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The role of arts
journalists in advancing Nigeria’s global relations was the focus of a
workshop themed ‘Journalism and Cultural Diplomacy,’ organised by the
National Institute for Cultural Orientation (NICO), on Wednesday, May
19. Dramatist and former deputy editor of the Guardian, Ben Tomoloju,
and editor, Guardian on Sunday, Jahman Anikulapo, facilitated the
session held at Merit House, Abuja.

Growing culture

Executive
Secretary of NICO, Barclays Ayakoroma, noted the importance of culture
in Nigeria’s development and reiterated the place of arts writers in
cultural re-orientation. He explained that the training was organised
to foster a cordial relationship with the media on the one hand, and to
look for avenues to promote the culture sector better, on the other.

Ayakoroma decried
the negative impacts of Westernisation on Nigeria’s indigenous
languages and dress culture, but promised to cooperate with arts
reporters to stimulate growth in the sector. “We will partner with the
Arts Writers Organisation of Nigeria(AWON) to put culture in its proper
place of importance, especially in championing the cause of the
re-branding project of the present administration. Let us work
together; together we can show that culture is important and vital in
the rebranding process,” the NICO boss who disclosed that the workshop
will be held quarterly, said.

Presidential
adviser on Parastatal and Statutory Bodies, Braeyi Ekiye, represented
by Joseph Kariboro, affirmed that the present administration would
employ culture in its rebranding project. He noted that the media has a
role to play in “oiling global relations, including cultural diplomacy.”

Sola Balogun and
Ozolua Uhakheme, Arts Editors of the Sun and Nation newspapers,
commended the initiative in their goodwill messages. Balogun noted that
arts journalists “have a task to help our culture”, adding that “we
have a duty to use our skill to help in the business of cultural
orientation.”

Arts and diplomacy

In his presentation
titled ‘Arts Journalism and Cultural Diplomacy’, lead facilitator, Ben
Tomoloju, gave different definitions of culture, but noted that there
is no difference between arts and cultural journalism, though people
tend to think there is. The facilitator also explained the connection
between culture and journalism, quoting Abiola Irele and Senator
Fulbright. Tomoloju did not fail to highlight the role of the arts
journalist in international relations, noting that military posturing
and diplomatic activities are not enough for a country to project
itself.

The dramatist also
discussed the role of the arts journalist in reporting cultural
diplomacy and cultural relations. “The arts journalist may operate
conveniently within either of these two. But it is more likely that, in
a practical sense, one will be more of a diplomat than a journalist,
while the other will be more of a journalist than a diplomat,” he said,
while adding that, “intellectually, the arts journalist must be
grounded in matters pertaining to the national interest of societies
within his scope of operation.”

FESTAC 77,
Tomoloju affirmed, remains the “highest point so far in the history of
Nigeria’s cultural diplomacy and it was one epochal event whose policy
thrust was so effectively internalised and eloquently expressed by the
press that it engendered pride among the people and earned respect from
foreigners.” Though there has not been any major intercultural event of
FESTAC’s magnitude ever since, the facilitator said “it is a paradigm
which with vigour and zeal, the arts writer should apply to every
cultural manifestation that can help to promote the good image of
Nigeria across the international frontiers.”

Apart from covering
national events of all the agencies under the Ministry of Tourism,
Culture and National Orientation who are engaged in some form of
inter-cultural events, the author of ‘Jankariwo’ recommended ‘facility
trips’ for arts writers. “One would also suggest a more frequent
engagement of Nigerian arts writers in the coverage of cultural
activities outside the shores of this country, especially those
involving Nigeria’s participation. Such engagement would widen the
horizon of the arts writer, enhance his capacity and sophistication in
the cerebral demands of the job.” He insisted, when taken up on the
issue later, that facility trip is not bribery and that he benefitted
from such trips while on the Arts beat.

Adding value

Anikulapo turned
his session into an interaction with the journalists on problems
stopping them from functioning properly. It emerged from the
soul-searching session that some newspaper editors don’t regard the
arts, and as such, don’t allocate enough pages to the arts; some don’t
respect arts writers; while some are plain ignorant about the arts.

“The arts
journalist is disoriented, he is not paid. How much value can he
transmit?” Anikulapo wondered, while condemning newspaper houses that
don’t pay staff regularly. He however, told the arts writers that the
solution is in their hands. “You have to prove that you can add value
to the paper,” Anikulapo said, while urging the journalists to also try
to understand their environment better. “It is good to write about an
artist, but you also have to write about the environment. The
journalist has to be sympathetic to the cause of artists because they
are as endangered as you.”

He also recommended
resuscitating AWON and engaging in peer review. “You need to have a
sort of platform on which to make yourself heard; a sort of collective
to define yourself and push your agenda. It becomes pretty difficult to
make your case, without a platform to defend yourself,” he offered
while adding training and re-training to his suggestions.

Tomoloju, who was instrumental in the formation of AWON, also
reiterated the importance of the body. “AWON is very crucial. Let AWON
be revived, it is very important. As much as NICO and other agencies
can help with this, please help,” he said.