Saturday, January 22, 2011

Service Beyond Self by Bruce Onobrakpeya

By Bruce Onobrakpeya
Bruce Onobrakpeya Foundation


Bruce Onobrakpeya is amongst the founding members of the now famous Zaria Art School popularly Known as the Zaria Revolutionaries. He was also a member of the Mbari Mbayo Art Society in the Early sixties. In 1964 he became a founding member of the Society of Nigerian Artist. Since 1998, he has attempted to give back to Society through the Annual Workshop Series now in its 13th edition, which in part is geared at producing a new generation of art thinkers and practitioners through mentoring.He is also a trustee of the Western Niger Delta University in Nigeria.



Excerpts of Speech first delivered to the Rotary Club in Nigeria in 2006


Service beyond self must be viewed in terms of paying our tribute to people, who regardless of their stations in life, have through their deeds, clearly demonstrated actions, which oftentimes have been called leadership. They go over and above their regular call of duty, by placing themselves in the line of fire, at the risk of personal loss of fortune, reputation, incarceration etc and even loss of life in very extreme circumstances. They abound in our midst, and are those who are seen standing tall and even leaning forward on principles, which impact society positively. These servants have no thoughts whatsoever about personal gain, grandeur or deification. They tower above very many people of their generation as beacons of light, towering above turbulence, and showing the way to safe harbours. Service beyond self must therefore be seen as a rallying cry for good men to stand up in Nigeria to assuage the looming eclipse and crises that threaten to envelop the future of our development as Nigerians.

I will like to start with corporate bodies, NGO’s and associations made up of individuals who are providing services above themselves. We should pay tribute first to the individual who initiates the concepts and then those who tirelessly carry out the aims. I commend the Rotary International for their work in all parts of the world. Organizations like yours are what we need today to assist in meeting the needs of our various communities. Your support within the health sector is most commendable especially in the eradication of polio campaign. it is indeed a testimony to your commitment to selfless service to society.

We pay tribute to the organizers of SOS Motherless Babies Home, to Stella Obasanjo the founder of an establishment which educate physically disadvantaged children.
Also to Kano Nwankwo for the creation of Heart Foundation which cares for children with heart disease and numerous other groups which care for the visually impaired, AID sufferers, the blind, the widows, old people and the mentally ill who roam our streets etc. We must also commend Mrs. Akiuruli for her leadership of NAFDAC. This is a very sensitive position which is a constant fight against those who fake or import drugs that are dangerous to our lives. However, there is still a very big yawning gap to be covered in the health sector. What are we doing about the high cost of medicine, which has now gone beyond the reach of the ordinary person or the lepers that populate our highways? This is a call for more people to direct their resources and energies to saving our people from health problems and to rehabilitate the homeless in our society.

I am aware of an association of Lawyers, Legal Aid Council, who provide free legal services to those who cannot afford the fees. Besides there is the ‘Sunday Sunday medicine’ a NTA network programme on News line made famous by Frank Olise and Abike Dabiri which expose human rights issues and help the poor and oppressed people, including children get justice. Still on corporate group, I like to commend the efforts of the Nigerian conservation Society who are engaged in saving our forests along with the trees, and animals as well as providing parks where the people recreate by wandering through natures paradise. Apart from ecological balance, the forests provide tourist attraction which have high economic potentials.

The mention of tourism immediately brings to our mind Governor Donald Duke of Cross River whom we should commend for creating tourist havens. The Obudu Ranch and the Tinapa projects should serve as inspiration to other states of our beloved country.

We are highly indebted to individuals or groups who are involved in promoting Nigerian culture. To mention a few, Guinness Nigeria Plc, Nigerian Liquefied Natural Gas (NLNG) and Smithcline Beecham have all helped to develop visual art and literature, through exhibitions, art and literary competitions

Many Nigerian languages are at present under utilized and they stand the risk of dying out thereby losing the history, culture and wisdom of the people who speak them. However, visionaries like Architect Majoro have floated the Urhobo Foundation to arrest the loss. They run summer language schools in the country and abroad to teach the children the various languages. These people deserve our commendation.

I will now talk about some individual who are role modes in providing services above self.

Suzanne Wenger Popularly called Adunni Olorisha is now 90 years old. This Austrian born woman who has for 55 years lived and worked in Nigeria using her art to develop the spiritual tradition of the Yoruba, deserves our tribute as one who has rendered service above self. The sacred Oshun groves of Oshogbo with her architecture and monumental sculptures now stand under the protection of the Nigerian government and Unesco having been recently declared a world heritage. The Oshun grove become the center of attraction during yearly festivals which bring in many tourists from Nigeria and abroad to the ancient city of Oshogbo.

Next on my list is Lt. Colonel Francis Adekunle Fajuyi displayed a high sense of courage and selflessness and qualifies to be high on the list of Nigerians who’s service was above self.

In July 1966 when the counter coup d’ etat that ended the first military regime in Nigeria took place, Fajuyi was the military governor of the Western Region, while Major General JTU Aguiyi-Ironsi was the Head of State. Ironsi was on an official visit the Western Region. It is on record that on learning about the coup, Fajuyi did not treasure his own personal safety over that of his commander in chief. When the hour came, he put his life on the line for Ironsi. According to Sen. Adesanya “the various nationalities in Nigeria could pick a lesson or two from the selflessness or heroes like Fajuyi by putting the common good of all above narrow, parochial and selfish interests.”

Another role model that devoted his life to serving his country selflessly was Dr. Tai Solarin. He was famous as a social critic and an educator, however, his greatest contributions to society was his relentless criticism of the Nigerian Military rule, as well as of corruption in the government and church. This inevitably got him in trouble with the authorities. Tai was often jailed for his public remarks. He established the Mayflower school on the 27th January 1956 as a model of an institution “for all children discriminating against none.” He chose the name “Mayflower” after the name of the ship sailed by the pilgrims in 1620, from Europe to America. It therefore evoked images of escaping persecution for a new life of freedom.

He believed that education must include technical skills in order for the nation to be truly industrialized. He made agricultural science a compulsory aspect of Mayflower education. The students once built their own dormitories and they also continue to learn to make cocoa from homegrown beans. They also breed their own pigs as well as plant and harvest their own corn. Affectionately know as “Uncle Tai” by his admirers, he was usually found wearing sneakers, shorts and a khaki hunting cap, leading some to remark that he looked more like a “village eccentric” than a great intellectual.

My next role model is a Scottish lady who at a very young age dedicated her life to bringing Christianity to the people old Calabar. Popularly called Mma Slessor, Mary worked with the communities along the Calabar River in what is now Cross River State of Nigeria in the 19th century. This was before the colonial period. She worked specifically in Duke Town and environs. What is however significant about her work is the fact that she took up a challenge to go to a land that was virtually unknown to the outside world. She did not consider the discomfort to her person, neither was she deterred by the inclement terrain she had to traverse to achieve her goal. According to her official biography, she constantly had to battle with her health as she was often hit by various tropical diseases “…there were many times when it seemed as though she were about to die, but she pulled through. It was a real temptation to forsake this unhealthy area and return to the mists of Scotland.” But Mary did not yield to those temptations. Rather she chose to intensify her drive to bring Christianity to the peoples along the Calabar River. In the process she also helped to bring peace and eradicate some of the unwholesome practices that were prevalent at the time. Other missionaries had come to work on the Calabar River before her, but she was the only one that made the effort to learn the language in order to build the confidence of the people she was anxious to evangelize.

Another person with a similar spirit was Mother Teresa, a nun of Albanian parentage. At the age of eighteen she left her parental home to be a missionary. She joined the Sisters of Loreto, an Irish community of nuns with missions in India. After a few months training in Dublin, she was sent to India, where on May 24, 1931 she took her vows as a nun. From 1931 to 1948 she taught at St. Mary’s High School in Calcutta, but the suffering and poverty she glimpsed outside the convent walls made an impression on her, causing her to request permission to leave the convent and devote herself to working among the poorest of the poor in the slums of Calcutta. Without any funds, she started an open-air school for the children of the slums. Voluntary helpers and financial support later came her way. Her work with these children became the bedrock on which the “Missionaries of Charity” was formed. This has since grown into an international organization. The significance of the life of Mother Teresa lies in the fact that she did not wait until she had the financial wherewithal before embarking on a project like this. The impact of her efforts is that even after she has gone, the work that she started is still going on.

In the same vein, Albert Schweitzer who was the son of a Lutheran pastor became aware of the desperate need for medical care in Africa. Born in Alsace, which is now part of France, Schweitzer graduated from medical school at the age of 37. as a medical doctor, he decided with his wife to open a hospital in Lambarene, Gabon, then a province of French Equatorial Africa. He there after devoted most of his life to providing healthcare universal principle of ethics. By stressing the interdependence and unity of life, he became a forerunner of the environmental and animal welfare movements. In 1953, at the age of 78 Albert Schweitzer was awarded the Nobel Peace Prize.

One can see how the work of one man can actually influence a people, a society, or even a nation, when one considers the life of Mohan K. Gandhi. He is perhaps one of the most remarkable leaders of the 20th century. Gandhi to the people of India is the Mahatma, that is the father of the nation. He earned this title because of his dogged fight to liberate India from political and economic oppression. He however never sought for any personal gain, except perhaps the freedom to live in peace with his fellow man. His concern was more for the emancipation of the Indian people. This he was able to achieve by persuasion rather than force. When Gandhi died, his home country India was a free nation, the disinherited had recovered their heritage and millions had found their voice. The disarmed had won a great battle and in the process a moral force had evolved that compelled attention and to some degree, the admiration, of the world.

Although Gandhi live, suffered and died for Indians, being an Indian himself, it is significant to note that he was essentially a moral force, whose appeal is the conscience of man and therefore universal. He was the servant and friend of man no matter the nation, religion or race. His genius was an infinite capacity for taking pains in fulfillment of a restless moral urge. His life was a continuous striving and relentless search for truth.

In paying tribute to the Mahatma, Albert Einstein wrote ”Generations to come, it maybe, will scarce believe that such a one as this, ever in flesh and blood walked upon this earth.” The importance of Gandhi’s contribution to humanity lies in the fact that he went beyond the call of duty to fight for the freedom of the Indian peoples in South Africa and in his native India. His Spartan existence in which he denied himself of any luxuries – his simple loin clothe, steel-rimmed glasses, rough sandals and toothless smile were his only possessions. He was an exemple of humility. More importantly however he advocated non-violent resistance. He was indeed a man with a strong sense of restraint and discipline. It is his courage to resist oppression in the face of adversity that has earned him the title of the Mahatma which translates to Great Soul.


In America it is said that you don’t change a winning team. That is probably why the great civil rights leader Martin Luther King Jr. adopted the principles enunciated by the Mahatma. He saw how it worked in India and so sought to apply the same principles in the United States. King was noted for his insistence on a non-violent approach to civil disobedience, even in the height of the civil rights movement in America, where others like Malcolm X, were more intent on taking “an eye for an eye.” In championing his cause he submitted himself to arrests, and personal abuse. His home was even bombed. This did not however deter him. Martin Luther King Jr. played such a significant role in the civil rights struggle that he rose to become a member of the executive working committee of the National Association for the Advancement of Colored People (NAACP), the leading organization of its kind in the United States of America

Between 1957 and 1968 King traveled over six million miles and spoke over twenty-five hundred times, appearing wherever there was injustice, protest, and action. He wrote five books as well as numerous articles. He led a massive protest in Birmingham, Alabama, that caught the attention of the whole world. He also directed the peaceful march on Washington D.C., of 250,000 people to whom he delivered his address, “I have a Dream.” In all this time, he was arrested upwards of twenty times and assaulted at least four times. More significantly the work he did to gain equal rights for the minorities in the US are now beginning to bare fruits.

Coming closer home, we look at the life of one of Africa’s greatest patriarchs whose “long walk to freedom” personifies selfless service. Dr. Nelson Mandela, former president of South Africa remains a shining example of one who sacrificed his personal freedom, his private life and his youth, for his people.


Nelson Mandela who was born in 1918 was born in Qunu South Africa, and as a young man after qualifing as a lawyer, was accused of opposing the Apartheid regime which had become institutionalized in South Africa. As an active member of ANC, he revolted against apartheid with extra-ordinary vigour and resilience. In 1962 he was to spend 27 in jail in Robben Island, after he was charged with treason and sabotage against the government., in the process sacrificing his private life and youth for his people.

In 1994 he was released from jail after tremendous pressure from the international community. He became President of S. Africa, where he remains South African in which he was released and the society benefit immensely from a new government policy of racial equality, not only that, after becoming president in South Africa for a couple of years he succeeded in handing power to Thabo Mbeki, a new generation leader. Today he is celebrated as a cultural icon the world over and a compelling example of the power of unflinching faith in extreme situations and forgiveness.

Ken Saro Wiwa
10 years after Ken was put to death by hanging, his name still inspires hope and a spasm of vigour not only in Nigerian youths but, a teeming number of people around the world who clearly identify with his stance on indigence of an area controlling mineral resources produced in these areas.

Conclusion

Service beyond leadership is a clarion call for people to step up to the play in our society and by extension, put themselves on the line of fire, but more importantly inhabit the eye of the turbulent storms of our time.

In some cases there may be physical demise of the hero, but oftentimes the standard and principle which they stood for, and which was tested was never compromised, as they remained in the memory and psyche of the society in they impacted. They bestowed on society new standards in all cases of conduct, of awareness and consciousness which very often stood them out as enduring historical figures in our landscapes.

Saturday, January 8, 2011

2011 Annual Harmattan Workshop Series



2011 HARMATTAN ART WORKSHOP


The 13th Harmattan Workshop Agbarha-Otor 2011

1st and only Session: February 27th - March 12th,

Venue: Niger Delta Cultural Centre, Agbarha-Otor, Delta
State. Nigeria.

WORKSHOP SESSIONS


Painting, Printmaking, Metal Construction, Wood Sculpture,
Stone Carving, Mixed Media, Textiles, Leather Craft, Jewelry,
Drawing, Ceramics and Photography. There will be seminars, film
shows and excursions. (Certificates will be issued to participants.)

WORKSHOP FEES: N25, 000.00 per non student participant;
N15,000.00 per student participant.
$300.00 for international participant.
(Fee covers 2 weeks accommodation and supply of materials only. )

Payments should be made to: Bruce Onobrakpeya Foundation
acct. no.0151050000020 Union Bank.
Only bank tellers evidencing payment would be accepted for registration.

Presentation of Papers

Interested participants who wish to present papers in the Workshop are to apply the Workshop registrar at least 30 days before date of presentation.

For Enquiries contact:
The Director
The Harmattan Workshop
Bruce Onobrakpeya Foundation
41, Oloje Street
Papa Ajao, Mushin, Lagos
Bofound.ng@gmail.com
or
10, Elsie Femi Pearse Street
Victoria Island, Lagos.
0806 079 5466, 0705 634 6458 or 0803 310 0344.

Tuesday, December 21, 2010

Happy Holiday Season


With Very Best Wishes to you for a Merry and Beautiful Christmas

and

2011 New Year full of Joy & Prosperity!

Thank you for your patronage throughout the year.

Sincere Greetings

Harmattan Workshop Gallery

10 Elsie Femi Pearse street,
Victoria island Lagos, Nigeria

website: www.bofoundation.org
Email: Bofound.ng@gmail.com

Tuesday, November 30, 2010

Masterpieces of Nigerian Art

Masterpieces of Nigerian Art Catalogue

Title: Masterpieces of Nigerian Art
Author: Ekpo Eyo
ISBN: 978-878-8204-08-4
Binding: Hard Cover
Year of Publication: 2008
Publisher: Federal Republic of Nigeria

Masterpieces of Nigerian Art is a bold tribute to the artistic heritage of the country's ancestors. The works included in this colourful 255-paged book are spectacular and breath-taking. The quality that shines through this book could only have come from such master art scholar as Prof. Eyo. Works in the book tell the story in its entirety about the great skills, vision and deep thoughts that went into the works. What comes through is a feeling of awe as the reader is drawn to drink deep from the creative wisdom that fashioned them. The two hundred pieces presented in this book are clear testimony to a glorious civilization that the present generation can be proud of, which was by no means primitive.

Thursday, November 11, 2010

Guest Artist of the Month: Midahuen Yves (Midy)



Midy is an emerging West African artist from The Republic of Benin. He
got his initial impetus for creating professionally from training
with Ludovick Fadairo, to whom he was apprenticed for several years.
In artistic circles, Fadairo's name bears with it a mark of
distinction, as he is widely recognized as a master painter. Midy got
further exposure from his academic training in Ghana.

Midy is widely traveled in the West African sub region and has also
featured his works in Paris, France, where he also visited. In Nigeria
his works have been shown at the Harmattan Gallery 2007 and The Art
Expo in 2009 and 2010 respectively.His works have also been featured
at the 2009 edition of ARESUVA, an important biennale of visual arts
which takes place in Abuja

Midy's current works imbibe with it the institutional philosophy of
the Harmattan Workshop Series, an Annual event organized by the Bruce
Onobrakpeya Foundation. At this art gathering and retreat for visual
artists, which he has attended several times, best practices in the
formal, informal and traditional arts are shared with participants.
These ideas serve to sustain and rekindle their artistry and
creativity. Midy's current works show examples of the gains of this
vision and therefore must be commended.

Midy and a host of others artists like Ovraiti and Duke Asidere, who
show demonstrable examples of understanding this important and
critical fusion of best practices in the arts, deserve our support and
commendation. Midy and artists of the Harmattan Workshop
Experience, serve the important role of not just being relevant in our
collective search for community, but also answering the question, by
redefining the issues, of what new Role the Contemporary arts of
Africa must fill, to produce it's most enduring images.


"http://www.addme.com/submission/free-submission-

Sunday, November 7, 2010

Bruce Onobrakpeya on El Anatsui and the Annual Harmattan Workshop Experience

“El Anatsui’s works have not only impacted on several upcoming artists, but his work continues to impact on, even his peers. It is this kind of relevance and creativity that institutionally the Harmattan workshop Series strives to rekindle and replicate in the contemporary art of Africa.”

Prof. Bruce Onobrakpeya in 2009, speaking during the presentation of the Prince Claus Fund Award to the Nigerian/Ghanaian artist El Anatsui at the Dutch Embassy in Victoria Island, Lagos, Nigeria on the 18th of Dec 2009. The award was accompanied by a modest purse of 25,000 euros. This award is widely considered a befitting tribute to the artist whose work, while in Nigeria in the last 35 years has influenced a lot of younger artists.

Tuesday, September 28, 2010

DEVELOPMENT OF NIGERIAN CONTEMPORARY ART SINCE 1960.


DEVELOPMENT OF NIGERIAN CONTEMPORARY ART SINCE 1960.


Beginning from the Nigerian Independence 1960 which is 50
years ago the contemporary Art of Nigeria continue to grow,
striving to be more and more relevant to the people who now
use it as a potential instrument of change.
The Nigerian government, the elites and the ordinary people
appreciate it as a means of passing on folklore, culture
and values; creating identity, effective cultural
diplomacy, a source of renewable wealth, a potent tool for
creating awareness and the development of communities.
Artists are respected and the profession is now
considered a worthy one. Therefore contemporary Nigerian
Art has moved from hobby to big business. And from being
provincial, to world class. However, there are still many
things to be fixed in order to reap the greatest benefits
derivable from art.

Internationally, our contemporary art works have equally
moved from ethnographic shelves to being hung side by side
with the best from all over the world. Within the period,
Nigerian contemporary art works , created at home or in
disapora have not only being entered for the world’s most
prestigious biennales, but have also won the much envied
gold medals. The art works produced by Nigerian artists
today, have now been accepted by the West as both
contemporary and modern, acknowledging the fact that as
members of the global village we have the freedom to draw
from and upgrade our inherited values as well as
domesticate good ideas which are foreign. And that whatever
form or philosophy the contemporary Nigerian art adopts,
the important thing is that it fulfills the role of a
barometer for measuring our times.

The first agent in this continuing development is the
Federal and State governments which set up art schools
institutions and programmes. The independence Trade Fair
which showcased art was one of the programmes which started
off the period under consideration. Works of pioneer
artists like Aina Onabolu, Ben Enwonwu and Akinola Lasekan
were shown side by side with those of younger artists
amongst whom were some students from Zaria (N.C.A.S.T) who
would later be credited with a philosophy that
revolutionized our post independence art.

Furthermore, in 1977 she staged FESTAC which gave the
contemporary art an international focus. This kind of
boast was repeated in recent years, although at a lesser
scale by other international shows called ARESUVA (2008
and 2009). From time to time either working alone, in
partnership with UNESCO or other national governments, the
federal government continue to boast contemporary art with
awards to deserving practioners or to canonize projects or
sites.

Over the past 50 years, private non profit organization
established by individuals have played very important role
in the growth of our contemporary art. Described as
migratory education by Prof. John Agberia because they are
seasonal, art workshops have become forum for informal art
education. Instructive and interactive, skills are
introduced while ideas are shared by all participants
creating freedom for experiments with new materials while
old and dying art forms are revived. And because the
workshops bring artists and other people from all over
Nigeria, West Africa and abroad, it helps to engender
understanding and peace. In many ways it has helped to
upgrade the communities in which they are cited. It was
started in early 60s by Prof. Ulli Beier at the Artists and
Writers Club Ibadan and was later moved to Mbari Mabyo,
Oshogbo and then to Ori Olokun in Ife. Inspired by the
successful experiments other workshops were established at
Asele Institute in Nimo by Uche Okeke, at new Culture
Studio Ibadan by Demas Nwoko and at the Harmattan workshop
Agbarha-Otor by Bruce Onobrakpeya. The workshop as
alternative to academic art education has produced a number
of eminent Nigerian artists.

Some foreign missions in Nigeria, clubs and individuals
have contributed to the development of our art. The
British council, Geothe Institut, USIS, Alliance Francaise,
Italian Cultural Institute, to mention a few, not only
frequently showcased works of promising Nigerian artists
but also sent some of them abroad to study and exhibit. The
“Thursday show” organized by Jean Kennedy and her husband
Dick Wolford passed from one expatriate to another in the
60s and 70s, connecting artists to collectors. Large
Multinational Corporation like Shell, Guiness, Nestle,
Texaco, Ford Foundation and Art House Contemporary Limited
e.t.c and many individuals sponsor art exhibitions give
grants to run workshops as well as publish books and
facilitating other related art activities. In no small
measure, these contributed to the development of
contemporary Nigerian art.

Beginning with Gallery Labac in the 60s, contemporary
Nigerian art today attracts a large number of commercial
art galleries which are gradually developing into secondary
art markets. But by far the greatest impetus to the
development of contemporary art in Nigeria is the imergence
of art auctions. It started with the Nimbus Gallery in
Lagos and in 2008, Art House contemporary limited, under
the directorship of Kavita Challerams floated a second
auction which created supper prizes, setting off a ripples.
Now, contemporary Nigerian art works are being collected
for auctions even in London and New York.

A few very serious collectors all over the country have
emerged and have done the nation good by buying and
retaining good art pieces which should have found their way
out of the country. In the Lagos axis, names like Sam
Olagbaju, Yemisi Shyllon, Apostle John Edokpolo and chief
Odimayo have now become household and are responsible for
the leap in the development.

Religion has always had immense contribution to the
development of art in any given age. It has done the same
for Nigeria within the last 50 years. Christian religion
is clearly on the lead. St. Paul Catholic Church in Ebute
Meta for instance, is like a museum. Sculptures (mainly
carvings) by Fakeye, Osifo, Otoro and the paintings of the
Stations of the Cross by this writer Bruce Onobrakpeya,
draw visitors. The stained glass decoration by Yusuf
Grillo and David Dale are attractions in many of the
churches, Demas Nwoko developed Nigerian architectural
style which he has used to build the Dominican monastry
in Ewu, Delta State.

The other side of the story is that the new churches with
ever increasing population are not encouraging the use of
art particularly those inspired by traditional motifs and
symbols. Some sculptures in public square have been
condemned as fetish and destroyed. These draw backs not
withstanding, there has been resurgence in the celebration
of local festivals and carnivals in our main cities,
bringing back the masquerades thus encouraging the
creation of new art pieces.

Our artists working assiduously at different levels are
important factor in the development of the contemporary
arts. He or she is a teacher, a mentor, a writer, a
documentor, a researcher, an architect, an innovator, a
publisher, curator etc. As a result, there is
collaboration amongst the different discipline of the arts.
The artists have themselves generated considerable
literature to help people understand better what they are
doing, and have contributed new terms like Uli,
plastography, Ibiebe etc to the international art
dictionary.

The media have played a vital role in the growth of the
arts. It criticizes and amplifies what the artist have
created, allowing the messages to reach the larger society.
It makes both the artists and their art works very important
and therefore marketable.

As a concluding part of this sketch one must mention that
the emergence of contemporary art as a force in our overall
development would have yielded more fruits if some aspects
of it have not been neglected. For example, the endowment
policy has not been ratified by the government. Artists
work under poor conditions and no legal backing to make
them claim royalties, particularly those arising from
resale of art works in the secondary markets or auctions.

The country lacks art collection policy and good
infrastructure. Many of our best works are allowed to
leave the country. Corporate bodies and individual are not
given the tax incentives to enable them buy and donate
pieces to galleries and museums. Artist groups
particularly the Society of Nigerian Artists (SNA) which
have membership in almost every state of the federation is
not given adequate subvention to enable it function
property in the country as well as participate in
programmes of International Art Association (IAA). With
these and more gaps filled, Nigerian contemporary art in
this first part of the 21st century will help the country
to attain greater heights.


Bruce Onobrakpeya
July 2010.