The road to leadership is not easy, neither the led (masses) do find it easy to entrench a leader of their choice. In Nigeria today, when it comes to matters of elections, the civic responsibilities on the part of those who choose to exercise their voting right is much more demanding than what is ordinary supposed to be. Although, every phase of life comes with its own challenges, it is one’s ability to harness the challenges for the benefit and progress of the system that matters most. For example, the changes in leadership of INEC as well as some of its electoral policies are well intended for the efficiency of the election system in Nigeria. That does not really mean that Nigerians are stress free in performing their pre-election duties even though they are much more tasking on the part of the masses.
On the other hand, while Nigerian government is making enormous efforts through INEC to ensure a hitch free election in 2011, there should be proper as well as fair distribution in the resources/machinery, not only to reduce the suffering of the masses but also to improve the condition of service of those helping government to carry out a special assignment. For example, the distribution of INEC registration machines in Kaduna metropolis is generally uneven. There are more INEC registration centres in business oriented areas than can be found in residential areas. This is going to have a bad precedence on the out come of the forth coming elections. The simple reason is that, movement of people is highly restricted during election days, and those who register in centres close to their business areas will be prevented from reaching their voting centres.
Although, the INEC boss has consistently emphasized the need for people to register in centres close to them (their residential areas), the pressure of registering in some residential areas has pushed so many people to areas far away from their main place of stay. In areas like Goningora, Ungwan-Romi, Sabon-Tasha and some parts of Trikania, people generally wake 3:00 am to queue for numbers. The population of people in these areas does not in every way, matches machinery put in place by INEC to successfully tackle the pre-election demands of people within these areas. Couple with the issue of slow registration, one wonders if three weeks is enough to solve the problem.
At the moment, it stands to reason that the confusion in the INEC registration has not been well resolved. The base line is that, everyone who registers is an intended voter, but the current circumstances in the INEC registration, pronounce limited chances or opportunities for the registered citizens to exercise their voting right. Least people just register for registering sake.
is expected to bring certain challenges on the masses.
*** Art in Disguise ***
Thursday, January 27, 2011
Tuesday, January 25, 2011
Things Ladies Should Know about Men’s Fear/Choice in Marriage.
The issue of marriage is becoming more or less complex in many societies around the world. While in some societies a man is left to choose a wife for himself, in others parents choose for their children. The rationale behind this is that, some parent believe that young people at the age of marriage often occupy themselves with so many things and as a result set a high standard as for to choose in marriage. On the other hand, some parent believe that their male children are often carried away by wrong qualities in a woman who can never make a home marriage-wise. These and many other reasons make men to stay single for a long time only to marry late but mostly without having a choice.
By definition, most young adult view marriage as the fulfillment of a worthy relationship between two persons especially of the opposite sex who have agreed to stay and live together irrespective of the challenges. This definition do not recognize procreation as one of the purposes of getting marriage, it rather view marriage in terms of contractual agreement that two partners engage in which “staying together” is it major essence. In this way, both parties have to sacrifice a part of them for peace and progress of their whole. This supposedly indicates that there would extra demands on the life of the two. The thought about the unseen demands and inherent conflicts/troubles it might bring is what make some men to be excessively scared of marriage.
Generally speaking, there are two kinds of men when it comes to marriage. The first types are men who really want to make it in life before getting married, while the second are those men who believe in marrying a lady and building their lives together. The first set of men are scared of marriage and generally skeptical of the challenges that marriage would bring. They believe that a woman’s genuine love rest on how rich a man is. They would not mind buying expensive things for the woman like cars, houses, pricey jewelries and if possible buying the woman’s love with their money. They trust more in money than ‘love’ which they believe do not actually exist but rather is a mere feeling which can be judged by material standard. These kind of men are often down and completely out of hope when they discover that their partners are cheating on them. Such men do not want their women to take up professional jobs for fear of being exposed to other individuals who are wealthier or richer than them. Neither do they want their women to be more successful than them. They are basically afraid of a woman’s domination, even though they dominate themselves with their riches at the expense of a woman’s genuine love. If a lady meets this kind of man she is expected to prove him wrong by turning down the expensive gifts and helping the man to recognize the endearing values she is made up of. This is because, when a man is proved wrong by the standard he sets in evaluating ladies that come to him, he becomes natural in his thinking. Natural thinking is what helps one to see and recognize love. If this is achieved before marriage the lady is sure of enjoying the man as she will be truly valued by the man.
The second type of men however, believe that a woman’s contribution to the life of a man as well as in marriage is vital and should not be over looked. They are however, very weak emotionally and need the company of a woman to keep them going. They believe in the saying that “Behind every successful man, their must be a woman”. Hence, they keep promises made at the early stage of their relationship and often work very hard to achieve their dreams together. These kind of men can do every thing for a woman. Their major fear is “heart break”. Once they survive one, they are never the same again. They trust without reserve. If a lady finds this kind of man, she should be very open and often take time to explain things in details especially things that, if not explained earlier, might bring misconception in their cherished relationship. Support them when they start any project morally and try to be by their side. All these make them feel like god and often bring them unusual straight to work tirelessly in the achievement of their dreams.
Some men are usually scared to marry ladies who have intimidating appearance, for example way back in school, I noticed every man want to get close to that beautiful lady in the campus. Ironically, they were always not talking of marrying her. They generally believe that, if you have a beautiful woman in your house she might not settle down since men out side would be disturbing her frequently. On the whole, while men hate marrying ugly looking babes, they also do not want to marry beautiful looking damsels for obvious reasons. If a lady is convinced of her beauty and noticed men gapping her or probably not making marriage proposals to her, all she needs to do is avoid being sexually loose. The cheap a man gets a fine or beautiful lady, the more he gets convinced that she is sexually loose to men generally. Even if the lady truly loves the man, she should show other exceptional qualities of her which will make the man to look at her beauty as secondary. In this way, she will help the man to overcoming the inherent fears of possessing her in marriage.
By definition, most young adult view marriage as the fulfillment of a worthy relationship between two persons especially of the opposite sex who have agreed to stay and live together irrespective of the challenges. This definition do not recognize procreation as one of the purposes of getting marriage, it rather view marriage in terms of contractual agreement that two partners engage in which “staying together” is it major essence. In this way, both parties have to sacrifice a part of them for peace and progress of their whole. This supposedly indicates that there would extra demands on the life of the two. The thought about the unseen demands and inherent conflicts/troubles it might bring is what make some men to be excessively scared of marriage.
Generally speaking, there are two kinds of men when it comes to marriage. The first types are men who really want to make it in life before getting married, while the second are those men who believe in marrying a lady and building their lives together. The first set of men are scared of marriage and generally skeptical of the challenges that marriage would bring. They believe that a woman’s genuine love rest on how rich a man is. They would not mind buying expensive things for the woman like cars, houses, pricey jewelries and if possible buying the woman’s love with their money. They trust more in money than ‘love’ which they believe do not actually exist but rather is a mere feeling which can be judged by material standard. These kind of men are often down and completely out of hope when they discover that their partners are cheating on them. Such men do not want their women to take up professional jobs for fear of being exposed to other individuals who are wealthier or richer than them. Neither do they want their women to be more successful than them. They are basically afraid of a woman’s domination, even though they dominate themselves with their riches at the expense of a woman’s genuine love. If a lady meets this kind of man she is expected to prove him wrong by turning down the expensive gifts and helping the man to recognize the endearing values she is made up of. This is because, when a man is proved wrong by the standard he sets in evaluating ladies that come to him, he becomes natural in his thinking. Natural thinking is what helps one to see and recognize love. If this is achieved before marriage the lady is sure of enjoying the man as she will be truly valued by the man.
The second type of men however, believe that a woman’s contribution to the life of a man as well as in marriage is vital and should not be over looked. They are however, very weak emotionally and need the company of a woman to keep them going. They believe in the saying that “Behind every successful man, their must be a woman”. Hence, they keep promises made at the early stage of their relationship and often work very hard to achieve their dreams together. These kind of men can do every thing for a woman. Their major fear is “heart break”. Once they survive one, they are never the same again. They trust without reserve. If a lady finds this kind of man, she should be very open and often take time to explain things in details especially things that, if not explained earlier, might bring misconception in their cherished relationship. Support them when they start any project morally and try to be by their side. All these make them feel like god and often bring them unusual straight to work tirelessly in the achievement of their dreams.
Some men are usually scared to marry ladies who have intimidating appearance, for example way back in school, I noticed every man want to get close to that beautiful lady in the campus. Ironically, they were always not talking of marrying her. They generally believe that, if you have a beautiful woman in your house she might not settle down since men out side would be disturbing her frequently. On the whole, while men hate marrying ugly looking babes, they also do not want to marry beautiful looking damsels for obvious reasons. If a lady is convinced of her beauty and noticed men gapping her or probably not making marriage proposals to her, all she needs to do is avoid being sexually loose. The cheap a man gets a fine or beautiful lady, the more he gets convinced that she is sexually loose to men generally. Even if the lady truly loves the man, she should show other exceptional qualities of her which will make the man to look at her beauty as secondary. In this way, she will help the man to overcoming the inherent fears of possessing her in marriage.
Scapes and Forms-2: Promoting interactivity amongst younger and professional artists in ABU Zaria.
In every profession, there are lay down principles or special occasions with specialized activities which are used not only to build the vocational growth of its members but also to recognize outstanding practitioners in the area. For example, a true lawyer must be able to stand in the court of law either in defense of an accused person or to emphasize the need for a proper redress on behalf of a plaintiff. In visual art also, occasions like art workshops or art exhibitions are probably the most ideal places for artists to renew as well as nourish their creative minds for the growth and development of art in the society. This however explains the position as well as importance of Scapes and Forms-2 to the participants. The a painting and drawing workshop was held on January 22, 2011 at Ahmadu Bello University, Zaria, particularly in front of Samaru market, which is one of the busiest points in Zaria.
Shortly before the commencement of the workshop, Dr. G.G. Duniya, who happened to be the lead facilitator of the workshop (assisted by Mr. Lasisi Lamidi), addressed participants before declaring it open. In his address, Dr. Duniya highlighted the essence as well as the purpose of the workshop, and what it (the workshop) intends to achieve. In his words: “This painting and drawing workshop is intended to serve as an avenue for creative minds to interact and share drawing and painterly ideas, away from the normal studio setting. The workshop is also expected to expose professionals and student artists to the numerous possibilities in art, using varied media and techniques or experiments”. He concluded by saying “we advice you to feel free and express yourselves in the Zaria Art School’s freedom of expression, using forms before you and the materials that suits your creative impulse”.
Materials like cardboard papers, pencils of different grades as well as other drawing sheets were provided. Aside from that, artists brought other materials that best suit the kind of art they were to create. Two hours into the drawing/painting session, the facilitators disappeared and in a short time, they drove in with a car full of assorted soft drinks, biscuits, bottled water etc, only to declare refreshment for the participants. This however, was a boost to energizing the artists both physically and creatively.
The workshop did not only provide artists the opportunity to express their creative talents in varied media, but also ushers an enabling environment for younger artists to interact with professions for a healthy artistic growth. This is professionally worthwhile as it will, without doubt, contributes immensely to promoting the good artistic values as well as cultural ethics necessary for a sustained and refreshing art, not only Zaria (which at the moment can be said to be the immediate practicing environment of the participants) but also to Nigeria as whole.
There are however, two paramount things that, in my view, emphasized the uniqueness of the Scapes and Forms. First is the challenging environment which the participants had to cope with, or more appropriate, adapt in order to achieve the artistic demands of the workshop. The venue of the workshop offers seeming challenges which were contradictions to studio ethics but somehow advantageous on the part of the participating artists since the challenges were converted into creative opportunities. For example, the traffic of people in the market at the other side of the road, the moving vehicles and cyclists as well as sounds/noises generated by the traffics, contributed in shaping the aura of the workshop’s venue. In turn, artists used such challenges as means for emphasizing diversity in their individual work. This however shows the inherent freedom generally seen in the works of Zaria Art School’s artists.
Secondly, the open thematization “Scapes and Forms” also paved way for diverse artistic creations, fostered by interplay of different media/styles in the works the participating artists, which were largely achieved in two-dimensional forms. Hence, it was common to find one artist painting while another artist sitting next to him/her drawing in charcoal. But more importantly, the open theme favoured creative diversities on the part of the participating artists especially on the choice of art expression which was also generally seen in their works. For instance, Mr. Caleb choose coloured pencils as the best media for expressing himself while Aliyu Mohammed prefers to simply use pencil in capturing the essential features of the concentrated aerial view in the workshop.
Above all, Scapes and Forms did not only present artists with creative opportunities to improving their drawing skills, it also set to revive as well as sustain the rudiments in contemporary art practice. This is probably the most unique aspects of the workshop.
Mr. Kunde T.M. (BA, MA Art History)
January 22, 2011
Shortly before the commencement of the workshop, Dr. G.G. Duniya, who happened to be the lead facilitator of the workshop (assisted by Mr. Lasisi Lamidi), addressed participants before declaring it open. In his address, Dr. Duniya highlighted the essence as well as the purpose of the workshop, and what it (the workshop) intends to achieve. In his words: “This painting and drawing workshop is intended to serve as an avenue for creative minds to interact and share drawing and painterly ideas, away from the normal studio setting. The workshop is also expected to expose professionals and student artists to the numerous possibilities in art, using varied media and techniques or experiments”. He concluded by saying “we advice you to feel free and express yourselves in the Zaria Art School’s freedom of expression, using forms before you and the materials that suits your creative impulse”.
Materials like cardboard papers, pencils of different grades as well as other drawing sheets were provided. Aside from that, artists brought other materials that best suit the kind of art they were to create. Two hours into the drawing/painting session, the facilitators disappeared and in a short time, they drove in with a car full of assorted soft drinks, biscuits, bottled water etc, only to declare refreshment for the participants. This however, was a boost to energizing the artists both physically and creatively.
The workshop did not only provide artists the opportunity to express their creative talents in varied media, but also ushers an enabling environment for younger artists to interact with professions for a healthy artistic growth. This is professionally worthwhile as it will, without doubt, contributes immensely to promoting the good artistic values as well as cultural ethics necessary for a sustained and refreshing art, not only Zaria (which at the moment can be said to be the immediate practicing environment of the participants) but also to Nigeria as whole.
There are however, two paramount things that, in my view, emphasized the uniqueness of the Scapes and Forms. First is the challenging environment which the participants had to cope with, or more appropriate, adapt in order to achieve the artistic demands of the workshop. The venue of the workshop offers seeming challenges which were contradictions to studio ethics but somehow advantageous on the part of the participating artists since the challenges were converted into creative opportunities. For example, the traffic of people in the market at the other side of the road, the moving vehicles and cyclists as well as sounds/noises generated by the traffics, contributed in shaping the aura of the workshop’s venue. In turn, artists used such challenges as means for emphasizing diversity in their individual work. This however shows the inherent freedom generally seen in the works of Zaria Art School’s artists.
Secondly, the open thematization “Scapes and Forms” also paved way for diverse artistic creations, fostered by interplay of different media/styles in the works the participating artists, which were largely achieved in two-dimensional forms. Hence, it was common to find one artist painting while another artist sitting next to him/her drawing in charcoal. But more importantly, the open theme favoured creative diversities on the part of the participating artists especially on the choice of art expression which was also generally seen in their works. For instance, Mr. Caleb choose coloured pencils as the best media for expressing himself while Aliyu Mohammed prefers to simply use pencil in capturing the essential features of the concentrated aerial view in the workshop.
Above all, Scapes and Forms did not only present artists with creative opportunities to improving their drawing skills, it also set to revive as well as sustain the rudiments in contemporary art practice. This is probably the most unique aspects of the workshop.
Mr. Kunde T.M. (BA, MA Art History)
January 22, 2011
Wednesday, January 12, 2011
Cultural Diversity in Nigeria: A blessing or a curse?
Cultural diversity is a phrase generally used in describing a society with people of different ethnic roots which manifest in their languages, mode of dressing, arts, as well as other traditional practices which are either similar or distinctively different from each group. Such traditional practices are highly valued and held with great admiration among people of an ethnic group. In Nigeria for instance, when it comes to dressing a core northerner is identified with a starchy ironed fez as a cap. In the western part of Nigeria which is dominated by Yoruba ethnic group, people generally sew their cap in a long style which is neatly folded when worn on the head. On the other hand, in the eastern side of the country the Ibo are know for their red cap which is traditional worn (but mostly) by title holders. Other minority ethnic groups within the middle belt region like the Tiv, Ngas, Idoma, Nupe, etc, also have unique cultural attributes which help in recognizing their cultural roots when appeared in the public. For example, the Tiv people in Nigeria are widely known for their a’nger, a unique traditional costume (fabric), lineally sewn in black and white features, which is generally worn by Tiv people to identify with their cultural origin.
The picture created above is that of a cultural mosaic or congress of cultures consensually residing in one community called Nigeria. However, to express how culturally diversified Nigeria is, there is need to have mental cross-section of Kaduna state which has, over the years, remained a unifying point for varying cultures.
Kaduna state is an epitome of a highly diversified sub-political entity in Nigeria with over fifteen tribes/ethnic groups. Apart from the Hausas, which dominate the northern part of the state, there are a lot of minority tribes/cultural groups settling in different parts of Kaduna state. For example, the southern part of the state has Kagoro, Moro’a, Jaba, Fantsuan, Kataf, Baju, Gbagi, Kagoma, Mada, Ninzam, Attakar, Fulani, Attukur, Koro etc. All these tribes/ethnic groups mentioned above have cultural attributes which are similar in practice or remarkable different from each other. Kagoro ethnic group, for instance, set aside January 1 of every year to celebrate her people and culture. In every Kagoro Day (1st January), there are a lot of cultural display: Dance, costumes, arts, etc. The event draws people from various parts of the country especially sons and daughters of Kagoro as well as highly dignifying chiefs within Nigeria.
On the other hand, the disparities within the ethnic groups have existed for a long time. Even in the history of Nigeria, one may agree with the writer that it was the cultural or ethnic differences which propelled polarize ideologies that made indirect rule during the colonial era to be successful in the north and failed in the south. Also, it was the manifestation of such differences that made the people of the southern part of Nigeria to demand for independence in 1958 when the northern representatives said they are not ready. After independence was finally achieved in 1960, many ethnic groups have shown secession tendencies. Some of these secession moves by some ethnic groups lead to a full blown civil war while others were overtaken by dialogue for the achievement of peace and development in the areas concerned.
All these have shown that Nigeria as a nation was created out of sheer colonial enforcement, to achieve control of peoples as well as to maximized resources within the carved boundary of the colonial sub-entity in Africa. This, however, made her peoples (tribes/ethnic groups) to be bounded together in ‘fate’. Fate in the sense that, the differences inherent in the groups have given rise to so many crisis: culturally, politically, as well as on socio-religious ground. Many Nigerians recognized this fact including Amodu (2008) who states that: “We (the peoples of Nigeria) survived as a nation and as a people united by fate and in faith of God’s glory of a brighter, prosperous future for our beloved and blessed country Nigeria”. This means that, even though fate has brought the peoples of Nigeria together, their faith in God will make them to survive against the odds bring about as a result of the differences within the groups. But as Davis (2008) puts it: “Fate as we know it sometimes lies beyond our means of understanding and surfaces at just the right moment in our lives” Hence, fate has befall us (Nigerians) with the reality of staying/living, and working together as one big family for the greater achievement of the dreams of our a nation.
However, staying, living as well as working together does not make Nigeria one, for there are so many differences which are still keeping her peoples apart. For example, religion has remained one major factor which has contributed to the disunity of the Nigerian peoples. Another divisive factor in Nigeria against the ethnic groups is politics. The trend of politics is always divided along ethnic lines. It is common for an ethnic group to feel marginalized by policies of a leader who is not from its side. In this way, the north do not feel safe with the leadership of the south. Likewise southerners often question the polices of a northern leader. When it comes to politics, the uninformed masses are easily coined or cajoled into accepting political views of the bias politicians by believing that, it must be someone from their ethnic group that will bring a positive change in their community.
Notwithstanding, there are also common areas of similarity in most of the cultures which explains that the people of Nigeria have a common origin and hence, they are capable of understanding each other. But two things are paramount in multi-cultural or highly diversified society: Similarities and Differences. While the similarities in the cultural practices of the groups bring harmony in the society and encourage peace among the people, the existing differences among these tribes/ethnic groups sometimes are negatively used by selfish minds against the unity and peace of the society. Nigerians as well as people in any culturally diversified or ethnically mixed society must be able to maximize the opportunities by fostering “unity in diversity” instead of manipulating the diversity against the unity of their various societies, for selfish purposes.
The picture created above is that of a cultural mosaic or congress of cultures consensually residing in one community called Nigeria. However, to express how culturally diversified Nigeria is, there is need to have mental cross-section of Kaduna state which has, over the years, remained a unifying point for varying cultures.
Kaduna state is an epitome of a highly diversified sub-political entity in Nigeria with over fifteen tribes/ethnic groups. Apart from the Hausas, which dominate the northern part of the state, there are a lot of minority tribes/cultural groups settling in different parts of Kaduna state. For example, the southern part of the state has Kagoro, Moro’a, Jaba, Fantsuan, Kataf, Baju, Gbagi, Kagoma, Mada, Ninzam, Attakar, Fulani, Attukur, Koro etc. All these tribes/ethnic groups mentioned above have cultural attributes which are similar in practice or remarkable different from each other. Kagoro ethnic group, for instance, set aside January 1 of every year to celebrate her people and culture. In every Kagoro Day (1st January), there are a lot of cultural display: Dance, costumes, arts, etc. The event draws people from various parts of the country especially sons and daughters of Kagoro as well as highly dignifying chiefs within Nigeria.
On the other hand, the disparities within the ethnic groups have existed for a long time. Even in the history of Nigeria, one may agree with the writer that it was the cultural or ethnic differences which propelled polarize ideologies that made indirect rule during the colonial era to be successful in the north and failed in the south. Also, it was the manifestation of such differences that made the people of the southern part of Nigeria to demand for independence in 1958 when the northern representatives said they are not ready. After independence was finally achieved in 1960, many ethnic groups have shown secession tendencies. Some of these secession moves by some ethnic groups lead to a full blown civil war while others were overtaken by dialogue for the achievement of peace and development in the areas concerned.
All these have shown that Nigeria as a nation was created out of sheer colonial enforcement, to achieve control of peoples as well as to maximized resources within the carved boundary of the colonial sub-entity in Africa. This, however, made her peoples (tribes/ethnic groups) to be bounded together in ‘fate’. Fate in the sense that, the differences inherent in the groups have given rise to so many crisis: culturally, politically, as well as on socio-religious ground. Many Nigerians recognized this fact including Amodu (2008) who states that: “We (the peoples of Nigeria) survived as a nation and as a people united by fate and in faith of God’s glory of a brighter, prosperous future for our beloved and blessed country Nigeria”. This means that, even though fate has brought the peoples of Nigeria together, their faith in God will make them to survive against the odds bring about as a result of the differences within the groups. But as Davis (2008) puts it: “Fate as we know it sometimes lies beyond our means of understanding and surfaces at just the right moment in our lives” Hence, fate has befall us (Nigerians) with the reality of staying/living, and working together as one big family for the greater achievement of the dreams of our a nation.
However, staying, living as well as working together does not make Nigeria one, for there are so many differences which are still keeping her peoples apart. For example, religion has remained one major factor which has contributed to the disunity of the Nigerian peoples. Another divisive factor in Nigeria against the ethnic groups is politics. The trend of politics is always divided along ethnic lines. It is common for an ethnic group to feel marginalized by policies of a leader who is not from its side. In this way, the north do not feel safe with the leadership of the south. Likewise southerners often question the polices of a northern leader. When it comes to politics, the uninformed masses are easily coined or cajoled into accepting political views of the bias politicians by believing that, it must be someone from their ethnic group that will bring a positive change in their community.
Notwithstanding, there are also common areas of similarity in most of the cultures which explains that the people of Nigeria have a common origin and hence, they are capable of understanding each other. But two things are paramount in multi-cultural or highly diversified society: Similarities and Differences. While the similarities in the cultural practices of the groups bring harmony in the society and encourage peace among the people, the existing differences among these tribes/ethnic groups sometimes are negatively used by selfish minds against the unity and peace of the society. Nigerians as well as people in any culturally diversified or ethnically mixed society must be able to maximize the opportunities by fostering “unity in diversity” instead of manipulating the diversity against the unity of their various societies, for selfish purposes.
Saturday, January 8, 2011
How Title Can Affects The Sale Of Art Works
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.
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.
Tuesday, January 4, 2011
Art Exhibition; Artistic Minds in Contemporary Nigerian Society
Visual art exhibition is paramount to the practice art, not only because it provides an avenue for the artist to meet the audience but also, it promotes the artist beyond the confines of his/her immediate practicing environment. However, the concept of art exhibition in contemporary Nigerian art circle can only be understood when one knows the stand point of the exhibiting artist. As an art historian, my continuing interaction with artists over the years has made me to identify two kinds of artists with different approaches, perceptions as well as views toward exhibition. In this article, these groups can be discussed as pure business artists and none-financial motive artists.
The first group can be described as artists who have strong financial motive behind their exhibition are often looking for what type of art concept that is highly priced or well demanded in the existing art market of a particular area. They may be constantly making enquiries from gallery owners or art collectors to know the kind of art to produce so that it may be sold during exhibition. This set of artists sometimes allow their business mind to limit their creativity by restricting themselves to either a one or a few concepts, style or trend of art expression. They may use art styles that are more or less attracted to those who have perception of visual (art) appreciation in order to gain market or patronage from them. By this, such artists may choose realism as a convenient style to express their works, or produce decorative designs using motifs that are of immediate recognition or things like trees, flowers, or other simple concepts that can be employed to achieve a rhythmic effects which may be aesthetically appealing especially to those who their sense of art appreciation is tied to uninformed background.
Exhibition to these artists is highly depending on the financial factor. As such, they tend to weigh the success of the exhibition on the number of works sold and or, in terms of the commissions which they get after the exhibition. Artists within this circle do have a pre-conceived audience for an intended public art show (exhibition); as such, publicity may largely cover those who are in love with the kind of works: styles, concepts, or forms that the exhibiting artist is going to showcase. This is intentionally done to ensure a flourishing state of the exhibition as well as make it look like a strictly money making venture.
The second group of artists on the other hand does not consider money as a leader factor to affect of limit their creative expressions. They produce art works that are truly inspired by thought, feeling, and imaginations using a variety of concepts that are ever-changing to show their growth in the practice of their profession. Such artists constantly experiment with new/foreign materials, make use of new ideas as well as employ strange concepts that can best express their feelings about the society they are living in. In view of this, they may not keep to one style, concept of trend of art irrespective of the demand in the society. To those artist, bringing to fore what they are doing is in the studio is the first motive before anything and by doing so, they look forward to criticism in order to enable them improve in their practice of art and consequently serve the society better.
They may not make sales during exhibition, yet the true identity of their feelings, thought, or perception about the society they live is well express. The interaction of such artists with audience during exhibition is more like a teacher and students, where the artist spends time to explain the relationship of a particular artwork to the environment of the audience as well as issues/messages contained in the work for the audience understand the purpose/relevance of the work to the society he/she lives. In view of this, this kind of artists may prefer to create works that represent various events on cultural, political and social background.
Their works sometimes may aim purely to enlighten the public on issues that are of great importance to the progress of the society like the evils of terrorism, the importance of global warming, and other environmental issues. In this way, the artist may use unfamiliar concepts that are not easily understood (such as abstract or stylized forms) to convey his/her message to the public. In painting for example, colours may be used to achieve abstract designs either by way of sprinkling diluted paint on canvas to create images or dropping some brush strokes of unrelated colours to create an idea of chaos in the society. In sculpture however, the artist may decide to use found materials (used objects) that best convey the meaning of the art work as well as its significance to a target audience.
It is important to mention here that, most of such works are hardly appreciated by a good number of Nigerian populace who patronizes art exhibition; hence, such exhibitions record minimal sales. The stand point here is that, the artist has satisfied his/her creative drive as well as achieve in touching the society in such a way that change is inevitable. The change may not be immediate since the work needs subsequent societal events or issues to make reference to by way of emphasizing its relevance to people. This is because in every work of art, there is a hidden truth about the society embedded in it. The public may not easily come to terms with the realities of such truth until further interpretations are offered by art historians or critics who are familiar with past and current issues in the practice of art in a particular society.
On the whole, a good percentage of artists in the first group (business minded artists) discuss above often rely only the returns they get through the sell of art works to sustain them economically. The second group of artists (none-financial motive artists) however, most of them does not depend on art practice alone to survive but also engage in other things like teaching art in tertiary institutions. On a broad base view, majority of artists in Nigeria produce two kinds of works during exhibition: Works that can sustain an artist’s economically and works that can truly offer comments/views about the society they live for a desired positive change.
Sunday, January 2, 2011
Terrorism in Africa: Nigeria Should Address Her Internal Security Challenges
Since September 11th attack on the World Trade Centre (WTC) and the Pentagon which brought the death of over 6,000 people in America, most nations have come to terms on the need to fight terrorism. The attack commanded global attention partly because the people that died in the Twin Tower building alone cut across different nationalities. The advances made in this direction (fight against terrorism) became more complex than even terrorism itself. For example, the leading nations in the fight, went through UN and used the phrase “weapons of mass destruction” to bring down other nations which they suspected as harborers of such weapons as well as terrorists camps which were breeding evil minds against humanity. While other people consider such wars as deliberate attempts by the stronger nations to influence the politics of the weaker nations, others view them as pure religious wars which according to them is baseless and concentrated only on the Muslim world. Six months into the war in Iraq for example, the reason which was initially considered as the basis for the (search for weapons of mass destruction) came not to be justified. With continuing loss of lives and the inflicting of untold suffering on the innocent civilians in areas where big nations were searching for weapons of mass destruction, it appears the concept of terrorism was being manipulated to suit other agenda. However, it can be said that fighters of the war against terrorism achieve success considerably, and US as a nation is to commended for her untiring efforts in this regard.
Consequently, the aggressive nature in which the issue of terrorism was being handled made fighters of terrorism to became terrorists themselves in their quest to unmask or reveal the mystery of terrorism. Security checks/processes were being reviewed meet the current global challenge in places like airports and other similar areas. Meanwhile, countries like Nigeria and some other African nations could not look at terrorism and take security actions the way countries like US and other western nations approached it. Until Mutalab’s issue of attempted bombing of an American aircraft on 2009 Christmas day, Nigeria as a nation has a resistive ideology in accepting the fact that terrorists (irrespective of their kind, type or nature) exist in the country.
The question is, must a terrorist act be associated with bombing of an aircraft or people before it is termed terrorism? I think the answer is NO! The Federal Government herself has in certain occasions carry out a terrorist attack on the helpless as well as armless civilians. In 2001, for example, the Tiv- Jukun boundary disputes led to the killing of 19 Nigerian soldiers whom their mission was alleged by the Tiv militia to have been compromised by taking side with the Jukun in killing of Tiv. Instead of the Federal Government to investigate thoroughly and arrest the perpetrators of the act, as well as help in resolving the long-time conflict, they released a fleet of armory (heavily armed soldiers) against the helpless civilians most of which were women, children and aged men.
This was a complete terrorist act. But it was argued otherwise. Aside from that, the religious crises in the northern part of the country are never seen by Nigerians in the helm of affairs as terrorists acts, rather, they are seen as in the light of “mere understanding between groups”. Yet the magnitude of their effects (the loss of lives and properties destroyed) on the society have remained a major set back in the social/ inter- cultural development of the country.
The issue in the Niger- Delta is another good example of a terrorist act. Kidnapping and other social crises associated with youths within the south- south region have complicated issues rather than view them as mere agitations for better social conditions of living in the area.The amnesty deal between the Federal government and youths of the south-south was quite revealing as it shows evidence of a country taken siege by terrorists minds. But if you ask an average Nigerian who works within the political circle, what is terrorism? He/she may try to think or link it either to Mutalab’s story or Bin Ladin act, instead of looking inward for clear definition of terrorism using the examples that abounds.
Let us now agree that “bombing” is the yard stick for measuring a terrorist act. The Abuja bombing during the independence celebration is a clear message that terrorism as an evil against humanity is something Nigeria should not take for granted. While Okah is still standing trial in South Africa over the issue, the Jos trouble has taken a new dimension with the same issue of bombing. The December 24 bombing in Jos, Nigeria which left about seven people instantly dead and several others wounded is enough reason for Nigeria to draw a security plan and beef up security measures to holistically deal with the current situation of things. Who knows, if this were the situation last year, Nigeria wouldn’t have got a clear ground to deny involvement with Mutalab’s 2009 Christmas bombing case. The whole world could have used the internal security challenges as evidence of terrorism and claim that Mutalab’s terrorist actions have roots in Nigeria.
On the whole, terrorism whether international or local, mass killing by bombing or killing with a knife, so long as it involves taking lives of people; the meaning is the same. Nigeria must seriously address her internal security challenges or in the nearest future, terrorism would build its roots in Nigeria and spread to other nations. Considering Nigeria’s relatively porous borders, diverse human nature with multiple ethnic groups, as well as an overwhelming population, it will be difficult to smoothly tackle terrorism if it is allowed to established strong base in the country. The time for it is now!
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