NEA not a reality due to disorientation/disorganization

Chief Joe Musa a professional artist and erstwhile Director-General of the National Gallery of Arts in an interview with Pilot correspondent Gloria Ikibah throws more light on the National Endowment for the Arts and why it has not become a reality.

Excerpt

Nothing is more appropriate at this time in Black and African history than the re-discovery of those cultural-economic possibilities through a deliberate well contrived system for the benefit of the entire sector. And the setting up of the NEA plays a major role.

What is the National Endowment fund for Arts and how did this come about?

The National Endowment for the Arts (NEA) is not truly in all sincerity a novel national idea. There is already one existing in the United States of America. It is supposed to be an independent agency, a public agency actually that ought to offer support and funding for projects exhibiting artistic excellence. Its operational scope ought to cover providing for the new and established; bringing the arts to all Nigerians; and providing leadership in arts education. Conceptually, it is an excellent idea structured to fund the various aspects of the arts; it is supposed to be the largest national funder of the arts. Take particular note of my deliberate choice of words “it is supposed to be” and “it ought to be” meaning, in the Nigerian sense of it, we are still hoping and dreaming that it may become a reality.

If it is well structured, it ought to exist as an independent agency. However due to the insincerity of those who ought to birth it along these lines, they continue to throw spanners in the works. Hence it continues to stall. The Federal Ministry of Tourism, Culture and National Orientation has since the time of Ms. Boma Bromillow-Jack instituted a committee towards the realization of the noble idea. However, all such meetings and ad hoc sessions towards this goal have unfortunately not left the planning to the implementation stage.

Should this become a reality, projects seeking for such artistic intervention will range from artist residencies in schools to museum exhibitions, Internet initiatives, literary fellowships, national tours, international exchanges, theater festivals, design competitions, folk arts, historic preservation, and much more. The NEA will provide critical seed funds to develop art organizations across the country.  Through direct grants, partnerships, research, and initiatives, the NEA will act as a catalyst and take a leadership role in arts education for pre-K through grade 12 students, increasing opportunities outside of school settings for additional arts learning. On how it has come to be, my response is that, it has never come to be. It is still a pipe dream in Nigeria. But believe me it is a laudable idea.

Why has the National Endowment fund for art not started and what could be the possible reasons?

It has not been implemented due to the disorganization and disorientation within our system. Many call it the Nigerian factor. But I do not think so. It is simply the promotion of mediocrity that continues to hinder growth. It is debilitating and this shows the implementer’s lack of sincerity of purpose. The main issue is that the Federal Ministry of Tourism, Culture and National Orientation want to create the programme; NEA as department and shove it in one corner. This is a very wrong and gross approach. What the Ministry need to do in all honesty to first institutionalize the NEA through the relevant laws as an independent public agency. The NEA can never operate under any existing agency within the Ministry of Culture, but rather must be set up independently to stand alone on its own and run parallel. To avoid the deadening and cancerous development noticeable within that sector, you must be wise to distinguish it from its parent ministry or else the cancer will kill it before it is birthed. From there you may now go further to the issue of a good hand to set it up along the initial guidelines proffered by Prof. Duro Oni and his team, of course with slight modifications.

Another way of seeing this from a different stand point on why the NEA is not yet on stream is this; borrowing a leaf from one of my old banker friends, Mr. Basil Ezegbu that when you see two men fighting, it is simply the issue of money that is at stake. Now with all the structures ready and on ground for the programme to go full steam, should the Culture and Tourism Ministry warehouse it, it then means that a chunk of their annual 5 - 6 Billion Naira will be reduced. Let’s say 2 Billion is given to the NEA if the Ministry plays host, then the Ministry’s money is considerable halved. The Ministry does not want this. Hence the NEA file continues to dance atilogwu any time this discussion crops up.

A good funding programme of N7bn should be instituted. This then means that N5bn of that amount is given out annually as grants to the artists for the first 4 years. This should be raised another 100% in another 5 years. Certainly there will be performance indices to measure the development process.

How can these help in the growth of arts in Nigeria and what are the possible benefits?

The International Monetary Fund (IMF) Report of 1999 revealed that in terms of Global export earnings in 1988; International Culture and Tourism topped the table with an income of US $504 billion. Petroleum and allied products generated US $435 billion and ranking fifth behind automobile, chemicals and food. Current statistics indicate that the rising profile of culture and tourism will remain unstoppable for the foreseeable future.

Should this great idea be implemented, then the NEA grants will have a powerful multiplying effect. With each grant typically generating up to seven times more money in matching grants. No other federal agency or private organization can facilitate nationwide access to exceptional art. The ricocheting effect will be phenomenal.

Nothing is more appropriate at this time in Black and African history than the re-discovery of those cultural-economic possibilities through a deliberate well contrived system for the benefit of the entire sector. And the setting up of the NEA plays a major role.

What do you think has been the reason for the low/bad performance in the art industry so far?

In one word let me use the quote from Enotie Ogbebor as reported by Uwaezuoke Okechukwu of Thisday: “the sector must shed its lackluster image to be seriously reckoned with”.

Historically, recall that in 1977, African leaders gathered to celebrate the second world black and African Festival of Arts and Culture, (FESTAC) with the expectation that their objectives with this festival will help obliterate the cultural values of the Black and African race, that is, that the abandonment of the “museum approach” to African culture; in terms of pre-historic objects to be occasionally dusted, displayed, and studied instead of as a living thing containing and portraying the ethos of our peoples.

Since we are dwelling on the visual arts, this argument agrees with the now common maxim of the visual art profession maintaining the underdog tag among other professional bodies. The sub-sector unfortunately was not seen to be doing anything purposefully to advance itself. Worst still is that government has not deliberately designed favourable policies for the sector in its national developmental programmes, like the 1988 Cultural policy we just talked about. The lack of concern and apathy for this sub-sector is still very strong!

Would you say that the institutions responsible for the growth of arts/artist in Nigeria have failed?

A major contending challenge of Parastatals in the arts and Culture subsector is the square-peg-round-hole syndrome: an issue that is bedeviling most Nigerian agencies. Added to this is the group-factor mitigating against the speedy development of the agency itself. The existence of strong groups has continued to have a detrimental effect on the organisation.  Groups put forward their own interest at the expense of the organisation as a whole and most times use this deliberately to slow the engine process.

Art appreciation is on an all-time low in comparison with what is taking place in other developed climes. Parents would rather prefer their children and wards to opt for the Sciences than the Arts. Educating the public on the relevance of the sector becomes more paramount.  Additionally, there are some general principles of organisation, but the application of them is constantly interrupted by short-term political considerations. In my experience politicians have contempt for good organisation. Yes they have failed in this respect.

What is the way forward if the Nations art industry must grow?

Artists must take control of the driver seat of their various sub sectors for better assertion and the avoidance of social polarization.

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