CORA is us and we are CORA, a people’s legacy

That the vision leading to the establishment of the Committee for Relevant Art (CORA), 25 years ago has been vigorously pursued, is a source of great pride to me as a witness. I suppose, also, that it is the same for other colleagues both in Nigeria and the diaspora.

Instructively, since its inception on June 2, 1991, CORA has not been abandoned at the threshold of vision for the sake of vision. That vision has been matched with practical and trail-blazing actions in cultural programmes conceptualisation and implementation, both of which are far-reaching and all-inclusive. And it is in tandem with all interpretations of the keyword, ‘relevant’.

But, before I go into a few more details, let me salute the noble efforts of the primemovers of this initiative, especially the founding Secretary-General, Toyin Akinosho and Programmes Chair, Jahman Anikulapo. This duo has, rain or shine, sustained the activities of CORA with personal funds and enriched its outputs with their vibrant intellectual resourcefulness. They are still as fresh in vigour as in their commitment to the cause of the Committee. But one has to also pay glowing tribute to other pioneer executive and non-executive members whose contributions powered the take-off of this organisation. One is talking about the likes of Yomi Layinka (now in the Oyo State Executive), Tunde Olanipekun (now a Pastor), Chika Okeke (now a professor of art history in a US university), Jossey Ogbuanoh (now a publishing professional); and countless early subscribers to the initiative, including Segun Ojewuyi. There are more that I cannot exhaust in this brief testimony. But their inputs in praxis and erudition shall not be glossed over. They are still connected to that vision in spite of distance and unavoidable circumstances.

CORA has, since 1991, achieved the feat of being Nigeria’s most enduring cultural organisation outside government and the most consistent in all instances — within and outside government — in strategic programming with clearly measurable, people-friendly indicators. I mean that the results are there in the public domain in terms of ideas and ideals translated into practical action and embraced by the leading lights of the country, from the president to ministers, directors, pace-setting writers and culture-producers, diplomats, journalists and a host of others. Students at all levels, including primary school pupils, are engaged in the cultural narrative of CORA, at such a level that even government agencies are very far from attaining. And I say this without any fear of contradiction.

Just to mention a few, CORA kicked off with the Arts Stampede, an artists’ parliament anchored in those early days by Yomi Layinka. The Stampede has remained a banner activity up till today, the most sustained cultural event in the country. Other programmes include ‘The Lagos Book and Arts Fair’, ‘The Elders’ Forum’,’ a generally musical honours event with the imprint of veteran broadcaster and music critic, Mr. Benson Idonije, Toyin and Jahman. I recall that it was the highlife-expo version of this programme at Goethe Institut at the turn of the 21st century that brought aged maestro Fatai Rolling Dollar back into public reckoning after decades in the oblivion. His latter-day success is one of the measurable indicators one is talking about.

CORA activities include a schools-outreach programme aimed at promoting creativity and literary appreciation among students. Among their other engagements in CORA, Ms. Shola Alamutu, Mr and Mrs. Ayo Arigbabu, poet-activist Dagga Tolar, photo-artist Aderemi Adegbite and the musician Aremu Opadoja are strong operators in this area where the Committee collaborates at the grassroots level with or without Local Government authorities. One also salutes the growing corps of young volunteers who render assistance in whatever measure to support CORA initiatives.

Just as the Committee pursues field objectives, it has also been involved in policy proposal and articulation on culture including screening the manifestoes of political parties and their candidates. And this, I dare say, is without any trait of partisanship.

One is writing this testimony wearing no mask at all. As an activist of about four decades, one is quite methodical about casting lots and endorsing institutions. Since inception, I have unequivocally cast my lot with CORA and participated in many of its activities because I have always had an unflinching conviction about its genuineness and sincerity of purpose.

Recently, I was invited to serve on its Board, an appointment that I accepted without hesitation, because CORA has proven, over the years, to be the true voice and limbs of an acutely marginalised Nigerian culture sector. It deserves every support it can get from every committed stakeholder and patron, just as we pray that its vision and action will come to fruition for the benefit of all Nigerians.

Let us say, in a nutshell that CORA is us and we are CORA; A people’s legacy. Happy Anniversary.

—Tomoloju, Playwright, Theatre Director and Culture Communicator is a member of the Board of CORA