ARTS & CULTURE

ART X LAGOS 2016: Contemporary Art Finds Firm Footing In West Africa

Published

8 years ago

November 10, 2016

The maiden edition of ART X Lagos took place between the 4^th and 6^th of November at the Civic Centre in Victoria Island, Lagos. The 3-day art fair was designed by TP-Collective to widen Nigeria’s connection to the contemporary art scene across Africa and internationally. ART X Lagos was created to provide the best insight into what the visual art sector in Africa has to offer to a wider local and international audience, and encourage African and international patrons to visit Lagos.

ART X Lagos had a record breaking 5,000 visitors spread over the three days, who got to see the best art works by over 65 African artists such as South Africa’s William Kentridge, Zimbabwe’s Kudzanai Chiurai, Ghana’s Jeremiah Quarshie, Cameroon’s Barthelemy Togou, Mali’s AmadouSanogo and Nigeria’s Sokari Douglas Camp, Rubi Onyiye ChiAmanze, Ade Adekola, Rom Isichiei, Alimi Adewale, George Osodi, Victor Ehikamenor and Lakin Ogunbanwo to name a few.

ART X Lagos was a unique fusion of art, lifestyle and culture. The VIP Opening Preview on the first day witnessed a large turnout of art collectors, artists, gallery owners, film and music celebrities, members of the diplomatic corps, captains of industry, media gurus and A-listers on the social scene. They got to experience first-hand the various works on display. The winner of the ART X Prize was also announced at the Opening Preview, after a rigorous and diligent process that began in September 2016.

Day 2 and 3 of the art fair also witnessed a large turnout of guests who, besides viewing the works on display, were part of ART X Talks- an integral component of the fair’s special programmes. The talks provided a dynamic and vibrant discursive platform to highlight some of the topical issues concerning contemporary art and its evolving infrastructures across the continent. Composed of panel discussions, presentations and conversations, the distinguished list of guest speakers included artists, collectors, curators, gallerists, writers and entrepreneurs, who all engaged in the possibilities of art as a vehicle through which our contemporary experience can be articulated and understood.

Speakers included Nigerian collector, Omooba Yemisi Shyllon, who owns over 6,000 art works, Chief Curator and Director of the Zeitz Museum of Contemporary Art Africa, Cape Town, Mark Coetzee, and Curator at the Tate Modern, London, and Zoe Whitley. Other speakers on the various panels were the renowned artists Professors El Anatsui and Bruce Onabrakpeya, the art patrons Ngozi Edozien and Femi Lijadu, and the cultural entrepreneurs Mo Abudu, Reni Folawiyo and Bolanle Austin-Peters, who brought a wealth of knowledge and experience to the panel discussions.

One program that had guests at the exhibition really excited was ART X Live! which had two components. ART X Live: The Studio curated by A Whitespace Creative Agency, where a collective of emerging artists drew and painted live at the venue! These artists included: Uthman Wahaab, Wura-Natasha Ogunji, Yadichinma Ukoha-Kalu, Osi Itegboje, Stacey Okparavero, Olatunde Alara, Kadara Enyeasi and Karo Akpokiere.
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There was also ART X Live: Intersections, a live art and sound performance installation that fused emerging visual artists and 4 of the fastest rising music artistes, produced by Ikon. Intersections was co-curated by Fatherland Media and A Whitespace Creative Agency, and featured stars such as Vector, Simi, Falana and Poe performing alongside visual artists Yadichinma, Stacey Ravvero, Tunde Alara and Dricky.

Speaking at the closing, Tokini Peterside, ART X Lagos Founder, and Managing Director of TP-Collective, said: ‘The response to ART X Lagos has been simply phenomenal. Over 3 days we have watched visitors from various parts of Nigeria, Africa and the international community, engage with the best contemporary art from around our continent. These visitors were excited by the talent on display, and their reactions to the work and our interactive projects, have solidified our commitment to the mission and ambition of ART X Lagos. We are so motivated by the turn out that we have already begun the journey towards ART X Lagos 2017. We thank our sponsors – Access Bank, 7UP, Anap Jets and Chapel Hill Denham – and our Media Partners and Lifestyle Partners, as well as the galleries and artists, without whom this would have been impossible. We look forward to seeing you next year, as we set out to further reinforce the city of Lagos’ position as a cultural capital in Africa!
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ART X Lagos enjoyed supportive sponsorship from Access Bank, 7UP Bottling Company, ANAP Jets, Chapel Hill Denham, Moёt Hennessy, Neukleos, The Moorhouse Hotel and The Wheatbaker Hotel. There were also a number of partners and media partners including The Guardian, Ebony Life TV, Smooth FM, Beat FM, Trace TV, Africa Magic, Accelerate TV, Bella Naija, Ventures Africa, Pulse, YNaija and many more.

See more photos below…

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ARTS & CULTURE

Why Ancient Africans Were Naked And Didn’t Care About “Decency”

Published

2 days ago

November 16, 2024

Adaeze Okechi

Why Ancient Africans Were Naked And Didn't Care... | fab.ng

In understanding why ancient Africans were naked, it’s essential to consider the practical and cultural factors. The hot climate in many regions, particularly West Africa, made full clothing impractical, leading people to adopt minimal attire.

Additionally, why ancient Africans were naked also ties into the normalcy of nudity in their societies; it was not seen as indecent but rather as a natural part of life.

Moreover, why ancient Africans were naked often related to social customs where clothing was reserved for specific ceremonies or status indicators.

As colonial influences grew, European ideals of modesty reshaped these traditional practices. Nevertheless, understanding why ancient Africans were naked would highlight a deeper connection to their environment, social norms, and identity.

Nigeria’s First Lady, Remi Tinubu, asserts that “nakedness is not in our culture,” reflecting a modern interpretation of cultural values. However, historical evidence reveals that the concept of clothing and nudity in Africa was much more complex and diverse.

Let’s take a detailed look at some of the historical reasons ancient Africans were naked and didn’t care…

1. Clothing in Hot Weather

In ancient African societies, especially in regions like West Africa, the hot and humid climate made it impractical to wear heavy or fully covered clothing.

People adapted to their environment by wearing minimal clothing to stay cool. Women typically wore wrappers around their waists or occasionally over their chests, while men donned aprons or loincloths.

Full-body coverings were rare and often reserved for specific occasions or elder members of the community. The emphasis was on comfort and practicality rather than modesty.

2. Nudity Was Culturally Normal

Contrary to the notion that nudity was taboo, many African cultures viewed it as entirely normal and even symbolic. This acceptance of nudity is reflected in the art of the time, where sculptures, carvings, and masks often depicted the human form in its natural state.

These representations were not considered indecent but rather celebrated as part of the human experience.

Furthermore, even today, several traditional festivals in Nigeria and South Africa feature women participating in rituals while partially or fully nude, emphasizing that nudity was a culturally accepted practice in certain contexts.

3. Ceremonial and Symbolic Clothing

In ancient African societies, clothing was less about everyday modesty and more about symbolism and status. Dress codes were used to indicate social class, gender, or cultural identity.

Jewellery, headgear, and specific garments were reserved for elders, chiefs, or individuals of higher status, while everyday clothing remained minimal for the general population.

During ceremonies such as weddings, people would wear elaborate attire that covered more of their bodies, but this was primarily for symbolic reasons rather than for modesty in daily interactions.

Colonial Influence on African Clothing Norms

The introduction of European colonial rule brought drastic changes to how Africans viewed clothing. Europeans, with their Christian ideals of modesty, often regarded African practices of minimal clothing or nudity as barbaric.

They imposed their standards of dress as part of their broader civilizing mission. This was particularly targeted at women, who were often sexualized and criticized for their traditional attire, or lack thereof.

From the 15th century onwards, as Europeans increased trade and colonization, they brought new fabrics, styles, and notions of modesty. Indigenous African attire evolved, incorporating textiles like cotton, wool, raffia, and later, wax prints.

These wax prints, now synonymous with African fashion (commonly known as Ankara), were not originally African but were influenced by the Dutch colonization of Indonesia in the 19th century.

Africans embraced these textiles and adapted them to fit their cultural identity, eventually making them integral to modern African fashion.

In Conclusion…

Today’s perspectives often emphasize modesty as an intrinsic cultural value. However, historical evidence shows that ancient Africans had a much more fluid and practical approach to clothing.

For them, attire was primarily about status, identity, and specific ceremonies, not necessarily about covering the body for decency.

The shift towards the modern view of modesty largely came about due to colonial influences, which reshaped traditional practices to align with Western standards.

So, while the First Lady’s statement aligns with current societal norms, it doesn’t entirely reflect the historical diversity of African clothing practices.

As it is understood today, the notion of modesty is a relatively recent development influenced by colonialism and the spread of Christianity and Islam across the continent.

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ARTS & CULTURE

Here’s The Interesting Story Behind The Word “Boycott”

Published

1 week ago

November 9, 2024

Adaeze Okechi

Captain Charles Boycott: Story Behind The Word "Boycott" | fab.ng

The term “boycott” is now widely used to describe organized acts of protest where people refuse to engage with a company, product, or country as a form of pressure. While it’s globally accepted today, the word’s origin is surprisingly interesting. It traces back to a British land agent named Captain Charles Boycott.

Who was Captain Charles Boycott?

Captain Charles Boycott, a British land agent working for Lord Erne, a wealthy landowner in Ireland, played a key role in this term’s origin.

In the late 1800s, Ireland was under British rule, and tensions between British landlords and Irish tenant farmers were high.

Many tenant farmers faced unfair practices, including high rents and frequent evictions, especially during economic hardship or crop failures.

In 1880, a year marked by poor harvests, tenant farmers struggled to pay their rent and had no option but to request rent reductions. They hoped their landlords would understand their difficult situation and offer some relief. However, things didn’t go as they had anticipated.

The Conflict with Captain Boycott

In September 1880, tenants on one of Lord Erne’s estates approached Captain Boycott. They asked for reduced rents to help them survive the economic downturn.

To their disappointment, Boycott refused to grant their request and proceeded to evict tenants who couldn’t pay. This response seemed especially harsh, considering the widespread poverty at the time. Consequently, the community decided it was time to take a stand.

Irish politician Charles Stewart Parnell proposed a unique form of resistance at this critical moment. Rather than resorting to violence, he suggested a strategy of social ostracism as a way to protest.

Inspired by his advice, tenants and the entire community began to ignore Captain Boycott entirely. Workers on the estate refused to labour in the fields, local shops stopped serving him, and even the local postman refused to deliver his mail.

The Spread of the ‘Boycott’

The community’s collective action against Boycott escalated quickly, leaving him unable to find anyone willing to harvest the crops on Lord Erne’s estate.

Desperate to salvage the situation, Boycott hired workers from other parts of Ireland, but they required military protection due to hostility from the locals.

This effort became so costly that it far exceeded the value of the crops, highlighting the effectiveness of the community’s stand against unfair treatment.

The unprecedented event attracted significant media coverage. Soon, newspapers across Britain and Ireland began using the term “boycott”. They use it to describe the community’s collective refusal to interact with Boycott.

As news spread, “boycott” rapidly entered the English language as a term for nonviolent resistance through social or economic exclusion.

This form of protest, now known as ‘boycotting’, gained traction far beyond Ireland. It became a powerful tool for people worldwide to stand against injustice.

Captain Charles Boycott died long ago, but people still use his name when they use the term ‘boycott’. It symbolises the power of organized social resistance.

For more articles, check here.

ARTS & CULTURE

Here’s The Tallest Building In Nigeria

Published

2 weeks ago

November 2, 2024

Adaeze Okechi

The Tallest Building In Nigeria | fab.ng

The tallest buildings often shape a city’s skyline, and Lagos, Nigeria’s bustling metropolis, proudly showcases this in its towering structures. Rising above the city, the tallest building in Nigeria, NECOM House, dominates the landscape with its impressive height and unique silhouette.

This iconic landmark, visible from miles away, has not only stood the test of time but continues to represent Lagos’s architectural identity and economic progress.

As the tallest building in Nigeria, NECOM House remains a powerful symbol of the country’s ambitions, offering a historical perspective amidst a modernizing skyline.

Indeed, the tallest building in Nigeria serves as both a structural feat and a testament to the city’s vibrant growth and resilience.

The Tallest Building in Nigeria

NECOM House, previously known as the NITEL Tower and NET Building, proudly holds the title of Nigeria’s tallest building. This impressive structure reaches a height of 160 meters (525 feet) and spans 32 floors, symbolizing Nigeria’s bold architectural pursuits of the 1970s.

Completed in 1979, NECOM House embodied Nigeria’s rapid economic growth and met the country’s telecommunications needs in an era of modernization.

Positioned strategically in Lagos, this towering building served as a hub for telecommunications and broadcasting and also rose high enough to function as a lighthouse beacon for Lagos Harbor—a unique feature among skyscrapers.

At its completion, NECOM House claimed the title of the tallest building in West Africa.

British architects Nickson and Borys designed it with a reinforced concrete frame that represented cutting-edge engineering for high-rise buildings of that time. The Costain Group, a prominent construction company, executed the project, incorporating a mast capable of supporting the heavy telecommunication and broadcasting equipment essential for Nigeria’s expanding communications network.

Despite its impressive stature and engineering, NECOM House has encountered challenges over the years. In 1983, a fire broke out on the upper floors, damaging offices and equipment. However, the building’s robust construction preserved its structural integrity, underscoring its resilience.

After extensive repairs and reinforcements, NECOM House resumed its role as a landmark of Nigeria’s architectural heritage, standing as a testament to the country’s determination and growth.

A Changing Skyline

Although NECOM House remains a significant landmark, Nigeria’s skyline continues to evolve with the development of newer and taller buildings. Notably, Lagos’s emerging financial district, Eko Atlantic, hosts the Champagne Pearl, a 34-floor skyscraper built in 2017.

However, at 134 meters (440 feet), it still falls short of NECOM House’s impressive height. As the city’s skyline grows, NECOM House maintains a unique place in Nigeria’s architectural and historical landscape. Also, it captures the spirit of a generation that sought to make a mark on the world stage.

For more updates, check here.