DOCSLIB.ORG

Contents •J.D

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Centre for Contemporary Art, Lagos (CCA,Lagos) is an independent non-profit making visual art or- September ganisation set up in December 2007 to provide a platform for the development, presentation, and Newsletter N°10 December 2010 discussion of contemporary visual art and culture. It seeks to create new audiences and to prioritise [ ] media such as photography, animation, film and video, and performance art which have been under- Become a friend! represented in Nigeria. CCA,Lagos supports the intellectual and critical development of different Become art and culture practitioners through talks, seminars, workshops and exhibitions. In addition it a Supporter! encourages and promotes the professionalisation of production and curatorship in Nigeria Become a part and West Africa collaborating with artists, curators, writers, theorists and national of our world! and international organisations. Centre for Contemporary Art, Lagos E: [email protected] 9 McEwen Street, Sabo, Yaba, Lagos, Nigeria. W: www.ccalagos.org T:+234 (0)702 836 7106 Look Inside > > International Residencies > Forthcoming and Past Programmes > Artist Focus: Otobong Nkanga > Portfolio@CCA, Lagos > Art, Fashion and Identity: Karo Akpokiere > Contemporary African Art-Language, Dialect or Accent? by Antawan I. Byrd > Cosmolocalism: The Audacity of Place by Ruth Simbao > Invisible Borders 2010 > and more… Editors: Bisi Silva & Antawan I. Byrd / Contributing Editors: Jude Anogwih and Oyinda Fakeye Contributors: Ronke Adeola - Invinsible Borders 2010 - Karo Akpokiere - Jimoh Ganiyu Akinloye - Hansi Loren Momodou - Otobong Nkanga - Adewale Osoneye - Ijeoma Uche-Okeke - Ruth Simbao. Designer: Fabrice Lecouffe - witgraphicdesign.blogspot.com / Cover Image: Jude Anogwih and Adewale Osoneye. 1960-Independence Map (2010) / Edition: 1000 CCA,Lagos is published three times a year by Centre for Contemporary Art, Lagos - 9 McEwen Street, Sabo, Yaba, Lagos, Nigeria / © Centre for Contemporary Art, Lagos Please direct comments and inquires to [email protected] or call +234 (0)702 836 7106 Board of Trustees: El Anatsui - Joke Jacobs - Valerie Edozien-Nwogbe We gratefully acknowledge the support Kehinde Oyeleke - Bisi Silva, Director. of AECID through the Spanish Embassy in Nigeria. p1/ •Welcome •Past Programmes •Contemporary African p3/ •Art, Fashion & Identity •Viva Africa! Felabration 2010 •Professional Development Art-Language, Dialect, Accent? •US Report: ICI Curatorial Tour p7/ •International Programmes at CCA, Lagos p6/ •Available Publications •Invisible Borders 2010 Forthcoming Programmes: •Independence Shorts •Artist Focus: •CCA, Library p2/ p4/ Contents •J.D. Okhai Ojeikere: •Oumou Sy ‘Kings and Queens Otobong Nkanga p2/ •Thinking Out Loud May Sartorial Moments and the of Africa’ •Images from Art-iculate Newsletter N°9 August 2010 p7/ •Cosmolocalism: [ ] Nearness of Yesterday •Watch Out! p5/ •Portfolio@CCA,Lagos p8/ •A Nigerian Library The Audacity of Place •Jimoh Ganiyu Akinloye We start by raiding the archive and cel- ing has enabled us to adopt a new format finished recently with the NSK Passport This is borne out by our 2009/10 Ful- ebrating the diversity of the work of mas- for this year’s three quarterly newsletters. project curated by Hansi Momodu. bright fellow Antawan I. Byrd whose im- ter photographer J.D. Okhai Ojeikere and Their support has also enabled us to be- mense contribution during a one-year presenting a modest selection of work fo- gin work on the forthcoming Democrazy None of these activities would be pos- sojourn sees him re-integrated as an cusing on traditional and western dress- publication. Arts Collaboratory has been sible without the confidence, support and adjunct curatorial assistant working on ing from the 50s to the 70s. Professional generous in supporting our exhibition pro- dedication of the CCA, Lagos’ board of several projects with us from his base in Welcome development as well as intercultural in- gramme as well as a pilot project in artist trustees. Their journey with us makes the the US. Celebrating Nigeria? As this final edition for 2010 is released, teraction continues to be a priority of our residencies, a workshop and curatorial work that we do all the more rewarding activities marking 50 years of independence go into overdrive. activities. We have two residencies in the development initiatives. Prêt-à-Partager and fun. To my colleagues – the back- Whilst we acknowledge the Ambivalence of Independence and the tensions inher- Nigeria can be adept at making the biggest noise, the baddest works, Uchay Chima Joel goes to Amster- was such an ambitious programme and bone that keeps the dream alive – Jude, dam, whilst Albert Portrony from the UK the partnership we formed with IFA and Oyinda, Kemi, Mama Niyi, Antawan and ent in the postcolony, we nonetheless parties and allocating the largest budgets – at the last minute. comes to Lagos. We will also collaborate Geothe Institute has been invaluable. Hansi my appreciation remains limit- look ahead to the promise of the next It seems our Federal government must have been momentarily with Triangle Arts Trust to organise their The Lagos and Johannesburg branches less. Their continuous manifestation of 50 years. A collective promise to work first workshop in Lagos featuring Nigerian of the Goethe Institute have shown that commitment, dedication and passion towards creating the places and spaces jolted out of their politricking and reminded of the importance for dialogue, discourse, interaction and st artists as well as artists from across the support is part of a continuum that must remains unwavering for the idea of CCA, of the looming date - 1 October. For the day’s celebration, the continent and further abroad. be developed and cultivated. An excellent Lagos. That we can work together yet, (in) exchange. A promise that will allow us to legislators promptly approved a whooping 10 billion-naira bud- example of this is the Advanced Training dependent of each other, speaks of the celebrate in 100 years—the true mean- get and had the audacity to break it down into its nonsensical Our library has benefitted immensely programme started in 2008 which dynamism of each member of the CCA, ing of Independence. The promise be- gins now. In the spirit of Owambe, Happy parts. from the generous of some organisations Lagos family. and individuals. This quarter we are ex- 2011! pecting over several boxes of publications Over the past month, I spent a great deal began exploring these issues earlier this Welcome to our World. of time visiting a hospitalised relative. year through our groundbreaking art just from my recent visit to America. Our major achievement has been digitalising During such trips, I would often pass by a photography residency programme, the Bisi Silva / Director tall abandoned building that never ceased recent NSK Passport project, as well as all the books in the library thanks to the to capture my curiosity. I subsequently in our programming under the theme efficient assistance of Britta Husken and learnt that this building was the first high of Art, Fashion and Identity. All of these Mojibade Oladunjoye. We hope to extend rise - consisting of 23 floors - constructed projects, with their supplemental talks, this digitalising to our collection of maga- in Nigeria, and was a gift (in 1960) to the panel discussions, workshops and events zines, journals and ephemera materials. 1 new Nigeria from Britain. It is called Inde- created a fulfilling, vibrant and dynamic Our ‘boast’ of being the largest indepen- pendence House. During my daily drive year. As the year comes to a close, our dent art library in Africa should surely past it, I found myself overwhelmed with programme will take on a more fluid char- come to fruition soon. Thank you so much a mixture of emotions and responses; a acter ranging from 1 and 2 days events to to all of you. The amount of people that sense of anxiety over the structure’s sig- 2-week projects providing for an eclectic have engaged with us this year has been nification; admiration for the tall dreams programme of presentations, workshops, nothing short of staggering and we are that Nigeria once harboured; and fear interactions, talks and exhibitions culmi- pleased by the interaction of so many lo- of its current state of abandonment and nating (funding permitting) in an exciting cal and international artists and curators. neglect—a state that is emblematic of the and ambitious presentation of work by I continue to extend my gratitude to the current condition of the country. the incomparable Senegalese fashion Prince Claus Fund and the Mondriaan designer Oumou Sy. For the Art, Fashion Foundation whose initial generous sup- All these emotions make this year’s pro- and Identity section of this issue, we give port in 2009 encouraged us to build on gramme On Independence and the Am- the emerging artist Karo Akpokiere the our programmes confidently. We are bivalence of Promise all the more urgent platform to create and document a series deeply appreciative for the support of the as a way of engaging with the past, the of textile designs based on his distinct Spanish International Development pro- present and anticipating the future. We graphic illustrations. gramme (AECID), whose substantial fund- 1 1960-Independence Map, 2010. Jude Anogwih and Adewale Osoneye. CCA,Lagos / Newsletter issue No.10 / September - December 2010 1 International Forthcoming Programmes Uchay Joel Chima Programmes Amsterdam, 7th Aug > 7th September 2010 Alite Thijsen of the One Minute
Recommended publications
  • 0 0 0 0 Acasa Program Final For

    0 0 0 0 Acasa Program Final For

    PROGRAM ABSTRACTS FOR THE 15TH TRIENNIAL SYMPOSIUM ON AFRICAN ART Africa and Its Diasporas in the Market Place: Cultural Resources and the Global Economy The core theme of the 2011 ACASA symposium, proposed by Pamela Allara, examines the current status of Africa’s cultural resources and the influence—for good or ill—of market forces both inside and outside the continent. As nation states decline in influence and power, and corporations, private patrons and foundations increasingly determine the kinds of cultural production that will be supported, how is African art being reinterpreted and by whom? Are artists and scholars able to successfully articulate their own intellectual and cultural values in this climate? Is there anything we can do to address the situation? WEDNESDAY, MARCH 23, 2O11, MUSEUM PROGRAM All Museum Program panels are in the Lenart Auditorium, Fowler Museum at UCLA Welcoming Remarks (8:30). Jean Borgatti, Steven Nelson, and Marla C. Berns PANEL I (8:45–10:45) Contemporary Art Sans Frontières. Chairs: Barbara Thompson, Stanford University, and Gemma Rodrigues, Fowler Museum at UCLA Contemporary African art is a phenomenon that transcends and complicates traditional curatorial categories and disciplinary boundaries. These overlaps have at times excluded contemporary African art from exhibitions and collections and, at other times, transformed its research and display into a contested terrain. At a moment when many museums with so‐called ethnographic collections are expanding their chronological reach by teasing out connections between traditional and contemporary artistic production, many museums of Euro‐American contemporary art are extending their geographic reach by globalizing their curatorial vision.
  • Lagos Books & Arts Festival ( LABAF) Creating

    Lagos Books & Arts Festival ( LABAF) Creating

    LAGOS STATE GOVERNMENT Creating A Cultural Identity For A Smart Mega City #lagostourism #Eko4Show Creating A Cultural Identity For A Smart Mega City #lagostourism #Eko4Show Ebi Festival Venue - Epe Creating A Cultural Identity For A Smart Mega City #lagostourism #Eko4Show Angels & Muse Date - January 27th 2018 Creating A Cultural Identity For A Smart Mega City #lagostourism #Eko4Show Wazobia FM Carnival Date - February 3rd – 4th Venue - Muri Okunola Park V.I Creating A Cultural Identity For A Smart Mega City #lagostourism #Eko4Show Creating A Cultural Identity For A Smart Mega City #lagostourism #Eko4Show Lagos Marathon Date – February 10th Venue - Eko Hotel & Suites Creating A Cultural Identity For A Smart Mega City #lagostourism #Eko4Show Dance Gathering Lagos Date – February 12 - 25 Venue – Freedom Park Creating A Cultural Identity For A Smart Mega City #lagostourism #Eko4Show Tourism Innovation & Development LAGOS LALALALA Advantage: 2018 Conference Theme: Impact of Tourism Development on the Nigerian Economy 27 February – 4 March 2018 LAGOS LALALALA Freedom Park, Unilag E.t.c Creating A Cultural Identity For A Smart Mega City #lagostourism #Eko4Show Creating A Cultural Identity For A Smart Mega City #lagostourism #Eko4Show KulturecentrikLAGOS LALALALA@ the Capital March, June, September and December Venue - Airport Hotel, Ikeja . Creating A Cultural Identity For A Smart Mega City #lagostourism #Eko4Show World Theatre Day Marriage of Anansewa @ Terra Kulture and Muson Centre . Creating A Cultural Identity For A Smart Mega City #lagostourism
  • Native Yoruba Music

    Native Yoruba Music

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Lagos Journals Ihafa: A Journal of African Studies 8: 1 June 2016, 199-217 Vision of Ancestorhood and Apotheosis in Alter- native Yoruba Music dun Bello University of Lagos Abstract The Yoruba world is the totality of the tripartite connection of the worlds of the dead, the living, and the unborn. These three spheres and phases also correspond to the past, the present and the future, respectively. The living are always in awe of the dead and revere them, while the dead are believed to possess the ability to (re)visit the world of the living through reincarnation. The present study is based on the claim that, while aspects of the indigenous Yoruba belief system such as ancestorhood and apotheosis are getting lost on the millennial generation of Yoruba persons, the alter-native Yoruba music genre provides a viable evidence of how elements of Yoruba folk culture are being preserved by culturally and ideologically conscious members of the same generation. Using the Cultural Theory framework, the study demonstrates the possibility of mainstreaming Yoruba cultural studies into the larger corpus of canonical theories in global cultural studies. Keywords: ancestorhood; apotheosis; alter-native music; Yoruba; ideology; millennial; stylistic; culture _________________ Department of Linguistics, African and Asian Studies University of Lagos, Akoka Lagos, Nigeria Phone: +234 703 137 7993; Email:[email protected] 200 Vision of Ancestorhood and Apotheosis 1. Introduction Alter-native Yoruba music, as conceptualised in this study, refers to Yoruba songs that reflect the nature of external cultural influences that have been brought upon the artistes that produce them, thereby indicating the nature and extent of alteration or alterity identifiable in the Yoruba personality both physically and cognitively.
  • The Challenges of Reinvigorating Democracy Through Visual Art in 21St Century Nairobi

    The Challenges of Reinvigorating Democracy Through Visual Art in 21St Century Nairobi

    The challenges of reinvigorating democracy through visual art in 21st century Nairobi Craig Campbell Halliday 30 September 2019 Dissertation Submitted in Partial Fulfilment for the Degree of Doctor of Philosophy Sainsbury Research Unit for the Arts of Africa, Oceania & the Americas School of Art, Media and American Studies University of East Anglia, Norwich This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived therefrom must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 1 Abstract This study examines the potential for contemporary visual art to reinvigorate democracy in 21st century Nairobi, Kenya, through an interdisciplinary investigation. The new millennium ushered in fresh hope for democratisation in the postcolonial East African country. In 2002, Daniel arap Moi’s 24 years of authoritarian rule ended. The opposition were victorious at the ballot box, instilling a belief amongst the electorate that formal political processes could bring change. However, the post-election violence of 2007/8 shattered such convictions. But, from this election result came a progressive Constitution and with it possibilities for creating change. These momentous events underscore Kenya’s topsy-turvy path towards democracy – a path whose trajectory is charted in the experience of ordinary Kenyans who believe in democracy’s value and their right to participate in politics and civil life. Artists, too, have been at the forefront of this ongoing struggle. This study draws on empirical research to demonstrate contemporary visual art’s capacity to expand ways of practising, experiencing and understanding democracy.
  • Ford Foundation Annual Report 2000 Ford Foundation Annual Report 2000 October 1, 1999 to September 30, 2000

    Ford Foundation Annual Report 2000 Ford Foundation Annual Report 2000 October 1, 1999 to September 30, 2000

    Ford Foundation Annual Report 2000 Ford Foundation Annual Report 2000 October 1, 1999 to September 30, 2000 Ford Foundation Offices Inside front cover 1 Mission Statement 3 President’s Message 14 Board of Trustees 14 Officers 15 Committees of the Board 16 Staff 20 Program Approvals 21 Asset Building and Community Development 43 Peace and Social Justice 59 Education, Media, Arts and Culture 77 Grants and Projects, Fiscal Year 2000 Asset Building and Community Development Economic Development 78 Community and Resource Development 85 Human Development and Reproductive Health 97 Program-Related Investments 107 Peace and Social Justice Human Rights and International Cooperation 108 Governance and Civil Society 124 Education, Media, Arts and Culture Education, Knowledge and Religion 138 Media, Arts and Culture 147 Foundationwide Actions 155 Good Neighbor Grants 156 157 Financial Review 173 Index Communications Back cover flap Guidelines for Grant Seekers Inside back cover flap Library of Congress Card Number 52-43167 ISSN: 0071-7274 April 2001 Ford Foundation Offices • MOSCOW { NEW YORK BEIJING • NEW DELHI • • MEXICO CITY • CAIRO • HANOI • MANILA • LAGOS • NAIROBI • JAKARTA RIODEJANEIRO • • WINDHOEK • JOHANNESBURG SANTIAGO • United States Africa and Middle East West Africa The Philippines Andean Region Makati Central Post Office and Southern Cone Headquarters Eastern Africa Nigeria P.O. Box 1936 320 East 43rd Street P.O. Box 2368 Chile Kenya 1259 Makati City New York, New York Lagos, Nigeria Avenida Ricardo Lyon 806 P.O. Box 41081 The Philippines 10017 Providencia Nairobi, Republic of Kenya Asia Vietnam Santiago 6650429, Chile 340 Ba Trieu Street Middle East and North Africa China Hanoi, Socialist Republic International Club Office Building Russia Egypt of Vietnam Suite 501 Tverskaya Ulitsa 16/2 P.O.
  • 32Breaksground Fundraising Toolkit

    32Breaksground Fundraising Toolkit

    #32BreaksGround Fundraising Toolkit Take a peek into a day Thank you so much for signing up to help fundraise for our newi nh tohem life o!f budding artist Stella Young, Your participation is key to the success of this campaign and wea nad rheow s sohe iemxpcroivtesd to have you onboard for the exciting journey to make this building ah err ecraafltity. This toolkit has been put together to make this process as easy and enjoyable for you as possible. We know fundraising can be intimidating so we’ve put together templates, tips and tools for you in one place. If you have any follow up questions please don’t hesitate to reach us on [email protected] Setting up your page On our Donate page click Then click “Create my own Page”. You’ll then be prompted to create an account with Give Lively, the platform we are using for our fundraiser. Personalise your page Add your own text, pictures or video. Your potential donors are more likely to donate because they are connected to you, so let them know why you are personally invested in the success of this project. Here’s a link to a folder with more project images that you can use for your page and future social media posts. Set a goal By setting internal goals you accomplish two things: f i r s t you create more urgency when you ask friends and family for support and s e c o n d , you have an easy excuse for following up with people because you get to update your contacts when you reach specific goals.
  • Socialscientia Journal of Social Sciences and Humanities Email: Socialscientiajournal@Gmail.Com Online Access

    Socialscientia Journal of Social Sciences and Humanities Email: [email protected] Online Access

    Vol 3. No 4 December 2018 38 Socialscientia Journal of the Social Sciences and Humanities ISSN:2636-5979. Regular. Volume 3. Number 4 December 2018 Socialscientia Journal of Social Sciences and Humanities Email: [email protected] Online access: http://www.journals.aphriapub.com/index.php/SS/ DIPLOMATIC SHRINE AND THE RE-INVENTION OF NIGERIA-FRANCE BILATERAL RELATIONS Nse Etim AKPAN1 and Imere Lordmizer NWOKAH2 1,2 Department of Political Science, Federal University Wukari, Taraba State, Nigeria. Abstract Historically, Nigeria and France cannot be said to have enjoyed a robust and cordial relations. Two incidences support this assertion, the first was the diplomatic face-off between both countries when France tested an atomic bomb in Africa against Nigeria’s protest while the second manifested in France’s support for Biafra during the Nigeria-Biafra crisis in 1966 and beyond. It is also on record that France had once worked tirelessly towards the dismemberment of Nigeria as a result of the competition for influence between both countries over the Francophone West African States. This paper examines the twists and turns of the relations between both countries in the wake of the recent visit by Emmanuel Macron, France’s President to Nigeria. Qualitatively driven and relying on the secondary sources of data, the paper observed that Macron’s visit has added some value to the relations between both countries given the peculiar nature of that visit. It equally averred that Macron’s visit to the legendary Fela Anikulapo’s Afro Beat New Afrika shrine in Ikeja, Lagos is not only a reinvention of their bilateral relations but has greatly changed the relations between the two countries, with France now exploiting other areas of developmental cooperation in Nigeria.
  • Critique D'art, 53

    Critique D'art, 53

    Critique d’art Actualité internationale de la littérature critique sur l’art contemporain 53 | Automne/hiver CRITIQUE D'ART 53 The Landscape of African Art: Transformations at the Venice Biennale Dagara Dakin Translator: Phoebe Clarke Electronic version URL: http://journals.openedition.org/critiquedart/53747 DOI: 10.4000/critiquedart.53747 ISBN: 2265-9404 ISSN: 2265-9404 Publisher Groupement d'intérêt scientifique (GIS) Archives de la critique d’art Printed version Date of publication: 26 November 2019 Number of pages: 43-53 ISBN: 1246-8258 ISSN: 1246-8258 Electronic reference Dagara Dakin, « The Landscape of African Art: Transformations at the Venice Biennale », Critique d’art [Online], 53 | Automne/hiver, Online since 26 November 2020, connection on 01 December 2020. URL : http://journals.openedition.org/critiquedart/53747 ; DOI : https://doi.org/10.4000/critiquedart.53747 This text was automatically generated on 1 December 2020. EN The Landscape of African Art: Transformations at the Venice Biennale 1 The Landscape of African Art: Transformations at the Venice Biennale Dagara Dakin Translation : Phoebe Clarke “Although I try and put things into perspective, I believe that the reason I have become so spiritually foreign to my native country, while remaining preoccupied by it – while it remains a preoccupation –, is for a great part its refusal to acknowledge the existence of this skull.”1 1 The Venice Biennale, to a greater extent than any other international event, offers a summary of the current global art scene, which could opportunely be re-questioned regarding the visibility of contemporary African art. Throughout the 1990s, the scant participation of African artists in the ritual art gathering was interpreted as the sign of the Western scene’s lack of open-mindedness.
  • Art & Art Education in Kenya

    Art & Art Education in Kenya

    1 ART & ART EDUCATION IN EAST AFRICA_ A WORKING BIBLIOGRAPHY 04.03.12-3 Elsbeth Joyce Court, Lecturer in World Art_Africa at SOAS: School of Oriental and African Studies and Birkbeck College; Associate, Centre of African Studies: CAS, University of London; formerly research Associate, Bureau of Educational Research and Institute African Studies, University of Nairobi (1978-86). KEYWORDS/discourses: art, art education, children’s artistic development [growth] in Kenya, art education in Kenya: formal (school-based, mostly drawing), non-formal (non-school based ‘workshop’), 8-4-4 system, skills, symbolism, aesthetic, pre-vocational /vocational training, educational planning, regionalism: legacy of Makerere Art School, local knowledge, indigenous/local art movements (Akamba, Gusii), Creative Industries, NGOs; tension between advocacy and research; history of art/visual culture in East Africa, art:craft, contemporary art worlds in Kenya, artist/‘African’ artist, patronage, ‘tourist’ art, heritage, underdevelopment, gender specificity, intellectuals, critical pedagogy, development [well-being] and art-making, jua kali. Art Education elsewhere, globalization, international policies - UNESCO: Creative Arts, Cultural Diversity, World Heritage; WTO: Geographical Indications. A BIBLIOGRAPHY with selected studies for ‘Africa’ & theory This ongoing bibliography with notes supports the Centre of African Studies seminars on 10 March 2011: Art Education in Kenya and on 8 March 2012: Lilian Nabulime: A Post-Modern Sculptor from Uganda and my presentations Kenya’s Art Worlds and Effective Art Education for the African Stones Talk Seminar, Kisii. Kenya‘, 1-3 August 2011, and Akamba Mavisa: Carving a local art world in East Africa & beyond for the symposium Commemorating the Past, Creating the Future, Kenya’s Heritage Crossroads at the British Library, London (below, www open.ac.uk).
  • Businessday Research and Intelligence Unit (BRIU)

    Businessday Research and Intelligence Unit (BRIU)

    BusinessDay Research and Intelligence Unit (BRIU) BusinessDay Research and Intelligence (BRIU) is a Nigerian based consulting outfit with experienced and qualified research consultants. We are the research and consultancy arm of BusinessDay – West Africa's leading media intelligence outfit. Our research services cut across public and private sectors on their most vital issues, providing practical solutions that deliver measurable and sustainable results to our clients. Core Areas Of Business Economic Market Public Data Research Research Research Analytics Providing insightful analysis Crafting actionable growth Identify issues and measure Provide macroeconomic, impact of social, health, on macroeconomic indicators plans by diagnosing the financial and social data for process that links producers political and environmental and related issues that help policy makers, academics and services providers, customers interventions geared to create a thriving and sustainable the investing community for shape policy planning and as well as consumers or end society implementation users informed decision making. We deploy tested and trusted solutions by applying both qualitative and quantitative research methods built on agile technologies, cutting edge intelligence, analytics and market experience to derive sustainable value for our clients across public, private and non-profit making organization BRIU possesses a broad base of experience and knowledge to perform critical research and operational functions such as: Social & Public Research Market Research
  • Thupelo Cape Town Assembly

    Thupelo Cape Town Assembly

    ThupeloThupelo Cape Cape Town Town Assembly Assembly forfor TriangleMembers Network of Triangle Network Contact us: [email protected] / www.thupelo.com Thupelo – Cape Town Trust P O Box 250 Woodstock Cape Town 7915 This publication is made possible through the generous support of The Bertha Foundation, The Swiss Arts Council and many private donors. We are grateful for the assistance which enabled us to arrange the Thupelo Assembly and production of this resource. Table of Contents Table Introduction by Jill Trappler Page1 Essay by Lionel Davis Page 5 Essay byTembinkosi Goniwe Page 9 Essay by Pamella Dlungwana Page 12 Organizational Profiles 32° East, Ugandan Arts Trust Page 14 Thupelo Cape Town Trust, South Africa Page 17 Triangle Arts, New York Page 20 Njelele Art Station, Zimbabwe Page23 IS’ Art, Madagascar Page 27 Triangle Canada Page 30 Britto Arts Trust, Bangladesh Page34 National Art Gallery of Zimbabwe, Bulawayo Page 36 Gasworks & Triangle UK Page 38 Nafasi Art Space, Tanzania Page 41 Thapong Visual Arts, Botswana Page 44 Triangle Bolivia Page 47 Vasl Arts Collective, Karachi Pakistan Page 50 Insaka Arts Trust, Zambia Page 53 Triangle France Page 56 Greatmore Studios, South Africa Page 61 Kuona Trust, Centre for Visual Arts, Kenya Page 64 Lugar a Dudas, Colombia Page 67 Village Unhu, Zimbabwe Page 70 Bag Factory, South Africa Page 73 pARTage Workshop, Mauritius Page 76 Popty, Wales Page 79 Art In The House, Namibia Page 82 Overview by Commitee Page 84 & Conclusion Mindmap Page 87 Above, right - Thupelo Assembly delegates artist, project administrators and directors as it is THUPELO ASSEMBLY FOR TRIANGLE our way to learn/teach by working together and in PARTICIPANTS conversation.
  • 1 Vol. 5 7-14 September 2020

    1 Vol. 5 7-14 September 2020

    1 NIGERIA’S UNEMPLOYMENT CRISIS: THE COLLAPSE OF YOUTH VALUES PORTRAIT OF A TROUBLED LABOUR MARKET ENTREPRENEURSHIP: THE ROAD FOR THE YOUNG VOL. 5 7-14 SEPTEMBER 2020 2 CONTENTS 18. The Unfortunate Children of Fortunate Parents Ugly and Awful 22. Mallam Nasir El-Rufai: Governor of a State Culture and Lifestyle 24. The Impressive Life of Chadwick Boseman 26. Jaywon: On the Fringes of the Mainstream 29. Quick and Easy Snacks Anyone Can Make 32. Showcase: Phebean Outstanding Careers 3. Stories Around the Globe 3. NIGERIA 33. Clement Chukwudifu 4. AFRICA 4. THE REST OF THE WORLD HERstory From the Editor-in-Chief 36 .Adetutu Adeleke 6. Nigeria’s Unemployment Crisis:The Collapse of Youth Values Cover Story 9. Entrepreneurship : The Road for the Young 12. The Youth Yearn 15. Portrait of a Troubled Labour Market Dr. Iwebunor Okwechime Website and social media handles Dr. Aminu Umar The Journal is a Pan-Nigerian online newspaper that engages all Dr. Moses Yakubu segments of the Nigerian life. The Journal provides objective and Dr. Abiodun Bello professional analysis on national and international issues with a www.thejournalnigeria.com critical and progressive balance. Editor The Journal is published by May University Press Limited. Publisher/Editor-in-Chief Femi Morgan Address: 51c Gbolahan Awe Close, off Jubril Liadi Street, off Dr. Udu Yakubu Emmanuel Keshi Street, Magodo Phase 2, Lagos. Creative Director Editorial Board Aduroja Olawale Contact: LT. Gen Chikadibia l. Obiakor (rtd) Editorial: Femi Morgan Chief Bisi Ogunjobi CORE VALUES Email: [email protected] Prof. Yima Sen Truth Tel.: 08068108018 | 08174717765 Prof.