Fine Art as a Tool for Societal Development, and the Dire Need for a Revival

The social nay political direction of any given society will definitely be predicated on the norms and societal values that guide such a community. But when there is a lack of these, it should not come as a surprise to anyone why things do not seem to work. Thus there must be a philosophical direction; there must be certain ideals or national values which a society must uphold in its quest for national development and sustenance. These values are not necessarily packaged in any form of written constitution, but they are qualities and ethical behaviours that the generality of the society cherish and are avowed to defend. Nigeria, I can say definitely lacks this for now.

Watercolour painting by Morgan Nwanguma

In a society whereby it does not matter how you attain positions and climb the social ladder; in a society where mediocrity and nepotism is the order of the day; and in a society where ethnic, religious and tribal leanings are the pre-requisites for decision making and agitations, such a society is next to a failed society. In a society where primitive acquisition rules, there cannot be any meaningful progress, justice and genuine peace. My drift is that there is so much intrinsic value imbued in art that our society can tap from for the upliftment of the human spirit; it is the lifting of the human essence and spirit that paves way for genuine cross fertilisation of ideas and consequently, the fledgling of creative thoughts for the building of a greater larger human society.

Social Re-Engineering and the Need for a National Policy on Art

• Culled from an essay first published in The UNION Newspaper (Sunday March 9, 2014) by the same author  

The business of art is a topic that is hardly discussed or considered in corporate or investment circles in Nigeria. This is evident of the level of unawareness that pervades our entire society. However, it is also a fact that a depressed economy is not exactly a fertile ground for the flowering of a robust art culture; hence it is popular knowledge that art is mostly an elitist meal. A patron of art must have the power of purchase as it were. But that is speaking in the formalistic sense. Suffice it to say however that in everyday human existence there is art, and so in that sense we all are indirectly and unconsciously involved in the patronage and usage of art and artistic creations.

Dr. Nnamdi Asikiwe by Ben Enwonwu

But the issue is that our society is still a fledgling and so we are still grappling with the pedestrian issues of survival and consumption culture. As a people, we wallow in a self imposed life style of distractions, anxiety and disorientation. Among the signposts of development and I dare say, civilisation and modern development, is the level of artistic nay creative awareness and cultural values. By the time a conscious awareness and orientation is built into the system by purposeful policies, it generally rubs off on every sector of societal developmental machinery.

It is sad to say that the spirit and power behind our great artistic heritage and civilisations of the world renowned Igbo Ukwu, Nok, Benin and Ife cultures, etc, were lost somewhere along the line in the course of time. The instrument necessary for the quest for societal change and leadership thrust lie in the letters, art, and an informed sense of aesthetics. The leadership will necessarily employ the instrumentality of these tools in galvanising society. Thus scientists, engineers as well as designers, and technocrats alike, etc, are put to work by a consciously defined timeless philosophy that is built on beauty and taste.

In the advanced climes it is normal, and it is also a matter of policy that every public building have in its plan and construction, provision for artistic embellishment. It is a part of the architectural policy; it is also a part of the landscaping, and tourism policy, for all that it matters. And these will generally include historical, aesthetic, monumental, cultural, and economical considerations and all their implications.

Ideally in this manner, every civic project development ought to have a certain portion (at least one per cent of the total budget) allocated to fund art that will be incorporated into it. A reserve fund also should always be in place at the local council, state, or central government authority, for the consistent fuelling of this vital ingredient for a harmonious interior and public ambience. And the ramifications and advantages are awesome.

Art appreciation and the value of aesthetics as a matter of conscious policy decisions must be inculcated into our leadership and the citizenry to birth this revolution. And by the time this is done, we will begin to see a great attitudinal redirection and changes that will on their own begin to fashion our existence as a civilised people and nation.

Ben Enwonwu

Art personality

Let us take a look as we do a brief feature on art personality. The late Professor Ben Enwonwu easily stands out as a legendary figure on the landscape of contemporary Nigerian Art. As a fresh graduate just out of art school, Enwonwu had the singular rare honour of having the Queen of England visiting his studio and posing for a life-size sculpture.

In July 1937, Kenneth C. Murray exhibited the works of his pioneer students at the Zwemmer Gallery in London and this marked Enwonwu's first representation as an artist in the British Empire. Though not yet a professional, this exhibition earned him favorable recognition in Nigeria and England, as well as encouraging remarks from Rt. Hon. Ormby Gore, then Secretary of State for the Colonies, who performed the opening ceremonies.

Painting by Ben Enwonwu

 In 1938, Enwonwu took part in the Glasgow Empire exhibition and in 1944 he was awarded a Scholarship to study art in the United Kingdom. The Nigerian Colonial Government, the British Council and the Shell Petroleum jointly sponsored this scholarship which came about through a chance meeting with L. N. Harford, then Director of Shell (West Africa) at a one man exhibition of Enwonwu's works in Lagos in 1943.

Enwonwu attended Goldsmith College, London in 1944, Ruskin College, Oxford from 1944 to 1946, and Slade School of Fine Arts of the University of London, from 1946 to 1948. In these institutions, he studied Drawing, Painting and Sculpture, Aesthetics, and History of Western Art and graduated with distinction in sculpture. In 1946, on the invitation of Sir Julian Huxley, Director-General of UNESCO, Enwonwu participated in the Musee d'Art Moderne's International Exhibition of Modern Art held in Paris.

Enwonwu's participation in this exhibition indicates a high level of recognition of his art in the Western critical establishment. Such recognition can in part be attributed to the fact that he was perhaps one of the few African artists operating at that professional level in Britain during this period.