A title, according to Encarta Dictionary (2009) can be defined as a name that identifies a book, movie, play, painting, musical composition, or other literary or artistic work. From the above definition, one can understand that a work of art can not successfully serve its purpose in the society without a title. This is most likely to be the reason why nothing in life, whether natural or artificial, exists without a name or title. In a scientific research for instance, when a new discovery is made and there is no immediate name for it, the object, discovery, or invention automatically assumes the name of the person who discovers it or the place where it was discovered. The Greek’s Dipylon Vase produced around the 8th century B.C. was named after the Dipylon cemetery where it was discovered. Also, the Nok Art (terracotta heads) in Nigeria were named after the name of the village where the discovery was made. It is against this background that art works are being titled to help audience relate their titles more precisely to relevant issues/events as well as to understand the significance of such a work of art in the society.
However, a name or title of a particular thing or event can limits its success in the public especially when the meaning of such a name is generally perceived to be negative or does not conform to one’s certain ideologies in life. Humanly speaking, imaging somebody naming his/her child ‘Osama’ in this present era that the memories of September 11 are yet to be erased in the minds of people who lost their family ones during that disaster. The child will carry stench or negative aura of an unwelcomed citizen wherever he/she is found. In visual art practice, artists normally face similar situations when they try to use their works in addressing some of the evil practices secretly carried out in society. This is mostly when the art work attracts a potential buyer, but the title does not go in line with what the buyer wants, probably because of his beliefs about life or for some other reasons which may bias, selfish or personal to his way of life.
To briefly comment on the experience of Jerry Buhari (an artist who practices and lectures in Ahmadu Bello University, Zaria), who have had a number of exhibitions within and outside Nigeria, will help in understanding how title can work against art patronage. Jerry Buhari seem to be such an artist with great creative insight to produce works that seek to reveal the evil/odious practices taking place in the society.
In the early 1990s, Jerry showcased one his powerful works in a grand exhibition held in Lagos, a major art hub in Nigeria. Being an artist who is professionally equipped with the knowledge of colour application, colour significance as well as the philosophy behind the use of colours, audience could not resist being attracted to his work due to the visual transfiguration produced by the inter-play of radiating colours/harmony, which is usually experienced when viewing most of his works. While the show was going on, one of his works attracted a potential buyer who offered to buy it at reasonable amount. Transaction process hardly came to a concluding point when the interested buyer declined having informed that the title of the painting (which he is interested in buy) is “Abortion”. The painting is a visual statement as well as criticism against the pro-abortion views of individuals/groups around the world.
By this, Jerry was faced with a problem of changing the painting’s title which will consequently redirect his views in preaching against the negative practices taking place in the society he lives in.
A similar situation befell Jaji Adio, during an exhibition staged by Jaji and other four Zaria based artists (Lasisi Lamidi, Kefas Danjuma, and Jacob Jari) in Terra Kulture gallery, Lagos, 2010. Jaji seem to be a sculptor who has profound interest in the creation of modern sculptural works (figures) which are traditionally inclined, both in style and appearance. In the show, Jaji exhibited a sculptural work titled “Ishu” which was created in a purely traditional style. The work, considering its symbolic cultural attributes, attracted a spectator who priced it and was about to pay for it. The buyer latter changed his mind and immediately withdrawing his request on the purchase of the sculptural work after he discovered that the title of the work is Ishu.
The term “Ishu” in traditional Yoruba religion means god. However, after introduction of modern religions like Christianity and Islam which have weaken many aspects of African Traditional Religion (ATR) with Yoruba traditional religion inclusive, the term “Ishu” was misleadingly used by the early missionaries in Yoruba land to mean devil. Hence, the present generation people (most especially Christian/Islamic converts of Yoruba origin) reckons more with the missionaries’ meaning of Ishu which means devil than its real traditional meaning ‘god’. In view of that, the refusal to buy ‘Ishu’ was simply based on the reason that the buyer do not want to have anything to with devil in his apartment.
This development has grievous implication not only on art patronage but to the general progress of visual art/cultural sector. For example, when an artist is sincere in his/her approaches toward the production of a particular art work of socio-cultural/political importance in the society, he/she does this by way of representing his/her ideas or visual comments in a manner that involves the use of unfamiliar symbols or concepts which are, very often, contrary to the widely known conventional method. Again, the artist may try to use a title that will spark-up the audience and stimulate their minds in the direction that will bring about a positive change in the society. Regrettably or rather unfortunately, when artists made efforts in this direction, they (artists) stand the chance of being ridiculed in the congress of uninformed art appreciators where the views of the presiding audience supersede (over-shadows) the creative insight of the artist.
*** Art in Disguise ***
