FESTAC'77: A History

It started as a mere idea in Paris in 1956, where the Paris based Pan-African Cultural Society summoned a meeting of Black and African writers and Artists to discuss the "resurgence" of the Blackman's culture. The meeting came out with a determination to "propagate" the values and originality of Black culture. The interest generated by the ideas, discussion and decisions at that meeting motivated the second Congress of African Writes and artists held in Rome in 1959. It was this meeting that generated the demand for the first Black Cultural Festival which was ultimately held in Dakar , Senegal in April, 1966. The festival lasted for just two weeks. Nigeria renewed prominence at this Dakar event as ascribed to her rich cultural heritage.

Nigeria was offered the right to host the Second Festival, which was initially slated for 1970. The Festival could not hold perhaps due to the civil war 1967 - 70 and its aftermath. It was rescheduled for 1974, but again could not hold because the required facilities for the event were not ready. After due consultation with other participants, the International Festival Committee of the Festival thus ratified the new date of January 15 February 12, 1977 as scheduled by the then Military Government under the leadership of
Lt. General Olusegun Obasanjo.

The Festival

Initially, the title "World Black Festival of Arts and Culture" was proposed to the International Festival Committee and after some discussions, it was decided that the Festival would be officially known as 'The Second World Black Festival of Arts and Culture". The title was later read "Second World Black and African Festival of Arts and Culture", so as enhance the participation of North African countries that where, though African, but not black.

Objectives
The main objectives of the Festival could be summed up in following terms:

* To serve as a universal avenue for cultural revival; providing avenue to win back black and African peoples' cultural heritage

* To make the Festival a historic milestone for Black and African peoples all over the world, in their effort to free themselves from the bondage of foreign cultures.

* Use the Festival positively for economic, social and cultural advancement of the Black and African people

* To restore the link between culture, creativity and mastery of modem technology and industrialisation

* To enable participants reopen the channel of creativity that would make them so proud of their past and prepare them for a greater and better future as a people with common heritage.

Four categories of participant
By the decision of the International Festival Committee, the Festival was opened to four categories of participant namely:

. All African countries

. All black communities in all countries of the world

. The liberation movements recognised by the OAU and all member countries of the OAU

In spite of the huge cost of hosting the Festival, Nigeria hosted participants from Black nations and a retinue of cultural delegations from African, the Caribbean Islands, and Europeans as well as North American countries.

Major features at the festival included:

* Events: Drama, Music, Dance, Popular Dressing and Film Exhibitions

* Durbar and Regatta

* Colloquium

Nigeria was offered the right to host the Second Festival, which was initially slated for 1970. The Festival could not hold perhaps due to the civil war 1967 - 70 and its aftermath. It was rescheduled for 1974, but again could not hold because the required facilities for the event were not ready.

It is on Record that Festac '77 succeeded in the following areas:

* It was the grandest cultural event so far and it remained one of the greatest legacies that the art enthusiastic, Black and African peoples will savour for long time.

* It was one universal assembly that brought all noteworthy black artists, scholars, critics and intellectuals 10 the country. In an atmosphere of black and African solidarity vis-à-vis the camaraderie of artistic fellowship the legendary traditions of Africans took the centre stage to the admiration or at best the appraisal of the world.

* It was the largest and widest gathering of the Arts and Culture of the Black world

* It was a rare historic opportunity that significantly marked Africa 's renaissance and capture the aspirations of the Black and African continent.

* It evoked the state of emotion as a people of culture.

* It re-enacted the sovereign determination of Africans of Africans to bring themselves closer and at the same time march forward towards others possibly to reach the universal and form a truly worthy part of the world from a common historical and cultural positions.

* In sum, regardless of the fact that Nigerian was reported to have spent $25 million to host FESTAC '77 in the cities of Lagos and Kaduna, the gains of the Festival far outweigh the cost incurred.

During this Festival, Black and African peoples allover the world converged in Lagos and put together their age-old experiences, hopes and aspirations. Every moment, of this meeting featured extensive deliberations, exchange of views, debate, decisions, resolutions and recommendation, which revolved around issues of central importance to Black and Africa peoples' Civilisation.

The fact that these people could not part from one another without leaving behind to posterity the memoirs of their meeting informed the desirability of the meeting. This proceeding was referred to as the Colloquium.

In older that the dialogue Colloquium may achieve, the expected results, it was though necessary to submit medication at least the essential elements all the Black and African peoples of the world for whom the objectives were intended, and through them, all fellow human beings. Thus, the Nigerian Government thought it wise and indeed was determined to create a Museum of Black and Africans Arts and Civilisation and to publish the essential elements of the proceedings of the colloquium.