by Olutayo Irantiola
With the recent revamp of the National Theatre by SANEF Creatives Limited, a special purpose vehicle of the Bankers’ Committee, which is composed of the Central Bank of Nigeria and the Body of Bank CEOs in Nigeria. The mind-blowing revamp has restored the glory of the National Theatre, putting it back into the spotlight and making it a sight to behold.
The National Theatre is one of Nigeria’s foremost historic monument and supposedly creative industry hub that was in ruins for many years. When the project began in April 2022, the estimated cost for the revamp was N21 billion. The Bankers’ Committee explained that the revamping of the theatre is necessary considering that Nigeria has the potential to earn over $20 billion annually from the creative industry. It is projected that the National Theatre will be able to support skills acquisition and job creation for over 1 million Nigerians over the next five years.
The images showing the completion of the national monument is a resounding revelation of Nigeria’s readiness host any global event within the creative industry. The upgrade includes replacement of the entire Heating, Ventilation and Air Conditioning (HVAC) system, fire safety standards, power, replacement of the water supply and sewage systems. The interior designs were not left out with the installation of Audio Video Lighting (AVL), world stage engineering system, 17 passenger lifts, solar power, new furniture for spaces and restoration of artworks including those on the internal wall panels and the building façade. At best, it could be described as a rebirth!
Having said this, I believe that the journey of the creative sector should go beyond the National Theatre and cascade into the various states to orchestrate a national revival of the creative sector. In recent years, cultural centres that should showcase the arts of various states have gone moribund. Events that should be done in these locations are moved to privately-owned venues because the state governors cannot stand the level of dilapidation of these centres.
The art sector has been in a comatose for many years Pan-Nigeria and there is a need to reverse this trend. With the limited number of creative people, there are limited spaces that give room for expressions across the country. Asides from the spaces in the tertiary institutions of learning and the premium theatric locations ran by deep pocket art connoisseurs, many people within the arts community are struggling to survive.
For the Nigerian creative sector to survive, we need investors that will enjoy some benefits akin to the Federal Government Roads Infrastructure Tax Credit policy and for the state government should also come up with modalities of engaging investors for the creative sector. Let the various regions in the state have art spaces, just like Lagos State did during the administration of Governor Akinwumi Ambode. Once, there are befitting affordable spaces, people can be expressive.
Few persons within the creative spaces that have deep pockets such as Bolanle Austen- Peters’ BAP Film Village, Epe, Lagos State; Kunle Afolayan’s KAP Film Village and Resort, Igbojaye-Komu Itesiwaju, Oyo State and Ibrahim Chatta’s Film Village and Resorts, also known as Africhatta, Oyo State, Nigeria have established places that can support the creative industry. Other places such as MUSON Centre, Ebonylife Place, TerraKulture, Freedom Park in Lagos; New Culture Studio and NuStreams in Ibadan, Oyo State have given life to the creative endeavours of some few creatives. These private venues come at rates that cannot be afforded by budding artistes. There is a need to change the rhetoric in the creative circles.
About two months ago, Mr. Akosile produced a stage play and it was done at TerraKulture. How I wish it was done at the State Arts and Culture Centre. These are the realities that we face together. The state facilities are left to rot while we keep patronising private centres which is optimally being managed. It is time to seek homegrown solutions for arts. Many thanks to Lagos State for establishing the Lagos State Infrastructure Agency (LASIAMA), it will be nice to see their Midas touch at the state’s cultural centre too.
The state government needs to task the tourism, arts and culture team on the number of performances and festivals that they must come up with annually. This parastatal must not be docile. There are a lot of people and creative organisations seeking for partners for Africans to tell their stories and it is important for the state governments to be involved in all these well-curated events. This will also challenge the civil servants and make them know that they must justify their earnings.
Despite the advocacy for the revamp of the cultural centres across the country, there is a need to integrate sustainability features into the building considering the cost of fueling. The buildings must have good aeration, lightening so that rehearsals and other activities can be done with ease. We are in an era now where funds must be judiciously used. To optimize any venue now, renewable energy must be used to power it.
To strengthen the creative economy of Nigeria, there is a need to return to our national and state monuments and facilities. The refurbishment is completed but putting it to optimal use is the way to go. We need investors in our cultural centres pan-Nigeria like Ogun State did during the leadership of former Governor Ibikunle Amosun amongst others. When these facilities come to life, we are ready for the resurgence of creative on a very large scale. If arts must thrive, it has to be Public-Private Partnership (PPP) driven and we must all patronize these venues.
Olutayo Irantiola is a PR Consultant, Cultural advocate and Creative writer. He can be reached via abolz2001@yahoo.com
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