In every society, there are times when producers of certain products experience the price of their products being determined by market forces beyond their control. For example, it is common for the producer of sachet water (popularly called ‘pure-water’) to make enormous sales when the weather is hot or during water scarcity, and on the other hand, experienced very low sales during raining seasons or when tap-water is running constant. This means that, prevailing circumstances like weather, season or alternatives of a particular product can act terribly against the price of a given commodity in the market. In such situations, the producer can not, at all times, make the target gain expected, neither can it be said that he/she will record losses beyond moving to the next level. These are similar situations that practicing artists who are producers of art (paintings, sculptures, graphic art, ceramics etc) in the developing world normally find themselves.
In the art world, the market is not always favoring the producers as artists (who are the chief producers of art) are very often compelled to sell art at circumstances/periods that will not fetch them much gains in the business. For instances, most artists who spent good time in the studio producing powerful art pieces with charming designs do not always have time to create market for their works. They have to go through galleries to sell their works as well as promote them. The gallery owners, who in most cases operate for gainful motives, are financially conscious of what they stand to get. In this way, the percentage agreement is reached between the artist and the gallery manager. Series of interactions with artists revealed that, galleries usually collect between 20-40% of every art work sold. Sometimes, artists have to register with galleries with a certain fee to enable them drop works for sale after which a certain percentage will be deducted from each of the work sold.
When eventually the artist is bold enough to seek audience by staging an exhibition in a popular gallery where his/her creative talent would be showcased, it some times become an avenue for the gallery to indirectly feed on the creative property of the poor artist. The artist has to pay for the venue, before other costs follow. Given this challenge, the artist will sometimes enter into an agreement that at the end of such shows (exhibitions) never have enough to pay his bills. This force the artist to living a life of working hard to enrich others who claimed to be his promoters.
Sometimes, the galleries determine the kind of art works that artists produce. If the artist brings anything more or less than what the gallery owner prescribed then he/she stands the chance of loosing a space in the gallery. This keeps the artist in a dilemma of either producing works according to his/her creative instincts or accepting to be tele-guided by the demands of his/her promoters.
Since there is always exceptions in every thing, there are artists who do not feel such pains in their practice or probably have cross this toddling stage to a level that they get commensurate gains to what they produce. These are artists who have made name in the art circle and constantly go on trips abroad to sell their art works at places where conducive atmosphere have been established for the artists to gain from their sweats. Some times such artists have connections with collectors outside Nigeria who pay well , hence they really get the true value/worth of their art works. In most cases, it is younger artists that always find it tough in the art market. After buying materials and working for days to produce works in their studios, they record very limited chances of making it beyond the toddling stage. Until Nigeria restructure the art sector, reinforces Society of Nigerian Arts (SNA) and formed an art regulatory body, the future of many younger artists will remain bleak and insecure.
*** Art in Disguise ***
Tuesday, February 22, 2011
Traditional Tiv Art: “Itimbe-Gbenda” and Its Dying essence.
Centuries ago when traditional art was being practiced at its peak, art was considered as a prime source of life to the cultural practices of the people in the community/society. In a traditional Tiv society, for instance, every family house or grown-up person (adult) used to have Itimbe-gbenda strategically installed at the entrance way to the compound. Itimbe-gbenda is an artistically carved object in human form with traditional motifs on the surface. At the top of the object, is usually covered with woven thatched grass which, if viewed from far, makes the object looks like a cap hanged on a stick. Two shiny black stones are placed at the bottom of the carved wood. The Tiv people traditionally believed that Itimbe-gbenda brings luck to the family or the person that owns it. The object was usually renewed once in every year through incantations and libations. The vicinity where the object is installed (dug and fixed in the ground) is usually made clean by constantly sweeping at specified intervals as prescribed by Or-soren-kwagh (The traditional medicine man).
The Itimbe-gbenda is usually carved using a strong wood such that it can withstand termites, rain and other natural factors which act upon the durability of the wood. Other un-durable materials like thatched-grass (Ihila) and rope (Kor) used in tying round the object are usually weak and worn out after raining season. Hence, there is need to renew them annually. The belief behind installing “Itimbe-gbenda” is that, the person or family whom the object is installed in his/their name will record success in farming, hunting, and other human engagements (activities) in the community.
The practice of traditional religion, in those days, made such art more relevant especially in establishing certain religious beliefs in the lives of the people. The unique thing in Itimbe-gbenda is that, those who install it must not look at the success of others with jealousy. Doing so will make one’s luck not to shine. In this way, people celebrated with others’ successes, not necessarily because they really want to identify with them but probably because they want their own luck to also shine.
This, in a way, helps in promoting the spirit of togetherness among the people in the community as well as enhanced social co-existence of the individuals which is necessary for building the peace and unity of people in the society. Given this scenario, it can be observed that the triumph of modern art over traditional art has, in some circumstances, reduced the richness of the indigenous cultures. Today, most cultural practices are merely carried out to commemorate the past events which had meaning and value to people in the community. Although modern artists have, in various ways, tried to regain the pride of art in today’s society by combining traditional and modern methods/forms in the creation of art works, the true essence as well as respect of art in traditional Tiv society and indeed many Nigerian cultures have been greatly reduced (if not completely lost). Such art forms, whether in painting or sculpture, have unique appearances that tend to harmonized cultures of a given geographical entity, they do not really serve the cultural meaning as it used to be in the past.
One fact which no one can deny is that, art is still considered or looked upon as a backbone to the existence and surviving spirit of many Nigerian cultures. The new forms of cultural display like Abuja and Calabar carnivals which are becoming the centre of world’s cultural attraction in Nigeria make use of different kinds of arts. The opening ceremonies of certain events like international football tournaments and other world events put the display of art in a central position.
The Itimbe-gbenda is usually carved using a strong wood such that it can withstand termites, rain and other natural factors which act upon the durability of the wood. Other un-durable materials like thatched-grass (Ihila) and rope (Kor) used in tying round the object are usually weak and worn out after raining season. Hence, there is need to renew them annually. The belief behind installing “Itimbe-gbenda” is that, the person or family whom the object is installed in his/their name will record success in farming, hunting, and other human engagements (activities) in the community.
The practice of traditional religion, in those days, made such art more relevant especially in establishing certain religious beliefs in the lives of the people. The unique thing in Itimbe-gbenda is that, those who install it must not look at the success of others with jealousy. Doing so will make one’s luck not to shine. In this way, people celebrated with others’ successes, not necessarily because they really want to identify with them but probably because they want their own luck to also shine.
This, in a way, helps in promoting the spirit of togetherness among the people in the community as well as enhanced social co-existence of the individuals which is necessary for building the peace and unity of people in the society. Given this scenario, it can be observed that the triumph of modern art over traditional art has, in some circumstances, reduced the richness of the indigenous cultures. Today, most cultural practices are merely carried out to commemorate the past events which had meaning and value to people in the community. Although modern artists have, in various ways, tried to regain the pride of art in today’s society by combining traditional and modern methods/forms in the creation of art works, the true essence as well as respect of art in traditional Tiv society and indeed many Nigerian cultures have been greatly reduced (if not completely lost). Such art forms, whether in painting or sculpture, have unique appearances that tend to harmonized cultures of a given geographical entity, they do not really serve the cultural meaning as it used to be in the past.
One fact which no one can deny is that, art is still considered or looked upon as a backbone to the existence and surviving spirit of many Nigerian cultures. The new forms of cultural display like Abuja and Calabar carnivals which are becoming the centre of world’s cultural attraction in Nigeria make use of different kinds of arts. The opening ceremonies of certain events like international football tournaments and other world events put the display of art in a central position.
Monday, February 14, 2011
Egypt well done but the battle is half-won
The breaking news indicating the stepping down of Egyptian President was welcomed with utmost jubilation, in many parts of the world; not only by Egyptians at home and in diasporas but also by other Africans who are keen fighters of bad governance in their respective countries. African traditions as well as politics is similar. The political tradition chasing bad leaders out of office has been established in Egypt and Tunisia, and whether we like it or not other African countries experiencing same may follow suit. These two incidents will have ripple effect on the political changes in Africa especially in this Twenty first century.
However, the stepping down of former president Mubarak is a battle half-won. There are other unseen challenges which the Egyptian people are going to face and must persevere to justify the immeasurable sacrifices made in order to topple a bad government. First of all, Egyptians should be aware that, Mubarak (though was an apex leader in Egypt) was just an individual surrounded by advisors who also played various political roles especially by helping him in formulating evil policies which ruined Egypt in different ways. The failure of his (Mubarak’s) thirty years’ rule can not be entirely blamed on the leadership at the apex level, but also on the president’s sub-ordinates who have the opportunities of influencing certain changes but kept mute until this present circumstance offers itself for the current changes to take place. The Egyptian transitional body should take note of this and be watchful to ensure that such set of individuals do not find their way back into the new government.
Secondly, even a dead president, sometimes, leaves behind ardent supporters who fight his course, causing unjustified confusion in a society that should be experiencing peace. The stepping down as well as moving of Mubarak out of Egypt should not be considered as an end to the political changes which Egyptians desire for an ideal Egyptian society; it should be noted that there are a handful of Egyptian politicians who are still loyal to Mubarak for the favours he has given them within this thirty years of his rule. The transitional body should consider this also, least they allow Egyptians to fall prey of bad leadership/government which ruined Egyptian resources for decades.
Above all, Egyptians are to be commended for their courage, suffering as well as immeasurable sacrifices offered to see that this landmark political change has taken place on African soil. Looking at the position of Egypt in the history of Africa (and indeed the world), as an important centre of civilization, it can be assumed that this unique political change (tradition) established in Egypt will find its relevance in the politics of other African nations. Only when Africans pay such prices in exchange for good governance, its economy would remain on the backward curve. The critical question is: Which African country is next to Egypt?
However, the stepping down of former president Mubarak is a battle half-won. There are other unseen challenges which the Egyptian people are going to face and must persevere to justify the immeasurable sacrifices made in order to topple a bad government. First of all, Egyptians should be aware that, Mubarak (though was an apex leader in Egypt) was just an individual surrounded by advisors who also played various political roles especially by helping him in formulating evil policies which ruined Egypt in different ways. The failure of his (Mubarak’s) thirty years’ rule can not be entirely blamed on the leadership at the apex level, but also on the president’s sub-ordinates who have the opportunities of influencing certain changes but kept mute until this present circumstance offers itself for the current changes to take place. The Egyptian transitional body should take note of this and be watchful to ensure that such set of individuals do not find their way back into the new government.
Secondly, even a dead president, sometimes, leaves behind ardent supporters who fight his course, causing unjustified confusion in a society that should be experiencing peace. The stepping down as well as moving of Mubarak out of Egypt should not be considered as an end to the political changes which Egyptians desire for an ideal Egyptian society; it should be noted that there are a handful of Egyptian politicians who are still loyal to Mubarak for the favours he has given them within this thirty years of his rule. The transitional body should consider this also, least they allow Egyptians to fall prey of bad leadership/government which ruined Egyptian resources for decades.
Above all, Egyptians are to be commended for their courage, suffering as well as immeasurable sacrifices offered to see that this landmark political change has taken place on African soil. Looking at the position of Egypt in the history of Africa (and indeed the world), as an important centre of civilization, it can be assumed that this unique political change (tradition) established in Egypt will find its relevance in the politics of other African nations. Only when Africans pay such prices in exchange for good governance, its economy would remain on the backward curve. The critical question is: Which African country is next to Egypt?
Saturday, February 12, 2011
Art and Politics.
In every society, art and politics do not always move along too well. While in some political circumstances art is considered as a tool for achieving certain political strategies, in other instances, art is viewed as an enemy of State (government). This is for two obvious reasons. The first reason is that, political activities like campaigns, rallies and other similar events make use of art forms like posters, printing of t-shirts, banners, bill boards etc, to achieve the maximum results in the set goals of such events. In this way, art is not just seen as tool for achieving political ends but also as a pure friend of politics because without it (art) politics would find it tough in expressing or communicating its interest to the public (masses) in a manner that would be easily understood. For example, the images of political aspirants made available in visual forms like posters and bill-boards bring the contestants closer to the people and also make the people to know those they are supporting even though such people, in most cases, never have the opportunity of meeting the aspirants one-on-one before elections.
Given this scenario, it is common for a person, group or community to identify with a political aspirant (aspiring for gubernatorial, presidential or senatorial positions) by simply wearing a printed cap or t-shirt with the image of the aspirant (in the case of an individual); or mounting a bill-board at the entrance of a community or at strategic locations within the capital city or its metropolis. In this way, art did not only provide a conducive link between the people (masses) and those seeking for political offices, but also provides channels under which the aspirants express their interest to the public during election’s season. All these make art a good friend to politics.
The second reason is somehow contrary to the first one discussed above. This is because when artists produced works that do not speak well of the policies of an existing government, political leaders consider art an enemy. For example, the cartoons in the newspaper dailies or other periodical publications draw on critical issues that affect the masses which government is refusing to give attention to. A cartoon drawn to ignite or provoke one’s thought on the issue of resource control in the Niger Delta, for instance, will depict leaders robust and healthy while the suffering masses would be portrayed in helpless and poverty stricken conditions. The images would be satirically represented to amuse and yet draw attention to an issue of critical need to the society. Political leaders in the helm of affairs do consider such cartoons or art works as a set up to sabotage their governments or regimes. Instead of considering such art forms as visual commentaries on the need to address or correct the ills in the society by formulating, implementing as well as actualizing good/workable policies for the benefit of the suffering masses, they view them (such art forms) in the other way round.
Considering the two opposite sides presented above, art and politics are intermittently in conflict. This is because, where genuine art practice thrives, political leaders do not find it easy to manipulate or cheat the suffering masses without art leaking their (politicians’) evil plans/secrets. This is likely to be the reason why most governments or political regimes undermine the art sector for fear of not being used against it. In view of that, cultural policies which could bring a positive turn-around as well as foster the growth and development of art in a nation are either frustrated or given no attention. This is practically unhealthy not only for the progress of art but also for the entire cultural development of a region. Art is an important element of culture and if it suffers, the culture of that region would also suffer irrecoverably.
Therefore, if art is important such that it can used as strong tool or medium for achieving political aims in events like political campaigns and party rallies (to mention just a few), it should be given appropriate recognition by political leaders who have the power to speed its growth through meaningful policies.
Given this scenario, it is common for a person, group or community to identify with a political aspirant (aspiring for gubernatorial, presidential or senatorial positions) by simply wearing a printed cap or t-shirt with the image of the aspirant (in the case of an individual); or mounting a bill-board at the entrance of a community or at strategic locations within the capital city or its metropolis. In this way, art did not only provide a conducive link between the people (masses) and those seeking for political offices, but also provides channels under which the aspirants express their interest to the public during election’s season. All these make art a good friend to politics.
The second reason is somehow contrary to the first one discussed above. This is because when artists produced works that do not speak well of the policies of an existing government, political leaders consider art an enemy. For example, the cartoons in the newspaper dailies or other periodical publications draw on critical issues that affect the masses which government is refusing to give attention to. A cartoon drawn to ignite or provoke one’s thought on the issue of resource control in the Niger Delta, for instance, will depict leaders robust and healthy while the suffering masses would be portrayed in helpless and poverty stricken conditions. The images would be satirically represented to amuse and yet draw attention to an issue of critical need to the society. Political leaders in the helm of affairs do consider such cartoons or art works as a set up to sabotage their governments or regimes. Instead of considering such art forms as visual commentaries on the need to address or correct the ills in the society by formulating, implementing as well as actualizing good/workable policies for the benefit of the suffering masses, they view them (such art forms) in the other way round.
Considering the two opposite sides presented above, art and politics are intermittently in conflict. This is because, where genuine art practice thrives, political leaders do not find it easy to manipulate or cheat the suffering masses without art leaking their (politicians’) evil plans/secrets. This is likely to be the reason why most governments or political regimes undermine the art sector for fear of not being used against it. In view of that, cultural policies which could bring a positive turn-around as well as foster the growth and development of art in a nation are either frustrated or given no attention. This is practically unhealthy not only for the progress of art but also for the entire cultural development of a region. Art is an important element of culture and if it suffers, the culture of that region would also suffer irrecoverably.
Therefore, if art is important such that it can used as strong tool or medium for achieving political aims in events like political campaigns and party rallies (to mention just a few), it should be given appropriate recognition by political leaders who have the power to speed its growth through meaningful policies.
Party Activities Pushed SNA meeting in Kaduna to the Brink.
As the 2011 general election draws near, most states in Nigeria are experiencing an increasing rate in the number of party activities such as campaigns and political rallies, organized by different groups or parties. Such party activities sometime disrupt businesses, put a stalemate in the running of government affairs for days, and the worst of all brings a log jam in the movement of people in important routes linking other places within a city. This was exactly the situation in Kaduna when the President, Dr. Goodluck Ebele Jonathan and his Vice, Arch. Namadi Sambo, last Thursday, (February 10, 2011) staged their campaign in Ahmadu Bello Stadium, Kaduna.
The meeting of Society of Nigerian Artists (SNA) Kaduna Chapter, earlier scheduled to hold on the same day was completely marred as members find it difficult to reach the venue despite efforts made. The meeting was to take place at the National Gallery of Art, Kaduna office, located in the premises of Ministry of Culture and Tourism along Muhammadu Buhari Way (popularly known as Waff-road), Kaduna. At around few minutes passed five, the SNA caretaker Chairman (Kaduna state chapter), Dr. Giles G. Duniya (of Ahmadu Bello University, Zaria), called the Secretary, Mr. John Boyi (lecturer in College of Education, Gidan-Waya, Kaduna state) to announce to the few members in the venue the postponement of the meeting. It was however, not a shock to those members who stressfully managed to find their way to the venue as the traffic situation in Kaduna on that fateful Thursday was utmostly awful.
This singular political event brought Kaduna to a stand still as party supporters from other states like Katsina, Sokoto, Zamfara, Kano etc, all came to give their support as well as identify with the president and vice in the forth coming election. A heavy traffic hold-up besiege workers, students and businessmen and women from St Ann’s Primary school in Kaduna south to the stadium round-about where movement seem to be completely impossible especially using vehicles. Also, the whole of Constitution road, Junction road, and the part of Ahmadu Bello Way extending to the Kaduna Central market was hardly accessed with ease. As such, Zaria-Kaduna road being the major route joining Kaduna and other Northern states was chocked with vehicles, slowing movement and at certain junctions, making movement impossible.
Although SNA in Kaduna state is just getting on its feet after years of being inactive, the current caretaker committee headed by Dr. G.G. Duniya with Mr. John Boyi and Mr. Kelvin Dandien, have shown commitment to revive the art association in Kaduna. With the support of Prof. Tonie Okpe, a lecturer in the Fine Arts Department, Ahmadu Bello University, Zaria, as well as a consultant with National Gallery of Art, Abuja, the SNA three man committee in Kaduna will surely pull-through. If the art association (SNA) is finally brought to life, it will offer a conducive platform/opportunities for artistic growth/development in Kaduna. Although the meeting was postponed, the chairman directed the secretary to inform members that a new date would be communicated to them via SMS (text messages).
The meeting of Society of Nigerian Artists (SNA) Kaduna Chapter, earlier scheduled to hold on the same day was completely marred as members find it difficult to reach the venue despite efforts made. The meeting was to take place at the National Gallery of Art, Kaduna office, located in the premises of Ministry of Culture and Tourism along Muhammadu Buhari Way (popularly known as Waff-road), Kaduna. At around few minutes passed five, the SNA caretaker Chairman (Kaduna state chapter), Dr. Giles G. Duniya (of Ahmadu Bello University, Zaria), called the Secretary, Mr. John Boyi (lecturer in College of Education, Gidan-Waya, Kaduna state) to announce to the few members in the venue the postponement of the meeting. It was however, not a shock to those members who stressfully managed to find their way to the venue as the traffic situation in Kaduna on that fateful Thursday was utmostly awful.
This singular political event brought Kaduna to a stand still as party supporters from other states like Katsina, Sokoto, Zamfara, Kano etc, all came to give their support as well as identify with the president and vice in the forth coming election. A heavy traffic hold-up besiege workers, students and businessmen and women from St Ann’s Primary school in Kaduna south to the stadium round-about where movement seem to be completely impossible especially using vehicles. Also, the whole of Constitution road, Junction road, and the part of Ahmadu Bello Way extending to the Kaduna Central market was hardly accessed with ease. As such, Zaria-Kaduna road being the major route joining Kaduna and other Northern states was chocked with vehicles, slowing movement and at certain junctions, making movement impossible.
Although SNA in Kaduna state is just getting on its feet after years of being inactive, the current caretaker committee headed by Dr. G.G. Duniya with Mr. John Boyi and Mr. Kelvin Dandien, have shown commitment to revive the art association in Kaduna. With the support of Prof. Tonie Okpe, a lecturer in the Fine Arts Department, Ahmadu Bello University, Zaria, as well as a consultant with National Gallery of Art, Abuja, the SNA three man committee in Kaduna will surely pull-through. If the art association (SNA) is finally brought to life, it will offer a conducive platform/opportunities for artistic growth/development in Kaduna. Although the meeting was postponed, the chairman directed the secretary to inform members that a new date would be communicated to them via SMS (text messages).
Monday, February 7, 2011
The Relationship Between Visual Art and Public Relations.
Although there are many disciplines which are variously shaped into different professions, before one practices any profession to the fullest, such a person must be able to effectively combine the knowledge gained in other fields to stand out in his chosen career. This means that knowledge itself is a pyramid which one have to climb to the top to see other sides of it. Staying at the base of such a pyramid greatly limits the potentials as well as the versatility of the learner. For example, there is a beautiful relationship between art and public relations. However, this relationship can be better understood by those are practicing, not those who have received PR training, but are doing other things than practicing the PR profession.
Art can be broadly viewed as any activity or a form of human expression that uses a creative medium in order to foster communication for an intended change in a system, environment or society. The communication can be seen in two ways: Between the artist and audience; and between the work of art and the viewer. The first has to do with the message the artist intends to pass across to the audience. In this form of communication, the artist use the art work as a public relation tool in preaching the desired values or morals for a positive change to take place. For example, a poster design created by an artist to preach the ills of war will make use of certain images or motifs that trigger sober reflection on the part of audience. This may lead to a change in attitude of the people especially in resolving differences without allowing them to degenerate into full blown crisis. Consequently, the role played by the art work which helps in building peace among contending groups is as a result of the communication which has taken place between the artist and the people using the artwork as medium.
The second type of communication (between the art work and the viewer) has to do with how the viewer understands the work of art. As one takes time to look at a work of art, certain thoughts run through his/her subconscious mind; this makes the viewer to understand as well as experience the work deeper than merely considering its aesthetics values. This form of communication between the art work and the viewer may not necessarily sustain the message which the artist had in mind to pass across to the audience, it is totally dependent on what the viewer understands about the work. This is more or less like an unguided communication which is prone to being misunderstood by the person who is at the receiving end. In public relations, the feed back will not be useful since, the expected result was not achieved.
Public Relations on the other hand can be described as an art of managing various publics that relate with an organization. This involves communicating with all relevant internal and external publics in order to build as well as sustain a positive relationship that will make the organization to achieve her goals and also meet the social expectations. This means that, for an organization to succeed in achieving its set objectives it must be able to have a good public relation team to manage its publics. The term ‘publics’ is used in PR to mean individuals or groups that have direct/indirect relationship with an organization and are affected (directly or indirectly) by the policies of that organization. For example, the publics of a particular secondary school can be said to be teachers/workers in the school, students, people in the community where the school is located, and even the people selling learning materials (like books, pencils, writing ink, etc) around the school environment which are patronized by students. All these factions (publics) have different interests in the school and a change in the polices of the school will affect each one of them. The role of a PR staff in any organization is to suggest to the management on the type of communication channel /method that will bring the desired change in that organization. A healthy change in any particular system is the type that benefits the system as well as smoothen relationship between that system and its various publics.
One of the important function of communication in the practice of the two professions (art and public relations) is to effect a change. Although, it is widely known that the only constant thing in life is change, what is not certain or not constant is the reactions after change has taken place. For example, it is difficult to exactly predict how organization’s various publics would react to a new policy, which is meant to bring hardships for a while but will latter benefit them in the long run. This is where PR communication skills or strategies are required. A good PR communication considers all views of its organization as well as conduct series of researches on the publics to fairly predict how the publics would react if a given policy is initiated for a change to take place in a system. The results of the research are used in measuring the effect of an intended policy in line with what the organization stands to gain.
In visual art practice also, an artist would move around in the community and see as well as interact with people in his/her immediate environment, to understand their feelings/views or thoughts about the government of the day. This makes the artist armed with ideas and knowledge of things in the society to produce visual commentaries that touch on the socio-political issues/conditions of people in his/her locality or country. All these are meant to trigger a positive change in the society.
On the whole, the relationship of visual art practice and public relations practice can not be seen from the outside except by those who are in the two professions. That does not mean that a PR professional can as well be regarded as an artist; neither does it make sense to say that an artist can effectively fits in the position of PR practitioner in a given organization. The common ground on which both relate is in the area of communication. As a PR practitioner, one makes excellent plans, making use of different forms of communications to help the organization to achieve its goals without damaging the relationship with its publics. In visual art practice also, artists make use of attractive concepts/media that will pull audience’s aesthetic consciousness in order to effect a positive change in the society. While in PR the communication is verbal, visual art communicates in a reflective mode, shaping one’s mind to form better values, better morals, but most importantly for an idea society.
Art can be broadly viewed as any activity or a form of human expression that uses a creative medium in order to foster communication for an intended change in a system, environment or society. The communication can be seen in two ways: Between the artist and audience; and between the work of art and the viewer. The first has to do with the message the artist intends to pass across to the audience. In this form of communication, the artist use the art work as a public relation tool in preaching the desired values or morals for a positive change to take place. For example, a poster design created by an artist to preach the ills of war will make use of certain images or motifs that trigger sober reflection on the part of audience. This may lead to a change in attitude of the people especially in resolving differences without allowing them to degenerate into full blown crisis. Consequently, the role played by the art work which helps in building peace among contending groups is as a result of the communication which has taken place between the artist and the people using the artwork as medium.
The second type of communication (between the art work and the viewer) has to do with how the viewer understands the work of art. As one takes time to look at a work of art, certain thoughts run through his/her subconscious mind; this makes the viewer to understand as well as experience the work deeper than merely considering its aesthetics values. This form of communication between the art work and the viewer may not necessarily sustain the message which the artist had in mind to pass across to the audience, it is totally dependent on what the viewer understands about the work. This is more or less like an unguided communication which is prone to being misunderstood by the person who is at the receiving end. In public relations, the feed back will not be useful since, the expected result was not achieved.
Public Relations on the other hand can be described as an art of managing various publics that relate with an organization. This involves communicating with all relevant internal and external publics in order to build as well as sustain a positive relationship that will make the organization to achieve her goals and also meet the social expectations. This means that, for an organization to succeed in achieving its set objectives it must be able to have a good public relation team to manage its publics. The term ‘publics’ is used in PR to mean individuals or groups that have direct/indirect relationship with an organization and are affected (directly or indirectly) by the policies of that organization. For example, the publics of a particular secondary school can be said to be teachers/workers in the school, students, people in the community where the school is located, and even the people selling learning materials (like books, pencils, writing ink, etc) around the school environment which are patronized by students. All these factions (publics) have different interests in the school and a change in the polices of the school will affect each one of them. The role of a PR staff in any organization is to suggest to the management on the type of communication channel /method that will bring the desired change in that organization. A healthy change in any particular system is the type that benefits the system as well as smoothen relationship between that system and its various publics.
One of the important function of communication in the practice of the two professions (art and public relations) is to effect a change. Although, it is widely known that the only constant thing in life is change, what is not certain or not constant is the reactions after change has taken place. For example, it is difficult to exactly predict how organization’s various publics would react to a new policy, which is meant to bring hardships for a while but will latter benefit them in the long run. This is where PR communication skills or strategies are required. A good PR communication considers all views of its organization as well as conduct series of researches on the publics to fairly predict how the publics would react if a given policy is initiated for a change to take place in a system. The results of the research are used in measuring the effect of an intended policy in line with what the organization stands to gain.
In visual art practice also, an artist would move around in the community and see as well as interact with people in his/her immediate environment, to understand their feelings/views or thoughts about the government of the day. This makes the artist armed with ideas and knowledge of things in the society to produce visual commentaries that touch on the socio-political issues/conditions of people in his/her locality or country. All these are meant to trigger a positive change in the society.
On the whole, the relationship of visual art practice and public relations practice can not be seen from the outside except by those who are in the two professions. That does not mean that a PR professional can as well be regarded as an artist; neither does it make sense to say that an artist can effectively fits in the position of PR practitioner in a given organization. The common ground on which both relate is in the area of communication. As a PR practitioner, one makes excellent plans, making use of different forms of communications to help the organization to achieve its goals without damaging the relationship with its publics. In visual art practice also, artists make use of attractive concepts/media that will pull audience’s aesthetic consciousness in order to effect a positive change in the society. While in PR the communication is verbal, visual art communicates in a reflective mode, shaping one’s mind to form better values, better morals, but most importantly for an idea society.
Democracy in Africa: The Unexpected Turn-Around
No one would believe what has happened in Tunisia and indeed happening in Egypt now. This is clear indication that Africa is regaining its true democratic strength to say NO! to bad leadership and chase the corrupt and heartless leaders out of office. When they say democracy is power to the people, many African leaders think of it in a different way. They would snatch power from the people and use it against them. By so doing, the people (the down trodden masses) are denied of getting access to the dividends of the countries resources which they (most African leaders) claim they are managing on-behalf of the people.
Indeed, the era of people against bad leadership (if not bad leaders) has come to Africa. The peoples of Africa, with the support of Africans in the diasporas, have welcomed this change befittingly. This will definitely shape the trends of leadership as well as governance on the African continent for the better. When Brazil changed five presidents in less than a month, it was strange to most Africans because in Africa even elections sometimes do not oust leaders out of power. Rather, they influenced the result to keep keeping them in power.
The first day I heard of the revolutionary act of the young Tunisian who burnt himself and died a few days after, I saw the arrow of change pointing towards Africa. It ended successfully with the president taking on his heels into a country that can never be called his own. His forceful exit has in every way shown that, Tunisians have woken up in their slumber to redefine ‘democracy’ by telling the world that power belongs to people, not selfish leaders who do not have the interest of the people at heart.
Egypt, on the other hand, responded likewise. Forcing for a leader to step down is not an easy task, but Egyptians vow to see that this task well accomplished irrespective of the pain and anguish that surround them. This single task (forcing President, Mubarak to step down) has cost Egyptians’ lives, injured many people, halt more than 50% of local businesses as well as put a stalemate in the running of government affairs. All these are not considered elements of a disorderly society, rather they are viewed are genuine sacrifices which people have offered for a positive change to take place.
The question now is which country is next? If Tunisians and Egyptians can under go this process successfully to show their dissatisfaction concerning decisions of their leaders, then “Africa Can”. By the way, according to rules of true democracy, it the people that have the power. This means that, if the masses (people) can vote a leader into a political office, the same masses have the power to chase the leader out of office. Unemployment, hunger, poverty are all products of bad leadership. It is important that people have in the Maghreb states have realize this. Other African countries suffering these traits should follow for Africa to be freed from the shackles of bad governance. The change has come and it has come to stay. African leaders should take note.
Indeed, the era of people against bad leadership (if not bad leaders) has come to Africa. The peoples of Africa, with the support of Africans in the diasporas, have welcomed this change befittingly. This will definitely shape the trends of leadership as well as governance on the African continent for the better. When Brazil changed five presidents in less than a month, it was strange to most Africans because in Africa even elections sometimes do not oust leaders out of power. Rather, they influenced the result to keep keeping them in power.
The first day I heard of the revolutionary act of the young Tunisian who burnt himself and died a few days after, I saw the arrow of change pointing towards Africa. It ended successfully with the president taking on his heels into a country that can never be called his own. His forceful exit has in every way shown that, Tunisians have woken up in their slumber to redefine ‘democracy’ by telling the world that power belongs to people, not selfish leaders who do not have the interest of the people at heart.
Egypt, on the other hand, responded likewise. Forcing for a leader to step down is not an easy task, but Egyptians vow to see that this task well accomplished irrespective of the pain and anguish that surround them. This single task (forcing President, Mubarak to step down) has cost Egyptians’ lives, injured many people, halt more than 50% of local businesses as well as put a stalemate in the running of government affairs. All these are not considered elements of a disorderly society, rather they are viewed are genuine sacrifices which people have offered for a positive change to take place.
The question now is which country is next? If Tunisians and Egyptians can under go this process successfully to show their dissatisfaction concerning decisions of their leaders, then “Africa Can”. By the way, according to rules of true democracy, it the people that have the power. This means that, if the masses (people) can vote a leader into a political office, the same masses have the power to chase the leader out of office. Unemployment, hunger, poverty are all products of bad leadership. It is important that people have in the Maghreb states have realize this. Other African countries suffering these traits should follow for Africa to be freed from the shackles of bad governance. The change has come and it has come to stay. African leaders should take note.
Tuesday, February 1, 2011
Visual Art Criticism: Problem of Critiquing Untitled works.
Art criticism involves analyzing works of art inline with their structures, meanings, and problems; comparing them with other works, and evaluating the works using the characteristics, theories or other valuable information for proper understanding their relevance to the society. As an art historian I have confronted several issues in trying to speak judgmentally on certain art works produced by contemporary Nigerian artists. For example, an art work without a title offers the art critic an elusive stand point not only to begin his/her judgment but also for establishing some essential points that will help the public (audience) in understanding the meaning as well as circumstances surround the creation of such an art piece. It is important to know however, that the judgment of an art work is similar to the judgment that takes place in a court of law. In a law court, the presiding judge will make use of the available facts which are usually presented in form of evidence, to pass judgment on contending cases involving individuals or groups. If the evidences are not strong enough to back up a claim or vice versa, they are either discarded or sustained. The implication of the either cases is that, such individual or group will or will not lose the case in favour of the opponent as the case may be.
In the criticism of visual art especially like painting and sculpture also, there are varying factors which the critic used as stand points for judging a work of art. For example, the title of the work (what is the title of the art work?); the artist that creates the work (who made this art work?); the environment where the artist creates the work (where does the artist lives); the nature of the artist’s environment (what are the cultural, religious or socio-political conditions of the artist’s environment?). The answers to all these questions formed the essentials of what it takes to understand the contextual meaning of the art work. This is very important as it explains the circumstances under which the art work is created and by so doing ingrain or integrate the thoughts of the viewers into that of the artist. When this happens, communication take place in a manner that will trigger a reaction (which could be either negative or positive) on the part of the viewer. If the communication takes place in the direction of a positive change desired by the artist, then the purpose of the artist is achieved. In most cases, an art critic only helps the audience to see other sides of the work which a viewer would ordinarily not think of. For example, a work of art which has traditional African motifs and features on its body, but has a title pointing to European culture and also created by a European artist would require varying approaches in viewing it. The critic therefore, presents different view points which may help audience in understanding the nature, meaning, as well as the circumstances surrounding the creation of the work.
However, all these are far different from factors used in knowing whether or not an artist is good in applying the elements (line, colour, texture, form etc) or principles (balance, unity, rhythm, composition etc) of art (design). The principles and elements are only used in judging physical components of the work which help to improve the artist’s skills in the creation of art work. The factors that relate with principles and elements are used by the critic to judge the aesthetics features of an art work while other ones like title are used by the critic in interpreting the contextual meaning of the work.
It is common to find artists presenting beautiful pieces (artworks) in an exhibition without titles. The rationale behind their ignorance is that: “An art work speaks for itself.” However, they (such artists) forget that certain conditions warrant the art work to speak in a clear tone that would make the audience to understand the language it is speaking. If one of the conditions necessary for the understanding of the audience is either missing or not properly presented, the tone of the language in which the art work is speaking will definitely loose shape. At worst, the art work might lost its essence and would practically not fulfill its full purpose of being created.
This means that, title of an art work is very important as it provides a first step to reading other aspects of the work. Hence, title of the work, artist that create the work, place where the artist lives, or other information that formed the artist’s background etc, are all factors which jointly armed the critic with the basic knowledge necessary for explaining the contextual meaning of an art work for the better understanding of the audience.
This is most likely to be the reason why many art terminologies have been coined by art critic in order to explain their relevance as well as sustain the concreteness in the changes that have occurred in the history of world art. For example “Fauvism” was a term used by a critic in describing works of artists in an exhibition in Paris (1905); “Impressionism” on the other hand was a term that was first used in 1874 by a journalist to ridicule a landscape (Impression-Sunrise) by Monet which was latter accepted and used by critics in describing works of artists of that time. Art terminologies like Dadaism, Cubism, etc were all coined by critics /individuals to explain the changes in styles or trends noticed in the art practice of a particular locality or region. If there were no names given to these art styles or trends, it would be difficult to either define the art periods or explaining the changes that have occurred in the history/practice of art.
On the whole, if an artist is able to occupy his/her mind with different creative forces (ideas, thoughts, beliefs etc) which are paramount for shaping the out come of the art work into a beautiful art piece, he/she should be able to find a suitable title for the work. This will not, in any way, stop the critic or the art work from being judged in line with other creative forces which the artist harnessed in producing the work. It will rather provide a footing on which the judgment will be carried out by the critic.
In the criticism of visual art especially like painting and sculpture also, there are varying factors which the critic used as stand points for judging a work of art. For example, the title of the work (what is the title of the art work?); the artist that creates the work (who made this art work?); the environment where the artist creates the work (where does the artist lives); the nature of the artist’s environment (what are the cultural, religious or socio-political conditions of the artist’s environment?). The answers to all these questions formed the essentials of what it takes to understand the contextual meaning of the art work. This is very important as it explains the circumstances under which the art work is created and by so doing ingrain or integrate the thoughts of the viewers into that of the artist. When this happens, communication take place in a manner that will trigger a reaction (which could be either negative or positive) on the part of the viewer. If the communication takes place in the direction of a positive change desired by the artist, then the purpose of the artist is achieved. In most cases, an art critic only helps the audience to see other sides of the work which a viewer would ordinarily not think of. For example, a work of art which has traditional African motifs and features on its body, but has a title pointing to European culture and also created by a European artist would require varying approaches in viewing it. The critic therefore, presents different view points which may help audience in understanding the nature, meaning, as well as the circumstances surrounding the creation of the work.
However, all these are far different from factors used in knowing whether or not an artist is good in applying the elements (line, colour, texture, form etc) or principles (balance, unity, rhythm, composition etc) of art (design). The principles and elements are only used in judging physical components of the work which help to improve the artist’s skills in the creation of art work. The factors that relate with principles and elements are used by the critic to judge the aesthetics features of an art work while other ones like title are used by the critic in interpreting the contextual meaning of the work.
It is common to find artists presenting beautiful pieces (artworks) in an exhibition without titles. The rationale behind their ignorance is that: “An art work speaks for itself.” However, they (such artists) forget that certain conditions warrant the art work to speak in a clear tone that would make the audience to understand the language it is speaking. If one of the conditions necessary for the understanding of the audience is either missing or not properly presented, the tone of the language in which the art work is speaking will definitely loose shape. At worst, the art work might lost its essence and would practically not fulfill its full purpose of being created.
This means that, title of an art work is very important as it provides a first step to reading other aspects of the work. Hence, title of the work, artist that create the work, place where the artist lives, or other information that formed the artist’s background etc, are all factors which jointly armed the critic with the basic knowledge necessary for explaining the contextual meaning of an art work for the better understanding of the audience.
This is most likely to be the reason why many art terminologies have been coined by art critic in order to explain their relevance as well as sustain the concreteness in the changes that have occurred in the history of world art. For example “Fauvism” was a term used by a critic in describing works of artists in an exhibition in Paris (1905); “Impressionism” on the other hand was a term that was first used in 1874 by a journalist to ridicule a landscape (Impression-Sunrise) by Monet which was latter accepted and used by critics in describing works of artists of that time. Art terminologies like Dadaism, Cubism, etc were all coined by critics /individuals to explain the changes in styles or trends noticed in the art practice of a particular locality or region. If there were no names given to these art styles or trends, it would be difficult to either define the art periods or explaining the changes that have occurred in the history/practice of art.
On the whole, if an artist is able to occupy his/her mind with different creative forces (ideas, thoughts, beliefs etc) which are paramount for shaping the out come of the art work into a beautiful art piece, he/she should be able to find a suitable title for the work. This will not, in any way, stop the critic or the art work from being judged in line with other creative forces which the artist harnessed in producing the work. It will rather provide a footing on which the judgment will be carried out by the critic.
How Time Flies: The Memories of my Childhood in R.C.M. Primary School, Yabo.
Over twenty five years ago, I attended the only primary school in my village which has consistently played a significant role in the training of children within the community for over four decades. When I had an opportunity to visit home (my village) recently, I took a walk to the primary school since it was close to the village church I attended. As I walked through the road that leads to the mango tree where we (school children) used to play, striking memories ensued my thought and it quickly occurs to me how time flies.
RCM primary school, Yabo is the only academic learning centre located in Mbagba Council ward of Mbasombo District, in Gwer-East Local Government Area of Benue State. The school was established over 40 years ago by the Roman Catholic Mission (RCM) as part of the strategy to spread the gospel as well as educate the followers of the Christian religion, which were majorly the local populace in the area. Due to frequent change in educational policies in Benue state, the school was latter taken-over by Gwer-East Local Government Authority as directed by the state government. This was in the 1980s and since then, the primary school remained an enduring academic centre in the training of pupils for the near-by secondary schools.
I remember most of the faces of my mates in class three even though I could not remember their names in full. In primary three, we weren’t much and there were people I remembered vividly, not because we were in the same class but because they were excessively outstanding in the class. There was this particular lady (girl) called Mfanyi Tsegba who came from a different school and joined us in class three. Her normal position in class was First (1st) till the time we parted ways after primary six. Other people I also remember are Terver Mba’akaa, Aondongu Ugba, Terhemen Kyura-an, and Cormfort Adie.
The name of our Headmaster, then, was Mr. Patrick Aduku Iordye. He was an indigene of the community and knows every body’s father as well as mother. Sometimes he could even tell you when your got marred in the village and the event that took place during your birth. All these were somehow meant to impress you but mostly to show that there is nothing about you that he does not know. He had a unique way of handling pupils that made him the most fearsome figure in the school. His usual way of punishing pupils was “Va mwua u kyua”. This involves hurting of cheeks in a manner that no pupil will want to experience it twice. For those that have not experienced the headmaster’s punishment, they always pray never to come across it. On the other hand, the headmaster was an intelligent teacher who teaches almost all subjects. However most pupils, with me inclusive, only passed his exams or tests for fear of being exposed to ‘hurt-cheeks’ punishment’.
In primary six, I was given the Health prefect. The role of this position by design is to look after the cleanliness of the school compound, ensure that pupils dress neat (tuck-in with clean uniform), wear sandals instead of bathroom sleepers, as well as test any food prepared to be sold to pupils in the school. Among all these, testing of food like Moi-Moi, (boiled dough) Akara, (beans cake) Alum and Mango (orange and mango fruits), before allowing pupils to buy was my best. The reason is obvious. Hunger was a common enemy for all pupils. Yet on a few pupils could pick yam with them. The yam would be roasted during break time in particular house which was nearer to the school than the neighboring houses. Getting food to eat in the school before closing time which was 1:30 pm was a case. In this circumstance, one can understand why testing food was my best or favorite duty as a Health prefect. The primary school has just one Well (Bore hole) of about twenty eight feet deep which every pupil drink from. The water was obviously dirty but fairly ‘translucent’ which make pupils count on its goodness.
Until the time I left the primary school, the Mbagba community was responsible for the building of class rooms, or huts which were basic shield under which pupils sit and learn. Black boards, chalks and English and Mathematics text books were usually provided by the local government authority. In every week, there was a particular day tagged “Labour” which all the pupils would come out to work. Matured pupils would be sent to work in farms of teachers, while immature pupils mostly in primary one, two and three would be asked to clean the school compound. No pupil likes labour day yet all must come to school and partake in the labour for fear of being punished the next day.
Structure wise, the primary school has not changed. However, there is consequent depreciation in the population of the pupils attending the school as new private schools have emerged in the neighboring towns. At the moment, only few pupils attend the school as many parents take their children to better schools in the neighboring towns like Ikpa-yongo, Apir, Aliade or even Makurdi which is the state capital.
One thing about the primary school which still makes it stands out is that, RCM primary school, Yabo has remained one and only school in Mbagba-Mbasombo, which has trained and will continue to train future resource individuals/leaders. Any child who grow-up in Mbagba must pass through the school academically to his designed future. One day, one of its old students shall remember to put it in shape.
RCM primary school, Yabo is the only academic learning centre located in Mbagba Council ward of Mbasombo District, in Gwer-East Local Government Area of Benue State. The school was established over 40 years ago by the Roman Catholic Mission (RCM) as part of the strategy to spread the gospel as well as educate the followers of the Christian religion, which were majorly the local populace in the area. Due to frequent change in educational policies in Benue state, the school was latter taken-over by Gwer-East Local Government Authority as directed by the state government. This was in the 1980s and since then, the primary school remained an enduring academic centre in the training of pupils for the near-by secondary schools.
I remember most of the faces of my mates in class three even though I could not remember their names in full. In primary three, we weren’t much and there were people I remembered vividly, not because we were in the same class but because they were excessively outstanding in the class. There was this particular lady (girl) called Mfanyi Tsegba who came from a different school and joined us in class three. Her normal position in class was First (1st) till the time we parted ways after primary six. Other people I also remember are Terver Mba’akaa, Aondongu Ugba, Terhemen Kyura-an, and Cormfort Adie.
The name of our Headmaster, then, was Mr. Patrick Aduku Iordye. He was an indigene of the community and knows every body’s father as well as mother. Sometimes he could even tell you when your got marred in the village and the event that took place during your birth. All these were somehow meant to impress you but mostly to show that there is nothing about you that he does not know. He had a unique way of handling pupils that made him the most fearsome figure in the school. His usual way of punishing pupils was “Va mwua u kyua”. This involves hurting of cheeks in a manner that no pupil will want to experience it twice. For those that have not experienced the headmaster’s punishment, they always pray never to come across it. On the other hand, the headmaster was an intelligent teacher who teaches almost all subjects. However most pupils, with me inclusive, only passed his exams or tests for fear of being exposed to ‘hurt-cheeks’ punishment’.
In primary six, I was given the Health prefect. The role of this position by design is to look after the cleanliness of the school compound, ensure that pupils dress neat (tuck-in with clean uniform), wear sandals instead of bathroom sleepers, as well as test any food prepared to be sold to pupils in the school. Among all these, testing of food like Moi-Moi, (boiled dough) Akara, (beans cake) Alum and Mango (orange and mango fruits), before allowing pupils to buy was my best. The reason is obvious. Hunger was a common enemy for all pupils. Yet on a few pupils could pick yam with them. The yam would be roasted during break time in particular house which was nearer to the school than the neighboring houses. Getting food to eat in the school before closing time which was 1:30 pm was a case. In this circumstance, one can understand why testing food was my best or favorite duty as a Health prefect. The primary school has just one Well (Bore hole) of about twenty eight feet deep which every pupil drink from. The water was obviously dirty but fairly ‘translucent’ which make pupils count on its goodness.
Until the time I left the primary school, the Mbagba community was responsible for the building of class rooms, or huts which were basic shield under which pupils sit and learn. Black boards, chalks and English and Mathematics text books were usually provided by the local government authority. In every week, there was a particular day tagged “Labour” which all the pupils would come out to work. Matured pupils would be sent to work in farms of teachers, while immature pupils mostly in primary one, two and three would be asked to clean the school compound. No pupil likes labour day yet all must come to school and partake in the labour for fear of being punished the next day.
Structure wise, the primary school has not changed. However, there is consequent depreciation in the population of the pupils attending the school as new private schools have emerged in the neighboring towns. At the moment, only few pupils attend the school as many parents take their children to better schools in the neighboring towns like Ikpa-yongo, Apir, Aliade or even Makurdi which is the state capital.
One thing about the primary school which still makes it stands out is that, RCM primary school, Yabo has remained one and only school in Mbagba-Mbasombo, which has trained and will continue to train future resource individuals/leaders. Any child who grow-up in Mbagba must pass through the school academically to his designed future. One day, one of its old students shall remember to put it in shape.
The Relationship Between Visual Art and Public Relations.
Although there are many disciplines which are variously shaped into different professions, before one practices any profession to the fullest, such a person must be able to effectively combine the knowledge gained in other fields to stand out in his chosen career. This means that knowledge itself is a pyramid which one have to climb to the top to see other sides of it. Staying at the base of such a pyramid greatly limits the potentials as well as the versatility of the learner. For example, there is a beautiful relationship between art and public relations. However, this relationship can be better understood by those are practicing, not those who have received PR training, but are doing other things than practicing the PR profession.
Art can be broadly viewed as any activity or a form of human expression that uses a creative medium in order to foster communication for an intended change in a system, environment or society. The communication can be seen in two ways: Between the artist and audience; and between the work of art and the viewer. The first has to do with the message the artist intends to pass across to the audience. In this form of communication, the artist use the art work as a public relation tool in preaching the desired values or morals for a positive change to take place. For example, a poster design created by an artist to preach the ills of war will make use of certain images or motifs that trigger sober reflection on the part of audience. This may lead to a change in attitude of the people especially in resolving differences without allowing them to degenerate into full blown crisis. Consequently, the role played by the art work which helps in building peace among contending groups is as a result of the communication which has taken place between the artist and the people using the artwork as medium.
The second type of communication (between the art work and the viewer) has to do with how the viewer understands the work of art. As one takes time to look at a work of art, certain thoughts run through his/her subconscious mind; this makes the viewer to understand as well as experience the work deeper than merely considering its aesthetics values. This form of communication between the art work and the viewer may not necessarily sustain the message which the artist had in mind to pass across to the audience, it is totally dependent on what the viewer understands about the work. This is more or less like an unguided communication which is prone to being misunderstood by the person who is at the receiving end. In public relations, the feed back will not be useful since, the expected result was not achieved.
Public Relations on the other hand can be described as an art of managing various publics that relate with an organization. This involves communicating with all relevant internal and external publics in order to build as well as sustain a positive relationship that will make the organization to achieve her goals and also meet the social expectations. This means that, for an organization to succeed in achieving its set objectives it must be able to have a good public relation team to manage its publics. The term ‘publics’ is used in PR to mean individuals or groups that have direct/indirect relationship with an organization and are affected (directly or indirectly) by the policies of that organization. For example, the publics of a particular secondary school can be said to be teachers/workers in the school, students, people in the community where the school is located, and even the people selling learning materials (like books, pencils, writing ink, etc) around the school environment which are patronized by students. All these factions (publics) have different interests in the school and a change in the polices of the school will affect each one of them. The role of a PR staff in any organization is to suggest to the management on the type of communication channel /method that will bring the desired change in that organization. A healthy change in any particular system is the type that benefits the system as well as smoothen relationship between that system and its various publics.
One of the important function of communication in the practice of the two professions (art and public relations) is to effect a change. Although, it is widely known that the only constant thing in life is change, what is not certain or not constant is the reactions after change has taken place. For example, it is difficult to exactly predict how organization’s various publics would react to a new policy, which is meant to bring hardships for a while but will latter benefit them in the long run. This is where PR communication skills or strategies are required. A good PR communication considers all views of its organization as well as conduct series of researches on the publics to fairly predict how the publics would react if a given policy is initiated for a change to take place in a system. The results of the research are used in measuring the effect of an intended policy in line with what the organization stands to gain.
In visual art practice also, an artist would move around in the community and see as well as interact with people in his/her immediate environment, to understand their feelings/views or thoughts about the government of the day. This makes the artist armed with ideas and knowledge of things in the society to produce visual commentaries that touch on the socio-political issues/conditions of people in his/her locality or country. All these are meant to trigger a positive change in the society.
On the whole, the relationship of visual art practice and public relations practice can not be seen from the outside except by those who are in the two professions. That does not mean that a PR professional can as well be regarded as an artist; neither does it make sense to say that an artist can effectively fits in the position of PR practitioner in a given organization. The common ground on which both relate is in the area of communication. As a PR practitioner, one makes excellent plans, making use of different forms of communications to help the organization to achieve its goals without damaging the relationship with its publics. In visual art practice also, artists make use of attractive concepts/media that will pull audience’s aesthetic consciousness in order to effect a positive change in the society. While in PR the communication is verbal, visual art communicates in a reflective mode, shaping one’s mind to form better values, better morals, but most importantly for an idea society.
Art can be broadly viewed as any activity or a form of human expression that uses a creative medium in order to foster communication for an intended change in a system, environment or society. The communication can be seen in two ways: Between the artist and audience; and between the work of art and the viewer. The first has to do with the message the artist intends to pass across to the audience. In this form of communication, the artist use the art work as a public relation tool in preaching the desired values or morals for a positive change to take place. For example, a poster design created by an artist to preach the ills of war will make use of certain images or motifs that trigger sober reflection on the part of audience. This may lead to a change in attitude of the people especially in resolving differences without allowing them to degenerate into full blown crisis. Consequently, the role played by the art work which helps in building peace among contending groups is as a result of the communication which has taken place between the artist and the people using the artwork as medium.
The second type of communication (between the art work and the viewer) has to do with how the viewer understands the work of art. As one takes time to look at a work of art, certain thoughts run through his/her subconscious mind; this makes the viewer to understand as well as experience the work deeper than merely considering its aesthetics values. This form of communication between the art work and the viewer may not necessarily sustain the message which the artist had in mind to pass across to the audience, it is totally dependent on what the viewer understands about the work. This is more or less like an unguided communication which is prone to being misunderstood by the person who is at the receiving end. In public relations, the feed back will not be useful since, the expected result was not achieved.
Public Relations on the other hand can be described as an art of managing various publics that relate with an organization. This involves communicating with all relevant internal and external publics in order to build as well as sustain a positive relationship that will make the organization to achieve her goals and also meet the social expectations. This means that, for an organization to succeed in achieving its set objectives it must be able to have a good public relation team to manage its publics. The term ‘publics’ is used in PR to mean individuals or groups that have direct/indirect relationship with an organization and are affected (directly or indirectly) by the policies of that organization. For example, the publics of a particular secondary school can be said to be teachers/workers in the school, students, people in the community where the school is located, and even the people selling learning materials (like books, pencils, writing ink, etc) around the school environment which are patronized by students. All these factions (publics) have different interests in the school and a change in the polices of the school will affect each one of them. The role of a PR staff in any organization is to suggest to the management on the type of communication channel /method that will bring the desired change in that organization. A healthy change in any particular system is the type that benefits the system as well as smoothen relationship between that system and its various publics.
One of the important function of communication in the practice of the two professions (art and public relations) is to effect a change. Although, it is widely known that the only constant thing in life is change, what is not certain or not constant is the reactions after change has taken place. For example, it is difficult to exactly predict how organization’s various publics would react to a new policy, which is meant to bring hardships for a while but will latter benefit them in the long run. This is where PR communication skills or strategies are required. A good PR communication considers all views of its organization as well as conduct series of researches on the publics to fairly predict how the publics would react if a given policy is initiated for a change to take place in a system. The results of the research are used in measuring the effect of an intended policy in line with what the organization stands to gain.
In visual art practice also, an artist would move around in the community and see as well as interact with people in his/her immediate environment, to understand their feelings/views or thoughts about the government of the day. This makes the artist armed with ideas and knowledge of things in the society to produce visual commentaries that touch on the socio-political issues/conditions of people in his/her locality or country. All these are meant to trigger a positive change in the society.
On the whole, the relationship of visual art practice and public relations practice can not be seen from the outside except by those who are in the two professions. That does not mean that a PR professional can as well be regarded as an artist; neither does it make sense to say that an artist can effectively fits in the position of PR practitioner in a given organization. The common ground on which both relate is in the area of communication. As a PR practitioner, one makes excellent plans, making use of different forms of communications to help the organization to achieve its goals without damaging the relationship with its publics. In visual art practice also, artists make use of attractive concepts/media that will pull audience’s aesthetic consciousness in order to effect a positive change in the society. While in PR the communication is verbal, visual art communicates in a reflective mode, shaping one’s mind to form better values, better morals, but most importantly for an idea society.
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