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Saturday, December 4, 2010

ABOUT THE AUTHORS

ABOUT THE AUTHORS
Arlene Goldbard and Don Adams are writers and consultants in organizational and cultural development. They established their consulting firm, Adams & Goldbard, in 1978, and have been based in Ukiah, California since 1985.

This page is adapted from a previously unpublished manuscript entitled Cultural Democracy, written in 1986.
Webster's World of Cultural Democracy
The World Wide Web center of The Institute for Cultural Democracy
icd@wwcd.org (Don Adams, WWCD Project Director)
P.O. Box 404, Talmage, CA 95481-0404 U.S.A.
© Copyright The Institute for Cultural Democracy 1996

The Instrumentalities of Cultural Policy

In each of these areas of activity, policy-makers have a variety of instrumentalities at their disposal.

  • Grants and awards are far and away the most popular methods of implementing cultural policy in the U.S. and some other countries. Arts agencies in the U.S.A. have tended to adopt the instrumentalities of private patronage, particularly the gift of a sum of money to a selected artist or institution.

  • Employment and job creation have been used here at certain historical moments, particularly during the Works Progress Adminstration (WPA) of President Franklin Roosevelt's "New Deal" and the Comprehensive Employment and Training Act (CETA) President Richard Nixon put into effect. In both these cases, the main intention was to take people off relief rolls and put them to work; someone had the secondary idea of using these job creation programs to employ artists. Artists may also be employed directly to fulfill commissions for works of art, act as agents of cultural preservation or animation, as teachers, or as arts administrators.

  • Cultural facilities of some kind are always provided, if only the basics of transportation and security. Libraries are a key example of providing public cultural facilities, expressing the value of democratic access to diverse written materials unaffordable to any but the wealthiest of private collectors. Public performance and studio space, and certain kinds of heavy equipment -- kilns, photographic labs, light and sound equipment -- can be provided so that each individual or group is not required to purchase these items anew. While grants often finance end products, providing facilities is a way to support cultural creation by furnishing the means.

  • Similarly, policy can provide for services. Central banks of theatrical scripts, costumes, scenery and equipment can be provided to keep individual production costs low. Printing services can be subsidized to make low-cost reproduction available for books, posters and periodicals. Legal aid for creators can be financed to ensure protection of their rights against claims from potential exploiters. The same is true of medical aid designed to monitor the many health hazards in artists' materials. Direct training comes under this heading, as does providing loans to creative workers unable to obtain traditional bank financing.

  • Finally, laws and regulations are powerful tools of cultural policy. Regulations can control the amount of imported cultural product and finance an indigenous film industry, as it has in Canada, Belgium and Australia. Some nations have enacted requirements that broadcast outlets and cinemas exhibit a certain percentage of domestically-produced programming. The regulations governing tax deductibility have had an enormous impact on the financing of culture in the U.S.A. The judiciary sets standards for obscenity in material broadcast, published or exhibited; many other kinds of judicial rulings deal with cultural issues, even when these are not treated as such. Zoning, copyright laws, laws governing the educational system -- these and many more are key to any nation's cultural policy.

Modes of Action in Cultural Policy

Generally, government initiatives in explicit cultural policy involve activities in one or more of the following broad areas of concern: preservation, dissemination, creation, research, training, education and animation.

  • Preservation includes safeguarding artifacts -- buildings, paintings, costumes, furnishings, musical literature and so forth -- as well as cultural skills and activities -- basket-weaving, shape-note singing, or paper-making.

    A central issue here is what people deem worthy of preservation: preservation activities in the U.S. often focus on cultural traditions derived from Europe -- the conventional fare of ballet and opera companies and symphony orchestras -- rather than indigenous cultures or those brought to America from Asia or Africa. The homes and histories of the wealthy are often treasured while those of working people are ignored.

    Preservation raises other interesting questions, like the tension between the impulse to preserve and the impulse to move forward into the future: too much reverence for the past can produce a museum culture, lacking vivacity and innovation; but inattention to the past impairs a culture, cuts it off from historic roots and lessons that may be vital to survival. Another issue is the purpose of preservation: preservation can be seen as largely a matter of rescuing buildings and artifacts to be put on display; or artifacts and knowledge from the past can be related to current cultural interests, issues and problems, part of a dynamic dialogue with the present.

  • Dissemination is the main focus of most current cultural policies. Money goes to finance performances, tours, ticket subsidies, broadcasting, publishing, distribution networks, and special events designed to reach larger audiences.

    The big policy questions are what will be disseminated and which methods will be used. Dissemination activities can be aimed at wider distribution of particular works -- "taking art to the hinterlands" -- or they can be multi-directional, supporting networks that can be used to share cultural offerings from city to country, neighborhood to neighborhood, and back again. And, as with preservation, the origin and forms of cultural work can be very narrow or encompassing of diverse cultural traditions.

  • Creation describes the contemporary work of artists and others involved in cultural production.

    The problem of supporting new creation is addressed in most public cultural policies, including roles for government, private philanthropists, and various markets. One important issue here is what forms of creation and which creators are supported. A common approach is to focus entirely on artists as creators, and many public agencies confine their aid to those already recognized by other artists, critics and patrons; government's role in such cases is to corroborate and ratify the choices of private patrons.

    An alternative goal would be to broaden the potential for creation, encouraging more members of society to pursue creative activities through a range of range of measures -- helping to finance facilities and equipment for all sorts of enterprises that a conventional art-oriented policy would consider hobbies -- model-building, barbershop quartets, neighborhood newsletters, flower shows. Within the realm of the arts, the goal would be more to redress the imbalances of the marketplace than to emulate the private sector.

  • Research into various cultural phenomena is generally conducted, to assure that policy is grounded in the concrete. Virtually every policy-making entity has looked into the nature and extent of cultural resources: Who makes up the audience for various cultural activities? How much are professional dancers paid? What arts education programs are available? How are racial minorities represented in public agency programs?

    Key issues in research are what will be studied, and how methods color the results. Very little research has been done in the U.S., for example, on community-based cultural activities, while quite a bit is known about the major institutions' economics, audiences and plans. This bias perpetuates itself, as researchers frame their questions in ways that incorporate the values of the prestige arts or the academy and exclude others.

    Democratic cultural policies must also be grounded in another kind of research: Acquiring knowledge about the customs, concerns, values and social relationships within a community and allowing this knowlege to shape and inform cultural action. This requires field research, interviews and conversations, anecdotal information, dreams and feelings as much as it needs hard data.

  • Training as a focus of cultural policy comprises the education of artists, arts administrators, and workers in related fields.

    The main question here is how much government will intervene. Will standards be set, some sort of professional certification or licensing required? Will apprenticeship be considered a viable model for training? Do gaps exist in the training opportunities available? Is training accessible to those who can't afford tuition and fees?

  • Education plays a key role in explicit cultural policy, since learning about community cultural life is essentially an educational process.

    Dozens of policy questions are at stake here: Will creation be treated as a special province of professional artists, or will education try to involve all students in creative activity? Will the aim of arts education be to train "arts appreciators" or practitioners? Will cultural education give students access to electronic media, or concentrate only on older media? Will the cultural forms transmitted through the schools come from all elements of society, or only the dominant culture? What cultural values are transmitted by the approach to learning and its context? Will history texts highlight the contributions of women and people of diverse cultural traditions, or will they reinforce the idea that history is made by white men?

  • Animation can be an element of policy only insofar as policy addresses cultural democracy. Discussed further in a document soon to be published inWebster's World of Cultural Action, the term "community animation" denotes work aimed at stimulating new, participatory activities in community settings. Its professional practitioners are widely known among policymakers by the French label animateur. If involving people in more active cultural lives is a goal of policy, then animation must be one of the means to that end. But if the state's exclusive goal is to support professional artists and institutions, as is true in most U.S. arts agencies, then animation will have little place in policy.

How Is Policy Set?

Many approaches to making cultural policy are being used throughbout the U.S. and around the world. Specific descriptions of many of these appear in the deeper levels of Webster's World of Cultural Policy, which can be accessed through links at the end of this document. Here, we briefly describe the general processes involved in policy-making.

To make truly comprehensive cultural policy, three categories of action are required:

  1. processes to define cultural values, goals and priorities;
  2. programs of initiatives and expenditures which can advance those goals, most often seen as the terrain of "explicit" cultural policy-making; and
  3. ways to monitor indirect policy, a kind of watchdog process to assess the cultural impact of every social action in light of defined standards, establishing a means of handling implicitly defined cultural policy.

The first step provides the foundation and the criteria for the next two.

The watchdog process might be compared to the "environmental impact report" process enacted in the U.S. 1970s, requiring development plans to be evaluated for their potential effects on the physical environment according to standards established in federal policy. With a comprehensive cultural policy, a "cultural impact report" might be required before a neighborhood could be bulldozed to make way for a shopping mall, factory or superhighway.

A vital question is cultural policy-making is who decides. An entirely laissez-faire approach leaves those with the most power and wealth with the greatest opportunity to affect the nature and quality of their cultural lives, and leaves the poor and disenfranchised out. Cultural democracy emphasizes the ultimate aim of enabling everyone to participate in such decisions, to the greatest extent possible.

This implies decentralization -- bringing as many key decisions as close to home as possible, leaving to central authorities only those decisions which must be taken up at higher levels of decision-making. But at the same time, the intervention of central authorities has played a significant role in protecting minority rights when local majorities have become oppressive, as in the federal government's roles in the 1950s and '60s civil rights movement.

So the question of who makes policy is among the most complex and hotly debated of them all.

The Climate for Cultural Democracy

There are many obstacles to seeing the goals of cultural democracy realized. What's most important for advocates of cultural democracy is to keep the big picture in mind.

The writer Carlos Fuentes has characterized ours as an era of "cultures as the protagonists of history." Around the globe, everywhere we look, we see evidence of cultures refusing to buckle under to the homogenizing influence of the imperial powers, be they political or corporate. The century now ending has seen the appearance of an ever-growing number of independent states, increasing visibility of ethnic and cultural groups within states, and a global revolt against the technocratic and anti-humane values of western-style development. This big picture -- both global and historical -- is essential to keeping one's hopes up for cultural democracy in this last depressing decade of the 20th Century.

There is plenty of evidence to justify discouragement, however. "Ethnic cleansing" and genocide, racism and oppression, are as much a part of our cultural legacy as our abilities to love and nurture one another, embracing and celebrating our many differences.

Clearly, cultural democracy is a vital theme of our epoch. The question is whether we will be able to recognize and engage with it in our own lives and work, whether it will be a good idea that didn"t get over or a way to make positive change.

Means of Promoting Cultural Democracy

Among the primary means devised to realize the aims of cultural democracy is community animation.

In many community animation projects, an artist-organizer uses both artistic and organizing skills to help the members of a community discover and express their own cultural identities and exercise control over their own cultural development. Other kinds of cultural workers have also worked as animateurs of cultural life, to use the French term by which the practice is known in international circles (where animation is often called animation socio-culturelle or, adopting the British form, "socio-cultural community development"). Many examples of animation practice are described in Webster's World of Cultural Action and in the Guide to the Cultural Landscape.

Much attention has also been paid by post-War policy-makers to the problems posed by the proliferation of electronic mass media:

  • How to encourage and sustain democratic media?
  • How to ensure media literacy, to enable people to use the media for democratic expression, rather than being held helplessly in their thrall?
  • How to encourage and sustain live, participatory, face-to-face cultural activities in societies saturated with mass-distributed product?

Among the experiments which have been tried are community TV studios where community groups are helped to produce programs about their own perceptions and concerns, which are then broadcast on local TV and sometimes nationally, thus linking efforts to promote active participation directly with the otherwise pacifying forms deployed by mass media. Variations on this theme exist in many countries. Examples are featured in Webster's World of Cultural Action and in the Guide to the Cultural Landscape.

A basic aim underlies most efforts to implement policies of cultural democracy: that the primary task in cultural development is to support the means of cultural production and dissemination, not its ends. This can be a hard point to grasp, since the public arts-funding system in the U.S.has been modelled after the conventional forms of private patronage. Most of its money goes to support end-products: an artist applies for a grant to compose a particular piece of music, or an orchestra applies for a grant to perform it. And since there's been very little money set aside for these purposes -- less than $1 per capita on the federal level -- competition for money in the United States (both public and private) is fierce, and most applicants don't get any.

The cultural democracy alternative is to support the means of cultural participation: making facilities, equipment, materials, education, and jobs widely available, so that everyone who wishes is able to participate. It's the difference between maintaining a public library (the most democratic of existing cultural institutions in this country) and having a system whereby the most determined readers apply for funds to purchase volumes for their own private libraries, with just one out of every ten or twenty of them getting to buy books.

Cultural Policy Around the World

The challenges to democratic cultural development outlined above are global, but they manifest in different ways from place to place, depending upon local social and political conditions.

For developing societies, the crucial question has been how to preserve and extend indigenous traditions, which root them strongly in the past and provide their deepest sources of energy and inspiration; and at the same time, to take what's best from the industrialized world without being inundated by it. Most developing societies have been struggling to overcome a long history of cultural colonization -- the fact that their theaters, libraries, and airwaves are dominated by the cultures which colonized them centuries ago. But they want to avoid retreating to mere nostalgia, creating an equally artificial culture which has nothing to say to the real conditions of contemporary life. They want to find the best ways to shape modernization when it comes. For instance, in the developing world, it's often not a question of how to reshape existing broadcasting systems, but how to develop mass media in the first place.

For industrialized societies, the challenges are at once similar and different. For instance, when cultural policy-makers in Europe first began their post-War program of "democratizing high culture," they tried many different approaches: blockbuster museum shows were promoted like movies, to draw big crowds; ticket-subsidy programs were designed to lure less affluent people into the concert halls; or artists were bused out to perform for captive audiences in schools and hospitals; to name a few examples. But no matter what was tried, the segment of the population which voluntarily participated in prestige arts activities remained the same: a very small percentage of the public, highly educated, financially well-off, and middle-aged or older (just as in the United States).

Facing the indifference and hostility of the vast majority of their populations -- sometimes referred to as "non-publics," to indicate their disinterest in establishment culture -- European policy-makers reinterpreted their own roles. They began to see themselves as needing to address the many cultures within their societies, not simply promoting the traditional "high art" culture favored by wealthy patrons in the past. Instead of focusing on how to lure people into established arts institutions, these cultural ministers turned to a set of much broader social questions:

  • How can we begin to overcome the already-entrenched alienation of modernization?
  • How can we retrieve and preserve relevant traditions?
  • How might we facilitate cross-cultural communication, even cooperation?
  • How can we help animate community life?
It was at this stage that cultural democracy emerged as the leading edge of cultural policy in Europe, at least in policy-makers' rhetoric. From the mid- to late-'70s, it looked as if cultural democracy would become the primary strain in European cultural development. But with Thatcherism in Britain and other strong right-wing voices affecting the cultural policy dialogue, there's been a lot of retrenchment since. These trends accelerated through the Nineties, with governments throughout Europe and around the world "privatizing " functions formerly considered essential aspects of the public cultural commonwealth.

Historical Roots of Cultural Policy

The ideas which have informed cultural policy come from many sources -- from traditional practices in diverse societies, from philosophers and theoreticians, from accounts of history and utopian speculations.

Courts, churches, legislatures, and patrons have for many centuries made decisions about whether, why and how to support work in the arts and cultural facilities; about the language and religion of a society; and about such issues as proper dress and behavior. Philosophers and historians have had a good deal to say about the conduct of a society with respect to culture. In every society and every period of history, people have made choices about the culture they would build, how to express their aspirations and fears, how to embody their values in rituals and celebrations. But the concept of a special socio-cultural responsibility for democratic governments is a relatively new invention. The idea of cultural policy as such came into currency after World War II.

In the discourse which has since ensued, the idea of cultural democracy has emerged as the major innovation in cultural policy. Cultural ministers throughout the world became interested in the idea because of their alarm over social trends that are being felt globally: the proliferation of electronic mass media, urbanization, "modernization," along with the individual alienation and deracination which accompany them. Taken together, these phenomena have come to be known internationally as the "Americanization" of culture. These factors coalesce to breed a pervasive social passivity dangerous to democracy, eroding traditional cultural activities, and replacing them with mind pap like I Love Lucy in forty-seven different languages, emanating primarily from U.S.-based cultural industries.

Of course, these same forces have been at work far longer within the United States than anywhere else -- for so long, some would say, that most of us are oblivious to the domestic cultural imperialism that dominates our national culture. It is therefore unfortunate that this discussion was conducted in terms of "Americanization," as it tended to obscure the deep domestic effects of this complex of cultural forces in the United States and, eventually, to excite U.S. opposition to Unesco altogether(as discussed in the Webster's World sections on U.S. policy and on International Organizations).

Whenever this topic is raised, you'll find people defending the U.S. against the charge of cultural invasion with the argument that nobody's forcing people into the cinemas -- everyone wants our art, clothes, food, and television quite simply because they're the best. Meanwhile, our own regional, local, and minority traditions are endangered by the same unfettered commercial culture. We stand to gain a great deal by involving ourselves in this global discussion, for the light it can shed on how to keep the multiplicity of our own cultural traditions alive.

Recognizing the "Right to Culture"

The "right to culture" has been a key foundation of cultural policy. In 1948, soon after the United Nations was established, its members declared a "Universal Declaration of Human Rights" which asserted that

Everyone has the right freely to participate in the cultural life of the community.

Rene Maheu, Director-General of Unesco (the UN's cultural arm) at the time, amplified on this right at Unesco's International Conference on Institutional, Administrative and Financial Aspects of Cultural Policies in 1970:

It is not certain that the full significance of this text, proclaiming a new human right, the right to culture, was entirely appreciated at the time. If everyone, as an essential part of his dignity as a man [sic], has the right to share in the cultural heritage and cultural activities of the community -- or rather of the different communities to which men belong (and that of course includes the ultimate community -- mankind) -- it follows that the authorities responsible for these communities have a duty, so far as their resources permit, to provide him with the means for such participation.... Everyone, accordingly, has the right to culture, as he has the right to education and the right to work.... This is the basis and first purpose of cultural policy. (Girard, pp. 182-183)

It is this recognition of the "duty...to provide...the means of [cultural] participation" which underlies the active stance public authorities around the world have assumed in recent decades in order to secure the public interest in cultural development.

What Is Cultural Policy?

The rubric "cultural policy" describes, in the aggregate, the values and principles which guide any social entity in cultural affairs.

A policy statement can be simply an individual resolution-- such as "I intend to avoid sexist language in my writing." But most commonly, policies are more complex, summing up an organization's values and decision-making criteria.

Cultural policies are most often made by governments, from school boards to Congress and the White House, but also by many other institutions in the private sector, from corporations to community organizations. Policies provide guideposts for those making decisions and taking actions which affect cultural life.

Cultural policy is sometimes made explicitly, through a process defined by an agency charged with this responsibility. For instance, a ministry of culture or arts agency might draft a policy articulating its goals and operating principles in supporting theater companies in various regions. Very often, however -- and most often in the case of the United States -- cultural policy is not formally defined. Instead, what we have are the cultural effects -- sometimes unforeseen -- of social action.

For instance, consider the "urban renewal" phenomenon. Urban redevelopment policies were intended to solve problems of decaying infrastructure, substandard living conditions, crime and overcrowding. But they also had profound effects on the quality of cultural life in our urban centers, by erasing the cultural lives of neighborhoods that were redeveloped, eliminating meeting-places, landmarks, and other things that gave each distinctive flavor, along with the human infrastructure of community organization and relationships.

This kind of de facto cultural policy, amounting to the "side-effects" of social action taken without consideration of cultural impact, can always be deduced from the actions taken by a state or organization.

Augustin Girard of the Studies and Research Department of the French Ministry of Culture put forward this definition of cultural policy in his book Cultural development: experiences and policies, a seminal work in this field:

A policy is a system of ultimate aims, practical objectives and means, pursued by a group and applied by an authority. Cultural policies can be discerned in a trade union, a party, an educational movement, an institution, an enterprise, a town or a government. But regardless of the agent concerned, a policy implies the existence of ultimate purposes (long-term), objectives (medium-term and measurable) and means (men [sic], money and legislation), combined in an explicitly coherent system. (Girard, pp. 171-172)

Just as culture is all-encompassing, cultural policy incorporates a broad range of measures taken to develop cultural life. Many policies with profound cultural impact are made by decision-makers who've hardly given cultural considerations a thought -- decisions about transportation, for example, or the federal budget. In a truly democratic society, the cultural impact of policies like these would be considered alongside economic and political impacts -- the role of public transportation in encouraging or discouraging cultural participation, for instance, or the larger cultural impacts of our sacrosanct military-industrial subsidies.

Today, most policy-makers haven't made the paradigm shift that would bring culture fully to their consciousness. When government agencies in the industrialized world define cultural policy, for instance, they generally limit themselves to the most specialized expressions of culture: media and communications, the arts, education, and in some countries, sports. The measures taken to implement policy are quite varied. Grants to artists and institutions are common approaches, as are public service employment programs, building and maintaining cultural facilities, encouraging and financing historic preservation, and regulating the airwaves. All are explored further elsewhere in Webster's World of Cultural Policy.

How This Document Was Prepared

How This Document Was Prepared
This monograph is based on data received from the Culturelink Cultural Policies Data Bank, and on documents collected by the Documentation Centre for Cultural Development and Cooperation, Culturelink, in Zagreb, Croatia.

International Cultural Cooperation

Cultural cooperation of Nigeria is carried on the basis of the signed agreements, either bilateral or multilateral. The coordinating agency for cultural cooperation is the Federal Department of Culture.

Regional African cooperation is mostly based on the common developmental experience and some similar characteristics of African cultures. It is motivated by the need to work on the emancipation of African cultures. The Black African arts and civilizations try to establish mutual links and exchange, which is not very easy as the authentic values and types of communication do not normally bring them closely together. Pan-African festivals offer an occasion for over-all presentation of arts and crafts, and the Nigerian government has hosted such manifestations (e.g. in 1977.).

Cooperation with western countries is mostly based on the presentation of Nigerian arts and crafts, or Nigerian music to the western audiences, and on the transfer of knowledge on cultural institutions and activities from the West. Nigerian cultures are very much in contact with the western cultural production and mass media, while the information on Nigerian cultures are very scarce in the West. The balance can hardly be reached.

The Nigerian government backs the cultural exchange through exchange of artists, exhibitions, information materials, etc. on the reciprocal basis.

Cooperation with UN, and particularly UNESCO, is of special concern. Apart from the support for festivals, exhibitions, etc., UNESCO pays particular attention to relevant cultural issues, such as copyright information management and enforcement, collection, analysis and documentation of the oral traditions, restoration and conservation of national monuments, creative writing, education, training in cultural development, establishment of a specialized National Institute for Cultural Orientation, etc. It is also through this organization that the Nigerian cultural institutions or associations join specialized international associations and organizations.

Cultural Development

Neither in the sphere of economics, nor in the sphere of politics, Nigerian authorities and Nigerian intellectuals have never denied culture a very important role. The need to integrate cultural activities and values in all spheres of life has been very loudly pronounced in the post-independence development of Nigeria. General ideas on Nigerian development were linked to the authentic cultural values.

However, the clash between modernization (westernization) on one, and the traditional cultural values on the other side could not have been avoided. The traditional cultures have been more or less left to the local initiatives. In the context of rather radical developmental changes, they have generated different types of pop-cultures: pop-music based on the strong authentic traditions; pop-literature (market literature) produced for the barely literate audience and expressing the general popular concerns; performing arts and groups inheriting the status of traditional performers (like for instance popular theater performances by more then 100 Yoruba professional popular ambulant groups), etc. Cultural industries and new technologies have very much influenced such developments by enabling fast communication and creation of internal (music, literature, etc.) markets.

The most important issue of cultural development is certainly the issue of creation of either national Nigerian, or affirmation of ethnic cultural identity. This is also an important political issue, as the Nigerian federalism tried to put together the achievements of the modern democratic West European state and the local cultural traditions. The whole process of restructuration and adjustment is in fact the process of defining the identity of Nigerian peoples and individuals.

Development of education, establishment and growth of cultural institutions and cultural industries all reflect the constant processes of change in Nigerian life and Nigerian cultures. It is impossible to quantify these processes, but it is evident even now that the cultural growth is reflected in the new type of Nigerian culture and identity. It is not based on the merging of different cultural traditions, but it implies a certain selection of values that would define a modern cultural identity of Nigeria.

Recent evolution of cultural life

The local cultural milieu of Nigeria is extremely diversified, and depends not only on the ethnic cultural values and habits, but also on religious habits and obligations. There are also major differences between rural and urban cultural life, and rural and urban habits and norms.

Generally speaking, the cultural life in Nigeria is to the large extent marked by tradition, and traditional forms of cultural events are most popular: festivals, exhibitions, performing, playing music and dancing in the open. This can be illustrated by citing the actions planned to be implemented in cooperation with UNESCO: National Festival of Children's Toys, Rhymes and Games; or, National Exhibition of the Craftmanships of the Nigerian People; or, Developing Educational Activities for Children and the Youth in Nigerian Museums, etc.

On the other side, the cultural life is very much influenced, and defined, by the cultural industries, particularly mass media. Cultural industries bring into the Nigerian cultural life new civilizational and technological standards that are easily accepted by the majority of population.

The recent evolution of cultural life in Nigeria is thus strongly marked by the traditional and religious habits, and by mass media and easily spreading cultural industries.

Cultural Industries

Cultural industries develop either as a state monopoly (i.e., television broadcasting), as public, or as private industries. The ownership structure is clearly reflected in the development of cultural industries.

Publishing and Reading

Publishing and reading are estimated to be underdeveloped in Nigeria. The first printing outfit was established in Calabar in 1846. Newspapers, political and religious literature constituted the bulk of publishing activity in Nigeria for nearly a century. It is estimated that Nigeria now has over 500 publishers and there are about 50 registered member-firms in the Nigerian Publishers Association. They are expected to serve about half a million of Nigerian students and general public.

Inconsistent fiscal and education policies in Nigeria and the heavy dependence on government patronage were not in favour of improving rather weak publishing infrastructures. However, the publishing industry relies mostly on the enormous needs for school books and teaching materials. Over 95 per cent of books used in the primary and junior secondary schools are locally printed (and written, edited and illustrated by the Nigerians). Nigerian publishers are now going into the senior secondary school sector and into the technical, professional and tertiary sectors of textbook production. The estimates made in the mid-eighties showed that a minimum of 285 million textbooks per annum at all levels of education would be needed.

The main problems encountered by the publishing industry are the following: printing equipment is rather obsolete and scarce; there are constant shortages of paper; the publishing personnel is not always well trained. The linguistic problem is also important, as most indigenous languages do not have developed orthographies. The inconsistent educational policies, unreliable authorities supposed to support some publishers, piracy and poor promotion and distribution are also mentioned as problems.

Large internal markets and ever greater needs linked to the fast spreading education and reading culture support strongly the development of publishing industry.

Broadcasting

Mass media/radio and television broadcasting industries have been spreading very tastly, motivated by 2 main factors: politics and education. Technical and technological reasons should be added as these enabled a very fast proliferation of radio and TV stations in Nigeria during the last about thirty years.

TV transmission began in Western Nigeria in 1559, and a year later the Eastern Nigeria TV Service and Radio TV Kaduna Service were established. The Federal government established the Nigerian Television Service (NTS) in Lagos in 1962. The development of television broadcasting reflected the regional versus federal politics and aspirations. Each of the 21 Nigerian states opted for its own radio and TV station, as well as for university, colleges, hospitals, etc. 34 TV stations had been established in Nigeria over 25 years, at a rate of 1.5 station a year.Nigeria has the fourth largest TV network in the world, with the constantly growing staff and the figure of imported programmes going constantly down. There is an ever increased choice of TV channels, and the oil revenues helped to increase the number of TV sets. In the mid-seventies about 87 per cent of population had access to TV programmes.

Educational television began broadcasting to schools in 1959 and soon became a very important input in development of TV. The merits of TV for the development of education in Nigeria are also enormous both in the processes of formal and informal education.

There were efforts to coordinate the growth of TV. The military government introduced in 1976 the Nigerian TV authority - NTA that took over the 10 then existing TV stations and created 9 more. However, in 1979 the Constitution gave the Nigerian president the mandate to allow state governments, organizations and individuals to establish and operate TV stations. In 1984 the military government nationalized all TV stations and established a state monopoly over television broadcasting. Proliferation of TV and radio stations proved to be a very powerful means for the emancipation of ethnic cultures and values.

Film

Film production seems to be the least developed among the Nigerian mass communications industries. The local production of films is not encouraged neither financially nor through some cultural policy. The poor distribution networks operated mostly by strangers and dependent on Indian and American production do not support the production of domestic films. The state censorship also prevents production and distribution of domestic films. Some authors claim that the restructuring of the film industry through the nationalization of film production and distribution would be welcome. The need to set up laboratories and train professionals is also emphasized.

Sectoral Policies

Cultural Heritage

Cultural heritage is widely recognized as the most important input in defining the national and ethnic cultures in Nigeria. Nigeria inherits great cultures of the Benin plateau, but also an impressive body of plastic, music and literary arts. All Nigerian governments, notwithstanding their political backgrounds and developmental orientations, proclaimed their intention to preserve cultural heritage and allow for its full recognition. The National Archives, the National Museum, the National Library and all the existing universities have taken over the task to work on research, restoration and preservation of the cultural heritage. Both federal and a few state agencies working in this field are fully supported from the federal funds.

Although a lot of work has been done in research, systematization and preservation of cultural heritage. There is a need for well established documentation on cultural heritage, as well as a need for a well organized service for its restoration and preservation.

Artistic and literary creation

Artistic and literary creation depends mostly on the individual initiatives or on the local support. The federal Fund for the Assistance to Arts and Drama offers assistance to artists in the provision of fellowships, study grants for travels and purchase of the needed materials. Other types of support available to artists or writers depend on cultural industries that are directly involved or influence artistic and literary creation.

Performing arts are to a certain extent supported through investments in cultural infrastructure, such as building of theaters, stadiums hosting large festivals, etc.

Training of personnel for cultural action

Nigeria is among the countries which have training capacities and could organize either formal (university) or informal training for cultural action. The needs are large, but the curricula and programmes are not very well adapted to meet them.

University courses, apart from those designed to train journalists, are not specialized enough to prepare students for work in either cultural industries or as organizers of cultural activities. Specialists at higher level are usually trained on the job, and often also in the specialized institutions abroad.

Informal training carried on through seminars, workshops etc. is usually organized in accordance with the pressing needs for specialized personnel.

Instruments of Cultural Policy

Financing and planning of cultural activities

Functioning of public and semi-public bodies dealing with culture, as well as the main inputs in cultural infrastructure such as building of museums, theaters, establishment of libraries etc. are mainly covered from the federal budget. This also stands for the organization of large events such as national or literary festivals organized by federal or state agencies of culture.

Planning of cultural activities or of the establishment of cultural infrastructure is linked to the budget provisions preparations. It hardly goes beyond an action or project planning. A general development plan of the country may provide for the construction of cultural infrastructure or for major cultural events. The project planning is restricted to either the local level, or, in the case of international cultural cooperation, fully complies with the provisions of the donor organization.

Spending for culture depends on the interests and possibilities of the large public, particularly in the case of pop music, smaller performing groups, artisans, etc.

Legislation

The Nigerian Constitution has the provisions regarding the rights of Nigerian people to develop and promote their cultures, and to apply their cultures as an instrument promoting national identity and unity.

The Legislative List of the Nigerian Constitution defines the mandate of the Federal government, as well as of the state and provincial authorities, in the field of culture. According to the List, each Nigerian State government has the exclusive responsibility for the promotion and development of local culture(s).

Acts of the National Assembly of Nigeria define the role and functioning of the specialized bodies dealing with culture.

Particular laws passed by the state or provincial authorities represent the statutory basis for the establishment of arts councils and the other local bodies.

Administrative and Institutional Structures

Public or Semi-public Bodies

Ministry of Culture and Social Welfare has two departments responsible for administering and implementing cultural policies. The Federal Department of Culture is responsible for the formulation and execution of the national cultural policies, for the financing and promotion of all national cultural organizations and for international cultural relations. The National Council for Arts and Culture encourages and develops all aspects of Nigerian cultures and interacts with private or public organizations.

Other federal bodies partly involved in cultural life and policies are Ministry of Information and Ministry of Education.

Different cultural sectors are covered by the statutory bodies at the federal level, such as the following: National Commission for Museums and Monuments, National Library of Nigeria, Center for Black and African Arts and Civilization, National Gallery of Modern Art, Federal Radio Corporation of Nigeria, Nigerian Television Authority, Film Corporation of Nigeria.

The Federal Ministry of Culture and Social Welfare is in charge of cooperation and coordination among various bodies at the national, state and local government levels.

The promotion and development of culture is the exclusive responsibility of each Nigerian state, although the Federal Government finances and offers administrative support for culture to each state. State or provincial authorities have all established State Art Councils set up by law. These art councils have the responsibility to develop, administer and promote state cultural policies.

Non-governmental cultural institutions

Cultural organizations at both federal and local levels, artistic associations, specialized institutions, agencies, etc., operate through registration with the authorities. Organized cultural centers usually function within the local communities or at the universities. They are self-organized and sometimes supported for specialized, particular activities only. Some may also operate as small private enterprises, which is the case of small performing groups, small publishers, etc.

General Directions of Cultural Policy

The rights and various attempts of the people of Nigeria to develop their culture have been supported by both the civilian and military governments and have been given consideration in the Nigerian Constitution. However, neither the systematized cultural policy, nor the set of main aims of cultural policies within the states have not been presented. Some of the clearly set directions of cultural policies are:

- analysis and understanding of the Nigerian cultural life, cultural values and cultural needs and expectations of people;

- affirmation of the authentic cultural values and cultural heritage;

- building up of a national cultural identity and parallel affirmation of cultural identities of different ethnic groups;

- development of cultural infrastructure and introduction of new technologies in cultural activities;

- establishment of links between culture and education, as well as between education and different cultural industries, particularly mass media.

National cultural policy is generally regarded as an instrument of promotion of national identity and Nigerian unity,as well as of communication and cooperation among different Nigerian or African cultures, while the federal states' cultural policies stand for the affirmation and development of particular (ethnic) cultures.

Nigeria (Introduction)

Nigeria is one of the largest (923,768 km2) and geographically, socially and culturally most diversified African countries. It is the most populous country of Africa (the population estimated at 110 million in 1990), and potentially one of the richest. Richly endowed with human and natural resources, benefiting of a large internal market, Nigeria is, however, highly dependant on external economic sector, particularly oil revenues (93 per cent of exports in 1989). The domestic industry is import dependant. More then 60 per cent of population is employed in agriculture, which provides the bulk of Nigeria's food and raw materials supply and non-oil exports.

Rich resources, large internal market and human potentials did not prevent Nigeria from being a low income country with GDP per capita declining from about 1,000 US dollars in 1980 to about 250 dollars in 1990. The world oil crisis, poor agricultural development, and internal civil war are usually cited as the main reasons for such an economic decline.

Nigeria became independent in 1960. The post-independence history of the country has been dominated by ethnic and regional antagonisms, and the interplay between military and civilian rule. The military take-over of government in 1966, the civil war from 1967-1979, and the rule of military government from 1970 to 1979 alternated with the attempts to introduce civilian rule and democracy. The civilian rule was introduced in the period 1979-1983, when it was interrupted by military coup. The preparations to introduce the civilian rule again, promised to be set-up in October 1992, have so far included the formation of political parties to contest elections, and the local and state government elections in 1991.

Nigeria is in the process of socio-economic restructuring and adjustment. The over-all situation of the majority of people remains of utmost concern: the population growth is estimated at 3,2 per cent, the life expectancy stands at 51 years, and the male/female adult literacy is limited to 54/31 per cent. According to the Human Development Index, Nigeria ranks as 129th out of 160 countries. Re-instating civilian rule through participatory politics and general elections, scheduled for August 1992, is regarded to be of paramount importance for the future of the nation.

The federal administrative structure is reflected in establishment and functioning of 21 federal states. Upon the independence (1960) Nigeria had three states; it was split into 12 states in 1967, and in 19 states in 1975. The Nigerian federalism is based on the strong centralized administration in the federal state and army, and the parallel fragmentation of the country in small states which may symbolize the emancipation of Nigerian ethnic groups.

The ethnic diversity of Nigerian society is reflected in the fact that the country has over 250 identified ethnic groups. Three very large ethno-linguistic entities dominate: the Yoruba, the Ibo and the Hausa-Fulani in the North. The Hausa-Fulani, Yoruba, Ibo, Kanuri, Tiv, Edo, Nupe, Ibibio and Ijaw groups account for almost 80 per cent of the population. The Muslims comprise more then 50 per cent of the population, Christians account for about 35 per cent, while the balance of the population are animists.

Thursday, November 25, 2010

This lucid exploration of Africa's crisis focuses on the absence of well-defined economic classes in Africa and the dynamic operation of ethnic groups

This lucid exploration of Africa's crisis focuses on the absence of well-defined economic classes in Africa and the dynamic operation of ethnic groups there. Within this political-economic context, Sandbrook demonstrates, regimes characterized by personalist leadership have almost everywhere presided over the deterioration of African economies. Readable and concise, the study illuminates the economics much less than the politics of Africa's crisis, but it is from within the latter, arguably, that the chief remedies must originate.

Introduction to Africa, Government and Politics

African societies today have two levels of government: the indigenous organization, which pertains to local groups, and the national government of the independent nation-states. The relationship between the two levels is complex and has led to serious incompatibilities and conflicts.
It has become usual to classify the multitude of indigenous forms of African government into three main categories, conventionally known as bands, tribes, and kingdoms. Bands are relatively few and are limited to the societies with economies based on hunting and gathering, especially those of the Bushmen of the Kalahari and the foragers of the central African forests. Their economies require a low density of population and, therefore, its wide distribution over large areas, which inhibits permanent or large settlements. These bands are not found in total isolation but are interspersed with culturally different groups with distinct and complementary economies. Essentially, the bands are large kinship groups under the authority of family elders and shamanic ritual leaders.

"Tribes," a word less often used today than it was formerly because it is held to imply "primitiveness," form the numerically largest political category. Tribes are larger and more settled than bands, but they still lack any overall form of centralized political authority. They have no kings and, in the past, usually had no formally appointed chiefs, although there have always been ritual leaders with some degree of political authority. Most of these societies are based upon a structure of clans, which are segmented into subclans and lineages, often with three or four levels of segmentation. A clan or lineage is the basic unit of such a tribal organization, in which the tribe resembles a series of small, equal, and quasi-autonomous groups. The traditional sanctions for social order are ritual, feud, and warfare. Other tribal systems place emphasis on age rather than on descent, and everyday government is in the hands of councils based on the recruitment of men (and women) of similar age. Initiation at puberty is extremely important, in order that ties between age-mates (whether young warriors or legislative elders) overcome those of birth and descent. These societies are found especially in eastern Africa among pastoralists, such as the Maasai. In yet other tribal societies, mostly in western Africa, government is by some form of association (including the so-called "secret societies") of men and women of equal age and standing.

In the third type of indigenous political structure—that of the kingdom or state—political authority is centered on the office of a king (sometimes a queen), who is chosen from a royal clan and given sacred attributes by his or her subjects. Kingdoms range in population from a few thousand people to several million, and their rulers vary from being little more than ritual figureheads (as among the Shilluk of the southern Sudan, the prototype of James G. Frazer's "divine" king) to military despots with powers of life and death. These kingdoms may have arisen by conquest (as those of the Zulu or Swazi of southern Africa) or by combining into a federation of culturally related states (as those of the Asante or Ghana). The ruler may be regarded as a senior kinsman to his subjects, as a member of a socially senior royal clan, or as a member of an ethnically distinct autocracy (as in the former Rwanda and Burundi kingdoms). In all of the kingdoms, however powerful their rulers, there have always been institutionalized means by which the people controlled royal power. Such axioms as "the king is a slave" are accepted in many African kingdoms. In addition, it has been almost universal for there to be periodic rituals of purification of both the king as an individual and the kingship as an office or institution in its own right, independent of the temporary incumbent (well-known examples are those held in the kingdoms of the Swazi, Zulu, and Akan).

All of these different kinds of political units exist today, although the traditional powers of kings were invariably limited and weakened during colonial rule. In some colonial systems, in particular that of the British, the indigenous rulers were permitted to reign without the power of inflicting death or waging war, under the policy of "indirect rule"; in other systems, especially in the French colonies, it was more usual for indigenous rulers to become little more than figureheads—or even to be abolished.

Above the level of indigenous forms of polity is that of the modern nation-state. There are today almost sixty such nations in Africa, their boundaries remaining those established by the colonial powers that divided Africa at the end of the nineteenth century, with scant regard for the interests of the Africans themselves. It is little wonder that there have been perennial boundary disputes, which have almost all been settled by the Organization of African Unity.

The leaders of these new states have been faced with the problem trying to construct and retain notions of national identity, and to this aim have they tended to reduce still further the powers of traditional rulers and of the local councils and courts, which are based on association or descent. The indigenous local political units may retain the loyalties of their members, but this loyalty has typically been condemned as "tribalism" and (usually mistakenly) considered to be antithetical to "nationalism." The indigenous ruling elites have been weakened and have been replaced by modern elites, whose memberships are based on wealth and commerce rather than on traditional affiliations. The clashes between the two principles of organization—class and descent—have led to gross conflicts of interest and often to armed struggles within military and one-party governments, which have suppressed protestations and expressions of democratic dissent as "tribalism."