By KAMIKE NWACHUKWU

IMAGES are very strong. They erect strong and eternal monument in human minds. Because of the importance attached to images, the civilized world appropriates it as an important tool in the definition of meaning, which of course, is seriously shaped by the managers of power.

It is therefore not surprising that the West and the entire developed world as part of their functions of power management and definition of meaning have successfully created negative images about the whole of black race and especially, the home continent of Africa.

Thus, the image of the continent in the outside world is couched in poverty, illiteracy, hunger, diseases, bad leadership and underdevelopment. These negative images are relayed through the media of journalism, literature, film and other forms of visual and creative arts.

So, seven months after the President Jonathan Good luck’s Inauguration exhibition held at the Shehu Musa Yar’Adua Centre, Abuja between May 25 and 30, 2011 as part of activities that marked his re-election into the governance saddle of the nation in the next four years, one is forced to go back, to critically re- examine the kind of images presented by the vibrant Nigerian artists at the occasion, in the year, which the country, coincidentally turned fifty one years in her journey of nationhood.

President Goodluck Jonathan

Inaugural exhibition

Tagged, Nigeria, Our Nation, the inaugural exhibition presented ever green images that cut across painting and photography, and successfully demystified many of the negative myths associated with Nigeria.

The exhibition that featured the works of old and young Nigerian artists including; celebrated visual art masters like Bruce Onobrakpeya, Adolphos Opara, Kolade Oshinowo, Jerry Buhari, Olu Amoda and Ndidi Dike as well as world acclaimed photo artists like J.D. Okhai Ojeikere, Baba Shettima, Tam Fiofori, George Oshodi, Don Barber and T.Y. Bello made a sweeping statement about a nation in transition.

This transitional journey was better captured in the photographic exhibits of Baba Shettima, whose photographic exploits located the nation’s journey politically and economically.

A retired Chief Photographer of the Federal Government, Shettima presented photographs that spoke volume of the nation’s journey to adulthood starting from the constitutional conferences that built up to independence through the activities of major players like Ahmadu Bello, Nnamdi Azikiwe, Festus Okortie Ebo, Margret Ekpo, Ayo Rosiji, Anothony Enahoro, Tafawa Balewa, whose various roles shaped and continue to shape modern Nigerian state.

However, the most significant image among the works presented by Shettima at that occasion was a picture of late, Tafawa Balewa, the Prime Minister of the Federation of Nigeria, standing by the SS.Humufusis, A Shell tanker, which carried the first cargo of Nigeria’s crude oil for export at Port Harcourt. According to information piece from the photograph, the 10, 000 ton crude oil was pumped from Afam and Oloibiri and exported to Rotterdam and Swansea on February 17, 1958.

Another picture titled, The Big Three, which has Obafemi Awolowo, Ahmadu Bello and Nnamdi Azikiwe touched at the depth of commitment of the founding fathers of this nation, who, perhaps are not happy in their graves today, as they turn round to see their one envisioned Nigeria being continually threatened by polarized citizens. The pictures of Ojeikere, however, challenged the sensibility of every concerned Nigeria about the present infrastructural decay in Nigeria.

Three important landmark photos from the photographers are; General Ward: University College Hospital, 1966, Ahmadu Bello Stadium, Kaduna, 1974 and Nigerian Institute of Foreign Affairs, Lagos, 1966; which showed a serious minded nation.

These architectural exploits, whose aesthetics have stood the test of time, are in fact, a serious challenge; and pose serious question to modern architects and designers given the number of building collapses that are witnessed in different parts of the country today because of poor designs and professional inputs.

Interestingly too, there are also other strong and encouraging images from the exhibition. For instance, George Esiri’s The Youthful Steps of Sunset, Tam Fiofori’s Oba of Benin Coronation, T.Y.Bello’s, When Nigeria Show Up and Afolabi Sotunde’s, The Loggers, all of which propped up hope, resoluteness and the never say die spirit of Nigerians.

Nigeria, Our Nigeria was one important exhibition that featured positive images about a country that for a long time, suffered battered history. And there lies the achievement of the organizers of the inauguration show.