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1 Nigerian Journal of Art and Tourism Vol. 1. No. 1. 2017 Nigerian Journal Nigerian Journal of Art and Tourism Vol. 1. No. 1. 2017 Nigerian Journal of Art and Tourism is published annually by National Gallery of Art Lafia, in collaboration with Society of Nigerian Artists Nasarawa State Chapter. Views expressed in this publication are those of the contributors. Copyright is owned by National Gallery of Art Lafia Editor: Nwachukwu A. Onuorah ( National Gallery of Art, Lafia) Assistant Editor: Blasie G. Gbaden, Ph.D (Federal University Lafia) Editorial Consultants Uche Nnadozie (National Gallery of Art, Lokoja) Ozioma Onuzulike, Ph.D (Prof. University of Nigeria, Nsukka) Barth Oshionebo, Ph.D (Prof. University of Abuja) Ifedioramma N. Dike, Ph.D (Nnamdi Azikiwe University Awka) Okechukwu Nwafor, Ph.D (Nnamdi Azikiwe University Awka) Raymond K. Kange (Federal University, Lafia) Contributions Manuscripts may be submitted in Abstracts of about 100 words should English via email to; accompany each article. [email protected] and [email protected] and should not For more information contact; be more than 4,000 words. Articles Nigerian Journal of Art and Tourism, should be in Microsoft words, double National Gallery of Art Shendam Road, spacing in A4 format adopting the APA Behind City Hall P.M.B 130 Lafia style sheet with notes in endnote format. Nasarawa State, Nigeria. Accompanying digital images should [email protected] have a resolution of 300dpi and be sent +2347065552348 along with fill caption and credit information. Annual Subscription Rate Author’s name, affiliations and contact Individual Institutions should appear on a separate cover page. Nigeria N3,500.00 N4,000.00 Submission must be accompanied with U.K #12.00 #15.00 an assessment fee of ten thousand U.S $25.00 $30.00 Naira(N10,000) in bank draft or cash payable to Society of Nigerian Artists, Printed by Nasarawa chapter (First Bank Abutex Productions, Lafia, Nasarawa 2016098882) together with a scanned State 08037378470 copy of the payment slip. 1 Published by: National Gallery of Art Shendam Road, Behind City Hall P.M.B 130 Lafia Nasarawa State, Nigeria. Printed by Abutex Productions, Lafia, Nasarawa State Nigerian Journal of Art and Tourism Cover Ferin Ruwa Falls FarinOil on Ruwa Canvas Falls OnuorahOil on Nwachukwu Canvas Onuorah Nwachukwu 2 Editorial The publication of this journal became necessary due to the present state of the Nigerian economy and the dwindling price of crude oil, thereby becoming necessary to diversify our nation’s economy. Knowing fully well that the Art and Tourism sector in Nigeria has the potentials to provide succor for our economy, This being the first edition of Nigerian Journal of Art and Tourism we have attempted to use the theme Art and Tourism a Substitute for Crude Oil in Nigeria. To challenge researchers in this field to expose the full potentials of the sectors to all, to guide the government, on polices to make to help the sector, to direct practitioners in the sector on how to improve their trade and to create an avenue for scholars in the art and tourism sector to contribute to national development. The publishing of this journal will be one annually for a start we hope to improve to four publications annually, depending on the responses of researchers and improved funding, which has been the major challenge of the publication. 3 Content Page Editorial…………………………………………………………………………iii Exploring the cultural tourism potentials of art exhibitions. Uche Nnadozie………………………………………………………………….1-20 Nasarawa state an emerging art and tourism destination. Nwachukwu Onuorah…………………………………………………………..21-30 Cultural tourism as a tool for nation bulding, a case of Remileke festival, Eti-ose, Lagos state. Olusola S. Folorunso, Adekunle A. Bashiru and Agbeyan S. Festus………….31-39 Art and tourism; promising yet unkempt resources of Nigeria Etim Ekpenyong Mfon………………………………………………………....40-59 Harnessing the geo tourism potential for sustainable economic development in Osun State Nigeria Agboola Olugbenga Mayowa and Iwuagwu Chinonso …………………….…..60-78 Our sports heritage a tool for the development of tourism in Nigeria Onuorah Nwachukwu………………………………………………………...…79-85 List of contributors……………………………………………………………...…..86 4 Uche Nnadozie Curator/ State Coordinator National Gallery of Art Kogi State National Gallery of Art Nigeria booth at Artexpo Las Vegas 20th September 2008 Abstract Tourism and its economic potentials are by no doubt embedded in Nigeria’s visual arts either pre-historic, historic or the present. Either in its remoteness or contemporaneity, Nigerian visual art has continued to reveal its relevance and functionality in form of utilities and aesthetics, but most importantly as a form of tourist attraction. Thanks to Nigeria’s rich cultural heritage and its enormous cultural resources. Art exhibition remains the only means of showcasing the material culture which can serve as economic and socio-political treasure of the nation if properly harnessed and utilized. This paper will discuss art exhibition and the several roles some mega exhibitions played in enhancing tourism in the country in recent years. Keywords: Art Exhibitions, Biennials, Cultural tourism, Blockbuster 5 Plate 2 Plate 1 The exhibition scene of the first Queen Idia of Benin immortalized ARESUVA in ivory carving. Plate 3 Plate 4 The author and some of the artists at the International Conference Center, Opera House, Cairo Abuja. Plate 5 Bibliotheca, Alexandria 6 Introduction objects both visible and imaginative. Art exhibitions is said to “act as the Suffice to say that art began catalyst of art and ideas to the public” synonymously with human existence, and they represent a way of displaying thus it is very difficult to separate man and contextualizing art that makes it from art (Nnadozie 2014, p.9). From art relevant and accessible to contemporary historical context, creativity and its audiences (Cline 2012, p.3). Ann Cline exposition may be said to have started (p.13) further explains that “art 75,000 to 35,000 years back depending exhibition by its nature holds a mirror up on which of these dates are accepted to society, reflecting its interests and because little is known about the cultures concerns. It is also pertinent to note that that produced them. Meanwhile the “keeping art relevant to society and to a Egyptians whose civilization was based diverse audience at any given point in on the physical realm is reflected in the history is one of the main goals of the art rigidity and durability of its art which exhibition.” (p13). are exhibited in their tombs and Mariacola (2006, p.9 in Cline 2002) pyramids (Nnadozie, p.9). According to provided further information on goals of Cline (2012, p.14) “ancient Greek and art exhibition when she stated that Roman artists exhibited their works “exhibitions are strategically located at before they were to be installed in public the nexus where artists, their works, the buildings,” these works were offerings to arts institutions and many different deities therefore solely for religious publics intersect.” Art exhibition can functions/activities rather than secular seriously affect the goals, aims and functions. This continued through the objectives of any cultural institution medieval period when most art whether it is providing viewership or production was mainly commissioned by revenue, it serves as platforms for the church. The renaissance brought new experimentation and challenging creative/artistic era, during the creative/artistic tradition or convention renaissance artists began to attach their in the quest for new ideology that best name to their works, artists also suit the needs of a contemporary society, produced works that reflected their which invariably brings us to the matter individual aesthetics and creative at hand –that is how art exhibitions can philosophy (Cline, p.4). The following enhance cultural tourism in Nigeria. seventeenth century witnessed art Before we delve into the above issue it is exhibitions held in artistic capitals such pertinent to take a quick look at the as Rome, Venice and Florence in history and definition of art exhibition. collaboration with religious celebration, The history of art exhibition probably “and it was during this time that artists started when man made his first strokes realized they could use these exhibitions on walls of his cave. It started when he to help establish their own reputations” began to observe, imagine and create (p4). Suffice to state that the artistic 7 capitals mentioned were some of the it is an act of showing something in form most popular destination for cultural of skills, feelings or kind of behavior to tourism in the world. Later Academies the public.” Thus in the business of of fine art were soon established and exhibition, two things are involved one held exhibitions in royal courts giving is the display and the other is the artists the opportunity to deviate from viewing which in turn results in either strictly religious concerns to more actions or reactions. (Nnadozie, p.11). secular matters. Among the earliest art Generally as its name implies, exhibition academy in Europe was the Accademia connotes showcasing of product(s) delle Artidel Disegno in Florence usually conducted at trade shows, fairs, established in 1563. In 1648 France expos, conventions and conferences, established theirs called L’Academie de which gives one the opportunity for sales Peinture et de Sculpture in Paris. This in case the exhibition is meant for sales institution was responsible for the of the items or product(s ) on display. State’s educational program in the fine Exhibition comes in various forms either arts, its first exhibition was held in 1667 as trade fairs, expos or conventions, but for the royal court only but in 1725 the in this context, we are dealing with art exhibition moved to the Louvre where exhibitions. The online Wikipedia the public was availed the opportunity to defines art exhibition as the space in view and was initially known as the which artworks meet an audience or salon (Holt, 1980 p.1).
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