The Good, The Bad Of AFAC EXPO 2008

The  just concluded first African Arts and Crafts Expo in Abuja, the Federal Capital Territory, seems to be a bold vision that must realize its objectives in systematic phases.
Organized by the Federal Ministry of Tourism, Culture and National Orientation, through its agency, the National Council for Arts and Culture (NCAC), the continental event kicked off formally on Monday, August 18th and came to a close on Saturday.
In terms of participation, AFAC 2008 stood up to its billing to a reasonable extent. Naturally, local participants were virtually guaranteed. Virtually all states of the Federation mounted stands and exhibited various craftworks peculiar to their productive environments.
Leatherworks ranging from bags, shoes, furnishings, among others were displayed by states in the far-north such as Sokoto and Kano . The famous Oshogbo textile  print were also on display, but not with all the full-force of its capacity. Other states that participated include Lagos , whose exhibition featured ceramics and sculptural works, Benue with ceramics and masks, Kaduna with an array of local fabrics, Kebbi also with designed calabash, Ondo state, Akwa Ibom with raffia-products and Cross River .
Noteworthy, is the craft workshop of Kano state, moved into the venue to demonstrate production of fabrics at the loom, basket-weaving and raffia. It was a one-on-one touch by visitors with traditional technology and one which instantly registers in the mind, the talents and skills of the Nigerian rural-dwellers. Other African countries were also present.
Although, the number of foreign countries present did not meet-up with what was expected, some countries had a remarkable presence at the EXPO. One was Niger Republic and its highly ornamental silver jewelry. Like in the case of Kano , the silversmiths operated in a workshop to demonstrate their skills, proving for all to see that Africa has just as much to offer in these areas as any foreign country from which this product is imported.
As articulated by Paddy Obinna, a member of the Imo State contingent, what is desired is the will to make Africans patronize their products on the basis of self-sufficiency.
Mali and Senegal show-cased, mostly their textile products, especially the characteristic, intricate embroidery in their brand of dresses.
The case with Benin Republic offered a peculiar point of interest. In an exhibition of arts and crafts, Madame Aesetou Ohousou, only came to display and market her wide range of herbal products which included medicines for hypertension, diabetes, pain and the famous “man-power.”
Interestingly, the stand of Madame (Dr.) Ohousou was the biggest crowd-puller, even when definitively her products did not particularly answer to the definition of arts and crafts. Perhaps, if the NCAC were to explore the wide subject of African arts, crafts, science and technology in an Expo African, more crowd-pulling enterprises like those of Madame Ohousou would have thronged along.
All the same, a definitive focus on particular discipline as done on arts and crafts by NCAC in AFAC EXPO offers the best advantage for developmental reasons.
This beginning is modest, passable, but deserves greater aggressive publicity, marketing, comprehensive organization with a much higher level of commitment.