SECTION I
INTRODUCTION
Imagination is more important than knowledge. For knowledge is limited while imagination embraces the whole world
(Albert Einstein)
Since earliest times when humans drew images on the walls of the caves, the arts have been our means of recording our human experience and of making sense of our world. The arts give expression to our understanding, our imagination and our creativity. As the world we inhabit becomes smaller, faster and more competitive, these qualities are increasingly important. The arts are an integral part of a complete, successful and high-quality education. Study of the arts enhances young people's intellectual, personal and social development.
A comprehensive arts education provides a rich and engaging curriculum that develops pupils' abilities to think, reason and understand the world and its cultures. It offers pupils opportunities to respond, perform, and create art forms. The arts instill in our pupils the habits of mind that last a lifetime: analytical skills, the ability to solve problems, perseverance and a drive for excellence. The creative skills children develop through the arts carry them toward new ideas, new experiences and new challenges, as well as offering personal satisfaction. This is the intrinsic value of the arts and it should not be underestimated. Schools and society must develop our children to become happy, well-adjusted citizens, rather than pupils who can just pass a test and get through school. We must ensure that our children can think creatively, skillfully, and "outside the box”. The arts are a vital part of doing this and of ensuring that every pupil can achieve his or her potential and contribute fully to our society and also awaken their dormant faculties.
Festivals, no doubt are a footstool of culture, it acts as a channel through which the wealth, beliefs, customs, language, and dialects are transferred and showcased in their originality and entity. Festivals are special events organized and observed by people to commemorate certain aspect of the culture of a community, with friends and well wishers of the community and often enjoin mass participation of all and sundry. Festivals often create visual images, pleasantries, funs, that stay and create impact in the viewers’ mind. Act of showcasing cultural activities is a means of communication to the young folk, the neighboring community and the world at large, the work of nature, the richness of nature and appreciation of the people to nature. The display of the full culture and heritage of the people of Nigeria is usually colorful, exciting and memorable especially during festivals. Periodic festivals of the people include eyo festival, the durbar, argungu fishing festival, new yam festival of the Igbos and a host of others (The Embassy of Nigeria, Newsletter, 5/26/2010).The purpose of festival is to create an opportunity for people to celebrate, worship as well as perform different cultural rights of the society. Unigbe (2003:102) opines that it is apparent that visual images stay and create an impression in the viewers’ minds; it is faster than any other form of communication. Festivals are celebrated to confirm its relevance to the people concerned and to keep the people abreast of their inception, origin, achievement and propagate their cultural pride (religion, beliefs, values and norms) to the outside world in the progression of tourism activities.
In addition, Festivals are often celebrated to commemorate and pacify the spirit attributed to the different works of nature. Examples of such river spirits could be found in Osun Osogbo and Olokun of the Edos among others. Another category of festival may develop from religion purposes which are other wisely called ritual festivals. Ritual festivals could be perceived as the occasions of the highest manifestation of creativity in traditional, African visual performing arts. In wide range of Nigerian cultures, festivals center round the appearance of elaborate masquerade figures in which the creative genius of the masquerades designer, the dancer and the drummer are manifested during the performance and is all the works of art.
SECTION II
BRIEF HISTORY OF ART FESTIVAL GLOBALLY
An arts festival is a festival that features the arts in a wide sense of the word, not just visual arts. Festivals of visual arts are not to be confused with the commercial art fair. Artists participate in the most important of such festival exhibitions by invitation, and these exhibitions (e.g. the Venice Biennale) are organized by internationally recognized curators chosen by a committee of peers. These international exhibitions must also be distinguished from art fairs, market-oriented gatherings of art dealers and their wares, which have recently emerged as among the most important art-world venues for promoting artists and sales of contemporary art in the present-day super-heated art market.
Probably the two oldest arts festivals are in England. The Three Choirs Festival in the West of England was established as a "yearly musical assembly" by 1719. The other is the Norfolk and Norwich Festival which first took place in 1772. The largest arts festival in England today is the Brighton Festival Fringe. Leading arts festivals include the Edinburgh Festival in Edinburgh, Adelaide Festival of Arts in Adelaide, the Biennale of Sydney, Festival d'Avignon in Avignon, France, and Tongyeong International Music Festival in Tongyeong, Korea and Sanskruti Arts Festival, Upvan, India. One-off arts festivals have included the Liverpool08 European Capital of Culture in 2008. To find out more about UK arts festivals visit the British Arts Festivals Association website www.artsfestivals.co.uk and for European Festivals - the European Festivals Association
In Nigeria, since late 1980s arts festivals have been on the ascendant and are now a mainstay for urban tourism and policy making (Gotham 2005, Prentice and Andersen 2003, Quinn 2010). There is well-established and substantial literature attesting to the significant impacts and benefits generated by these festivals across economic, political and socio-cultural domains (Quinn 2010). Researchers have frequently argued that festivals offer possibilities for crystallizing, galvanizing and articulating local identities and have historically represented opportunities for local agents to act and influence their localized arenas (Bakhtin 1984, Turner 1982, Waade 2002). Today festivals continue to be supported for their identity-enhancing roles, albeit in the increased territorial competition between cities and regions they have increasingly become an instrumental tool for urban revitalization, and for attracting visitors and locals into city spaces through place marketing (Fainstein and Judd 1999, Evans 2001, Pratt 2008, Quinn 2010). The country, Nigeria, is blessed with people of diverse culture and background. This affords her a great endowment of cultural tourists’ attractions, which range from festivals such as “Egungun” masquerades of the Yoruba, chieftaincy / coronation; festivals, such as new yam festival of the Igbo, argungu fishing festival; age group / grade initiations; naming, marriage, and burial ceremonies among others. The art forms and symbols accompanying the celebrations such as clothing and dress items, carved sculptures, calabashes, gongs and even the shrines are enough to captivate the interest of tourists. Indeed, Nigeria has much to offer to the world through its culture than any other resource. Shyllon (2003:176) corroborates that the influence of Nigerian art with other African nations has been so strong that it has caused impression of a cultural upheaval.
SECTION III
CATEGORIZATION OF FESTIVALS
Festivals are categorizated in various forms as it appeal and attract visitors and tourist to the host communities. They are viz: Instrumentalized, Heterotypic, Case studies.
Instrumentalized
In the 1980s, a rising awareness of a connection between culture and economic development appeared, following a shift to entrepreneurialism in urban policies (see Harvey 1989). Culture was now increasingly instrumentalized as an economic asset, a commodity with market value and producer of marketable city spaces (Kong 2000, Garcia 2004, Miles and Paddison 2005). The growth of instrumentalized festivals represents one aspect of the cities’ attempts to advance local visibility and generate added income (Scott 2004). These festivals risk suffering from consumer oriented serial reproduction (Richards and Wilson 2006), and may be linked to the use of festivals in what Hall and Hubbard (1996, p. 162) call a ‘social control logic.’ The aim of this logic is to forge consensus from the locals to attract more consumers/investors to the city, through events that may foster civic pride and galvanize local support (Evans 2005, Quinn 2005).
Heterotrophic
From a cultural point of view, the instrumentalization of festivals has contributed to the idea that contemporary festivals are of little cultural significance, as they are dominated by commercial and ‘unauthentic’ logics (Sassatelli 2008). These dismissive accounts fail to consider contemporary festivals as equally significant in cultural terms as their forebears, being ‘time out of time’ (Bahktin 1984) spaces, replete with possibilities for challenging social conventions, order and authority, and inverting society’s cultural norms (Falassi 1987). The instrumental approach by urban regimes permits little scope for unlocking this potential. The notion of heterotopias was introduced by Foucault in 1967, and has been extended by urbanists and sociologists since. For this purpose I will focus upon Shane and Hetherington’s use of the concept. To Hetherington (1997, p. 40) Heterotopias are spaces ‘in which an alternative social ordering is performed.’ Here ‘a new way of ordering emerges that stands in contrast to the taken-for-granted mundane idea of social order that exists within society’ (Ibid.). To Shane (2005, p. 9) ‘Urban heterotopias are specialized patches, acting as test beds of change.’ Thus, heterotopias are places in the city where existing norms and rationales meet and are discussed, mirrored and turned upside down in search for new potentials (Foucault 1997, Hetherington 1997, Shane 2005).
Case studies
The research focuses upon examples of the heterotypic approach to festivals: Future Everything in Manchester, Metropolis in Copenhagen and Soho Ottakring, SOHO, in Vienna. The selection of the case studies was based on certain characteristics that have been common for the majority of festivals before the current tendency of constructing festivals as merely economic generators (Quinn 2005):
(1) Festivals as bottom-up initiatives with the pre-occupation to meet an artistic need felt by a particular and place-based artistic community.
(2) Festivals that developed organically crystallizing around a small group of highly committed artists and/or arts enthusiasts.
(3) Festivals physically expressing and tangibly reinforcing alternative ideals in the use of unconventional spaces for artistic performances.
By focusing on these criteria I wish to underline that the raison d´être of the case studies represents an alternative to instrumentalized festivals as they build upon the idea of the city as a laboratory for cultural and social experience (in line with Jacobs 1961). Future Everything was founded in 1995 by present director Drew Hemment in order to support the development of the digital sector and electronic music in the UK. Art and digital innovation increasingly became the focus of the festival, as it aimed at exploring mobile and locative art and to take the digital arts out of the galleries and off the screen into the city. Today, the outcome is a festival that focuses on ‘creative practices which engage in network technologies in lived city spaces, and how they suggest alternative possibilities or critical perspectives’ (Hemment 2008). Metropolis was founded in 2007 by present director Trevor Davies as a reaction to what he perceived as a lack of understanding for the development of public space in Copenhagen, and especially the use of art in this regard (Garfield 2010). According to Davies there was a need to give more room to the configuration processes of public space, as opposed to everything being imposed top-down (Ibid.). Thus, Metropolis was launched in order to create platform where artists could work with art in public space, create debate and influence the development of more temporary and interactive approaches to projects in public/urban space.
SOHO was founded in 1999 by present director Ula Schneider, an artist living and working in the Brunnenmarkt, a multi ethnic community in the sixteenth district of Vienna. Schneider had experienced a lack of investment and interest in the area by the city in the 1990s, and got the idea of using the vacant spots as temporary exhibitions possibilities and artist studios. The event quickly turned into an annual festival that was increasingly concerned with the role of art in urban space. It focused on art projects that critically dealt with legible themes within the neighbourhood, and also addressed the physical interventions of city planners in the
Brunnenmarkt, and their effects (Schneider 2008). The aspect of heterotopia is reflected in the aims of the case studies to experiment with alternative urban and cultural strategies. These can be linked to what Swyngedouw (2008) calls the practice of genuine democracy through dissent, contrary to the contemporary pre-dominant to policy-making where disagreement and debate only operate within an overall model of elite consensus and agreement. According to Waterman (1998) heterotopic festivals may thus enable the politically marginal, in this case local artists and artistic community, to express discontent through ritual, thereby restricting their revolutionary impulses to a symbolic form in which the festival acts as a medium of resistance towards the established order. The case studies have got similar aims, but their level of integration in the urban regimes differs widely. By analyzing the different levels of integration of the festivals in the urban regimes I will be able to uncover how the collaboration between the festivals and the urban regime works, what policy rationales are at stake, and how this influences the operational conditions for the festivals.
Concept of Cultural Tourism in Nigeria
Nigerian people are no doubt one nation but heterogeneous in ethnic and cultural composition which inversely turns out to be an asset for cultural tourism. Thousands of cultural sites and products abound in Nigeria; in fact seventy tourist sites have been identified in Nigeria (Online Nigeria Portal, www.onlinenigeria.com). It is a pity to note that due to lack of pride and appreciation, the so called custodians of such cultural assets are yet to realize the importance. In Nigeria today, the institutions of Museum remains a riddle, unappreciated and misunderstood. Some people see it as a place where antiquities or old abandoned things are kept. Another group of people perceive it as deity especially religious fanatics while others, very few, see it as the evidence of life in the past. In essence museums reveal how man has lived and developed over time through his mastery of environment. Museums also foreshadow the background, beliefs, norms, values, adventure, achievement and set backs of man over ages. Modupe and Giwa (1999:45) posit that museums have the universal characteristics of service as gathering places; places of discovery, places to find quiet to contemplate and to be inspired and they can also serve as our collective memory, our chronicle of human creativity, our window on the natural and physical world. Museums represent, certainty in uncertain times, they provide a link between the past, the present and sheds light on the future. Evidence of museum corroborates the fact that our history started before colonialism as against the ethnocentric theory of western scholars that we had no history as a people. Museums help to season our cultural identity and, harmonize our heterogeneity thus strengthening our unity under same governance and one voice. This significance of museums has made the Federal and State government of Nigeria to show keen interest in the development of arts and crafts, though recently. The Nigerian Antiquities service was inaugurated in 1943. In 1953 the antiquities ordinance, No 17, became law. strategy to ensure high preservation of Nigerian Antiquities brought about the building of museums in Owo , Esie (1945); Jos (1952); Ife (1954); Lagos (1957 ); Oron (1958 ); Kano (1960); Kaduna (1972); Benin (1973) . Modupe and Giwa (1999:48) substantiate that, museums are liable for discovering, preserving and studying the traditional material and culture of the various peoples of Nigeria past and present. They carry out archaeological, ethnographic and architectural researches. It was established that Ife bronze has attained significance, the Opa Oranmiyan also at Ile-Ife is an intrigue as it is impressive; the famous Nok Terracotta are ancient vestiges containing interesting antiquities ; the Emotan statue in Benin City is a 1.8 meter bronze statue in memory of a 15th century Benin woman by name Emotan. She saved Oba Ewuare’s life and the throne. This statue compares favorably with the Moremi statue placed at the Ooni’s palace, in Ile-Ife (Akinbileje and Igbaro 2010). Moremi also made her only son a votive sacrifice (ebo èjé) for her god who placed the secret of their enemy (the Igbo) into her hands and thus caused the defeat of the Igbos. Opa Oranmiyan at Ile – Ife which is a stone obelisk of about 4 metres high is also another example of Ile-Ife memorable antiquity. The different cultural richness of the nation’s artifacts, which are innumerable, is now kept in museums at strategic locations in different parts of the country and outside the country.
SECTION IV
INFLUENCE OF FESTIVALS ON CULTURAL TOURISM
Festivals, no doubt are a footstool of culture, it acts as a channel through which the wealth, beliefs, customs, language, and dialects are transferred and showcased in their originality and entity. Festivals are special events organized and observed by people to commemorate certain aspect of the culture of a community, with friends and well wishers of the community and often enjoin mass participation of all and sundry. Festivals often create visual images, pleasantries, fun, that stay and create impact in the viewers’ mind. Act of showcasing cultural activities is a means of communication to the young folk, the neighboring community and the world at large, the work of nature, the richness of nature and appreciation of the people to nature. The display of the full culture and heritage of the people of Nigeria is usually colorful, exciting and memorable especially during festivals. Periodic festivals of the people include eyo festival, the durbar, argungu fishing festival, new yam festival of the Igbos and a host of others (The Embassy of Nigeria, Newsletter, 5/26/2010).The purpose of festival is to create an opportunity for people to celebrate, worship as well as perform different cultural rights of the society. Unigbe (2003:102) opines that it is apparent that visual images stay and create an impression in the viewers’ minds; it is faster than any other form of communication. Festivals are celebrated to confirm its relevance to the people concerned and to keep the people abreast of their inception, origin, achievement and propagate their cultural pride (religion, beliefs, values and norms) to the outside world in the progression of tourism activities. The traditional Africans believe that there is life in everything the Supreme Being creates on earth. Hence there is a spirit in the tree, the river, the mountains or hills, the stone, leaves and, all other works of divine creation. Festivals are often celebrated to commemorate and pacify the spirit attributed to the different works of nature. Examples of such river spirits could be found in Osun Osogbo and Olokun of the Edos among others. Another category of festival may develop from religion purposes which are other wisely called ritual festivals. Ritual festivals could be perceived as the occasions of the highest manifestation of creativity in traditional, African visual performing arts. In wide range of Nigerian cultures, festivals center round the appearance of elaborate masquerade figures in which the creative genius of the masquerades designer, the dancer and the drummer are manifested during the performance.
The Egungun festivals (masquerades) of the Yoruba, the Ekine of the Kalabari, Mmom of the Igbos, Kwaghir of the Benue, Ekpo of the Calabar are all entertaining and intriguing to tourists delight both local and international. Another group of festivals are tagged with season of the year; agricultural products found in bumper harvest during such season e.g. new yam festival of the Igbos and Orisa-Oko festival of the Yoruba are often celebrated at the onset of harvest.
Olosunta festival - Ikere Ekiti
Ikosun festival - Ikosin
Olokun festival - Akure
Argungun festival - Sokoto
Obitun dances festival - Ondo
Ado masquerade festival - Ado – Ekiti
Igogo festival - Owo / Ogani festivsl in umaish
(Bauchi state)
Aringiya festival - Ikare
Igwe festival – Benin
Kunshu festival - Bauchi
Gelawon festival of the - Fulanis
Eyo festival - Lagos
Njuwa Fishing Festival of Bwatiye people of Gongola
Afan festival of Kgoro people of Kaduna
Ovie – Osese festival of Ogori people (Kwara)
Oke Maidens’ festivals - Kwara state (Epe-Opin)
Ogun festival - Ondo
Lisabi festival - Abeokuta
Shaw shadi festival - Among the Fulani
Exorcism (Bori) - Kano
Ofala festival of the Ontisha - Anambra state
Iria festival of the Kalaban - Niger Delta
Igogo festival - Owo
Mbopo festival - Cross River State
Gelede festival - Egbado (Ogun state)
It is necessary to emphasis that the essence of most of these festivals are no more for fetish purpose precisely again. Festivals are often accompanied by funfair as they employ dramatic method and conventions which include rehearsals, use of costumes and props dances, stylized movement, rituals, gestures, dialect, music, displays and they are often crowd pullers. Festivals are adaptable to convey people of common identity and lineage to celebrate and worship as well as perform different cultural traits of the society. In addition, it embraces friends, relations and non indigenes to partake in the fun and blessings that may be draw able from the attendance and participation.
Influence of Tradition and Art Appreciation on Cultural Tourism
“No Nile no Egypt” this is exactly the tie that exists between art and tradition appreciation and cultural tourism. Tradition and arts are on offer in the process of cultural tourism. Summarily, art and tradition are elements (product) of cultural tourism, so, “no art no cultural tourism”. Art and tradition have multi functional value in tourism context, works of art and tradition exert on the observer the author or custodian’s opinion, which is both sensed and realized. The sensation is the first feeling at sight of any art and the emotion may well be both spontaneous and considerable. It comes like a current of electricity which is somehow uncontrollable and unstoppable.
Appreciation of art and tradition can be in two fold; aesthetic and symbolic. The aesthetic reveals the visual gratification and delight which must be complemented by our intellect and emotion. Our intellect in this sense refers to the inquisitive explanation of why art has developed its idiom in different areas and our impression to be left in the psychology of the author of the art and those of the audience for whom they were made. The symbolic on the other hand means the spiritual significance behind the art and tradition, that is, the consecration bestowed on the art; for worship, ritual or sacrificial purposes. The abundance of cultural features in Nigeria makes it a prospective tourism destination. Despite its status as a developing country, Nigeria is blessed with uncountable varied cultural traits that are capable of turning its vision of tourism destination to reality. Modupe and Giwa (1998:7) opine that there is no doubt that Nigeria has great tourist wealth and its cultural tourism products are capable of attracting all categories of tourists thus, the potential is great for tourism development in Nigeria. It will be of great influence on cultural tourism if now; there can be re-orientation of ideology toward cultural assets
The role of directors in promoting Arts Festivals in Nigeria
It is abysmal and disheartening to observe that Nigeria is depleted of parts of its cultural treasury to looters. It is delighted to deduce that these assets (arts, festivals and traditions) are indispensable to our cultural pride and are potential assets to tourism, which has recently become world’s “gold mine”. The major role of directors in promoting Arts festivals are highlighted thus:
Ø Preservation of Culture: they make sure that our cultures and traditions are preserved for posterity which will help to tell the younger generations who their forth fathers where and where they came from.
Ø Promotion of the festival: they also project and promote these festivals to international world by making sure that the major festivals in the country are properly packaged for the visitors and tourist delight.
Ø They also establish administrative structure as well as the provision of funds for its implementation.
Ø They also help to promote and develop relevant curricula aimed at integrating Nigeria’s culture into educational system at all level.
Ø They also sponsor and undertake research into all aspect of Nigeria’s arts, festivals and culture.
Conclusion
Recently festivals are considered to contribute significantly to the cultural and economic development wealth of Nigeria; they have major impact on the development of cultural tourism to the host communities. The festival organizers are now using the historical and cultural themes to develop the annual events to attract visitors and creating cultural image in the host cities by holding festivals in the community settings. The desire for festivals and events is not specifically designed to address the needs for any one particular group. The hosting of events is often developed because of the tourism and economic opportunities addition to social and cultural benefits. Many researchers have contested that local community’s plays vital role in development of tourism through festival. Arts festivals have the potential to generate a vast amount of tourism when they cater to out-of-region visitors, grants, or sponsorship's, of direct or indirect intent. Government now support and promote events as part of their strategies for economic development, nation building and cultural tourism. The events in turn are seen as important tool for attracting visitors and building image within different communities and the world in general. The pride of every country is the uniqueness of their arts, festival and culture. So is the duty of each and every one of us to protect, promote, preserve and conserve that which makes us different from other. Our culture is our pride lets protect it….. .
By
Johnpaul Ezeani
07017895370
Travel & Tourism Consultant
Enugu State Tourism Board
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