on their operations to ensure that this ill-culture of bombing is soon to end.
At the moment, it can be assumed that terrorist act relating to bomb explosions are linked to two paramount sources: Politics and religion. The third one (Conditional bomb blasts) discussed above is however on a low tune. Since the nation is in the era of rebranding, swift actions should be taken by government to ensure a safe political and religious atmosphere for citizens. This will not only promotes the nation’s positive image but will also guarantee development for economic progress.
From 1999 (which Nigeria was ushered into the circle of democratic nations) to date, there have been series of bomb blasts at different times and locations in Nigeria. These include Abuja Independence Bomb blast, Jos Christmas Eve Bomb blasts, Bayelsa South-South post amnesty conference bomb blast, and the recent Suleja Bomb blast in the political rally of the Peoples Democratic Party in Niger state. All these can be categorized into three groups.
The first is Political Bomb Blasts- this involves the detonation of explosives to disrupt political activities like rallies, conferences of other political parties or opponents within a party. The recent Suleja bomb blast which took place during a political rally is an example of this kind. The second type is Religious Bomb Blasts. This one is closely linked with the religious intolerance among the practitioners of different religious sects or groups in Nigeria. The Jos Christmas Eve bombings which took place at different worship centres on 24th December, 2010, fall in this category. The third is more or less like a Conditional Bomb Blast. This one is mostly carried out due to failed interest in the demands of a particular group. They are mostly used as threats to force the government to meet certain unlawful demands for a group. For example, the bombings in the Niger-Delta demanding the release of Okah and other militants under SSS custody, fall in this category.
The incessant explosions in Nigerian cities have grievous implications on the security system of the nation as many people are fast loosing (or have already lost) confidence in the nation’s civil security system. The presidency has constituted a terrorist squad to work hand-in-hand with State’s Security Service (SSS) to arrest this before it goes in top-gear. However, there have not been reports on their operations to ensure that this ill-culture of bombing is soon to end.
At the moment, it can be assumed that terrorist act relating to bomb explosions are linked to two paramount sources: Politics and religion. The third one (Conditional bomb blasts) discussed above is however on a low tune. Since the nation is in the era of rebranding, swift actions should be taken by government to ensure a safe political and religious atmosphere for citizens. This will not only promotes the nation’s positive image but will also guarantee development for economic progress.
Inter-Marriage: Bridging the Cultural Gaps and Unifying Peoples
Marriage is one universal culture that is recognized by all peoples of the world. In some cultures, the process leading to the final completion of marriage rites sometime is too complex or and fairly demanding on the part of man, while other cultures take it in the simple way making the man to marry without stress. Generally, in traditional African societies, the process of marriage usually take months and sometimes it extends into years. This is mostly because, the family (parents) of the lady must be satisfied in their own assessment of the behavioral conduct of the man, the cultural implications of the man’s culture on their daughter, and the root of the family which the man is coming from. On the other hand too, the man’s parents consider a lot of things most of which are similar or the same to those of lady’s parent. In Ibo land, for example, there are certain sections which do not inter-marry. They believe that if one gets married to either a man or woman from such section, he or she is doomed to suffer certain things in life. These are some of the things that often stand between individuals of different sections, tribe or culture.
However, the coming of civilization in the name of modernism has offered peoples of different cultures and nationalities a renewed way of approaching issues of marriage. For instance, most people of those days, used to favour prejudice against love and allow their true feelings to be marred by negative beliefs held against a particular people within a particular cultural group. Today, however, people normally have a personalized approach in considering issues of marriage. In this way, a Yoruba man not like the culture of the Ibo, yet marry their daughter if there is great understanding between them.
In Nigeria at present, most ethnic groups have come to terms with reality of living, staying and working together in one country. This has opened new horizons in their approaches to marriage issues which is completely different from the negative stereotypical beliefs initially held against each others’ culture. There is hardly no tribe or ethic group in Nigeria now that has not experienced one form of inter-marriage or the other. Even in the high-society circle, marriages between ethnic groups is no longer opposed as in the past. The online which is still acting against the marriage proposals between groups now is family wealth/resources. Most rich or wealthy families find it difficult to give their daughters out in marriage to poor families or allow the sons to marry from poor families. Ironically, most poor families are quick to receive or accept to give the daughters to rich or wealthy families. Above all Nigeria as a nation just need a century to harmonize her cultures. This is possible through inter-marriage.
However, the coming of civilization in the name of modernism has offered peoples of different cultures and nationalities a renewed way of approaching issues of marriage. For instance, most people of those days, used to favour prejudice against love and allow their true feelings to be marred by negative beliefs held against a particular people within a particular cultural group. Today, however, people normally have a personalized approach in considering issues of marriage. In this way, a Yoruba man not like the culture of the Ibo, yet marry their daughter if there is great understanding between them.
In Nigeria at present, most ethnic groups have come to terms with reality of living, staying and working together in one country. This has opened new horizons in their approaches to marriage issues which is completely different from the negative stereotypical beliefs initially held against each others’ culture. There is hardly no tribe or ethic group in Nigeria now that has not experienced one form of inter-marriage or the other. Even in the high-society circle, marriages between ethnic groups is no longer opposed as in the past. The online which is still acting against the marriage proposals between groups now is family wealth/resources. Most rich or wealthy families find it difficult to give their daughters out in marriage to poor families or allow the sons to marry from poor families. Ironically, most poor families are quick to receive or accept to give the daughters to rich or wealthy families. Above all Nigeria as a nation just need a century to harmonize her cultures. This is possible through inter-marriage.
Basic Tools in Art Historical Field-Work
There is practically no career, profession or academic discipline that does not make use of certain tools or implements in working. For example, in traditional African societies where farming is mostly approached at peasant levels, a farmer does not go to farm without carrying a hoe or cutlass. In a learning situation also, a student never goes to class without his or her writing materials (writing pad, pen, rule, pencil etc). For artists in the studio most especially painters, it common to find brushes, palette, palette knife, easel, and so on. In the same way, there are certain tools which an art historian must remember to take along with him or her during a field research to aid convenient collection of data for a given topic in an art historical study.
Audio-tape recorder: In every art historical study, the researcher is required to carry out interviews on the different groups of the population to understanding the nature of things inherent in the topic. Such interviews, if not recorded, will give the researcher very little opportunities for recalling vital issues or points which will support analysis in that given topic. The use of audio-tape recorder helps the researcher to transcribe the interview into a hard copy which can be conveniently quoted in the body of the work during analysis.
Still/Motion (Video) Cameras or Photographic machines: These are very important as they give the researcher enough hand or advantage in collecting visual data. Visual data are crucial in art historical researches as people want to see the visual forms of the art works discussed. In this way, pictures taken in the field are often used as visual support to the analysis of a particular study. The motion cameras, on the other hand, are very often used during field studies that involve participatory or non-participatory observations. While the cultural event is going on, the researcher records important segments that can be used in the analysis.
Sketch Pad, Pencil and Eraser: One would ask: What is the need for a sketch pad, pencil and eraser when the researcher already has a camera? The issue is that, there are situations or circumstances where the researcher is not allowed to take photograph of certain artworks, or cultural scene. For example, a researcher studying an initiation of a particular age group in certain traditional African societies, may require to follow up the event in participatory way, and will have little opportunity of taking the photographic images of the event. In this case, the researcher make use of sketches to complement the descriptive analysis of such art works or such cultural scenes.
A writing Pad and Pen: In the same way too, a writing pad and pen can complement other aspects of the interview which the researcher could not capture. Some times after the main research interview, there is a general discussion between the researcher and the interviewee which tends to reveal more points that can be used to enhance the quality of the research analysis. In such cases, the researcher make use of writing instruments to take down such points.
Also, things like Laptop, Flash-disk, and recordable CD, are very important as they aid the grouping and arrangement of data for easy analysis. Although there are many tools required for an art historian to take into the field, the ones mentioned above are paramount as they give the researcher an edge over some of the major challenges in the field especially in the collection data.
Audio-tape recorder: In every art historical study, the researcher is required to carry out interviews on the different groups of the population to understanding the nature of things inherent in the topic. Such interviews, if not recorded, will give the researcher very little opportunities for recalling vital issues or points which will support analysis in that given topic. The use of audio-tape recorder helps the researcher to transcribe the interview into a hard copy which can be conveniently quoted in the body of the work during analysis.
Still/Motion (Video) Cameras or Photographic machines: These are very important as they give the researcher enough hand or advantage in collecting visual data. Visual data are crucial in art historical researches as people want to see the visual forms of the art works discussed. In this way, pictures taken in the field are often used as visual support to the analysis of a particular study. The motion cameras, on the other hand, are very often used during field studies that involve participatory or non-participatory observations. While the cultural event is going on, the researcher records important segments that can be used in the analysis.
Sketch Pad, Pencil and Eraser: One would ask: What is the need for a sketch pad, pencil and eraser when the researcher already has a camera? The issue is that, there are situations or circumstances where the researcher is not allowed to take photograph of certain artworks, or cultural scene. For example, a researcher studying an initiation of a particular age group in certain traditional African societies, may require to follow up the event in participatory way, and will have little opportunity of taking the photographic images of the event. In this case, the researcher make use of sketches to complement the descriptive analysis of such art works or such cultural scenes.
A writing Pad and Pen: In the same way too, a writing pad and pen can complement other aspects of the interview which the researcher could not capture. Some times after the main research interview, there is a general discussion between the researcher and the interviewee which tends to reveal more points that can be used to enhance the quality of the research analysis. In such cases, the researcher make use of writing instruments to take down such points.
Also, things like Laptop, Flash-disk, and recordable CD, are very important as they aid the grouping and arrangement of data for easy analysis. Although there are many tools required for an art historian to take into the field, the ones mentioned above are paramount as they give the researcher an edge over some of the major challenges in the field especially in the collection data.
Nigerian Museums: What They offer for the present generation
Museums are places where history is made tangible. This means that they (museums) contain relics of cultural materials which have helped scholars in tracing the cultural roots of individual groups within a country or region. The historical stories being read in books, make used of such relics to enhance knowledge (or learnership) of the current generation on the past things or societies that have existed before it. Nigerian museums have a long history and it is closely linked to the helpless nature of things regarding the accidental discovery of certain cultural materials of great value to man. Considering the fact that they (accidentally discovered cultural materials) were disappearing unlawfully against the inherent growth and development of the cultural sector, the need to create a safe place was paramount.
From 1950s to date, over twenty museums have been created to help in the managing of cultural materials which are mostly artifacts and ethnographic materials found within Nigeria. There is virtually no museum in Nigeria that prove to be different from other ones in terms of their activities base on the purpose they were established. By definition, the museums in Nigeria are often viewed as cultural resource centres charged with responsibility to collect, store and showcase to the public the cultural materials of the ancient days. In view of this, the museums are mostly stock with antiquities most of which their photographs are seen in books and other public historical documents. This makes an indigenous visitor who visits five Nigeria museums to predict the contents of the other museums without necessarily visiting them. Considering this, the patronage of Nigeria museums is on the downward curve.
The most important thing however, is that, Nigerians are no longer curious about there past; rather, they are more concerned about their future. That does not mean that the cultural materials housed in museums located in various states in the country are not relevant. The Nigeria people want to have renewed ways of approaching cultural issues. For example, during my research in 2005, I met an artist who have practiced in Jos for over five years and only visited Jos Museum only once. His argument was that there no new things in Nigeria museums because all the museums he has visited in other states have the same cultural material with just a little modification in the arrangement/set-up. The only exception however, is the War museum in Umuaifa and the Military museum in Zaria.
At the moment, it appears that Nigerian museums must diversify in their cultural programmes in serving the public. This is because the traditional role of collection, housing and showcasing to the public is fast becoming un-motivating to the general public. National Commission for Museums and Monuments (NCMM) as an umbrella body of public museums in Nigeria should look toward making polices that will rejuvenate museums. New cultural programmes involving youths should be carried out to improve public patronage.
From 1950s to date, over twenty museums have been created to help in the managing of cultural materials which are mostly artifacts and ethnographic materials found within Nigeria. There is virtually no museum in Nigeria that prove to be different from other ones in terms of their activities base on the purpose they were established. By definition, the museums in Nigeria are often viewed as cultural resource centres charged with responsibility to collect, store and showcase to the public the cultural materials of the ancient days. In view of this, the museums are mostly stock with antiquities most of which their photographs are seen in books and other public historical documents. This makes an indigenous visitor who visits five Nigeria museums to predict the contents of the other museums without necessarily visiting them. Considering this, the patronage of Nigeria museums is on the downward curve.
The most important thing however, is that, Nigerians are no longer curious about there past; rather, they are more concerned about their future. That does not mean that the cultural materials housed in museums located in various states in the country are not relevant. The Nigeria people want to have renewed ways of approaching cultural issues. For example, during my research in 2005, I met an artist who have practiced in Jos for over five years and only visited Jos Museum only once. His argument was that there no new things in Nigeria museums because all the museums he has visited in other states have the same cultural material with just a little modification in the arrangement/set-up. The only exception however, is the War museum in Umuaifa and the Military museum in Zaria.
At the moment, it appears that Nigerian museums must diversify in their cultural programmes in serving the public. This is because the traditional role of collection, housing and showcasing to the public is fast becoming un-motivating to the general public. National Commission for Museums and Monuments (NCMM) as an umbrella body of public museums in Nigeria should look toward making polices that will rejuvenate museums. New cultural programmes involving youths should be carried out to improve public patronage.
Tuesday, March 8, 2011
Artists in Kaduna Re-affirm Commitment to Revive SNA in the State.
There is a popular saying that “the journey of two thousand miles starts with just a step.” However, the slowness or fastness of the journey depends on the pace at which a person is moving. This is exactly the case with the Kaduna state Society of Nigerian Artists’ (SNA) Interim body set to revive SNA in Kaduna. The SNA interim body was formed late last year (2010) with Dr. G.G. Duniya (from the Department of Fine Arts, ABU Zaria) as the chairman; Mr. John Boyi (lecturer with Kaduna State College of Education, Gidan-Waya), secretary; and Mr. Kelvin Dandien (also from the Department of Fine Arts, ABU, Zaria), as the treasurer. Professor Tonie Okpe (from ABU Zaria), who is currently the SNA national Vice Chairman (Middle belt), remained an ardent supporter to the interim committee to see that the task of reinforcing as well as re-establishing SNA in Kaduna state is well accomplished.
Within the short period of the SNA interim body in Kaduna, it has held series of meetings to discuss various issues that will foster the development of art and artists in Kaduna state. The recent meeting held in National Gallery of Art (NGA), Kaduna office on the 24th of February, 2011, discussed on the need to organize a central exhibition that will create awareness on art in the state. In view of that, an exhibition sub-committee was formed to see to the running of activities in line with the exhibition set to hold 21st March, 2011, with the theme: “New Arrival”. The SNA exhibition sub-committee in Kaduna was formed proportionately to ensure a fair representation of artists at specific areas within the state in order to facilitate easy coordination as well as participation of artists in the exhibition. Members of the sub-committee are: Ms Suzan Dingba (a staff of NGA in Kaduna); Mr. Rasaq Yusuf (lecturer with Federal College of Education, FCE, Zaria); Mr. John Boyi (Lecturer, College of Education, Gidan-Waya); and Mrs. Brdget Bagai (a staff of National Council of Arts and Culture, NCAC, Kaduna). While Mr. Rasaq Yusuf is going to cover Zaria, Mr. John Boyi will be covering Kafanchan zone to facilitate activities toward the forth coming exhibition. On the other hand, Ms. Suzan Dingba and Mrs. Bridget Bagai will cover artists in Kaduna metropolis.
Two things stand to make the exhibition a success. The first is the commitment of the interim body and the tireless efforts of member of the exhibition committee. The second is the response of artists to this noble as well as clarion call to revive the SNA in Kaduna state. The first has to do with the technical planning, sponsorship, as well as carrying the artists along to see that the trust and confidence of artists within the state is regained. This will not only ensure the success of the exhibition but will also nourish a conducive atmosphere for the SNA to thrive. The second is however a product of the first since artists will definitely respond favorably the activities of SNA if they are properly carried along by the officials.
At the moment, it seems most likely that the exhibition will set a clear ground for full fledge SNA activities in Kaduna state. March 21 will offer the public opportunity to know art signatures still existing in Kaduna after it went in limbo.
Within the short period of the SNA interim body in Kaduna, it has held series of meetings to discuss various issues that will foster the development of art and artists in Kaduna state. The recent meeting held in National Gallery of Art (NGA), Kaduna office on the 24th of February, 2011, discussed on the need to organize a central exhibition that will create awareness on art in the state. In view of that, an exhibition sub-committee was formed to see to the running of activities in line with the exhibition set to hold 21st March, 2011, with the theme: “New Arrival”. The SNA exhibition sub-committee in Kaduna was formed proportionately to ensure a fair representation of artists at specific areas within the state in order to facilitate easy coordination as well as participation of artists in the exhibition. Members of the sub-committee are: Ms Suzan Dingba (a staff of NGA in Kaduna); Mr. Rasaq Yusuf (lecturer with Federal College of Education, FCE, Zaria); Mr. John Boyi (Lecturer, College of Education, Gidan-Waya); and Mrs. Brdget Bagai (a staff of National Council of Arts and Culture, NCAC, Kaduna). While Mr. Rasaq Yusuf is going to cover Zaria, Mr. John Boyi will be covering Kafanchan zone to facilitate activities toward the forth coming exhibition. On the other hand, Ms. Suzan Dingba and Mrs. Bridget Bagai will cover artists in Kaduna metropolis.
Two things stand to make the exhibition a success. The first is the commitment of the interim body and the tireless efforts of member of the exhibition committee. The second is the response of artists to this noble as well as clarion call to revive the SNA in Kaduna state. The first has to do with the technical planning, sponsorship, as well as carrying the artists along to see that the trust and confidence of artists within the state is regained. This will not only ensure the success of the exhibition but will also nourish a conducive atmosphere for the SNA to thrive. The second is however a product of the first since artists will definitely respond favorably the activities of SNA if they are properly carried along by the officials.
At the moment, it seems most likely that the exhibition will set a clear ground for full fledge SNA activities in Kaduna state. March 21 will offer the public opportunity to know art signatures still existing in Kaduna after it went in limbo.
Art Enrollment In Nigerian Tertiary Schools.
The history of modern art in Nigeria started around 1920s. During this period, most parents abhor their children to study art courses in the higher institutions. The ones that dare to do otherwise as insisted by their parents might may face certain sanctions that are not conducing for their age and future as well. This means that no matter how a child loves art, he or she was forced to go into disciplines like Law, Chemical Engineering, Banking and Finance, and other similar ones which they (parents) believe that are more profitable and well deserving for the future of their children and sometimes people in their community. This was for obvious reasons, and part of it was their conviction in the practice of such professions. For example, a lawyer would be useful if the family have a land dispute case with another person in the village. A chemical engineer will find him/herself working in the oil industry and will be able to share in the oil wealth of the nation. Hence, NNPC, AGIP, TEXACO, CHEVRON SHELL etc are target companies /areas that the family is pushing their sons and daughters in to go and work. In the bank, a typical Nigerian parent believes that, there is no way a banker will lack money since he or she manages people’s money. All these make the study of visual art to be the last option even though the child is practically doing bad in other areas of knowledge but is excelling in art.
It was until after the Independence Exhibition of the first set of indigenous trained Nigeria artists from Zaria, that a few people (parents) begin to see good prospect in the field of art. Even so, the discrimination continues up to 1980s for art (as a subject) had a shallow backing educationally by the government since its inclusion in educational curriculum was selectively approached or implemented. In primary school, it was a general teaching of cultural modes including drama, craft and performing arts. In secondary school, the junior section were given the opportunity while the senior section was not. In some situations, the subject was often substituted by other subjects which are recognize in the educational system as vital for the continuation of school. Failing such subjects amount to either repeating a class of re-writing for further progress in the academic journey. This pose an obvious threat on the academic movement of the student making him or her abandon art against his or her will. Given this circumstance, it can be seen that art was not given such opportunities (priorities) in the curriculum planning.
In the 1990s, the reality of art profession as well as its lucrative opportunities began to down on most Nigerian families. This was the period when enrollment of art applicants began to increase. Today, most tertiary institutions in Nigeria are battling with over whelming number of art applicants. In Ahmadu Bello University, Zaria, for instance, the Fine Arts Department, in recent years has not been able to absolve even half of the total of applicants who want to study art. Sometimes, people go to the Colleges of Educations and polytechnics, just to be on advantageous position in the universities’ admission.
The growth of private universities in Nigeria is thought to be a relieve in the demands of people (applicants) who want to study art but reverse is the case. This is because most, if not all, private universities focus essentially in the running of academic programmes or disciplines that the owners of the institutions considered lucrative enough, since private educational sector is more or less like a pure business.
Until the Nigerian education sector is completely over-hauled and restructured with an increase in art learning centres as well as new departments of arts are opened in other universities, polytechnics and colleges of educations, art applicants will continue to find it tough getting admissions to study art disciplines as their dream courses.
It was until after the Independence Exhibition of the first set of indigenous trained Nigeria artists from Zaria, that a few people (parents) begin to see good prospect in the field of art. Even so, the discrimination continues up to 1980s for art (as a subject) had a shallow backing educationally by the government since its inclusion in educational curriculum was selectively approached or implemented. In primary school, it was a general teaching of cultural modes including drama, craft and performing arts. In secondary school, the junior section were given the opportunity while the senior section was not. In some situations, the subject was often substituted by other subjects which are recognize in the educational system as vital for the continuation of school. Failing such subjects amount to either repeating a class of re-writing for further progress in the academic journey. This pose an obvious threat on the academic movement of the student making him or her abandon art against his or her will. Given this circumstance, it can be seen that art was not given such opportunities (priorities) in the curriculum planning.
In the 1990s, the reality of art profession as well as its lucrative opportunities began to down on most Nigerian families. This was the period when enrollment of art applicants began to increase. Today, most tertiary institutions in Nigeria are battling with over whelming number of art applicants. In Ahmadu Bello University, Zaria, for instance, the Fine Arts Department, in recent years has not been able to absolve even half of the total of applicants who want to study art. Sometimes, people go to the Colleges of Educations and polytechnics, just to be on advantageous position in the universities’ admission.
The growth of private universities in Nigeria is thought to be a relieve in the demands of people (applicants) who want to study art but reverse is the case. This is because most, if not all, private universities focus essentially in the running of academic programmes or disciplines that the owners of the institutions considered lucrative enough, since private educational sector is more or less like a pure business.
Until the Nigerian education sector is completely over-hauled and restructured with an increase in art learning centres as well as new departments of arts are opened in other universities, polytechnics and colleges of educations, art applicants will continue to find it tough getting admissions to study art disciplines as their dream courses.
Building a Creative World in a Multicultural Society.
The practice of visual art in most multi-cultural societies especially in Africa is often approached in multi-dimensional ways. Although art itself knows no boundary, the culture as well as the artist’s environment continue to play an influential role in kind or type of art that the artist creates. Take Nigeria for example, there are approximately (or over) five hundred ethnic groups which the Berlin conference carved under one geographical area. The living and co-existing together of the peoples within the boundary has over the years been sustained by the cultural understanding of the individual groups. These groups have as well as practice varying cultures which is exhibited in their different forms of art.
While at some instances, cultural events are used as avenues for preaching the peace and unity of the nation (Nigeria), it is difficult to say that these cultures have a harmonizing point where each social or ethnic group in Nigeria feels at peace. For example, when a Yoruba man sees a Nok terra-cotta peace, he immediately links it to the cultures people in the Northern part of Nigeria. He tends to have an alienated way of embracing it. On the other hand, an Ife naturalistic portrait makes him (the Yoruba) feels more homely. Also, if an Ibo man sees a painting of Fulani milk maids, he feels the same way, but embraces his Igbo-Ukwu pieces. All of them (Ibo, Yoruba, Hausa, and other smaller ethnic groups) do not express this out-rightly, rather, it more like a feeling unexpressed but deduced from the knowledge of the person on such artifact.
The network of museums in Nigeria managed by National Council for Museums and Monuments (NCMM) have tried to create cultural harmony among the different socio-cultural groups in Nigeria by providing opportunity for the display of various cultural product, yet the public have not really been educated to patronize them as desired. The visual art sector, on the other hand, artists have not been able to adequately creative a visual culture using a central cultural symbol which all Nigerian ethnic group will feel at home with. The unifying symbols which all ethnic or social groups look up to is the national flag and the court of arm. The Society of Nigerian Artists (SNA) which is the apex professional body covering all practicing artists in Nigeria decides to adopt the Benin mask stolen during the British punitive expedition, as its ideal logo. This could be seen a political statement against the unwholesome shipping of valuable cultural materials which took place in the pre/colonial periods by the Europeans.
Today, even in the study of Nigerian art, the curriculum treats modern Nigerian art in a lump-some manner with great biases to individual cultures like Yoruba, Ibo or Ibibio art/cultures. Yet the cultural background of artists from these ethnic groups continue to manifest in their individual art works. On the other hand, the Nok, Ife, or Benin art pieces are treated as mere art traditions which formed the rudimentary clue to the study of art history in Nigeria. So far, many artists have lost the desire to build a creative world that will inevitably unite the different cultural groups using symbols that all Nigerian groups will embrace as theirs. The few Nigerian artists that seem to be leading in the field of visual art practice and which could initiate a course in order to achieve this quest are obviously looking in other directions. At the moment, the visual art sector is still a platform for exhibiting cultural in diversity. This means that Nigerians in groups; not Nigeria as one.
While at some instances, cultural events are used as avenues for preaching the peace and unity of the nation (Nigeria), it is difficult to say that these cultures have a harmonizing point where each social or ethnic group in Nigeria feels at peace. For example, when a Yoruba man sees a Nok terra-cotta peace, he immediately links it to the cultures people in the Northern part of Nigeria. He tends to have an alienated way of embracing it. On the other hand, an Ife naturalistic portrait makes him (the Yoruba) feels more homely. Also, if an Ibo man sees a painting of Fulani milk maids, he feels the same way, but embraces his Igbo-Ukwu pieces. All of them (Ibo, Yoruba, Hausa, and other smaller ethnic groups) do not express this out-rightly, rather, it more like a feeling unexpressed but deduced from the knowledge of the person on such artifact.
The network of museums in Nigeria managed by National Council for Museums and Monuments (NCMM) have tried to create cultural harmony among the different socio-cultural groups in Nigeria by providing opportunity for the display of various cultural product, yet the public have not really been educated to patronize them as desired. The visual art sector, on the other hand, artists have not been able to adequately creative a visual culture using a central cultural symbol which all Nigerian ethnic group will feel at home with. The unifying symbols which all ethnic or social groups look up to is the national flag and the court of arm. The Society of Nigerian Artists (SNA) which is the apex professional body covering all practicing artists in Nigeria decides to adopt the Benin mask stolen during the British punitive expedition, as its ideal logo. This could be seen a political statement against the unwholesome shipping of valuable cultural materials which took place in the pre/colonial periods by the Europeans.
Today, even in the study of Nigerian art, the curriculum treats modern Nigerian art in a lump-some manner with great biases to individual cultures like Yoruba, Ibo or Ibibio art/cultures. Yet the cultural background of artists from these ethnic groups continue to manifest in their individual art works. On the other hand, the Nok, Ife, or Benin art pieces are treated as mere art traditions which formed the rudimentary clue to the study of art history in Nigeria. So far, many artists have lost the desire to build a creative world that will inevitably unite the different cultural groups using symbols that all Nigerian groups will embrace as theirs. The few Nigerian artists that seem to be leading in the field of visual art practice and which could initiate a course in order to achieve this quest are obviously looking in other directions. At the moment, the visual art sector is still a platform for exhibiting cultural in diversity. This means that Nigerians in groups; not Nigeria as one.
Foreign Cultural Centres In Africa: A New Form of Cultural Colonization?
War as a product of hard-diplomacy is gradually becoming old fashion more so because humanity has come to realize that war is neither an option to solving real issues especially considering the fact that it normally reaps the world of its treasures and very often brings untold hardships and severe set back to any nation that experienced it. Aside from that, the neighbours of any war zone do experience inherent threats of being affected in a number of ways. Hunger, economic backwardness, sicknesses, lost of lives, increase in crime rate etc, are all product of war. On the other hand, soft-diplomacy is gaining more ground day-by-day as international activities like games and sports and other multi-cultural activities of similar nature have helped in building the bridges of understanding between peoples and cultures across the globe. Another form of soft-diplomacy that has really being impactful in building human integration is the creation of cultural centers by countries to help educate people about the cultures and traditions of far distant nations.
The establishment of cultural centres by nations like Britain, Spain and Germany, to mention a few, have proven to be more effective in building peaceful relationship as well as bridging the differences among peoples of other nations. In the past (and even today), failure to understand one’s culture offers limited opportunities for an individual to operate or penetrate the business environment of a particular region. The issue is much more different today as organized cultural centres have been opened by different groups to help people overcome the major cultural barrier of language difference. The Goethe-Institut, for instance, offers students taking language courses with them on African continent an opportunity to travel to Germany and complete their studies. This gives them (students from Africa) an enormous opportunity to interact with people of Germany and also experience the other side of German culture which they are new to.
The British Council, in the same way, plays a similar role to the government of the United Kingdom (UK) by exposing people of the other nations to various aspects of the European (English or British) culture. Alliance Francaise, on the other hand, have remained active also in the promotion of French culture on African continent and other continents as well. The good aspect of these foreign cultural centres is that, they have contributed in a number of ways in the patronage as well as promotion of indigenous artists in Africa. For instance, Goethe-Institut, Lagos and Alliance Francaise in Kaduna sometimes engages artists through visual art projects like workshops, art exhibitions, and round-table discussions on various issues that will help in promoting the growth and development of the visual art sector.
Above all activities carried out by these foreign cultural centres on African continents have been beneficial to African artists, they also have their negative effect to the cultural environment of the respective nations where they are located. This is because they contribute to allowing foreign cultures to overshadow the home culture in some ways. Could this be another form of cultural colonization? I honestly think that this is not. However, the approach of African artists to the activities of these foreign cultural centres in African cities may make it so.
The establishment of cultural centres by nations like Britain, Spain and Germany, to mention a few, have proven to be more effective in building peaceful relationship as well as bridging the differences among peoples of other nations. In the past (and even today), failure to understand one’s culture offers limited opportunities for an individual to operate or penetrate the business environment of a particular region. The issue is much more different today as organized cultural centres have been opened by different groups to help people overcome the major cultural barrier of language difference. The Goethe-Institut, for instance, offers students taking language courses with them on African continent an opportunity to travel to Germany and complete their studies. This gives them (students from Africa) an enormous opportunity to interact with people of Germany and also experience the other side of German culture which they are new to.
The British Council, in the same way, plays a similar role to the government of the United Kingdom (UK) by exposing people of the other nations to various aspects of the European (English or British) culture. Alliance Francaise, on the other hand, have remained active also in the promotion of French culture on African continent and other continents as well. The good aspect of these foreign cultural centres is that, they have contributed in a number of ways in the patronage as well as promotion of indigenous artists in Africa. For instance, Goethe-Institut, Lagos and Alliance Francaise in Kaduna sometimes engages artists through visual art projects like workshops, art exhibitions, and round-table discussions on various issues that will help in promoting the growth and development of the visual art sector.
Above all activities carried out by these foreign cultural centres on African continents have been beneficial to African artists, they also have their negative effect to the cultural environment of the respective nations where they are located. This is because they contribute to allowing foreign cultures to overshadow the home culture in some ways. Could this be another form of cultural colonization? I honestly think that this is not. However, the approach of African artists to the activities of these foreign cultural centres in African cities may make it so.
Cultural Education.
The world has reached a stage that issues of culture are taking the central stage in every sphere of life. Before a multi-national company establishes a branch in any given part of the world, it must consider the dominant culture of the people living within that region. Part of the reason why this is so is because the culture of the people can directly or indirectly work against the progress of the set goals /objectives of the company. For example, a pharmaceutical company that its sole aim is to produce contraceptives would find it difficult to achieve the set goals if it is established in region or place that the dominant culture or the people preaches against the use of contraceptives of any kind. On the other hand, a tourist, stranger, or diplomat who finds him/herself in foreign faces difficulties in number of ways in relating with people (stranger) or carrying out his or her assignment efficiently (in the case of a diplomat).
This has placed culture as one of the top most priorities in achieving diplomatic assignments. This is because, most (if not all) embassies or foreign missions go through the cultures of the respective nations where they are located to initiate dialogue on the ground of socio-political and economic relations with the government of such countries. When people come to know that their culture is understand, they feel more at home with other party and her initiatives. In this way, they offer their support in making sure that an initiative or project presented by the foreign mission. But when this is not done, there is great suspicion on the part of the indigenous peoples, particularly due to the misunderstanding nature of the polarize culture of the people involved.
Before now many peoples around the world, strive to keep the knowledge about their cultures hidden from the outside world. But now, nations feel to educate strangers or foreigners on their culture. For example, China and Japan in the recent do organize special cultural events for foreigner and sponsor people from different parts of the world, to attend. Most embassies in Nigerian have carried out cultural collaborative ventures with indigenous cultural organizations help them understand as well as relate well with people in that country using culture as medium.
Apart from that foreign cultural centres like Alliance Francaise, British Council Korean Cultural Centre and Goethe-Institut have remained strong intermediaries for cultural exchange as well as education between their nation and other cultures around the world. With these bodies, it is easy for an African national to speak and understand foreign languages like German, French, Korea etc, with utmost fluency.
All fifty percent of the countries in world have the resource to engage in aggressive cultural education like Britain, German and the likes are doing, the world would experience a new phase of positive interrelationship between its inhabitant and promote more peace on the globe. Cultural education is indeed, a project nations should invest in for peace, unity and development.
This has placed culture as one of the top most priorities in achieving diplomatic assignments. This is because, most (if not all) embassies or foreign missions go through the cultures of the respective nations where they are located to initiate dialogue on the ground of socio-political and economic relations with the government of such countries. When people come to know that their culture is understand, they feel more at home with other party and her initiatives. In this way, they offer their support in making sure that an initiative or project presented by the foreign mission. But when this is not done, there is great suspicion on the part of the indigenous peoples, particularly due to the misunderstanding nature of the polarize culture of the people involved.
Before now many peoples around the world, strive to keep the knowledge about their cultures hidden from the outside world. But now, nations feel to educate strangers or foreigners on their culture. For example, China and Japan in the recent do organize special cultural events for foreigner and sponsor people from different parts of the world, to attend. Most embassies in Nigerian have carried out cultural collaborative ventures with indigenous cultural organizations help them understand as well as relate well with people in that country using culture as medium.
Apart from that foreign cultural centres like Alliance Francaise, British Council Korean Cultural Centre and Goethe-Institut have remained strong intermediaries for cultural exchange as well as education between their nation and other cultures around the world. With these bodies, it is easy for an African national to speak and understand foreign languages like German, French, Korea etc, with utmost fluency.
All fifty percent of the countries in world have the resource to engage in aggressive cultural education like Britain, German and the likes are doing, the world would experience a new phase of positive interrelationship between its inhabitant and promote more peace on the globe. Cultural education is indeed, a project nations should invest in for peace, unity and development.
Different Aspects of Viewing Designs in Interior Decoration
The art of decoration involves making designs using motifs or colours on surfaces as well as efficient handling of the design components in a manner that is aesthetically pleasing to the eye. Interior decoration is therefore an aspect of decoration that deals with the total arrangement of things in an apartment (home or office) in order to bring out the interior beauty of a place. This mostly has to do with the interplay of colours to achieve a unique internal appearance of a home or an office. There are basically three prominent ways of viewing colour usage interior decoration. It can be either approached harmoniously, complementarily, and contrastingly.
The popular way which many people approach colours in interior designs is in terms of ‘harmony’. Harmony is a term often used to qualify a pleasing combination of colours in a given design. For example, it is common to walk into an office and observe that the curtains, walls, furniture and even the floor of the office is looking green. The green colour may be artistically represented in various shades: light, dark, mid-tone, etc. Or even if the furniture may have a different colour, some green flowering designs or spots may be found on the dominant colour which makes the entire design appealing to view.
In complementary designs however, different colours are used which may not necessarily be of the same origin or background. For example, the combination of red and green or blue and red may be artistically used to achieve a unique design. The word complementary, as understand in design especially in terms of colour, has to do with how best two or more colours can be used to achieve a perfect design. This means that if a dominant colour in a design is getting outrageous, another colour of different background can be effectively used in taming (reducing the off-effect of) the dominant colour.
Another way of considering or viewing colours used in interior decoration is in terms of contrast. In design, contrasting colours can be considered in two ways. The first, is an effect created by placing or arranging different things of different colours next to each other. The second is mostly viewed in terms of the difference created between the lightest and the darkest parts of something, for example, like painting, photograph, or television image. The first has to do with the placing objects of different colours at strategic locations within an appartment. For instance, a black chair is placed next to a drawer of probably cream colour, while frames on the wall take colours that are either darker or lighter than the colour of the wall as the case may be. The unique thing about contrasting design is that dull colours are made shape and very interesting to look at. This mean that, even though one psychologically reacts to a colour, he or she does not see the effect of the colour in a negative way; rather, such a colour is virtually tamed and made to be attractive when combined with other colours to achieve an appealing design.
The popular way which many people approach colours in interior designs is in terms of ‘harmony’. Harmony is a term often used to qualify a pleasing combination of colours in a given design. For example, it is common to walk into an office and observe that the curtains, walls, furniture and even the floor of the office is looking green. The green colour may be artistically represented in various shades: light, dark, mid-tone, etc. Or even if the furniture may have a different colour, some green flowering designs or spots may be found on the dominant colour which makes the entire design appealing to view.
In complementary designs however, different colours are used which may not necessarily be of the same origin or background. For example, the combination of red and green or blue and red may be artistically used to achieve a unique design. The word complementary, as understand in design especially in terms of colour, has to do with how best two or more colours can be used to achieve a perfect design. This means that if a dominant colour in a design is getting outrageous, another colour of different background can be effectively used in taming (reducing the off-effect of) the dominant colour.
Another way of considering or viewing colours used in interior decoration is in terms of contrast. In design, contrasting colours can be considered in two ways. The first, is an effect created by placing or arranging different things of different colours next to each other. The second is mostly viewed in terms of the difference created between the lightest and the darkest parts of something, for example, like painting, photograph, or television image. The first has to do with the placing objects of different colours at strategic locations within an appartment. For instance, a black chair is placed next to a drawer of probably cream colour, while frames on the wall take colours that are either darker or lighter than the colour of the wall as the case may be. The unique thing about contrasting design is that dull colours are made shape and very interesting to look at. This mean that, even though one psychologically reacts to a colour, he or she does not see the effect of the colour in a negative way; rather, such a colour is virtually tamed and made to be attractive when combined with other colours to achieve an appealing design.
Quest for New Cultural Researches in Africa.
The only way to improve real Knowledge of a particular thing, event or situation in any given society is through researches. This means that research is the basis for any new discovery which helps in sustaining learnership in any given system. In business, companies rely on researches to improve their products just to have a better advantage on firms producing substitutes products. Aside from that, market surveys are being carried out periodically by business men and women to know the kind of products that are moving business in the market. That is why people keep switching between the sale of one product to another depending on the general market demand at a particular period or time.
This means that government policies in any sector of the economy must be drawn, based on the outcome of the current researches in that sector. Otherwise, such economic policies will not be able to improve the living conditions or meet the current demands of the people. The cultural sector of any nation is not exception to this. The cultural researches made on the African continent by Europeans in the pre/colonial period were not full fledge so to say. For example, the documentation of certain traditional practices of the African peoples were seemingly bias to only what the writer(s) understand about such cultures. The implication in this type of documentation is that, one’s understanding of a particular event is not the ultimate knowledge of the event.
The discovery of certain cultural materials, for instance, was on sheer accident and since there was no prior plan on ground to provide a safe habour for such materials, they were criminally taken away outside the confines of the Africa continent. The remaining ones can be found in local museums with dust sometimes covering them all round. Since then, recycled researches have been made on these old artifacts with very little effort to diversify interest in other cultural opportunities. The products of the past cultural traditions like Nok, Benin, Dogon, Bamileke, are just reference point for the study of African art. They are not meant to become avenue for lazy researchers to recycle ideas into a document can not provide solution to the current cultural need in Africa.
There are new cultural challenges on the African continent and researches on the these old artifacts can not take Africa forward beyond the level it is now cultural-wise. Africa at the moment needs studies that can turn cultural sectors of its nations into series of opportunities for the benefit of the people. Investing heavily into cultural researches that will provide new knowledge on how to move Africa to the next level is what African scholars desire at the moment. Although, in most situations, government does not give the required attention to issues of culture, researchers on the other hand should try to improve the quality of their cultural researches. For research is the first and crucial as well as most important thing needed in the transformation of Africa in cultural perspective.
This means that government policies in any sector of the economy must be drawn, based on the outcome of the current researches in that sector. Otherwise, such economic policies will not be able to improve the living conditions or meet the current demands of the people. The cultural sector of any nation is not exception to this. The cultural researches made on the African continent by Europeans in the pre/colonial period were not full fledge so to say. For example, the documentation of certain traditional practices of the African peoples were seemingly bias to only what the writer(s) understand about such cultures. The implication in this type of documentation is that, one’s understanding of a particular event is not the ultimate knowledge of the event.
The discovery of certain cultural materials, for instance, was on sheer accident and since there was no prior plan on ground to provide a safe habour for such materials, they were criminally taken away outside the confines of the Africa continent. The remaining ones can be found in local museums with dust sometimes covering them all round. Since then, recycled researches have been made on these old artifacts with very little effort to diversify interest in other cultural opportunities. The products of the past cultural traditions like Nok, Benin, Dogon, Bamileke, are just reference point for the study of African art. They are not meant to become avenue for lazy researchers to recycle ideas into a document can not provide solution to the current cultural need in Africa.
There are new cultural challenges on the African continent and researches on the these old artifacts can not take Africa forward beyond the level it is now cultural-wise. Africa at the moment needs studies that can turn cultural sectors of its nations into series of opportunities for the benefit of the people. Investing heavily into cultural researches that will provide new knowledge on how to move Africa to the next level is what African scholars desire at the moment. Although, in most situations, government does not give the required attention to issues of culture, researchers on the other hand should try to improve the quality of their cultural researches. For research is the first and crucial as well as most important thing needed in the transformation of Africa in cultural perspective.
The Art of Image building: The Nigeria’s style.
To build a strong nation, there must be some levels of commitment in the sacrifices offered on the part of the citizens. The term citizen is, in this context, used to mean leaders and all other people who are living in that country and regard it as the country of their origin/settlement by birth or by naturalization respectively. When there is a clarion call, all citizens irrespective of position, tribe, religion, or ethnic background must offer sacrifices in line with their abilities and positions to safe the nation from an urgent need. The positive out-come of such a national call is not only beneficial to all the citizens but also helps in preserving the dignity and respect of such a nation. This is the very reason why the rebranding Nigeria’s image is a task that all Nigerian citizens (home and abroad) must be involved to make it a success and consequently redeem our dear nation (if not the her citizens) from the negativities which are stereotypically held against her name.
There may be other definitions of the term ‘image’ but for the purpose of this article, an image is considered here as an actual or mental picture or likeness of something, produced either physically by an artist (sculptor, painter or photographer), or formed in the mind. Nigeria’s image, therefore, is the mental picture or general perception that people have on the nation and her people. The attributes of the image are certain things which tend to define the character of the people coming from Nigeria which include corruption, drugs dealers, bad leadership etc. The term ‘rebranding’, on the other hand, could be seen as recreating new/positive ways of approaching issues at individual and groups levels in order to improve the general image the country and her people.
Since the campaign of rebranding Nigeria’s was initiated by the government under stewardship of Prof. Dora Akunyili, many Nigerians (especially youths) have expressed their confusions on whether or not, Nigeria truly needs to be rebranded. Part of the reasons for their confusions is that, majority Nigerians in this generation have received professional/behavioral training from schools and homes only to come to the wider Nigerian society and discovered that those who give them the training are not practicing it. Rather, they established secret ways of exonerating their dubious acts without being trapped by the claws of the law. Nigerian youths on getting into the main stream in the practice of their individual professions or careers became used to such bad practices within the system. It has now become a ‘tradition’. Tradition in the sense that, when a bad thing is continually done in a particular society and children grow-up to see adult doing it without being informed, they take it as an acceptable tradition. Today, the a majority of Nigerian elites and intellectuals have seen the grievous threat of such practices on the future of Nigeria which even though they will not live to see their children will suffer it. These and many more reasons form the basis for the rebranding Nigeria’s campaign.
The contention of many Nigerians in the campaign is that, apart from a few figures, many of those involve in the campaign at national or state levels are criminally unclean in their record or have one form of corruption case or the other. The criticism here is that, such leaders should rebrand themselves before thinking of rebranding Nigeria. From the foregoing, it stands to reason that, youths as well as many Nigerians want to work in a corrupt free environment with leaders who are truly committed and sincere in their approach to handling and prosecuting cases of corruption. However, it appears from the responses of many Nigerians that so far no Nigerian leader has truly distinguishes himself as a leader who really want to fight corruption.
At this point, the campaign is fast becoming unpopular in the art of image building as the whole rebranding campaign, to some extent, centres on issues of leadership by example. The leaders are preaching certain ethics but doing otherwise. The followers are following suit, by imitating the live style of their superiors. If this is the style of Nigeria’s image building, then we (Nigerians) still have more than just a century to achieve the objectives of the rebranding campaign. May God help us!
There may be other definitions of the term ‘image’ but for the purpose of this article, an image is considered here as an actual or mental picture or likeness of something, produced either physically by an artist (sculptor, painter or photographer), or formed in the mind. Nigeria’s image, therefore, is the mental picture or general perception that people have on the nation and her people. The attributes of the image are certain things which tend to define the character of the people coming from Nigeria which include corruption, drugs dealers, bad leadership etc. The term ‘rebranding’, on the other hand, could be seen as recreating new/positive ways of approaching issues at individual and groups levels in order to improve the general image the country and her people.
Since the campaign of rebranding Nigeria’s was initiated by the government under stewardship of Prof. Dora Akunyili, many Nigerians (especially youths) have expressed their confusions on whether or not, Nigeria truly needs to be rebranded. Part of the reasons for their confusions is that, majority Nigerians in this generation have received professional/behavioral training from schools and homes only to come to the wider Nigerian society and discovered that those who give them the training are not practicing it. Rather, they established secret ways of exonerating their dubious acts without being trapped by the claws of the law. Nigerian youths on getting into the main stream in the practice of their individual professions or careers became used to such bad practices within the system. It has now become a ‘tradition’. Tradition in the sense that, when a bad thing is continually done in a particular society and children grow-up to see adult doing it without being informed, they take it as an acceptable tradition. Today, the a majority of Nigerian elites and intellectuals have seen the grievous threat of such practices on the future of Nigeria which even though they will not live to see their children will suffer it. These and many more reasons form the basis for the rebranding Nigeria’s campaign.
The contention of many Nigerians in the campaign is that, apart from a few figures, many of those involve in the campaign at national or state levels are criminally unclean in their record or have one form of corruption case or the other. The criticism here is that, such leaders should rebrand themselves before thinking of rebranding Nigeria. From the foregoing, it stands to reason that, youths as well as many Nigerians want to work in a corrupt free environment with leaders who are truly committed and sincere in their approach to handling and prosecuting cases of corruption. However, it appears from the responses of many Nigerians that so far no Nigerian leader has truly distinguishes himself as a leader who really want to fight corruption.
At this point, the campaign is fast becoming unpopular in the art of image building as the whole rebranding campaign, to some extent, centres on issues of leadership by example. The leaders are preaching certain ethics but doing otherwise. The followers are following suit, by imitating the live style of their superiors. If this is the style of Nigeria’s image building, then we (Nigerians) still have more than just a century to achieve the objectives of the rebranding campaign. May God help us!
The Difference between an artist and Decorator.
The word ‘decoration’ has an equivalent meaning with other words like embellishment, beautification, adornment, ornamentation etc. All these words point to the art of aesthetics. The term aesthetics is often used to mean the study of beauty especially the ‘outward appearance’ of an object or the way something looks when considered in terms of how pleasing it looks. The inclusion of ‘outward appearance’ in definition of aesthetics indicates that there is also an internal appearance of any art object. This means that beauty itself has two sides: internal and external beauty. The phrase ‘internal decoration’ is therefore seen in the light of artistic designs made in enclose structures most especially in different parts a buildings/apartments, being it an office or for residential purposes.
There is a mark difference between a decorator and an artist. The latter (artist) is somebody who combines his or her talent and skills in bringing out a design. Such designs are mentally created and sketched in various forms to consider how suiting it will be when put in reality. In the process of making the design, the artist can at different stages modify the original sketch all in a bid to make the design come out in more pleasing manner. A decorator, on the other hand, is more or less like an individual who is technically effective in handling designs. He or she does not do much to modify a given plan when executing a design job. To a decorator, what count more is often skill, talent has a lesser percentage in the work of a decorator. The difference between talent and skill is that, talent is the exceptional ability to do something creatively or artistically in a manner that the genus in the person is revealed. Skill on the other hand, is one’s expertise due to consistently practicing the rules and processes of a particular thing. The artist is more like a person who combines his talent and skill in bringing out a design while a decorator is one who uses more skill than talent in execution of a creative work.
A few months ago, a friend of mine who works with a small musical firm in Kaduna invited me to attend a meeting which its main agenda was to deliberate how on to decorate their small studio complex. The four decorators who submitted poorly written proposals and were bidding for the job, understand very little about internal decorations as they could not defend they designs they were offering the musical firm. An artist defends his or her designs by explaining its relevance to an organization before carrying out. A decorator just do it as suggested or requested by the company without minding whether or not the design has a link to meaning of the organization.
There is a mark difference between a decorator and an artist. The latter (artist) is somebody who combines his or her talent and skills in bringing out a design. Such designs are mentally created and sketched in various forms to consider how suiting it will be when put in reality. In the process of making the design, the artist can at different stages modify the original sketch all in a bid to make the design come out in more pleasing manner. A decorator, on the other hand, is more or less like an individual who is technically effective in handling designs. He or she does not do much to modify a given plan when executing a design job. To a decorator, what count more is often skill, talent has a lesser percentage in the work of a decorator. The difference between talent and skill is that, talent is the exceptional ability to do something creatively or artistically in a manner that the genus in the person is revealed. Skill on the other hand, is one’s expertise due to consistently practicing the rules and processes of a particular thing. The artist is more like a person who combines his talent and skill in bringing out a design while a decorator is one who uses more skill than talent in execution of a creative work.
A few months ago, a friend of mine who works with a small musical firm in Kaduna invited me to attend a meeting which its main agenda was to deliberate how on to decorate their small studio complex. The four decorators who submitted poorly written proposals and were bidding for the job, understand very little about internal decorations as they could not defend they designs they were offering the musical firm. An artist defends his or her designs by explaining its relevance to an organization before carrying out. A decorator just do it as suggested or requested by the company without minding whether or not the design has a link to meaning of the organization.
The Ethnic Composition of Benue State
The formation of Nigerian states after regional government failed was being thought of by General Gowon administration as the best option to help unite the various ethnic groups which were being segmented along regional divisions. This was because the regional politics made the central government very weak and on the other hand, made the dominant ethnic groups to pay more allegiance to the regional governments than the centre. It was after the abolition of the regional divisions that Nigerian ethnic groups begin to live and interact with others on states level.
The first generation of states created were twelve and the Benue as a state was carved under Benue-Plateau. The Benue-Plateau state was more or less like a sandwich of over thirteen minority tribes or ethnic groups of different inter-cultural affiliation towards one another. Dominant tribes /ethnic groups however include Ngas, Biron, Kutev, Tiv, Idoma, Igala, etc. The headquarters (state capital) was in Jos and all the representatives of these peoples (different tribes and ethnic groups) were normally sent to Jos in order to deliberate on the affairs of the state.
The second generation of states created, add-up to a total number nineteen state and it was during this time that Benue was separated from Plateau with each having its separate state. Benue state after it was created habours ethnic groups like Igala, Idoma, Tiv, Igede, and other relatively smaller ethnic groups. None of the groups mentioned above is among the three dominant cultural groups in Nigeria (Hausa, Ibo and Yoruba). These minority groups were socially and politically brought together under one plat-form as a state to run the affairs of the state. During this period, the only radio station, Radio-Benue, will have news translation in the local languages of the different ethnic groups. During occasions of state or national event, all the cultures would have their cultural displays in form of dance and drama and other performances, first to entertain but mostly to indirectly represent their tribe and to identify with the state.
Latter on the creation of Kogi state cut away Igala ethnic group and join with some parts of Kwara. This reduced the number of ethnic groups as well as cultural representation in the state. Considering the fact that Western civilization came very late within the area compare to the north and south areas in Nigeria, this also affected development in a way. There is very little industrial development within the state and the people who constitute over ninety percent of traditional farmers (peasants) make their living through farm produce. Food is practically abundant and the state is a major source of food supply to the entire nation. This alone has earn Benue state the title of “FOOD BASKET OF THE NATION”.
The first generation of states created were twelve and the Benue as a state was carved under Benue-Plateau. The Benue-Plateau state was more or less like a sandwich of over thirteen minority tribes or ethnic groups of different inter-cultural affiliation towards one another. Dominant tribes /ethnic groups however include Ngas, Biron, Kutev, Tiv, Idoma, Igala, etc. The headquarters (state capital) was in Jos and all the representatives of these peoples (different tribes and ethnic groups) were normally sent to Jos in order to deliberate on the affairs of the state.
The second generation of states created, add-up to a total number nineteen state and it was during this time that Benue was separated from Plateau with each having its separate state. Benue state after it was created habours ethnic groups like Igala, Idoma, Tiv, Igede, and other relatively smaller ethnic groups. None of the groups mentioned above is among the three dominant cultural groups in Nigeria (Hausa, Ibo and Yoruba). These minority groups were socially and politically brought together under one plat-form as a state to run the affairs of the state. During this period, the only radio station, Radio-Benue, will have news translation in the local languages of the different ethnic groups. During occasions of state or national event, all the cultures would have their cultural displays in form of dance and drama and other performances, first to entertain but mostly to indirectly represent their tribe and to identify with the state.
Latter on the creation of Kogi state cut away Igala ethnic group and join with some parts of Kwara. This reduced the number of ethnic groups as well as cultural representation in the state. Considering the fact that Western civilization came very late within the area compare to the north and south areas in Nigeria, this also affected development in a way. There is very little industrial development within the state and the people who constitute over ninety percent of traditional farmers (peasants) make their living through farm produce. Food is practically abundant and the state is a major source of food supply to the entire nation. This alone has earn Benue state the title of “FOOD BASKET OF THE NATION”.
The growth of Unconventional art in Today’s world.
Through my study of art, I come to discover that, some artists are as controversial as the art they sometimes create. No artist would ordinarily like his or her art to be silent. While others (artists) produce thought provoking art pieces to open up a hidden secret about bad practices being carried out in the society, some artists would just make a creative humor of a painful situation of an issue troubling people in the mind. In any case, they all want to catch attention of the public and air their views in a captivating manner. This means that, the artist always put into consideration some serious thoughts, ideas of people’s experiences before releasing a visual comment. In this way, the artist has to settle on the best method of relating his/her ideas, feelings, or thoughts to the understanding of the public or spectators. By so doing, the artist choose to either go conventional or unconventional in the creation of his/her art.
The term ‘conventional’ is used in art to mean art works created using established standards or conventions. Convention in a strict sense as used in visual art, means the customary way in which things are done within a group. This technically has to do with style, form, shape or even materials used in creating the art work. For example, piece of painting (portrait or landscape painting) beautifully executed in oil on canvas can be considered as a conventional art work. The same thing applies to still-life paintings or drawings. In terms of style, the artist must be able to execute such a work of art in conformity with the generally acceptable style, especially in terms of the forms, shapes etc, and the way such forms or shapes are represented either in elongated or diminutive manner.
The unconventional art is more or less like a direct opposite of the conventional art in the creation of unconventional art works. The artist disregards the established standards or the usual/ customary way of producing art works to achieve certain designs which sometimes could be seen as controversial in appearance. Most artists do this deliberate to indirectly pull the audience into seeing a hidden truth about the society they live. For example, an artist may decide to used scrap material of a particular used products like covers of bear bottles to gum on a canvas, creating series of funny images as a visual comment about the ills of alcohol in the society; Or it might be satirical carved sculptural forms represented in a manner that will amuse one about a situation.
In today’s world, artists are seem to be given more priority to unconventional art practices as against the practice of conventional art. Art forms like installation art, and other similar arts which are suggestive of the artist’s idea rather than the aesthetics indicate that, any thing can be art in this present world. This means that art can be any thing so long as it called art by its creator (the artist).
The term ‘conventional’ is used in art to mean art works created using established standards or conventions. Convention in a strict sense as used in visual art, means the customary way in which things are done within a group. This technically has to do with style, form, shape or even materials used in creating the art work. For example, piece of painting (portrait or landscape painting) beautifully executed in oil on canvas can be considered as a conventional art work. The same thing applies to still-life paintings or drawings. In terms of style, the artist must be able to execute such a work of art in conformity with the generally acceptable style, especially in terms of the forms, shapes etc, and the way such forms or shapes are represented either in elongated or diminutive manner.
The unconventional art is more or less like a direct opposite of the conventional art in the creation of unconventional art works. The artist disregards the established standards or the usual/ customary way of producing art works to achieve certain designs which sometimes could be seen as controversial in appearance. Most artists do this deliberate to indirectly pull the audience into seeing a hidden truth about the society they live. For example, an artist may decide to used scrap material of a particular used products like covers of bear bottles to gum on a canvas, creating series of funny images as a visual comment about the ills of alcohol in the society; Or it might be satirical carved sculptural forms represented in a manner that will amuse one about a situation.
In today’s world, artists are seem to be given more priority to unconventional art practices as against the practice of conventional art. Art forms like installation art, and other similar arts which are suggestive of the artist’s idea rather than the aesthetics indicate that, any thing can be art in this present world. This means that art can be any thing so long as it called art by its creator (the artist).
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