INTRODUCTION
Art is a visual metaphor most suited for turning the inside out, for concealing and revealing, and for casting artistic lens on the human condition the vulture in all of us - Chike Aniakor.
The history of Visual Art in Nigeria shows that from
pre-independence that, artists as visual practitioners, in the art industry
have made very useful contributions to national development. The close
interrelation between an art and society in which it functions is apparent in
every society; as treasures reflect, of course the prosperity of the community
which produced them.
Generally, definitions of art revolve around skill in the expressions of visual
and non visual. Art is synonymous with skill, which is applicable to every
human endeavour. Significantly, it should be stressed that creativity is the
hallmark of all artistic endeavours. Creativity entails the creation of
something different from others. On the other hand, competition is defined as
an organized event in which people or teams compete against each other by
trying to gain something and stop someone else from having it or having as much
of it for a prize etc. Hence, competition plays a crucial role in the
development of every facet of society.
Therefore, art competition occupies an important position in the development and growth of art. To all intents and purposes, this paper is an attempt to resound the impact of LIMCAF in fulfilling the legitimate expectations of art competitions in the development of visual art. Definitely, a consistent and well organized art competition will in no small measure place our country in the global destination map of creativity. In splicing the standard structure reconsiderations of Life In My City Art Festival (LIMCAF) project as a monument to the future of visual art development in Nigeria; it is important to highlight a distinct split between the narratives of tradition and modern including post modern.
In
the traditional African society, the works of art by the artists were generally
more than objects of aesthetic pleasure, they were requisite forms made for the
economic, social, and/or political needs of the community, from materials
thought to contain a vital force of their own. From existent knowledge, it is
evident that the artist recognized his somewhat ambivalent role in his
association with the forms he created. Various restrictions and even taboos
surrounded the handling of his materials because of the belief in their
inherent possession of spirits or powers of their own. His early apprenticeship
had acquainted him with the necessary procedures to control and allay these
forces, that is, there was a certain amount of mystery involved in this aspect
of the artist's endeavour (Stokstad 2002). In this controlled material he
created, following traditional patterns, his own renderings of the requisite
forms; the aim of all these practices being to strengthen and to affirm life.
Apparently, there was no community in the traditional era, however meager their
cultural attainments, who offered no patronage to the artist.
POST COLONIAL ERA.
Notably, with the advent of the west, most of the traditional festivals, and their attendant celebrations, including cults and rituals became contaminated. Acculturation and enculturation were made manifest, as the various art forms had to be stripped off their integrated purpose of corporate existence. Hence, under the colonial era in Africa, nearly all symbolic expressions of native origins were suppressed by the colonial authorities as well as by the leaders whose positions depended upon conforming obedience. Notably, only the practical or useful items of behavior were eagerly adopted. Therefore the utility of any native behaviour and its colonial survival are closely linked and interwoven. Oloidi (2006), asserts that, in Nigeria, the highly spirited growth and development of modern art has been the result of the fecund, cohering and effectual contributions of various formal and informal ideological schools. He maintained that these schools can be traceable to the creative tree planted by a triumvirate: Aina Onabolu School, the Expatriate Schools epitomized in Kenneth C. Murray and the Zaria School. With the changes and developments of the age, there was notable consequential effect on all facets of the traditional art especially patronage. The western world became the patron and the talent discoverer/developer and sponsor. Nevertheless, at the late hours of preindependence there was a rebirth of a new Nigerian Art.
Aina Onabolu (1882-1963) (patriarch of Nigerian art) was the first western trained Nigerian artists and teacher who pioneered modern Nigerian art (Ikpakronyi 2008). The first visual art competition ever to hold in Nigeria is presumed to have taken place in 1924, when Aina Onabolu's work titled, “The Nigerian Weaver” was selected to celebrate the British empire day in an exhibition in London (Oloidi 1995). Aina Onabolu and his groups exhibited their works in public and causal private halls available at the time. It is vital to note that in 1925, Onabolu exhibited his art works with those of his students at Glover Memorial Hall in Lagos. Accordingly, this became the first major recorded exhibition of modern Art works in Nigeria. Besides, Onabolu's monumental role, it is important to mention Akinola Lasekan (1916 –1972), and Eke Okaybulu (1916 – 1958) for their contributions during the era.
Under Kenneth C. Murray, the British Art Educationist, 1930's suggest ding dong attraction between the positive and the ugly in terms of promotion of visual art. Works of different groups of very talented students were projected. In 1937 the works of the following students: C.C. Ibeto, A.P. Uwana, Ben Enwonwu and D.L.K Nnachi were selected and exhibited at the Zwemmer Gallery in London (Oloidi 1995). Changes that took place in 1940s were remarkable in the history of Modern Nigerian art; as there was increase both in art teachers and students and the inclusion of art in the school curricular, Oloidi maintained. This helped to create the much needed awareness and fast tracked scholarship offers to well deserve students at the time (Nnadozie 2009). It is worth making the obvious point that art competitions revolved in Lagos until 1955, when selected Prints of students of Government College Keffi were exhibited. This exhibition led to the establishment of Keffi Art Club directed by their art teacher Dennis Duerden (Oloidi 1995).
In 1958, Simon Okeke (1937-1969) a ritual realist led a new group of art students that have espoused the concept of synthesis of old and new at the Nigerian College of Arts, Science and Technology (NCAST) Zaria (Uche Okeke 1977).According to Oloidi (2011), the Zaria Art Society which the students formed in 1958 became a revolutionary commune that gave the students opportunity to showcase their creative, academic, intellectual and ideological exuberance.
Notwithstanding, it was unfortunate that the west still largely orchestrated artistic developments in post colonial Africa, including the tempo and character. Evidently, critics and historians often apply such western considerations as modernism, post modernism and globalization to the analysis of modern African art.
It is plausible to volunteer that the proper measure of a country's artistic success or failure is not its proximity/resemblance to a foreign model. In some ways, this debate echoes the controversy between abysmal ignorance of the pre colonial era; with the dismal record of “primitivism”. Nonetheless, to discuss these issues authoritatively requires a fairly nuanced understanding of some complex social political and cultural intrigues. This view is intended to whet the appetite of scholars who would wish to rechew the cud of our dim and distant artistic past.
POST INDEPENDENCE ERA
In 1960, a major national art exhibition was held in Lagos to commemorate the independence from the colonial masters.Interestingly, this exhibition featured the varied talents of the Nigerian creative artists, their profound vision of the pastand the present (Aniakor 2009). Furthermore, he noted that: Ulli Bier was to comment on this upsurge of new creative sensibilities which were noted in the Nigerian soil, the new repertory of images sourced from the past as a pathway to the liberation of the artists from colonial truncations of our national consciousness. The artist had become a mediator in the affairs of his country of which he had mobilized his art in inscribing identity to nation state.
Notably, a partial list of committed visual artists in this era include Ben Enwonwu, Bruce Onobrakpeya, Simon Okeke, Yusuf Grillo, Uche Okeke, Erhabor Emokpae, Felix Idubo, Demas Nwoko, among others. These artists fully energized their creative abilities to chatter a new historical visual point. Similarly, some art centres have sprouted resultant of informal trainings and workshops notably at Oshogbo.
During the early part of this era, there was notable emergence of positive response to the dynamics of continuity and change within the art and culture. Indeed, between 1960 and 1980 there were some broader liberal artistic organizations that germinated, with strong promise of blooming. In the introduction to the catalogue of the Nigerian National Exhibition of contemporary visuals arts during FESTAC ”77, Uche Okeke (1977) observed that, Nigeria had to await its eve of independence and for products of its own schools of Art, Zaria and Yaba to bring for her, a new spirit of enquiry and search for values that accord with her native aesthetic sense moral judgment. There is no denying, however that government established platforms for the promotion of art and culture, through such activities as exhibitions, marketing advertising, provide incentive as grants, sponsorship prizes, awards and talent hunts particularly among the youth. Notably, such establishments include: educational institutions, galleries, museums, art councils, etc. Another noticeable trend of artistic development occurred in the area of art competitions. By the 1960s, art competition had become institutionalized with awards in Medals, Trophies and Certificates as initiated by the Nigerian Art Council (Nnadozie 2009). Equally significant was the emergence of other art schools besides those of Zaria and Yaba. There were about six art schools training artists in various areas of specialization. There was also conducive environment for informal/self taught artists to evolve. Interestingly, Art works were also commissioned for the beautification of public buildings and parks, mostly in Lagos.
Essentially, the major role of art schools and movements in Nigeria is to motivate and promote the people to discover hidden opportunities that could help them produce arts and crafts with creative front. Regrettably the efficient performances of these branded bodies were far below the optimum capacity. The activities of these organizations were full of irregularities and random alterations. Therefore, without the robust patronage of several firms (particularly the government), the development of art and artists have continued to diminish. Under the sway of this culturist perspective the bitter lesson of Nigerian artistic experience was sugared with corporate patronage of foreign embassies and missions, especially in Lagos; notably, the British Council; United States Information Service (USIS), Goethe Institut; French Cultural Center; Italian Cultural Institute etc. There was a great deal of variety in the depth of visual art activities by these embassies as well as the private art institutions.
THE SOCIETY OF NIGERIAN ARTISTS
It is proper to recognize the fact that the Society of Nigerian Artist (SNA) was founded in 1964. One of its cardinal objectives being “to protect and promote Nigeria's artistic heritage by fostering the understanding and appreciation of the arts in Nigeria, by upholding a high standard of efficiency in art and defending the moral and material interests of artists in Nigeria'' (Oshinowo 2008).
Consequentially, SNA was instrumental to the establishment of the nucleus of the collection of the National Gallery of Modern Art in 1981, which metamorphosed into the National Gallery of Art in 1993. The SNA was fully involved in the country's preparation and successful hosting of the Second World Black and African Festival of Arts and Culture (FESTAC “77). Apart from organizing seminars, workshops, symposia and conferences the SNA has always collaborated with art galleries, private agencies, government and foreign embassies in packaging contemporary art exhibition and art related events within and outside Nigeria.
SNA in its austere and occasionally quaint mode of organization has continued to weld some degree of validity towards the development of visual art; though its professional services are yet to be fully harnessed effectively for the study, presentation and propagation of art. It is important to stress that SNA should continue to restrategize its programme of activities towards the overall development of visual arts e.g. there should be regular planned art competitions and exhibitions at various levels besides other policy issues.
NATIONAL FESTIVAL OF ARTS AND CULTURE (NAFEST)
It must be emphasized, that the Nigerian Art Council was in charge of organizing of festivals of arts and culture and at the same time bestowed with the sole responsibility of encouraging artists to enhance their creativity and boost their talents. With the establishment of the Federal Department of Culture in 1972 and the National Council for Arts and Culture in1975 as well as dynamic changes in art administration; Prizes were introduced for art at the establishment of the NAFEST in 1973.
This festival was usually organized by the Federal and States' Art Councils in collaboration with the Ministries of Education, Information, Culture and Tourism. Today NAFEST is scarcely organized in its actual fundamental role of promoting visual art via competitions; rather performance art – music, dance and drama are projected to overshadow the visual art. Sadly, the celebration of NAFEST has been somewhat irregular. In 2019, we have just witnessed the 32nd edition held at Benin City, capital of Edo state, when they should have been the 45th edition if there was stable tempo of progress since inception. Even with this recent celebration it is uncertain when the 33rd edition will hold. It is important to be consistent in organizing NAFEST.
Nevertheless, the 1980's saw the emergence of further increase in visual art competitions. Numerous bodies, such as corporate bodies and tertiary institutions initiated prizes for visual art competitions. i.e. the Best Final year prize for art students in tertiary institutions endowed by National Council for Arts and Culture. These art competitions were established by corporate bodies to serve as their corporate social responsibilities to the visual art community (Nnadozie 2009).
NATIONAL GALLERY OF ART
The establishment of National Gallery of Art opened up new vistas for government patronage to visual art. It is a measure of importance to recognize the continued existence of National Gallery of Art. Evidently, on a glamorous level, it has organized art competitions for the entire country. In 2008, the NGA introduced National Visual Art Competition, to be organized annually for discovering of the artistic genius of Nigerian pupils, students, and professional artists in expressing themselves in varied art form. The maiden edition in 2008 had the theme: “Envisioning a New Nigeria through Visual Arts”. The 2nd edition was held in 2009 with the theme: “Rebranding Nigeria through Visual Art”. Also in 2008, the NGA organized ART EXPO NIGERIA in collaboration with the Art Galleries Association of Nigeria (AGAN). Nevertheless, it is on record that NGA did organize a mega exhibition African Regional Summit and Exhibition in Visual Arts (ARESUVA) in 2009. NGA has the obligation to organize regularly more global events for the growth and development of art. NGA should refocus its lens for a wider aperture of collaboration with relevant agencies to organize performances that will impact on the artists and their art towards national development.
A bit further in time, there were a few bodies that organized art competitions among our youths nationwide, namely:
ACADEMY PRESS LIMITED VISUAL ART COMPETITION.
In 1990, Academy Press Limited successfully organized a competition in visual arts at an Award Night which was a major event in the company's 25th Anniversary Celebration. Accordingly, the competition was to be organized on annual basis; to sustain public consciousness in arts and also to promote arts education in the country, the competition was strictly for Painting only.
LEADWAY THE 1996 “YOUNG ARTISTS'' ART COMPETITION
As part of her contribution, towards the development of Art in Institutions of higher learning in the country, the Leadway Assurance Co. Ltd., instituted “Young Artists” art competition in 1995. The annual competition was for Painting only too. The two corporate bodies shared a common attitude with projecting painting as the only medium. Their lack of variety was a major source of complaint. Unfortunately, the competitions have become moribund and none had up to 10 editions. One of the principal frustrations of these organizations, of course was to put all the inchoate desires into practice. Therefore the birth and death of the visual art competitions (Academy Press Limited and Leadway Assurance Co. Ltd); thus bracketed some extraordinary dramatic moments in the development of Nigeria visual art.
Also in the mid 1990s, the Art and Artists Conference Forum (AACF) collaborated with the National Gallery of Art to organize BESTART competitions in three genres namely: Drawing, Painting and Print making (Oyeoku and Okoli 1994). The prizes were endowed by the following people: Uche Okeke (Drawing), Arthur Mbanefo (Painting) and Bruce Onobrakpeya (Print making). Basically, some visual art competitions were initiated to help in the development and professionalization of the visual art while others for the discovering of budding talents.
ATUWATSE II PRIZE FOR ART
In 1995, His Royal Highness, Ogiame Atuwatse II, the Olu of Warri through the Art and Artists Conference Forum (AACF) instituted an annual prize for art in Nigeria. Also in the same year 1995, the Pan African Circle of Artists (PACA) endowed prize for drawing competition.
It is indisputable that funding constraints created a yawning gap between policy initiatives and performances; and had weakened the creative scheme effectiveness even with the government outlets. It is therefore imperative to recognize the fact that today most of the art competitions have become moribund; while the seedy remnants give lackluster performance. Severally, programmes have suffered postponements and or outright cancellations. It is one thing to have a creative vision and another to pursue it with an honest diligent attitude and an open approach. It is important to explore other funding sources, perhaps through effective networking among institutions, agencies, corporate bodies, individuals etc. Invariably, it is clear that LIMCAF, an organization with role sufficiency in art competition has emerged in a totally new world order of entrepreneurship/knowledge global competitiveness. Evidently, entrepreneurial ventures require a degree of courage, perseverance, resourcefulness and invention.
LIFE IN MY CITY ART FESTIVAL (LIMCAF) AND ITS IMPACT
Life In My City Art Festival (LIMCAF) which began in 2007 and still running annually is indeed a monument to the future of Nigerian visual art. In the Introduction to the maiden edition of LIMCAF, Ikwuemesi (2007) unlocks the doors to its actual fundamental role. He took time to explicate the concept as a refreshing initiative in the seemingly atrophied art landscape in Nigeria. Unarguably, LIMCAF is the most lively and purposeful of all the art competitions for the artistic development of our youth for nearly two decades now. According to Adewunmi (2018), the aim of the Festival includes:
1. To encourage artistic creativity and awareness of environmental issues.
2. To provide space through art for young people to make meaningful statements about their environment in Nigeria.
3. To encourage and empower young artists throughout Nigeria by providing and commercialization their creative endeavours on a national and international platform.
One of the central appeals of the Life In My City Art Festival project, the feature that perhaps more than any other assures its great contemporary relevance, is its marked exuberant reflowering of the kind of revolutionary spirit that enlivened the preindependence Nigeria art scene. On the same vein, Onuzulike (2013), observed that LIMCAF as an artistic seed germinated and grew in a rich soil of current season that had fostered other creative plants in previous seasons. Similarly, Anidi (2013) agrees that Enugu as a fertile “nest” had over the years nurtured great artists, art events and projects, art cooperatives, art schools, including crops of very supportive art lovers, and connoisseurs. It is interesting to note that well over two hundred art departments exist in Nigeria universities, polytechnics and colleges of education. These arts departments are covered within the scope of LIMCAF programme annually.
Furthermore, Adewunmi (2018) has rightly pointed out that LIMCAF avails scholars research opportunity on the progress of visual art development. Above all, that its greatest achievement is helping to discover young talents from the Nigeria art space, exposing their creativity to wider audiences and creating markets for their production. In the introductory note to the LIMCAF 11th Edition, Fide Udenta reveals that each artist tried to vent a phenomenal significant experience that has caught his or her attention and demands response of the wider audience. It is note worthy that, the organizers of the art festival at the very outset of their campaign to win maximum public and media attention, laid solid foundation to underpin the sustenance of the standards; their primary function to uphold.
It can be said, of course, that Life In My City Art Festival is apparently the largest in Nigeria and will remain for a longer time. Since inception, the entries have continued to increase and the celebration points too. The web of its participation covers all the six geopolitical zones of the federation. Few things have contributed more to the honoured place now accorded to this art festival; firstly, the predominance of aggressive young and budding artists locating a strong platform for expression. For each celebration there is a harvest of art whose chief concern is with economic, sociopolitical and the aesthetic substance of art. The prime prize is highly encouraging, though there may be need for review in keeping with the realities of the times. Secondly, the distinguished team of jury for the award of prizes is not exposed to corrupt, duplicitous or hypocritical practice. Usually, each edition is juried by art professionals of great repute and persons of some importance in the art world. Life In My City Art Festival is a platform of continued struggle to radicalize art practice and the revival of the traditional creative and discursive tendencies.
On annual basis the young artists look up to effective participation. The participants work hard to demonstrate conceptual presuppositions that everything interesting is new; perhaps from the stand point of their own life experiences. In diverse media, the participants try to capture those activities/ideals that render their lives attractive/unattractive. An aggregation of works of the participants can be subsumed into different subjects and representational modes or subthemes; most of which navigate the sociopolitical complexities of life.
Consequently, the participants have prominently created some highly original and daring pieces. It is in this sense, we so often have seen the profusion of ideas that were never pursued and the array of possibilities never explored in diverse media; Painting, Sculpture, Installation, Photography, Ceramics, Textiles, Graphics and Multimedia. It is important to note that for the past 13 years there has been heightened public awareness of the Life in My City Art Festival project; thereby impacting on all the fabrics of artistic developments including patronage. Uche Okeke (1981) had posited that changes for meaningful patronage shall remain jeopardized for as long as the degree of public appreciation of the arts remains poor.
As an event, it has given the young artists the impetus to start from their immediate environments with the expansive exhibitions inherent in the celebrations: Local to Zonal, Regional and the Grand Finale.
There is no doubt that fame trails an artist who has experience in showing work and receiving responses. This is evidenced in the basic positive step of putting work before the public which may attract criticism. The obvious implication of the above desire is that its success may lead to critical acclaim and financial rewards. Notwithstanding the fact that self fulfillment was the reason why the artists had always wanted to be him/her true self (expression of innate ability).
Each edition of the festival has its own identifying wrinkle, yet while none is in any sense prominent; some have crept in as salient features in its recurrent themes and unrestricted dimensions. It has indeed resurrected the claims of disinterestedness in the visual art sector. The quantity of art being created today is unrivalled by any such organization in the past in Nigeria. The cruelly ironical thing, about this LIMCAF progress is a sad reminder of how far that venerable art organizations and institutions have degenerated including government owned. LIMCAF's influence and distinctive character owe much to two of its founding art professionals' the well known critic Associate Professor Chuu Krydz Ikwuemesi and Dr. Ayo Adewunmi a prolific designer and Art Director of the Project, besides its visionary founder Chief Robert Oji. The solid foundation laid at the inception has been the propelling force of the project, and the team had dovetailed the strong base. LIMCAF also provides a moving epitaph to art's attempt in the early post independence era to escape the hegemonic confines of institutional power.
In current atmosphere of cultural suppression, LIMCAF marks a refreshing embrace of conceptual art's rich thought provoking history. Unarguably, LIMCAF has established itself as a cynosure of approved opinions in the confusing firmament of advanced literary and artistic taste. The more closely one examines the art festival's contribution to current intellectual and artistic debate in the development of modern Nigerian Art; the more one is tempted to regard Life In My City Art Festival (LIMCAF) as an 'art school' on its own. Jari (2006) has aptly opined that, it is possible to find many schools of art in the same art institution; buttressing the point that a school of art is not about location. However, that if it is possible to have many schools of art in the same art institutions, it is possible to have one school of art in several art institutions.
Critically, Art does not emerge within an aesthetic vacuum. Even informal artists are aware of an influence by the visual representatives in their societies. This principle asserts that, all art can be interpreted with respect to how it is influenced by other art (Barrett 2002). Essentially, the participants are immersed in an inescapable visual culture that influences them consciously and unconsciously. What is important here is that, LIMCAF is central to the evolution of a new artistic thought with dynamic identities which is appropriate in our national creative consciousness. Indeed, it is a productive field of creative endeavour of our youths to vent the challenges of the times.
The activities of LIMCAF have always attracted wide publicity in both print and electronic media. Unmistakably, there is ongoing cherished relationship with media houses for effective advocacy of the LIMCAF vision and mission. Getting all the media attention for its programmes is huge achievement. What more the Executive Director Mr. Kevin Ejiofor himself an elder statesman, veteran broadcaster and astute media administrator hold all the aces. It is in this capacity of effective media attention that the young artist is afforded the opportunity for a good market plan for himself and his art. The social interactions or relationship provide individual artists strong support networks of potential clients or later engagements.
Mindful of the imperative of motivation to evoke interest and enthusiasm or eagerness to participate in its planned activities, LIMCAF has developed intimate relationship with potential and current collectors who frequent the exhibitions with the good reputation of an established business of patronage of the arts. Besides, the complimentary publication of a catalogue for each edition has helped to increase the participant's visibility robust chances of later success.
CONCLUSION
In its entirety, there is an adoption of the inherent possibility of a historical development of art competitions which dates from the beginning of the colonial era. Nevertheless, it is imperative to restore confidence and integrity in the moribund competitions, by reinventing solutions via collaborations/networking. Evidently, Life In My City Art Festival began with the strong objective to revitalize art and culture in our country by instituting a new level of creative critical analysis and receptivity. The fact that participants exercised unrestricted freedom of expression is a reference which remains for us, more than exemplary, it is instructive. More importantly, it is private sector driven for the promotion of entrepreneurship which art engenders and propagates. It has continued to widen its scope by exploring collaborative tendencies for meaningful sustainability with corporate bodies, institutions and government. On a more regular basis, each festival harvests artistic experimentations that project the aesthetic and technology of creative propaganda in our art landscape.
In every celebration, the raising of consciousness of art to the society has rapidly transformed into an instrument for prescribing the silence of conformity and obedience to societal ills. It is clear that a futuristic vision posits only continuous shifts in the patterns of human civilization. LIMCAF is already impacting positively on Nigerian economy through renewable innovations.
Reflecting on the import of Life in My City Art Festival one cannot help but conclude that it is a sensibility for which art and culture exist and have value for life. For over a decade now, it has consistently provided opportunities for young Nigerian artists to engage their imaginations in creative ideas, intense experimentations with various materials (media) and techniques all in divergent stylistic tendencies. By and large, this is readily available only within a sustained awareness of the economic, social and political bases of its presentation/celebration. What more, with the 13th edition in 2019,
LIMCAF organizers have continued to improve the quality and the content of its event; the features could be translated into critical artistic statements for the future. Over all, LIMCAF has demonstrated that it is a strong and reliable creative wheel for the future of Nigerian visual art.
Sculptor Okey Ikenegbu Ph.D
October 2019
