Mixed Fortunes of Stagnation and Hope

The Nigerian cultural scene looks back on a mixed bag of artistic stagnation, brief flashes of genius, and the deaths of legendary people who contributed to the development of the country’s rich cultural legacy as 2024 draws to a conclusion. Okechukwu Uwaezuoke reports 

As 2024 cringes towards its final moments, it’s hard to ignore that gnawing sense of déjà vu. It has been just another year, just another iteration of the same old stories. And the French phrase “Plus ça change, plus c’est la même chose” (The more things change, the more they stay the same) couldn’t be more apt.

Unfortunately, Nigeria’s cultural scene seems to have been stuck in a rut, lacking the creative spark that should ordinarily define it. Instead of a vibrant mosaic of artistic expression, aficionados are faced with a persistent creative drought that seems to have no end in sight.

That tedium reigns supreme, and innovation is a rare species spotted only occasionally in these creative woods, is an incontrovertible fact. This has become the calling card of this art scene, where exhibitions and festivals meld into a haze of predictability. Yet, like monoliths in a drought-afflicted artscape, events like the +234 Art Fair with its innovative curation, the Abuja Open House with its community-driven approach, and Art X Lagos with its cutting-edge exhibitions, for instance, offer glimmers of hope, injecting much-needed creativity and excitement into the scene.

Hollow and uninspiring, the visual arts subsector is stuck in a rut, churning out works that are about as thought-provoking as a kindergarten finger-painting session. It’s all about introspective expressions, not elevating the audience or inspiring new ideas. No wonder the contemporary art scene is a chaotic mix of commercial appeal and popularity over substance. But then, who needs substance anyway, when a duct-taped banana can be called art? The themes are stale, and even the artists are too self-absorbed to notice they’re part of a larger ecosystem. It’s a Sisyphean task to keep up with the dizzying turnover of exhibitions, leaving one wondering if it’s all just a grand exercise in the Emperor’s New Clothes.

Oddly enough, many artists, despite their best intentions, manage to churn out works that reinforce the very problems they are critiquing. It’s like attempting to extinguish a fire with a flamethrower—a scenario that brings Newton’s third law of motion to mind: every action has an equal and opposite reaction. Or, in artistic terms, every socially conscious artwork has an equal and opposite chance of being utterly counterproductive. This paradox is also evident in literary and performance artists who claim to hold a mirror to society, only to amplify the same ugly trends they’re trying to challenge. Trying to fix a leaky faucet with a blowtorch could not have cut a more ridiculous picture.

Rooted in the understanding of this artistic conundrum is the  long-term quest by visionary artists for alternative approaches. In the late 1950s and early 1960s, the Zaria Art Society, a pioneering artists’ collective, introduced the natural synthesis philosophy to the Nigerian art scene with a view to mining values from indigenous cultures. This movement emphasised the importance of art as a bridge connecting people to their roots, stories, and collective soul. Bruce Onobrakpeya, a founding member of the society, now 92, recently reiterated this philosophy, stating, “Art should be a bridge connecting us to our roots, our stories, and our collective soul… True artistry lies not in the method but in the message it conveys.”

In a literary landscape quite often spiced with tales of doom and gloom, the 2024 Nigeria Literature Prize winner Olubunmi Familoni’s The Road Does Not End shines like a beacon of hope. This refreshingly different narrative sheds light on harsh realities and societal issues but also offers a message of hope and resilience. It’s a breath of fresh air in a scene where books often reinforce negative trends.

Speaking of positive trends, it’s heartening to see visionary artists like Nike Davies-Okundaya, Jimoh Buraimo, and Bruce Onobobrakpeya receiving recognition for their contributions. The U.S. Mission’s endorsement of these artists is a tribute to their impact on the arts and their role in fostering U.S.-Nigeria relations. And let’s not forget other accomplished creatives like Bolanle Austen-Peters, who’s making waves in the film industry. Even the literary luminary like Wole Soyinka, who turned 90 this year, was duly celebrated by the literati, with Koko Kalango’s biography being a standout tribute.

Echoing through the cultural landscape this year, meanwhile, is the profound sense of loss that accompanied the passing of several iconic figures who helped shape Nigeria’s rich heritage. The likes of Tam Fiofori, Chief Femi Esho, Jimi Solanke, and the trailblazing Onyeka Onwenu left an unfillable void; their contributions to the nation’s heritage are now a cherished memory. The more youthful Zino Orara’s departure further dimmed the lights of the cultural firmament, casting a long shadow of sorrow over the nation.