By Anote Ajeluorou
It was always the case that the
arts got and flourished through royal patronage from time immemorial from
Europe to Africa down the ages. In Europe and America, such practice still
subsists and accounts for the blooming of the arts, with governments taking
over the place of royal courts. But in Africa it’s not so any more, with royal
courts and governments becoming ever so distant from the arts.
For example, the royal court of ancient Benin Kingdom, Nigeria, was
renowned for its patronage of the arts, with the Igu bronze-makers supplying
the royal court its decorative wares. It became a trade to which Igu
bronze-makers became dedicated and they produced some of the finest artefacts that
have continued to amaze the world. The same applied to other African royal
courts. But the arts and artists fell into bad times ever since in parts or all
of Africa. Patronage became scarce both from the royal courts and governments
to the dismay of enthusiasts.
But in a rare display of mending the age-old broken bond between the
arts and royalty, Agbogidi, Obi of Onitsha, His Majesty, Nnaemeka Achebe,
last week in his Onitsha GRA home, agreed to be the patron of Enugu-based Life
in My City Art Festival (LIMCAF). In Achebe’s acceptance to be patron of LIMCAF
lay far-reaching affirmation that might yet impact positively in a sector often
seen as an orphan not deserving of attention. But His Majesty’s open
endorsement might yet open doors that had been locked against the cultural
sector that often yearns for needed support. Achebe is also a strong art patron
and enthusiast, who has a wide ranging collection of art works.
It was an uncommon display of humility as Agbogidi Achebe saw his acceptance of offer of patron as his duty
and pleasure. According to him, “My instant decision to support the LIMCAF was
naturally my duty and pleasure. As a royal father, I consider it a duty to
support all laudable initiatives that can edify the human spirit and nature. Also,
coincidentally, I share with all of you, and many more persons, a deep passion
for the visual arts. This confluence of duty and pleasure has resulted in my
happy participation. Thus, notwithstanding my many other commitments, I will do
my best to remain part of this noble initiative, going forward”.
He also expressed pleasure at what LIMCAF was
doing to situate Enugu as a centre for the arts and his plans for increased art
patronage in his Onitsha domain, saying, “I am particularly pleased that the
LIMCAF is contributing to the restoration of Enugu as the regional cultural
centre for the South East of Nigeria. This is only the beginning as the LIMCAF
can do more. As you well know, I am a strong advocate for bringing our arts and
culture to the common man in our smaller towns and villages throughout this
country, as it was in the past. Thus, here in Onitsha, we are leading our own
quiet revolution or evolution in that regard. I already hinted at the palace
project. We have also decided that visual art exhibition will become a
permanent feature of our annual Ofala
festival (this year’s Ofala falls on October
11 -12). Last year, some 50 renowned artists contributed works for the
exhibition and we hope to double that number this year, including artists from
other West African countries and Nigerian artists living and working abroad.
“Personally, I have commenced plans to
eventually build a museum/cultural centre that will become the repository of my
modest art collection and royal paraphernalia for the enjoyment of the general
public. These measures, in addition to the various initiatives of the
government and the private sector, such as the five-star hotel, shopping mall
and Inosi Onira Park, will transform
our quality of life and make this ancient metropolis more inviting to visitors.
I am sure that LIMCAF can also be a catalyst in mobilizing consciousness and
commitment in the artistic and cultural transformation in the entire South
East, if not the whole country”.
Earlier, chairman of LIMCAF, Elder (Dr.) Kalu Uke Kalu, called Obi of
Onitsha’s acceptance to be patron as a historic moment in the life of art in
the country that called for celebration. He stated, “But there is not likely to
be another day quite like today in the history of Life In My City Art Festival.
“For today must mark the first time in the history of the patronage and
development of visual art and the arts in general in Nigeria, most certainly in
Nigeria East of the Niger, when a royal personage – the towering traditional
royal personage of an ancient but also highly modernised and still very
relevant Nigerian institution of royalty, has accepted an official position as
patron for the promotion of art.
“This, we know continues a tradition dating back to olden times when art
only flourished under the patronage of royals. But then interestingly, today
contrasts very much with those times, in that it certainly does not conform in
any way with Samuel Johnson’s reputed definition of a patron as, quote “one who
looks on with unconcern on a man struggling for life in the water, and, when he
has reached ground, encumbers him with help”
“Yes, Life In My City was very much like a man struggling for life in
the water when we came to you in July 2012, but I dare say you had hardly heard
of us at all, let alone look on with unconcern. Indeed, the very opposite was
the case in that you had hardly finished hearing from us before you set the
royal wheels in motion which enabled us to reach ground!
“Therefore today is not so much important for its semblance or
continuance of a tradition dating back to ancient times, as it is important for
a historic breaking of new ground. Where in these climes do we find one of
similar, let alone of equal stature, openly accepting a position of official
CONCERNED patronage of the arts beyond – well beyond the call of duty,
cultural, traditional or otherwise.
“Agbogid! As we see it, Life In My City,
as I have hinted before, is not a hobby. It is not something we are engaged in
because time hangs heavy on our hands. It may have begun somewhat casually; it
may have started as the dream and vision of one man, but now it is our
collective dream and we seek your patronage at this stage of its development
because you have been a practical player in the field even since your college
days. Therefore, it is a big dream for art and for our young people”.
Kalu went on to enumerate the objects of Life In My City art initiative
to include promoting art pan-Nigeria through an annual competition that offers
young people opportunity to showcase and commercialise their productions, win
handsome prizes and interact with the larger art community on a national and
international platform, involving young people in an interactive visual art
fiesta, including art teachers, scholars, writers, connoisseurs and collectors,
which thereby exposes them and enables them
to meaningfully advance their skills while expressing themselves on the
state of their lived environment through their art and creating a notable
national and international art tourism destination in Enugu to complement other
such events and attractions in other parts of the country and thereby contribute through a fresh grassroots
perspective to the growth of art and art tourism”.
Kalu further said the drive for LIMCAF was borne out of love for art and
young people who ultimately benefit, adding, “We gather here today In the name
of and for the sake of art, In the name of and for the sake of young people on
a platform of creativity and the pursuit of inner development”.
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