29/05/2024
A Critique of the Removal of the Monolith Sculpture in Cross River State.
The recent decision to remove the monolith sculpture in Cross River State and replace it with an image of a shepherd and sheep has sparked a heated debate about the value of cultural heritage, visual identity, and global image. This move is not only a disservice to the state's rich cultural legacy but also undermines the importance of preserving unique landmarks that foster tourism, urban planning, and city beautification.
Images with cultural relevance, like the monolith sculpture that have won global attention, serve as iconic symbols that define a place and its people. They are visual representations of a community's history, values, and beliefs. The removal of such an image is akin to erasing a part of the state's cultural DNA. Not everyone has access to the original versions in situ. Artistically speaking, the recreated versions are authentic in their merit and dispensation and cannot be seen as duplication of original idea warranting such destruction. The monolith sculpture was a unique masterpiece that told a story about the people, their makers,their traditions, and their way of life.
Furthermore, this decision has significant implications for the state's global image and perceived sensibility. In the age of digital revolution and cultural revival, concepts abound to position the state's image globally, yet the replacement of the monolith sculpture with a shepherd and sheep image is pedantic and extremely basic. This imagery is visually watery for 21st-century artistic aesthetics and urban beautification, particularly for a state that is culturally endowed and historically relevant in locating Nigeria's economic and political history.The intent of the foregoing is not to disparage religious ideals, but rather to highlight the importance of aligning public art presentations with cultural identity. This alignment has the potential to carve out a unique space for us on the global stage, free from the shackles of colonialism and its lingering effects.
For centuries, colonialism has suppressed our cultural expressions, imposing foreign values and beliefs upon us with its attendant effects. Public art therefore ought to be used as a tool of demonstration, showcasing the grandeur of our uniqueness, our civilization as against colonial domination that has for long had a strong hold in erasing our own narratives. It's time to reclaim our cultural identity and challenge the dominant narratives imposed upon us. However, we must also acknowledge the insidious nature of neocolonialism, which continues to influence our cultural expressions through subtle means. The globalization of art and culture can sometimes perpetuate dominant Western perspectives, threatening to homogenize our unique cultural identities.
By infusing public art with our cultural identity, we can resist the forces of neocolonialism and reclaim our place on the global stage. We can demonstrate our resilience and creativity, showcasing the beauty and diversity of our cultures to the world. Let us embrace our heritage and forge a new path, one that celebrates our unique cultural expressions and challenges the status quo.
Public arts usually capture periods, ideals and poinant metaphors for social consciousness. Most religious art objects dominated the medieval era. However, in this modern era, it is essential to prioritize artistic expressions that reflect the state's cultural diversity, political significance, futuristic predictions and historical relevance. The removal of the monolith sculpture and its replacement with a shepherd and sheep image is a step backward in the State's artistic journey, giving less after taking more than enough.
A researcher overseas, whose research interest lies in Cross River's rich culture, has already concluded her plans to travel to Calabar specifically to understudy both the original versions at Ikom and the recreated prototypes in state capital. This is just one among many others who come in silently to source primary data from Cross River State rich cultural terrain. She and her supervisor were flabbergasted at such an artistically lame and monumentally destructive decision. This decision not only undermines the state's cultural heritage but also discourages academic inquiry and research into the state's rich cultural legacy.
The removal of the monolith sculpture is a cultural travesty that diminishes our collective identity and diminishes our sense of place in the world. UNESCO, the United Nations Educational, Scientific and Cultural Organization, recognizes the importance of preserving cultural heritage sites like the Ikom Monoliths. In fact, UNESCO has designated the Ikom Monoliths as a World Heritage Site, acknowledging their cultural and historical significance. The removal of the monolith sculpture goes against UNESCO's principles and advocacy for preserving cultural heritage and promoting cultural diversity, and sets a dangerous precedent for the destruction of cultural emblems around the world.
Moreover, the biblical command NOT TO MAKE IMAGES of God or any representation of Him is well established - Idolatry. The Bible didn't leave us with physical attributes of Jesus. We only have accurate descriptions of Christ's spiritual characteristics, conduct, and divine nature, which we are commanded to imbibe as our pattern and model. The representation of Christ or any religious figure with no link to authentic reference is a false identity, and this principle should guide our understanding of public arts and cultural heritage. The erasure of our cultural identity is a canvas of shame, painted with the brushstrokes of ignorance and indifference.
In conclusion, the removal of the monolith sculpture in Cross River State is a misguided decision that disregards the significance of cultural heritage, visual identity, and global image. It is essential to recognize the value of preserving unique landmarks that define our cultural landscape and promote tourism, urban planning, and city beautification. Instead of erasing our cultural heritage impliedly, we should strive to protect and promote it for future generations to appreciate and learn from. The economic implications of this decision are also significant, as it undermines the state's value for the cultural artefacts and potential to attract tourists and investors who value cultural diversity and historical significance. As we gaze upon the vacant space where our heritage once stood, may we find the courage to rebuild and reclaim our cultural narrative. What we've refused to value at home is creating value abroad in western museums and galleries.
Finally, the preservation of our cultural heritage is not a luxury, but a necessity, for it defines our identity and gives us a sense of belonging in the world.
Jerry Unimke Fsna, FGAIM.
Secretary, Society of Nigerian Artists (SNA)
Cross River State Chapter
