Issue 4: The Role of Art In Social Issues
Inside this issue: a review of Onyeka Onwenu's "Nigeria: A Squandering Of Riches", focusing on the role of art in portraying social evils and an interview with a special kind of artist.
In 1984, BBC/NTA produced a documentary: “Nigeria: A Squandering Of Riches”, presented and written by Nigerian singer and journalist, Onyeka Onwenu. Produced only 24 years after Nigeria got her independence in 1960, the documentary explored the state of Nigeria before the military coup of December 1983. It went nose-deep into corruption and other problems that we still face today. We hear some of these problems in the opening scene that shows Buhari reading a speech from the press conference that took place after the military coup that toppled then president, Alhaji Shehu Shagari. He says: “fraud, indiscipline, corruption, squandermania, misuse and abuse of public office for self or group aggrandisement… will be dealt with ruthlessly...” The rest of the speech pledged to resuscitate the Nigerian economy by ending the corruption and economic mismanagement. (You won’t find this in the documentary.)
The irony. Over 35 years ago, yet, we still battle with these problems.
To tell the story properly, the documentary featured a wide range of people and places. By travelling across Nigeria, Onyeka Onwenwu was able to show different economic classes, marketplaces, the way the affluent live(d). She spoke to bankers, authors, street traders and farmers to capture the mood of the people and to shed light on the economy and governmental corruption.
The documentary incorporated short clips from satirical plays used mostly to buttress the points. In one satirical drama scene, a business man discussed the struggle he faced in getting import licences for his car business. Neither the ministry nor the task force in charge of import licences was willing to help. He got a breakthrough when a woman told him that she had an import licence for 1000 cars. “It could be yours if you can pay the right price”. When he asked how she got it, she told him the “the right connection and the right party card”.
The documentary ends with a near depressing yet tender song that longs for a solution: ‘In The Morning Light’.
Literature, art and music have always been used to advocate social change or to illustrate (and mirror) social ills. These forms are used for several reasons, but one reason I like is around ‘voice’. I’ve written about a kind of evil that does nothing in the face of oppression. But there’s something else silence does: it confirms oppression. “The ability to speak out is too often a luxury of the privileged.” Art provides a universal language that gives voice to individuals and communities.
If you’re however going to infuse social issues in your art, especially something like literature, it’s important not to be preachy, you don’t want the ‘message’ to be too on the nose. That said, go watch Nigeria: A Squandering Of Riches, Onyeka Onwenu did a stunning job.
Thought’s Day
Here’s a thought: doing the work is NEVER enough. For the process to make sense, it needs to be wholesome. There’s consistency, there’s learning to be better (through feedback and studying), there’s talking about the work that you do as often as you can. This last part is important, but often neglected. The loudest (not necessarily the best) people get recognised. So talk about yourself, not just because you want to celebrate your achievements or feel good about your work but because your work won’t always speak for itself.
PSA: You should read my new story “The Caller” published on Lolwe here. I hope you enjoy it as much as I enjoyed writing it. Or more.
Thursday Tip
Today’s tip is for writers. Last week, Ifesinachi told us how she reads, ‘carefully’, in order to figure out the author’s vision and what they are doing on the page to realise it. It’s something that writers learn at writing workshops, but is not often said to beginners.
If the one rule for writers is to read in order to become better writers, how should they read? What should they read? Tolu Daniel and I talk about this in our Creative Writing Handbook — on the need to read deliberately.
Spotlight Thursday
In our spotlight section this week, you’ll meet Oshomah Abubakar who is an awesome friend and artist. I use the word ‘artist’ loosely because he wears a ton of hats. He’s a motion designer and illustrator. You know all those fancy illustrations and animations you see on Cowrywise? He made them. You know that cool signature at the end of this letter? He made it.
Ope: How did you get into motion design and illustration?
Osh: It started out as a project. I felt like I wasn't fulfilling my purpose with the job I was doing at the time. I wanted more. So I pushed myself to create something everyday for 100 days. It started out as very wacky illustrations. Within three years it graduated to animated pieces that informed the trajectory of my career.
Ope: Wow. 100 days. Talk about consistency. What are some things you keep in mind when creating? Take for instance the illustration you made for my story "The Caller"
Osh: Emotion. No matter how good you are at illustrating, if you can't convey emotion in your piece, you might not communicate with the audience. For the illustration I made for "The Caller"I wanted to convey that moment of sinful euphoria that engulfs a person when they reach orgasm. I had to find a way to make it feel good and dirty at the same time. As creatives, we are constantly stretching the limits of our creative expression. If we don't dare to reach those limits, we may never find fulfillment.
Ope: Where do animation and illustration fit into art?
Osh: Both are forms of visual expression that evoke emotion from the observer. Sometimes they can be provocative, calming or just plain boring. Art forms are unlimited and these forms are just a part of it. We are in a digital era where art galleries are on our phones via Instagram or wherever you can find art.
Ope: I like that you mention provocative. What would you say is the place of social activism in your work?
Osh: I've always wanted to use my art to raise awareness about issues that plague society. I've created some pieces that speak to this and have some in the works as well. There was a piece I did for Google on World Hijab Day that celebrated famous Muslim women. Many Muslim women are seen through the lens of their clothing alone. They are seen as oppressed or illiterates who don't know their rights. That’s false. I've also created a piece on the war (Massacre) in Yemen. I have created pieces on the state of affairs in Nigeria. I'm a big fan of Fela and his activism.
Ope: Glad you mention Fela. What are some other things or people that motivate your creation process?
Osh: It could be a story I read or a movie I watched. I remember when ‘Black Panther’ first came out and everyone went wild because it was the first time (ish) we got an African superhero on the big screen. I created a series of illustrations to celebrate the feat. Other times, my experiences inspire a piece. The latest piece I worked on was from a friend's photo. I really loved the photo so I added my twist to it. I'm always observing and looking out for things that would give life extra colour.
Ope: Just like every creator should. You can recreate one artwork by someone dead or alive. What are you recreating?
Osh: It's a photograph. It has been stuck in my head for over a year now. It's a man holding a sling, mid swing about to hurl a pebble at some soldiers from the Israeli army. He is shirtless and there's smoke everywhere. Someone behind him is holding the Palestinian flag. I wish I saved that photo. That's what I would love to recreate. It's almost biblical and ironic at the same time. David and Goliath. I'd take my time with it for sure. Give it the treatment it deserves.
Thank you for making it to the end of this letter. I hope you’re well and keeping safe. I also hope these letters have been useful to you. Till the next Thoughts Day!