At 90 with Tales of Diligence and Integrity

Despite stepping back from the spotlight decades ago, Frank Aig-Imoukhuede’s life has been a whirlwind of creativity, activism, and dedication to Nigerian culture. Okechukwu Uwaezuoke writes 

For a man who retired about three decades ago, Frank Abiodun Aig-Imoukhuede has been leading a remarkably active life. Despite keeping a low profile since his retirement, the life of this renowned author of the poetry collection Pidgin Stew and Sufferhead: the Pidgin Poems has been anything but quiet, even as he approaches his 90th birthday on January 8. Take his distinguished career, which is marked by notable achievements, for instance. It includes his serving as chairman of the Scientific Committee of UNESCO on Iron Road projects for Africa from 1995 to 1997 and contributing to the blueprint for Nigeria’s tourism industry as a culture and heritage specialist.

Redefining the cultural landscape has, in any case, been the theme song of Aig-Imoukhuede’s career. A notable instance from the latter part of his career is his work with UNESCO, which was instrumental in protecting and preserving cultural and natural heritage sites globally. Indeed, his tenure coincided with the World Heritage Committee’s 21st session in Naples, Italy, where pressing heritage conservation issues were tackled head-on.

As a consultant, his role was pivotal in shaping Nigeria’s cultural identity. He chaired the review of the Nigerian film policy in 2006, paving the way for a more vibrant film industry. In addition, he also authored a groundbreaking reference book, celebrating Nigeria’s rich cultural diversity through a calendar and database of traditional festivals, spanning all 36 states and the FCT, month by month.

Nurturing a passion for the arts and culture, the 1961 University College Ibadan Bachelor of Arts degree holder in English has a dream. This dream is to see a national theatre from which Nigeria’s rich cultural heritage could be beamed to the world during his lifetime. Despite his valiant efforts, this dream remains unrealised. Undaunted, he made significant strides during the 1988 National Festival of Arts and Culture (NAFEST). Equipped with the country’s best outside broadcasting van and top-notch gear, he revolutionised the festival’s coverage. However, the success of the 1988 NAFEST was marred by piracy, as someone had the bright idea to pirate the footage and sell it.

Keeping the flame of tradition aglow, Aig-Imoukhuede also nurtured a bold vision: to establish the Traditional Wrestling Association of Nigeria (TWAN). He pictured a thrilling spectacle where wrestlers from Niger, Togo, Ghana, and beyond would converge on Nigeria to grapple for glory. Alas, this dream has been—pun intended—pinned to the mat, a casualty of the widespread apathy and lack of support that has unfortunately become all too familiar in Nigeria. 

Not one to let setbacks get him down, Aig-Imoukhuede also had a hand in designing the first purpose-built gallery, the National Gallery of Crafts and Design, within the National Theatre complex. Under his watchful eye, the gallery hosted monthly exhibitions featuring artisans from all over the country. The gallery’s craft shop generated significant revenue, and when the late Mrs. Maryam Babangida launched her Family Support for Rural Women programme, Aig-Imoukhuede’s team set up a store that became the go-to spot for locals and visitors alike. 

Fast forward to his transition from the Arts Council to the Department of Culture, and things took a turn for the worse. His successor introduced a new policy that undermined all the progress he had made, and the initiative began to falter. Within 15 months, the gallery was a ghost town, a shadow of its former self.

Aig-Imoukhuede’s passion for innovation and progress also led him to explore furniture design and ceramics. As the president of the African Assembly of the World Craft Council, he was determined to put Nigerian craftsmanship on the world map. During a trip to Porto, Portugal, he made a significant discovery: Nigeria had a ceramic centre in Enugu. Determined to revive it, he spent months collecting ceramic specimens from across the country. However, the project was ultimately thwarted by the country’s notorious inefficiency and mismanagement. Funds went missing, equipment was never imported, and the project was abandoned. The loss was substantial, with $250,000 remaining unrecovered to this day—a stark reminder of the challenges Aig-Imoukhuede faced in pursuing his dreams.

With a lustrous career in the cultural industry spanning decades, Aig-Imoukhuede made history as Nigeria’s first cultural officer of the Federal Civil Service in 1971. By 1975, he had risen to the position of principal cultural officer, overseeing Nigeria’s participation in the groundbreaking Second World Black and African Festival of Arts and Culture (FESTAC).

Beyond administration, Aig-Imoukhuede’s creative genius also expressed itself in filmmaking. He has written and directed several films and documentaries, including the acclaimed “The Sallah Durbar—A Ballad of Katsina” and “God Dance, Man Dance,” Nigeria’s entry into FESTAC. His lens captures the essence of Nigerian culture, weaving stories that resonate with audiences worldwide. Between 1975 and 1988, he served as Director of the National Council for Arts and Culture, orchestrating state arts councils and the annual National Festival of Arts (NAFEST). His leadership nurtured a thriving cultural ecosystem, fostering creativity and innovation. As Federal Director of Culture from 1988 to 1995, Aig-Imoukhuede continued to shape Nigeria’s cultural identity. His commitment to the arts has been unwavering, earning him a reputation as a champion of cultural development. 

Throughout his illustrious career, Aig-Imoukhuede has chaired numerous national and international committees, sharing his expertise with organisations such as the Nigerian Film Censors Board (1978-1980), the National Directorate of Social Mobilisation (MAMSER) (1987-1990), and the National Commission for Museums and Monuments (1991-1995); Nigerian Copyright Council (1989-1995); Association of Nigerian Authors (ANA) (1984-1995); African Assembly of the World Crafts Council (WCC) (1981-1987), among others.

Aig-Imoukhuede’s passion for Nigerian culture remains steadfast. In a past interview with THISDAY, he decried the devastating impact of hypocritical leaders that prioritise personal financial gain over preserving the country’s rich cultural heritage. The National Theatre, once an iconic symbol of Nigerian brilliance in the performing arts, proclaimed neglect and mismanagement from the rooftops. Despite this, he praised Nollywood for being a beacon attesting to the country’s inexhaustible creativity, despite problems such as saturation and exclusion from prominent international film festivals.

To revitalise Nigeria’s cultural scene, the grand old man of Nigerian cultural community advocates for a shift in focus towards preserving heritage and investing in institutions like the National Theatre, his vision of which includes a vibrant park, mall, and green area celebrating Nigeria’s cultural diversity and promoting artistic innovation. 

Aig-Imoukhuede’s life, meanwhile, reads like a fascinating tale of culture, politics, and resilience. Born in 1935, in the rustic community of Edunabon near Ile-Ife in Osun State, he was raised by his priest father and mother, who hailed from Sabongida-Ora in Edo State. After his father’s passing, his mother’s determination and entrepreneurial spirit broadened his horizons. At University College Ibadan, Aig-Imoukhuede was a force in student politics and creative pursuits, even meeting future leaders like Robert Mugabe. His legacy is a tribute to his tireless efforts, and his hope is to be remembered as a man who worked hard and walked straight.