Reinventing FESTAC ‘77, 40 years after

Recently, the Director-General, Centre for Black and African Arts and Civilisation, Dr Ferdinand Anikwe, revealed plans to celebrate 40th anniversary of Festac ’77. TOPE MUSOWO revisits the hosting of FESTAC ’77, in Lagos, about 40 years ago, and wonders if the subsisting doubts about government’s efforts to reinvent the festival will eventually give way
FESTAC origin
The first World Black and African Festival of Arts and Culture took place in Dakar, Senegal in the year 1966. But from January 15 to February 12, 1977, Lagos state in south west Nigeria played host to about 16,000 participants from 56 African countries in what was the Second World Black and African Festival of Arts and Culture, Festac ‘77.
It was meant to showcase to the world the rich African culture through music, fine art, literature, drama, dance and religion.
Historically, the festival was borne out of the idea of Negritude and Pan Africanism to promote Black culture and civilization.
At the end of the first festival that held in Dakar in 1966, Nigeria was invited to hold the second festival in 1970 so as to promote a continuation of black unity through cultural festivals. However, the Civil War and changes in government led to the postponing of the festival to 1977.
At the time it was held, it was the largest pan-African gathering to ever take place.
The desire to improve on the Dakar festival led to Nigeria’s intention to create an extravagant show fuelled by new-found oil money. This was during the regime of former President Olusegun Obasanjo as the then military head of state.

Why the Festival in the first place?
Many people are of the opinion that the there was no need for the festival but the following were the aims of organising such historical event.
Meanwhile, it was believed by the organisers that the Festival was necessary based on the following:
Ensure the revival, resurgence, propagation and promotion of Black and African culture and black and African cultural values and civilization;
To present black and African culture in its highest and widest conception;
To bring to light the diverse contributions of black and African peoples to the universal currents of thought and arts;
To promote black and African artists, performers and writers and facilitate their world acceptance and their access to world outlets; To promote better international and interracial understanding, and To facilitate a periodic return to origin in Africa by black artists, writers and performers uprooted to other continents.

Emblem
The emblem of the festival was the royal ivory mask of Benin.

Controversies
Is Festac ‘77 responsible for Nigerian current woes?
The historical event has been greeted with criticisms, particularly the belief that Festac 77 was the genesis of Nigerian current problems, because, according to observers when God blessed the country with the discovery of oil, instead of knowing God with this blessing, the nation used its wealth to promote idol and forget God.
A cleric, Prophet Chris Okafor, who is the General Overseer of Liberation City Ministry, is of the opinion that the “handing over of the nation to idols “ in 77 caused our problems and we should not blame it on any group: “Is Boko Haram also responsible for the incessant kidnapping in the South-South, the corruption permeating the society, high incidence of robberies and other social evils bedevilling the country?” he queried.
He made these assertions during a thanksgiving at the church headquarters in Ojodu-Berger area of Lagos, and in remembrance of his kidnap last year in the south-eastern part of the country during which one of his police orderlies was killed.
Okafor said the nation’s problems could actually be traced to 1977 “when the then Head of State, Chief Olusegun Obasanjo, invited people to bring their idols from different parts of the world to Nigeria in the name of celebrating FESTAC 77.
“Just as Obasanjo gathered different idols in 1977 in Nigeria and glorified them, Christians too, with the support of the President, must gather, raise a standard and cleanse the land of all ties and association with idols”, Okafor said.
Other Nigerians also believed the Festival was a needles jamboree that gulped so much money that should have been put to better use.
For instance, the festival committee purchased a total of 2,003 (two thousand and three) 45-seater luxury buses and 91 (ninety-one) 26-seater buses for logistics reasons. One reason was the Durbar festival that was staged in Kaduna, a city that is more than 700 kilometers from Lagos but this and other expenses were seen as a waste by many.

In Defence of Festac ‘77
Against all the criticisms, it was believed that the Festival really gave Nigeria the opportunity of showcasing her rich culture, and afforded people the opportunity of talent exhibition.
For example, the colloquium was at the heart of the festival, and was held daily during first two weeks of activities. About 700 writers, artists and scholars participated in the lectures. The declared purpose of the colloquium was to seek answers to the questions of how to revive and foster black and African artists and how to facilitate international acceptance and access to outlets.
The boat regatta was another event staged far from the common venues but, unlike the durbar, the regatta was staged in Lagos. The regatta was a three-day event performed at Queen’s Drive foreshore in Ikoyi, Lagos. Participants were principally from Nigeria and the states represented were Edo, Cross River, Imo, Kwara, Ogun, Ondo and Lagos states. Each boat had an assemble of musicians, acrobats or masquerades and dancers. More than 200 boats were involved in the event.

Art exhibitions
Several art exhibitions took place at the National Theatre, at the Nigerian National Museum and around Tafawa Balewa Square. At the Square, each country represented at the festival was given a booth to exhibit their paintings, musical instruments, woven cloths, books and art objects. Some other notable exhibitions that took place were Africa and the Origin of Man, which was held at the National Theatre, and Ekpo Eyo’s 2000 Years of Nigerian Art, which included Nok terracottas, Benin court art, Igbo Ukwu, Ife and Tsoedebronzes and art objects. A contemporary Nigerian exhibit featuring works from Bruce Onobrakpeya, Ben Enwonwu, Yusuf Grillo, Uche Okeke and Kolade Oshinowo was also part of the event.
A display of African architectural technology also took place at the National Theatre, the display included paintings, drawings, and models showing different architectural themes such as bancomasonry structures, tensile structure and the Berber Courtyard of Matmata.
It was also believed that it was possible for Nigeria to play host to over 16,000 participants from different countries without any positive impact on Nigerian economy.
More so, all the infrastructure built for the purpose of the Festival were not taken away by the participated countries, they remain national monuments that are still useful till date.
The hosting of the festival led to the establishment of the Nigerian National Council of Arts and Culture, Festac Village and the National Theatre, Iganmu, Lagos. Most of the events where held in four main venues: the National Theatre, National Stadium, Surulere, Lagos City Hall and Tafawa Balewa Square.
The DG, Centre for Black and African Arts and Civilisation, Dr Ferdinand Anikwe, announced recently, that Nigeria will celebrate the 40th anniversary of Festac 77 next year, 2018.
While he was unveiling activities for “Festac 77 at 40’’ in Lagos, Anikwe said that the year-long event would attract local and international tourists.
According to him, “Festac 77 at 40’’ will provide a veritable platform for Nigerian artists to showcase their talents to the world, especially blacks in the Diaspora.
The event as he said would kick off at the International Conference Centre, Abuja, to celebrate everything that represented the Nigerian culture, both at home and the Diaspora.
Anikwe also added, “Festac 77 at 40 will be a huge and mega celebration of our arts, crafts, relics, monuments and cultural practices.
Interestingly, he said that there would be nights of memories when clips of Festac 77 would be played to bring back memories from the monumental celebration of blacks and African cultural heritage.
“We want to re-enact Festac 77 and encourage young artists to take up opportunities provided by Festac.

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