Nigeria`s untapped cultural assets get another look

Nigeria`s cultural assets portray a rich traditional and contemporary variety. Due to this diversity of peoples and cultures, the country may well be regarded as the unofficial trustee of the most durable manifestation of black artistic talent.  Nigeria is regarded as the largest   and potential   cultural industries in Africa as stated in an official publication […]

Nigeria`s cultural assets portray a rich traditional and contemporary variety. Due to this diversity of peoples and cultures, the country may well be regarded as the unofficial trustee of the most durable manifestation of black artistic talent.  Nigeria is regarded as the largest   and potential   cultural industries in Africa as stated in an official publication of the Federal Ministry of Tourism, Culture and National Orientation.

Locally and internationally, quite a number of practitioners have attained recognition for their works and performance. Among these are the “Queen of Pottery”, Ladi Kwali (a native of Suleja) who toured Great Britain and Europe in 1963 to demonstrate the art of pottery making in Nigeria; Ben Enwonwu( the master of landscapes), Simon  Okeke, E.O. Okebolu, Erhabor  Emokpae, Bruce Onobrakpeya, E.O. Felix Idubor, Muraina Oyelani, Twin Seven- Seven, the Atilogwu dancers, and the products of the famous Kano dye pits, etc.

A glimpse into some of Nigeria`s cultural assets across the geo-political zones is revealing:

The oldest sculptures found in Nigeria (500B.C-200B.C.) were from southern Zaria and the Benue areas. They consist of terracotta figures and figurines with a high degree of sophistication. Together with other cultural elements, they came to be known as Nok culture. This zone also has the Ebira weaving (Okene), beads and bangle making, pottery making, among others.

In the South-East, there is bronze casting with their elaborate intricate symmetrical designs (dating from the 9th century A.D) in Ugbbo-Ukwu. The casts consist of staff heads, crowns, breast plate, pendants, ornaments, anklets, wristlets and chains. The Akwette weaving (Akwette), metal works (Awka), pottery making (okigwe) are also very popular.

At about the same period, the people of Ife in the South-West were also producing works in bronze, copper and terracotta. This zone is also popular for the Aso-Oke range of fabrics.

Easily the best Nigerian artworks are the Benin antiquities (South-South), which has attracted tremendous local and international recognition. In 1897 alone, following a British Military expedition to Benin, over 2000 Benin Bronzes and ivories were shipped to England and subsequently dispersed around Europe and America.

In the North-West, the leather and tanning products of Sokoto and Kano are also in high demand within and outside the country.

The North-East similarly has an array of beautifully coloured textiles, leather and grass based products, including tops, togas, wrappers, headgears, fans, baskets, tables and floor mats.

In spite of these cultural endowments and potentials, the National Bureau of Statistics (NBS) reports that the contributions of Nigerian cultural industries to the Gross Domestic Products (GDP) have been rather unimpressive. Gross  balance of payment deficits were recorded on such items as hides, leather, fur, wood, charcoal, wood products, foot wear, head gear, umbrellas, feathers, textiles particles, natural pearls, gemstones, other metals works of art, collectors pieces, antiques, amongst others. The wide gap between imports and exports of these cultural products, speaks volumes of the relatively unexplored and undeveloped state of the Nigerian cultural industries. This offers tremendous opportunities for active productive activities in the industries particularly in the rural areas.

Minister  of  Culture, Tourism  and National Orientation  Chief Edem Duke speaking recently  in  Abuja  at  a gathering with culture stakeholders and legislators to sensitize on the ministry`s  activities  regarding developing cultural industries projects in Nigeria  noted that the cultural industries which constitute a formidable cultural   and development  assets  have not been given enough attention and therefore has not made much impact on the rural communities which are skilled in the production of cultural products.

He  said that as  part of the ministry`s plan in this development process, it has decided to identify crafts and other cultural manifestations  in the six-geo political zones of Nigeria, organise the craftsmen into guilds,  arrange workshops and skill acquisition programmes, as well as improve and  provide tools, equipments and raw materials to enhance  their packing and marketing strategies.

Duke   further said that soft loans   would be provided to enhance the production while structures and infrastructures have been put in place to accommodate and help cultural practitioners have enabling environment to ply their trade.

“In pursuance of this, the ministry has constructed and partially equipped 12 cultural industries centres in seven states and the FCT. These   centres are located in Enugu, Sokoto,  Ondo, Edo, Benue,  Taraba, Ogun states and the FCT.    In order to adequately prepare the benefiting communities for effective utilization of the centres, the ministry has lined up capacity building and skills acquisition programmes for the benefitting communities, “ he said.

According to him, preparations are on for the official   commissioning and handing over of the centres to relevant bodies for effective running and management to ensure maximum benefit.

“In the construction of the centres, the ministry also tried to showcase the traditional architectural style of building, this was showcased at the cultural industries centre in Ibi, Taraba State where we have 10 chalets of traditional   style houses. These chalets are purposely   built for the Muyo fishing festival in that locality.

We have also been partnering with some stakeholders in the fashion industry to promote ‘Dress Nigerian’. In November 2011, the ministry organised a “Dress Nigeria workshop/ fashion show” aimed at promoting and developing indigenous Nigerian   fabrics, fashion industry and our models.”

Chief Duke added that special attention would be given to creative artists especially in the areas of   visual arts, traditional folk music, dance, body adornment and craft to promote and   develop indigenous knowledge of the people.

As the culture ministry embarks on all these measures stakeholders and culture enthusiasts are keenly watching for a   positive   reform of the sector.  Hopefully these efforts will not go down as a mere lip service on the part of the government as it has been recorded in the past.