“We find ourselves living in a time where the fundamental underpinnings of democracy are being challenged and disrespected ad absurdum, as demonstrated by the current president of the United States towards a hitherto functioning judicial system. Even the 1948 Universal Declaration of Human Rights, the 1951 Geneva Convention on refugees, and individual countries' membership of the European Union are being called into question by certain Western statesmen and women and candidates for political leadership.
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The need to create a veritable platform to discuss issues concerning Nigeria’s arts and culture led to the birth and growth of the quarterly Arts Stampede organised by the Committee for Relevant Art (CORA). At the time of its conception, there was obviously no public forum like that in Nigeria for artists, culture practitioners and enthusiasts to assemble on a regular basis to subject their affairs to scrutiny. So when it finally came, the Arts Stampede filled a wide gap in the nation’s cultural history, drawing the arts and culture community together for the purpose of dialoguing on ways and strategies of repositioning the sector.
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2020 was the year the world went fully into lockdown due to the full manifestation of the Covid19 pandemic, thus the tradi-tional flag-off event of the CORA, the Art Stampede, which was always staged withing the thematic context of the annual iREP Documentary Film Festival had to be postponed as the festival it-self was cancelled two days to its take-off on March 20. Like every other Culture Producing organisations, the CORA went into forced ‘vacation’ but it. spent the time strategizing on how to embrace the stress poised by the Covid-era challenges. It resolved to rise about the pall of darkness and fully embrace the then emerging coping strategy of migrating its activities to virtual platforms.
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The Committee For Relevant Art
WINNER OF PRINCE CLAUS AWARD 2006
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