The Civil War and Liberian Artists
Wilton Sankawulo, Sr. argues that it is Liberian artists who substantiate progress, who make it palatable to the average person.
Liberian writers have been accused of failing to produce literature of high quality addressing the burning issues confronting the nation, Africa, and the world. Some of our critics go on to charge that Liberian writers unduly preoccupy themselves with politics as if it were the only subject worth writing about. Three reasons that often feature prominently among the many excuses Liberians give for this failure are the clampdown of our politicians of the old order on press freedom, the nation's lack of colonial experience, and the absence of a vibrant readership due to the high rate of illiteracy in the country. A shortage of writing talent is often excluded from this list because we have many inspired writers, young and old, of the diverse literary genres.
It is true that literature grows substantially where there is freedom of expression. The problem has been our failure to support the production of literature as a priority. Noting that democracy flourishes mostly where the people are literate, President Tubman initiated a universal literacy program in the '50s and the '60s "to make the Republic of Liberia a Reading Liberia." This worthy effort was short-lived and we consequently paid a high price for its demise.
Artists have a rare sensitivity for seeing into the lives of people, with the instinct to identify the underlying causes of their problems, and suggest practical solutions. Liberia does not benefit much from this potential of her artists because artists are not given the needed support to develop their talents. Perhaps it is thought that the solutions to our problems rest entirely with politicians, but politicians can only facilitate progress. Without the backing of the creative imagination, vision, and industry of their people, they cannot accomplish anything substantial.
We have fallen to the depths of ignominy, emerging from which is not simply a matter of political manoeuvring, for most of our politicians are only concerned with their own interests: Once they are not in power, the nation has no peace, and once they come to power they forget the people. But good artists are committed to the truth as revealed to them whether or not it involves their personal interests.
Many of our sister republics that acquired political independence just yesterday are relatively stable and progressive because their artists bear witness of their sources of strength and motivate them to use such sources to improve the quality of their life. When you land on Mohammed Mutala International Airport in Lagos, no one need tell you that you are on African soil because the art works decorating the airport predominantly reflect the African experience. With all their Western education, the Nigerian elite maintain respect for their culture, for they know that culture promotes self-confidence which is the key to the growth and development of the individual as of the nation. The great sacrifice which our African brothers and sisters made to save us from ourselves was chiefly motivated by their love and appreciation for Africa--a phenomenon inspired by the works of their musicians, painters, sculptors, and writers who are forever bringing to light factors that unite them. A Liberian proverb says, “A baby antelope can show its mother a trap.” It is time we swallowed our pride of being the oldest African republic and learn from our younger brothers and sisters who are far ahead of us in development and progress.
Unlike other African countries such as Ghana and Nigeria that maintain viable institutions and programs for developing their arts, Liberia has no organised program or institution for studying and developing its arts. In the sixties, the Ministry of Information, Cultural Affairs, and Tourism tried to redeem the situation by establishing a centre for the arts at Kendejah near Monrovia, but all the emphasis was placed on the performing arts. No effort was ever made to explain or interpret Liberian arts in writing for students and connoisseurs of the arts as well as the general public. It was enough for singers and dancers to entertain guests and government officials. The works of foreign artists continue to decorate our homes; the music heard on our radio stations and the textbooks used in our schools are mostly foreign. No wonder many of our African brothers and sisters do not even consider us as Africans.
It is of great importance that we pay urgent attention to the development of our arts to assure the growth and integration of our society, although the civil war has claimed many of our artists. We have produced great artists whose works could place the nation on the art map of the world. In the absence of comprehensive accounts of their fates, several of our prominent artists were killed in the civil war while others fled the country for refuge. Although his death occurred a year before our civil war commenced, Bai T. Moore, that pioneer of modern Liberian fiction and an ardent promoter of the performing arts, died as a result of the unsettled condition of the country. Shortly after his death, the nation’s most proficient sculptor, Vanjah Richards, was killed by unknown gunmen for political reasons. Tecumsey Roberts, an accomplished musician and entertainer, was murdered during the war. One of our leading singers Miatta Fahnbulleh, resided outside of the country for years, both in search of refuge and an audience. Fatu Gayflor, a distinguished dancer and singer, returned to the country from the Ivory Coast where she had taken refuge during the war, to engage in the uphill struggle of revitalising the performing arts. Ballah, our only comedian, no longer performs due to lack of support. Kenneth Best, a journalist of great renown and newspaper publisher, fled the country to Gambia in search of asylum and to continue with his publishing, although he was most needed at home to help with national reconstruction.
The list could continue endlessly. Indeed, we have numerous professional and budding artists who are ready to spearhead the development of our arts, but they need support, for no aspect of national development comes to fruition spontaneously. The Ministries of Information, Cultural Affairs, and Tourism as well as Education must promote cultural awareness in the country. Indeed, Liberia needs a cultural revolution to unite the people, cultivate in them a spirit of nationhood, release their creative forces for national development, and restore the nation’s good image. Since art and culture have commercial value, their development can be an economic asset rather than a liability. A school for musicians could be built with instructors from such African countries as Nigeria and Ghana, which have made notable progress in art development. Our schools, especially the University of Liberia and Cuttington University College, could maintain arts’ and writers’ workshops for our writers and artists to perfect their talents. The Ministry of Education could either commission established Liberian authors to produce textbooks for our schools or give preference to books written by Liberian authors for the schools’ lists. National awards should be given to the best artists and writers of the year. The government should establish a commission headed by a professional Liberian artist or writer to study the art situation in the country and suggest practical measures to improve it. In addition, as the Ghanaians, Nigerians, and many other African nationals have done, the commission should be empowered to evolve a national Liberian language in addition to English we can identify with. This will abolish the unnecessary shame and embarrassment we experience for being unable to handle the Queen’s English with proficiency.
Liberia has a rich culture but it requires nurturing. It is unfortunate that we perceive our arts as something for the stage alone. Consequently, we have very little knowledge, respect, and appreciation for ourselves and our rich cultural heritage. No wonder we carelessly embarked on a systematic program of self-destruction. Today, we are confronted by a welter of problems which no politician can solve because the key to their solutions lies in self-knowledge and self-motivation which artists are very good at creating. Such problems as corruption, tribalism, mediocrity, and sloth, which have ruined the social, political, and economic fabric of our country, can be solved once we develop our arts to renew our vision and integrate our lives, the only means by which we can achieve a noble destiny.
Our artists, however, should not wait for encouragement or support before committing themselves to the lonely and gruelling hard work and sacrifice required for mastery of their trade. They should courageously give all they have to develop and fulfil their potential and make their productions competitive on the world market, for, in the final analysis, it is quality production that popularises art. Relying principally on inner motivation, our writers must produce first-rate literature; our musicians and dancers must produce their hits; our carvers, weavers, sculptors, and painters must flood the world market with their works. The sacrifice required for such exercise is inestimable because the price of progress requires all that a people can offer.
In the final analysis, it is effective communication that will improve the quality of life in our country. In the West, decision makers have access to their people's analysis and assessment of national issues. No leader however brilliant can solve all the problems of their country without the participation of their people in a search for solutions. Unfortunately, in many African countries the leaders alone must evolve the solutions to all problems, accounting for the prevailing chaos and perennial development problems that beset the continent. This problem is especially true of Liberia. If we continue neglecting the development of the intellectual resources of our country in preference for that of physical infrastructure alone, we will break down tomorrow what we build today. ?
* Wilton Gbakolo Sengbe Sankawulo has published novels, collections of folklore, and non-fiction texts. He has served in the government of Liberia as well as taught English Literature at the University of Liberia and Cuttington College.
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