Why Invest in Art?

When we invest in anything, we are attempting to maximize our return on that investment, given some level of acceptable risk. All financial investments involve a balance between return and risk. Investing in art is no different. We have to ask: "What is the expected rate of return, and what are the risks?" Besides these criteria, art investment offers other investment advantages. So let's take a look at these issues in art investment.

When we invest in anything, we are attempting to maximize our return on that investment, given some level of acceptable risk. All financial investments involve a balance between return and risk. Investing in art is no different. We have to ask: "What is the expected rate of return, and what are the risks?" Besides these criteria, art investment offers other investment advantages. So let's take a look at these issues in art investment.

Rate of Return

Calculating a rate of return on art investment is difficult. The difficulty lies in devising a performance index that accurately reflects the movement in the prices of art. Since we are concerned with investment, I am considering only what I call investment grade art. This is the art that is offered by the major auction houses such as Christie's and Sotheby's -- not the art you might find in a downtown gallery. Admittedly, this criterion is not precise. There have been several indexes created to measure the changes in art prices. One of the most respected indexes of investment grade art is the Mei Moses All-Art Index. The index was developed by two New York University professors, and is often quoted as the most reliable in describing art price fluctuations. This index indicates that art prices have almost matched the performance of stocks, and that over some periods, the rate of return on art has beaten the stock market. This would put the annualized rate of return somewhere close to 6%.

Other estimates for price growth in art have not been so optimistic. In fact, some estimates place the rate of return near zero. A study directed by Luc Renneboog at Netherlands, Tilburg University estimates that the rate of growth from 1970 to 1997 to be around 4%. We can speculate that the long-term rate of return for investment grade art is somewhere between 2% and 6% with 4% probably a fairly decent estimate depending on the art bundle.In today's economy where certificates of deposit are yielding close to 0%, a 4% yield on fine art would appear attractive.

Asset Diversification

It is a fundamental premise of financial management that asset diversification can reduce overall risk of a portfolio of assets. Adding new financial assets to any portfolio should serve to reduce risks, especially if the performance of the new asset does not correlate directly with other assets in the portfolio. Although price swings of stocks and fine art are often paralleled, they are not always perfectly in sync. Stock prices usually reflect economic activity whereas fine art is not as directly impacted.

Inflation Hedge

Real property can provide a hedge against inflation. Whereas inflation can eat into the value of monetary based assets such as bonds and certificates of deposits. Like real estate, coins, and gold, art is real property. Although the supply of art continues to grow, the demand for investment grade art is growing even faster. Renoir and Picasso have long stopped painting. Periods of hyperinflation, have always seen huge increases in the prices of investment grade fine art.

Tax Advantages

As it has been noted earlier long-term profits are taxed at lower rates than ordinary income. Plus, a portfolio in art offers the possibility of other tax advantages if the owner donates the art to qualifying charities, especially museums. In the same vein, fine art assets can play a significant role in an individual's estate planning.

Although current reduced tax rates for long-term gains and estate taxes have worked to reduce many of these tax advantages, these tax cuts are scheduled to expire in the next few years. New tax schedules could emerge again favoring the tax advantages of art assets.

The Joy of Collecting

There are other gains that can be derived from art investment -- the joys of collecting and displaying an art collection. One might argue if you are going to collect art anyway, you might as well pursue the collecting seriously with an aim of ultimately making a profit from the process. There is a danger of developing the mindset of a collector if you are seeking financial gain.

Investors make money in art when they sell to collectors -- not the reverse.

Summary

So why invest in art? Probably the most compelling reason is the reduction of portfolio risk by diversification and as an inflation hedge. Although a 4-6% return on investment surpasses money-based assets, it falls behind stocks and precious metals. However, price reflects supply and demand. The supply of investment grade art is diminishing as contemporary artists gravitate to electronic art mediums. Paint on canvas for the current generation of artists is passé, and new electronic forms of art-making add nothing to inventory of marketable art. This trend may not be immediately felt on the art market, but could have a tremendous effect in twenty or thirty years. And art investment is always a long-term proposition.

By combining the possible financial gains from investing in art with the emotional pleasure of owning and displaying the art, then art investment can become "profitable."

Art Therapy Wellness Solution

WHAT IS ART THERAPY?

Art therapy, as defined by the American Art Therapy Association, is the therapeutic use of making art, within a professional relationship, by people who have experienced illness, trauma or challenges that have caused varying degrees of dysfunction within their lives. Art therapy is helpful for people who seek personal development through creating art and reflecting on their artwork and the process of making art. Through art therapy an increased awareness of self is developed. The self that emerges through the creation of art in art therapy is enhanced and stabilized, enabling one to cope with challenges, stresses and trauma. The learning process is enriched through creating art and enjoyment of art making increases self awareness, cognitive abilities and defines the life-affirming pleasures of making art.

The American Art Therapy Association promotes established standards for art therapy education, ethics and practice. Volunteer committees composed of members and other experts in the field actively work on governmental affairs at the national and state level, clinical issues and professional development. The Association's dedication to continuing education and research is demonstrated through its annual national conference, publications, its distance learning capacity which is in development and national awards recognizing excellence in the field of art therapy.

HOW ART THERAPY DEVELOPED

Throughout history, Visual expression has been used for the purposes of healing, but art therapy did not emerge as a distinct profession until the 1940s. Early in the 20th century, psychiatrists became increasingly interested in the artwork their patients with mental illness created. And educators were discovering that children's art expressions reflected developmental, emotional, and cognitive growth. The work of many contemporary artists of that time used both primitive and child-like styles to express psychological perspectives and dispositions (Dubuffet, Picasso, Miro and Braque, for example.)

By the mid-century, hospitals, clinics, and rehabilitation centers increasingly began to include art therapy programs along with the more traditional verbal therapy techniques, recognizing that the process of creating art enhanced recovery, health, and wellness. As a result, the profession of art therapy grew into an effective and important method of communication, assessment, and treatment of children and adults in a variety of settings. Today, the profession of art therapy has gained importance in healthcare facilities throughout the United States and within psychiatry, psychology, counseling, education, and the arts.

WHAT DOES AN ART THERAPIST DO?

Art therapists, as defined by the American Art Therapy Association, are masters level professionals who hold a degree in art therapy or a related field. Educational requirements include: theories of art therapy, counseling, and psychotherapy; ethics and standards of practice; assessment and evaluation; individual, group, and family techniques; human and creative development; multicultural issues; research methods; and practicum experiences in clinical, community, and/or other settings. Art therapists are skilled in the application of a variety of art modalities (drawing, painting, sculpture, and other media) for assessment and treatment.

Art therapists are professionals trained in both art and therapy. They are knowledgeable about human development, psychological theories, clinical practice, spiritual, multicultural and artistic traditions, and the healing potential of art. They use art in treatment, assessment and research, and provide consultations to allied professionals. Art therapists work with people of all ages: individuals, couples, families, groups and communities. They provide services, individually and as part of clinical teams, in settings that include mental health, rehabilitation, medical and forensic institutions; community outreach programs; wellness centers; schools; nursing homes; corporate structures; open studios and independent practices.

An art therapist requires a license to practice art therapy. Art therapy licensing differs from state to state.

WHO BENEFITS FROM ART THERAPY?

Art therapy addresses a part of the brain that is often functional when other parts are dysfunctional or not functioning well.

Many can benefit from art therapy, including hospitalized children, teens, adults and the elderly. In addition, art therapy benefits the mentally ill. In many cases, those with depressions, fear and anxiety caused by trauma or developmental challenges have difficulty expressing their deep feeling. Creating art often allows them to begin to become released from their own dysfunctions.

The elderly, and particularly Alzheimer's patients, suffering from varying degrees of memory loss, time and space dysfunction do to aging can respond to drawing, painting and sculpting and begin to take control and regain some of these lost capabilities.

Studies have shown that art therapy sessions with the elderly have encouraged memory and brain function--creative movement has reduced the risks of falls and accidents and encourages balance and movement. The Museum of Modern Art in New York has a program called "Meet and MOMA." On Tuesdays, when the Museum is usually closed, group of Alzheimer's patients and their caregivers tour the galleries. The stimulation of seeing and discussing artwork enriches their lives and stimulates them mentally. Since the establishment of this program, many patients have exhibited marked improvement in memory, cognitive awareness and self expression.

Art therapy helps prisoners address their angers, fears, and resentments. Through creating, they begin to see themselves and realize what motivated them to commit a crime. And art making gives many a chance to develop a skill that can enrich, not only their lives, but the lives of others.

Art and the creative process brings balance, self-esteem and enjoyment to anyone who is challenged by mental or physical disabilities. Through the creative process, deep-seated feelings emerge in an gentle, nurturing atmosphere. People are enabled to meet their worst fears, anxieties and challenges by doing artwork that expresses that challenge. When it is identified, view and discussed, often the overwhelming proportion is diminished. In a group, the participants realize that others have fears and problems also, just like them. Eating disorders can be addressed and in some cases, cured by creativity because the underlying cause of the disorder is often hidden and emerges through the art work.

HOW ART THERAPY WORKS

Art therapy, active in a professional setting, creates a sense of self, that which is often lost in the elderly, Alzheimer's patients or those with mental illness. Sensory stimulation through art making fills in where there is a deficit of sense of self and sensory stimulation. This is proven through the use of any and all uses of art materials and skills, including painting, drawing, water color, collage or sculpture.

For example, collage creates a sense of putting things back together and connectedness. Creating a collage deals with the juxtaposition of identifiable images that resonate in the individuals' experience and can bridge the communication gap between the anxiety or fear a person feels and the outside world. Making art externalizes and through discussion with an art therapist who can interpret what the art work says relative to the patient's behavior and challenges, the patient can begin to identify that which impedes their thinking and balanced growth.

As evidenced by the Meet At MOMA Program, Alzheimer's affects that part of the brain that makes memories. The parietal lobe is stimulated by art. When a patient looks at a painting, the painting encourages a dialogue with the viewer. Questions and interpretations of the visual response develop. Those that cannot remember their name or the names of their loved ones, can often, talk about what they see in a painting and be clear about their own interpretations of the painting. Often memories are stimulated as well, and things forgotten come into the dialogue.

When those in art therapy are given paints, pencils, clay, or collage materials, a here and now, active stimulation begins. Through work with the hands, imagination is stimulated and, it has recently been discovered that the imagination will be there when the rest of the brain is dysfunctional through a progressive disease such as Alzheimer's.

There is an important need to get thoughts and feelings out in some way, especially in teens, adults and the elderly. It has been evidenced that very young children who have not yet learned how to express themselves verbally, will grab a crayon and begin drawing naturally. Older persons are challenged because they are at a loss to express themselves, but can find balance and enrichment in painting or drawing.

Art therapy demonstrates that creativity is a deep core need in all of us and that making a painting will help one remember, recall the past that had been forgotten.

There is another value to art therapy, as well. Institutionalized people, those in prisons, nursing homes and hospitals often feel they are just a number or a file. Art therapy gives them back their individuality. These people are given back a sense of control over their lives that they had to give up for going into an institutionalized environment.

And in a hospital setting, especially for people with a cancer diagnosis--it is often very difficult to talk about it. Art gives them an opportunity to express the way they feel, come into control and alignment with their feelings and give them, through the art therapist, a perspective on their life.

ART THERAPY ON A GLOBAL SCALE

In Saudi Arabia, a psychological and religious counseling program for militants has been developed incorporating art therapy for imprisoned Jihadists. This successful rehabilitation program came into operation today as the result of the Saudi's commitment to lessening the production of home grown Jihadists.

The International Medical Corp provides clinical support for people on the front lines of disaster and uses art therapy to rehabilitate victims of war, famine, political upheaval, and natural disasters.

The National Geographic Society has supplied cameras to people in Uganda to take pictures of their lives and work through the pain and loss they have experienced through war. Ultimately, what we are discovering is that no one is safe from the anxieties, challenges and fearful factors of every day life. And, as we begin to realize that physical health and mental health often are integrated and dependent on each other, the role of the art therapist becomes more and more important in addressing our well being the development and maintenance of our total well being.

Art Appreciation - A Rich, Rewarding Experience

I DON'T KNOW MUCH ABOUT ART BUT I KNOW WHAT I LIKE?

Perhaps you've gone to a gallery or art museum, looked at the artwork displayed and said to yourself, "What the heck is that? I can't understand it! Why is this here in a gallery?"

Or, maybe you've gone to a gallery or art museum and your reactions was, "Wow! Great stuff! I like this! I don't know why, but I do!"

Or, maybe you've gone to a gallery or art museum, and, after viewing the exhibits, you walk away feeling bored and disinterested. You may have said to yourself, " Why do I bother with looking at art? I never understand it. It's beyond me."

Like any other discipline, art requires the viewer to be knowledgeable about the information it presents. Sometimes we think we should just automatically understand art. After all, there it is, just hanging there on the wall and all we have to do, we think, is just look at it. But do we really SEE it? Often, our response may be, "I don't know much about art, but I know what I like."
That is just another way of saying, "What I like is really just based on my ignorance."

THE MORE YOU KNOW, THE MORE YOU CAN ENJOY
Liking a certain artwork is a pleasure. You have communicated with visual phenomena and really enjoyed the experience. It can be a very enriching, rewarding experience to know how and why an art form developed or have some knowledge of how and why an artist works in a particular way. More than likely, your perspective is quite limited if you have never studied art or know how it has developed in not only, our Western culture but all over the world.

What if you could gain information on the many forms of art that have been produced since humanity began, and how it developed over time to the present day? What would this kind of study mean to you? It would mean that, equipped with that knowledge, you would be able to enjoy a lot more art! Here's why.

The more you know about art and its development, the more you can enjoy looking at art! You will see much more and understand the context, content and style of the art form. And this is the basis of Art Appreciation-a study of how to expand your knowledge of the art world, past, present and future and, with that perspective, be able to communicate with the rich visual/creative world!

HOW TO BEGIN
So, how do your start gaining knowledge of this vast art world? Where do you begin?

Begin by dipping your toe into Art History. With a basic Art History 101 knowledge you will be able to see how art, as we know it, was not really a term until the science of Art History was developed in our western culture. And, when it was developed, as you can read in many art history books in the library, art has existed as long as humans have been able to pick up a stick, brush or chisel and record their lives and experiences.

There are several ways of learning how to appreciate art:

ONE -- Learn about the basics of art history. How art developed, from the Lascaux cave paintings to modern art today. Older art history books deal primarily with artistic development in Western culture. Newer books add developments in Asia, China, Russia and the mid-East. The study of Art History has, over time, become global. In learning the time lines and factors that produce new perspectives and styles in art, you will not only gain a new historical perspective, but also become acquainted with the various art forms produced over the past centuries.

TWO--Choose a certain period or style in art history and learn about it. Perhaps Impressionism interests you. Or maybe you've always wanted to know the difference between Op Art and Pop Art. Through studying the cultural impact of a certain style on a specific period in time, you can understand why that particular art form developed and appreciate the artwork in a broader context.

THREE--Take a tour of your local art museum. Museums offer a wide variety of art educational programs and tours of their exhibits. Or travel and see the actual art in its setting. There are many websites on the Internet listing global art tours and travel, often by geographical location or specific art and architectural styles. On site art tours offer a unique and interesting way to travel and can give you an intimate, one on one perspective with the historical art and culture of the area. Tour groups are generally small in number and conducted by very knowledgeable guides delighted to respond to all of your questions and comments.

FOUR-Visit your local art galleries often. Galleries are supportive of their artists and gallery owners and attendants are usually quite pleased at your interest in their exhibits. They will be glad to give you information on the artists, such as whether they are local, where they have shown their work, what awards they have won, and who has purchased their artwork. Keep informed of present and future exhibits. This hands on approach, connects you closely with affordable art that is available where you live and often created by artists who live in or near your area.

DISCOVER A RICH VISUAL WORLD
Art Appreciation is as big or small a study as you want to do. Whether you want to make it an occasional outing or a serious study, whatever you choose, learning how art forms have historically developed and understanding what is on the walls in your local gallery will definitely change your perspective.

Wouldn't it be great to be able to discuss a painting on the wall in a gallery, instead of shrugging and muttering, "I don't know much about art, but I know what I like."
Think of it. Perhaps your response would be more like, "I like the way this artist uses color in an Expressionistic style. The brushwork is so vigorous! There is a lot of energy in the composition. Also, the use of thick paint produces an interesting texture."

Through Art Appreciation you can discover a rich visual/creative world that will inspire you and beckon you to learn more.

The Relevance of Arts to Practical Living

INTRODUCTION
For the avoidance of doubt, the concept of the arts can be viewed from two perspectives. On the one hand, the arts could be understood to mean the subjects one can study at school or university which are not scientific, which do not employ scientific methods. Subjects such as history, languages, religion, literature, and so on, would be appropriate examples. On the other hand, it could be interpreted to encompass a wide range of creative activities bordering on the skillful and imaginative expression of ideas, feelings, actions or events. Music, literature, theatre, and art (in the sense of painting, drawing, sculpture, etc) are what make up the arts in this sense. For the purpose of this discussion, however, our focus is on the second understanding of arts as proffered above.

The arts can then be classified into literary arts (poetry, prose, and drama), performing arts (music, dance, theatre) and visual arts (encapsulating the entire creative activities covered in the field of fine and applied arts: drawing, painting, sculpture, graphics, textile, etc).

WHY THE QUESTION OF RELEVANCE?
In developed economies of the world where the basic necessities of life seem to have been met, the question as to whether the arts are relevant or not to practical living is no longer an issue. Thousands of American citizens would troop down to the auditorium in Bard College to hear Chinua Achebe's reading of his Things Fall Apart, not minding that they have heard the same reading over and over again, not minding that the book is over fifty years old; the same way the English audience would cluster at The Royal Theatre in London to watch the presentation of Wole Soyinka's The Trials of Brother Jero or any of the plays of Shakespeare, not minding that Shakespeare wrote centuries ago. In the same vein, even though Leonardo Da Vinci and Michelangelo are long dead and gone, Italians would pay their very last lira to watch an exhibition of their paintings.

In our own context, economic hardship and the search for basic necessities of life have meant that only a few have had the time to appreciate the arts for what they are worth. In other words, the problem is not whether the arts are relevant or not, for it is not in doubt that the arts are relevant to practical living as much as any profession, or even more so. The real problem lies in the fact that people are too hungry or too busy to see the real worth of the arts. A man who lives on a monthly salary of paltry ten thousand naira, with seven mouths to feed, and so many other family problems to solve may not easily pay five hundred naira just to watch a drama presentation; a Nigerian graduate who has walked the streets of Abuja, Lagos, or Port Harcourt in search of a job for three years without success would know what to do with money rather than spend it on a piece of landscape paintings; likewise, a young man who has had nothing to eat for days, and has no hope of where the next meal is coming from, would not possibly be coordinated enough to read, not to talk of appreciating, works of poetry. If arts cannot satisfy hunger or thirst, can they still be said to be relevant?

THE RELEVANCE OF THE ARTS
The word 'relevance' presupposes usefulness and value. So the right questions should be: are the arts useful in any way? And our answer: yes, they are. Do they have value? Our answer again: yes, they do. If the arts have use and value, and those are the things that relevance implies, then we can say that the arts are relevant. That conclusion raises another vital question: in what ways are the arts relevant? The relevance of arts can be found in the following areas.

Entertainment/Relaxation: The various forms of the arts mentioned above provide one form of entertainment, amusement and relaxation or the other. In Biblical times, when the spirit of God deserted King Saul and he was tormented by evil spirits, David was employed to play his harp. The sound of music produced by David's harp kept Saul's mind at peace, for whenever David was not around to play his harp, the evil spirits came back. In ancient Mali too, court poets/historians called Griots were known to entertain the audience during national festivals by reciting long narrative poems recounting the heroic achievements of their forebears. At a time in history, court jesters were employed to entertain the king or the queen and their visitors by telling funny stories and jokes (as can be seen in most of Shakespeare's plays). In traditional African societies, moonlight tales were a veritable source of both entertainment and relaxation for both old and young. Praise singers and dance groups entertained the crowd during communal ceremonies.

In modern times, in the not too distant past, the late Sani Abacha was alleged to have employed the famous comedian, Chief Zebrudaya, to provide entertainment for him and his cohorts through his funny jokes and stories. It was also reported that the former Head of State, Olusegun Obasanjo, is a great patron of stand-up comedy. Besides, at least one out of every three people in the world today find peace of mind in music; one out of every four Nigerians relax at home at the close of work to watch a home video; and one out of every five relax in bed with a literature book. Since the advent of stand-up comedy in Nigeria, even though hardship has continued unabated, a lot of Nigerians have begun to look at the lighter side of things. Mere listening to a single volume of 'Nite of A Thousand Laughs' would drive away sorrow in people's hearts. Since these developments began, I bet that had the medical practitioners started taking stock, they would have discovered that high blood pressure and other stress-related conditions have reduced by more than half over the past decade.

Financial Value: The arts are equally a very lucrative venture for serious-minded artists. All arts practitioners who are worth their salt make a living out of their practice. So many examples of such people could be found around us. The famous Osuofia (Nkem Owoh) is a living example. The majority of the practitioners in the movie industry today were not even originally artists. Their professions could not provide for them, and so they switched over to the arts. Besides, works of art, especially paintings, are considered very highly valuable intellectual property that can be accepted as collateral the same way that gold or diamond or buildings would be accepted.

Didactic: The arts are known to teach practical moral lessons. The old folklores about the tortoise and his craftiness always ended with one moral lesson or the other. The story of the feast in the sky where the tortoise claimed that his name was Mr. All of You, for example, ended with the lesson that greed always landed one in disaster, just as the story of the beautiful girl who refused to marry all the young men approved by her parents only to finally fall into the hands of a ghost taught that it was not good to disobey one's parents.

Exposing and Correcting Societal Ills: All aspects of the arts are deeply involved in the crusade against societal ills like corruption and bribery, ritual killing, etc. They have all been involved, for instance, in ridiculing the excesses of political and religious leaders as well as the gullibility of the followers who fall victims to the whims and manipulations of the tricksters. This they achieve through satire. By so doing, offenders who had earlier thought that their activities were unknown would begin to retrace their steps when they discover that their so-called secrets have been exposed. Intending offenders would think twice, while would-be victims whose eyes will have been opened by such exposition would come to terms with reality and become wiser. Cultism on our university campuses has been fought to a reduced rate through the instrumentality of the arts: music, drama, novels, etc. All these have made society a better place to live in.

Aesthetic Value: The arts have beauty and face value, in addition to their intrinsic qualities. We talk about the beauty of a poem, a play, a story, a piece of music, but this beauty applies more to the visual arts, the ones one can see and admire their physical outlook, like drawing, painting or sculpture. People go to art exhibitions to discover, behold and admire the beauty of art works. Those who can afford them buy them and use them for interior decoration. How wonderful it is to walk into a well furnished sitting room to behold art works exhibited on the walls! They equally serve as status symbol for those who can afford them.

Preservation of Culture: The arts serve to preserve a people's culture. Art itself is an integral part of culture, that is, culture in the sense of customs, beliefs, practices, art, way of life, and social organisation. So many aspects of Nigerian cultural practices, for instance, that would have been lost and forgotten are recaptured through the arts. Before the appearance of Things Fall Apart in the world literary scene, Western writers like Joseph Conrad and others had led the world into believing that the African continent was one long night of darkness and that Africans themselves were uncultured and barbaric monkeys who had tails and lived on tree tops, and who had no souls worthy of salvation. But Things Fall Apart and other works after it joined in the crusade and changed the world's perception of Africa by presenting the true picture from the inside. Africans, the world came to see, were after all a reasonable people with heart, body and soul, created by one and the same God. They had culture and a mode of worship guided by norms and regulated by the principles of human relations even before the advent of the Europeans. Continuously, African poems, novels, plays, music, paintings, and so on, as much as possible portray life in both traditional and modern African societies. The rest of the world has continually shown increasing interest in African arts and culture. Some of us with a sense of history would remember that during the early colonial period, some of Nigerian artifacts were stolen by the colonial masters and taken to the British National Museum. An example of such is the Benin bronze mask.

Fame: It is incontestable that the works of Chinua Achebe and the Nobel Laureate, Wole Soyinka, have brought more fame to Africa than the achievements of all the African political leaders put together. It could be argued that before the emergence of these men, the continent was only a dot on the map of the world. But their works and the works of others after them proved to the world that something good could after all come out of Nazareth.

THE CHALLENGES
The challenges facing Nigerian artists are multifaceted: lack of encouragement and patronage at both the home front and outside, disparaging comments about artists, the neglect of the arts by the government, among others. Many homes today discourage their children from going into the practical arts simply because they do not believe that a man can feed his family just writing literary works or just drawing and painting. Until recently musicians were seen as wayward people and children who opted to sing were disowned by their parents. People still see actors and actresses in the light of the roles they play in movies or stage plays. One particular actor was nearly mobbed at Aba in Abia State of Nigeria for his role in a movie: a wicked man who killed his brother.

For the literary artist, it is really a trying time. Reading culture is at its lowest ebb. Students of literature would rather watch a half-cooked film version of Shakespeare's Macbeth than read it in print. Many of them do not even know the recommended texts. So, for those who write, they face the lowest patronage. The books never get bought. Even when the books eventually find their way into the syllabus, pirates quickly swing into action. The same predicament faces movie makers and musicians. The government on its part does not help matters. The dilapidated state of the National Arts Theatre, Iganmu, is a pointer to this fact. Since FESTAC '77, no concerted effort has been made towards the promotion of the arts or the encouragement of artists. Concerned citizens and corporate bodies have been crying out, but the government has turned deaf ears to all the yells.

In the face of all this, I still believe that arts practitioners in Nigeria could make a head way the moment we begin to look inwards. The sooner we begin to see the arts as a serious business, the better for us. Names like Chinua Achebe, Wole Soyinka, Ben Enweonwu, John Munonye, J. P. Clark, Niyi Osundare, Odia Ofeimun, Chimalum Nwankwo, Chimamanda Adichie, and so on became household names because they believed in the arts and in themselves and took the arts seriously. No one can save us but ourselves. At a time when Communist Russia faced one of its greatest trials, when the nation was far behind the West in technological advancement, Stalin rose to the challenge. 'We are more than fifty years behind the rest of the world', he told Russians. 'We have only ten years to catch up with them. We either do this or they will exterminate us'. Pious pronouncements were backed up with positive actions, and within the next ten years Russia was on the verge of being pronounced a world power.

In the same spirit, arts practitioners, both established and intending, should stand up to the challenge and not be discouraged because those who question the relevance of the arts are themselves among the greatest patrons of the arts, one way or another. They must hold their heads high, and hold their own against other professions. They must begin to think of who to replace the Achebes, the Soyinkas, and so on. They must always remember how esteemed above other professions they are because they are co-creators with God, who himself is the foremost artist. Until this is done, people will continue to question the relevance of arts to practical living.

How to Choose a Martial Arts School - 10 Steps Guaranteed to Save You Time and Money

• What are the most important things to look for when comparing martial arts schools?
• What are the tell tale signs of a quality school that you can spot immediately?
• What are the best questions to ask, and how do you know if they can really deliver?
• What part of a contract can you negotiate?

These are just some of the important questions you need to know how to answer before shopping around for a martial arts school.

A commitment to martial arts is an investment in time and money, so knowing exactly what to look for in a school, and knowing what questions to ask, will give you the clarity and confidence to make a smart choice.

A bad choice in a martial arts school can be an expensive lesson, so use this guide to educate yourself.

There is a huge variety of martial arts schools out there. Facilities range from expensive health-club-like facilities to open space warehouses. Martial arts schools aren't regulated to insure quality of instruction or business practice. There is no official governing body and no universal grading standard in martial arts. Almost anyone can open a school and appear to be an expert.

What do you look for beyond price, amenities and convenient schedules? While most people first consider price and the facility, there are more important factors that you need to consider first!

These 10 steps show you how to make the best decision in choosing a martial arts school:

1. Objective
2. Instructors
3. Class Dynamic
4. Student Results
5. Curriculum
6. Style
7. Facility
8. Service
9. Price/Fees
10. Instinct

1. OBJECTIVE:

Before you start looking into martial arts schools, determine your true goals for martial arts practice. To get the most out of your training, clearly identify your real goals and the specific benefits you want to have.

Ultimately, you just want to feel good about yourself and feel super confident, right?

However, this is usually not enough of a specific emotional motivator for consistent practice.

The majority of people who start martial arts rarely make it past a few months of consistent practice. It's not just a lack of motivation. Not having clear goals is usually why people don't follow through in practice.

To determine what you really want from training, start by narrowing down what you wish to focus on.

The focus of your practice can be broken down into several areas. There's no right or wrong - it comes down to personal preference.

For starters, you can number these in order of importance.

• Physical Fitness as the main goal, with martial arts aptitude as a secondary benefit.
• Purely Combative Focus, with fitness and personal growth as added benefits
• Creative and Artistic Expression, aesthetics, beauty and WOW Factor
• Competitive Focus, sports aspects such as one on one competition
• Mental and Emotional Growth, catalyst for self-discovery and spiritual growth, cultural and philosophical interests

Ask yourself clarifying "Why" questions, so you can identify what you're really going for.

This is the first step in filtering the selection of schools to choose from. Once you've identified your goals for martial arts practice and understand why they are your goals, you're ready to search for a school.

2. INSTRUCTORS:

An instructor plays the key role in how you will achieve your goals.

Finding a good instructor is more important than choosing a style, and is probably the biggest factor in your decision to join a school. It's nice to have impressive amenities and expensive equipment, but ultimately a martial arts school is only as good as it's instructors.

Being a black belt doesn't qualify someone to teach!

• A competent instructor is knowledgeable, experienced, and has the ability to effectively pass on his craft.
• A good instructor possesses leadership and communication skills.
• A great instructor will also display sincere empathy, showing a genuine interest in helping you achieve your goals, bringing out your individual strengths.

Look for other attributes that increase an instructor's ability to add value to your training:

• Proven competitive track record, such as World Champion Titles
• A degree in an area such as psychology, sports medicine, kinesiology or related fields
• Military, law enforcement, or security experience
• Involvement in a credible martial arts organization
• Extensive knowledge of a culture or philosophy that you're interested in

Although an instructor's experience and background provides some credibility, don't be overly impressed with awards and certificates.

Their mindset and level of experience will be apparent through subtleties in character and by their actions.

Quality instructors are sincerely interested in helping You and won't feel the need to boast about their own credentials or prove themselves. Instead of boosting their own egos, high-level instructors are very attentive on coaching you to achieve your goals.

You can often measure an instructor more accurately by their students' results and satisfaction than by credentials alone. The students themselves may be the greatest indication of the quality of instruction.

Just like a good business is constantly researching and developing, high-level instructors research and develop methodologies in order to continually improve. A lifetime training in martial arts isn't enough to reach human potential!

A high level instructor portrays noble characteristics of a role model and leader.

Confident instructors welcome feedback and respond to your questions with patience and insight. They are usually very humble, and rarely speak negatively about any other school or style.

Also, find out if the school's head instructor is actively teaching. Some schools have classes primarily taught by an assistant or senior students, while the head instructor only makes an occasional appearance.

While assistant instructors may be totally capable of teaching, watch out for schools that "sell" you on the instructor but have someone else teaching.

3. CLASS DYNAMIC:

Make sure you know how to evaluate a school in two parts, the content and the context.

The context of a martial arts school is made up of the training methods and environment. What kind of setting is the school providing?

A supportive learning environment is crucial to maximize the assimilation and retention of material. The context of training can be more important than the content, (or material), intended to be learned.

Look for context such as:

• The collective mood or energy of the instructors and students
• The class dynamic - structure and flow
• How the amenities and equipment are used
• The training methodologies
• How the ranking system is structured
• The quality of service

One of the best ways to evaluate a school is to watch or participate in a class.

You can watch videos, visit a website and read all about the credentials and features of a school. However, you can only get a true feel by "test driving" the actual group classes. Many schools offer free consultations or introductory private lessons.

If a school allows you to watch, or better yet, participate in a class without obligation it speaks highly of their confidence and transparency.

The class dynamic is the best demonstration of the instructor's martial arts aptitude and ability to teach. It reveals how the students interact with each other and the instructor. It's also the perfect opportunity to see how their curriculum is implemented into training.

Consider the size of the classes and how that may effect your training. The make up and flow of the classes will either help your learning experience or hurt it.

Look for the following:

• Is there a significant age difference among students that may restrict your practice?
• Is there a significant difference in the students' experiences or physical abilities?
• How formal or informal are the classes? And, how does that effect your practice?
• How much supportive individual attention do the students receive?
• Is there anything about the facility that'll hinder your practice? such as cleanliness, stale air, too cold or hot, distracting noises, etc.

Many beginners prefer large classes. It can be easier to follow along with the examples of many other students. There's also less intimidation as the collective group dynamic can conceal individual insecurities and lessons the pressure to keep up.

On the flip side, there is a key benefit to smaller classes that's important to consider. There is more opportunity to receive personal attention from instructors that can greatly accelerate your learning curve.

Again, instructors are the backbone of a martial arts school. The instructor consciously, or unconsciously, dictates the energy of the entire class.

Here are some other things to look for:

• Does the instructor facilitate class with control and safety? (Notice if the students are enjoying themselves or seem uncomfortable and hesitant).
• Is the instructor passionate and actively teaching or seemingly going through the motions and mechanically calling out commands?
• Do the students seem inspired?

A martial arts school provides the setting of a controlled environment where you'll train to overcome future or potential challenges. In order to maximize results, good schools teach in a context that anticipates and matches the actual environment of those future and potential challenges.

The classes must simulate the intended environment and must provide the necessary emotional stress in order to engrain instinctual trained responses.

For example:

• If you're seeking a combative style for self-defense, look for schools that safely facilitate reality based, high-stress scenario exercises.
• If you're training to fight in a ring or cage, look for a school that teaches you how to maneuver in the confines of a ring/cage under the same guidelines of the competition.
• If you're goal is to perform in tournaments, look for a school that can facilitate your training in a loud, distracting environment with large mirrors and an audience.
• If your goal is to have fun getting in shape, look for classes that use good training equipment, have high energy, exciting exercises and a social atmosphere

Pay attention to the flow of the class and notice how much of the class time is instructional. Some schools implement a lot of conditioning drills while others teach with a lot of verbal explanations. Notice if they have a lot of unnecessary "filler time".

It's also a good idea to inquire about the school's ranking system. Most traditional schools use some modification of a belt system, but what's required to earn each belt can vary drastically from school to school.

Is there a clear standard for aptitude and execution of techniques at each level? Or are the requirements based on time and the amount of classes taken?

Many schools test for promotions after a set number of classes. This gives the perception of building capable intermediate and advanced students, which can be an important aspect of a school's perceived value. Not to mention, belt promotions are a crucial source of income for some schools.

Remember that there's no official governing body in martial arts, so belt levels may not be valid outside of that school or organization.

4. STUDENT RESULTS:

The students provide tremendous insight as to the quality of instruction. You can often tell more about a school by the students' results than anything else.

The students are the products of the school's training system and methodologies. If the advanced students don't model your martial arts goals go find another school!

When observing the students, pay attention to the ratio of beginner to advanced students. It's a good sign if there are a lot of intermediate and advanced students. That means the school is able to retain their students, and usually equates to student satisfaction.

Just as you probably don't want to eat at a restaurant that's always empty, be cautious of a school with a few students. What's considered a small student base? Depending on the size of the facility and how long they've been in business, classes that have less than 10 students is a pretty strong sign that there's something lacking in the school.

Consider the characteristics and personalities of the students as well. It's important that you are comfortable with your classmates cause you may be spending a lot of time with them.

• Are they the types of people you'd like to be around and train with?
• Would you feel comfortable and safe training with them?
• Are the students supportive of one another or are they highly competitive and trying to outdo each other?

The student dynamic may also reveal how the instructor instills leadership and other life skills that you may wish to develop. Watch how the advanced students handle both challenges and successes.

Take the initiative to speak to some of the students. Getting insight from existing students can make all the difference in your decision to join.

5. CURRICULUM:

Remember that a martial arts school can be evaluated in two parts, content and context. The curriculum and style of a school make up the content.

Whether they call themselves a martial arts school, studio, academy, gym, or dojo, they are still businesses. They will promote themselves in creative ways to gain an edge over the competition. You can expect them to entice you with price incentives, boast their credentials, amenities and equipment, or make claims to get you results in the shortest amount of time possible.

Don't allow marketing tactics to distract you from determining if the school can actually support your training goals.

Whatever a school claims to provide in your martial arts training, their students, classes and curriculum will give you a good indication of the school's quality and true emphasis.

The martial arts curriculum, (content), is made up of the techniques and material you will be learning at a school.

The focus of your training must be supported by the curriculum and training methods.

There are key points to look for in determining the quality of a curriculum. Begin by identifying the school's emphasis. Take into consideration that when there is more focus on one aspect of martial arts, other areas are compromised to some degree.

• Forms and jump spinning kicks in the curriculum? You've most likely found a school with an artistic or traditional focus that may participate in tournaments. If this is what you're after, the curriculum should consist of aesthetic techniques that have dynamic kicks and beautiful forms with and without weapons.
• Are the techniques based on kickboxing and wrestling? A lot of sparring and no weapons in the curriculum? This is probably a school that focuses on one-on-one sport competition. Schools that build towards competition usually emphasize physical conditioning to reach peak performance.

Although physical fitness may not be the primary goal in many styles, fitness is generally a by-product of training. You get in shape by default in martial arts practice.

The majority of schools have a curriculum designed to provide a general overall perspective on fitness, sport competition and self-defense. For most people who are just beginning martial arts, a school's curriculum and interpretation of martial concepts should be comprehensive enough to support you through many years of practice. If this is the case, start to look into other components of the school like their class dynamic.

For those who have martial arts experience, or seeking a specific area of focus, determine if the school's curriculum actually supports the emphasis you're looking for.

It's not uncommon for a school's true emphasis to be different from how they market themselves. Take note of the techniques in their curriculum and their applications.

For example, let's say your primary reason for martial arts training is purely for self-defense on the streets. You visit a school that claims to be proficient in teaching self-defense. Yet, they teach fixed stances and forms and only implement weapons training in advanced levels.

This is a big red flag! This doesn't mean it's not a good school. It only reveals that their true emphasis is not truly combative.

70% of assaults on the street involve some sort of weapon and over 90% of attacks go to the ground. Any school that claims to teach true self-defense while neglecting weapons training and ground fighting is just plain negligent.

You should seek elsewhere if this is your focus. Modern combative styles will implement training in weapons and ground fighting right from the beginning.

Training methods also implement high stress scenario drills with multiple attackers. You won't find fancy acrobatics in the curriculum.

Remember the old adage, "A jack of all trades is master of none." Be cautious of a school that claims to deliver health and fitness AND teach you culture and philosophy AND turn you into a professional fighter AND prepare you for the streets AND promise personal or spiritual growth.

6. STYLE:

Martial arts can be compared to a huge tree with many branches or styles. All "styles" are based on the mechanics of the human body. Every style has strengths and weaknesses as they each focus on different aspects of the arts.

The true measure of a martial art lies in the practitioner, not the style.

Having a general understanding of the different types of styles and their focus will help you in achieving your goals. In martial arts there are hard styles and soft styles.

• Hard Styles focus on striking techniques where the body is used as a weapon for attacking and defending - force against force. Much of the training is external, based on physical conditioning for strength and agility.
• Soft Styles focus on redirection and physical manipulation through leverage and positioning - using an opponent's force against him. There is often more focus on internal training, training of the mind as well as developing the body's sensitivity to energy.
• Blended Styles incorporate concepts from both hard and soft styles in a complimentary method, flowing and transitioning from hard to soft and vice versa.

Depending on the area of focus, each style differs in philosophy and training methods. Applications obviously differ as well.

Among styles the emphasis of training will primarily focus on one of the following areas:

Artistic Expression - Schools with an artistic focus emphasize creative physical expression - the "art" aspect of "martial arts". Artistic styles implement forms or choreographed techniques in training. They typically have more aesthetic beauty, as movements are fluid and graceful like a gymnast or dancer.

Tradition - Traditional styles are rooted with Eastern culture and philosophy. Traditional schools implement both external and internal training for the development of the mind-body-spirit relationship. With this emphasis, martial arts practice serves as lessons for life skills. Practice may also encompass elements of spiritualism.

Competition - Competitive styles generally focus on the sports aspect of martial arts. Competitions can range by category including weight class, level of experience, geographic region and specific style. The emphasis is on winning recognition such as rankings, awards, and trophies that is based on a fixed set of rules.

Combat - Combative styles focus on street defense or military application, including law enforcement. It's the "martial" part of "martial arts". The emphasis is on practical application over aesthetic form or physical conditioning. Training includes weapons and reality based scenario exercises.

Fitness - Schools that focus on fitness use martial arts as a catalyst for holistic health. Classes usually consist of fun, energetic physical exercises based on martial arts techniques. Classes will typically implement a broad and general combination of styles and areas of focus.

There are also Modern Styles, which are evolved blended styles that are the result of further researched and developed methodologies. Their focus can be artistic, competitive, combative, or emphasize physical fitness.

While it may be a good idea to blend styles, it can be counter productive to combine your area of focus. Be clear on which area you wish to predominantly focus on.

Again, there's no right or wrong style. It's a matter of personal goals and preference.

7. FACILITY:

The first thing to consider is the school's location in relation to your home or workplace.

Creating a new habit can be challenging, so convenience plays a big role in supporting consistency. You may be commuting several times a week for training, so make sure the facility is close enough so it doesn't become an excuse for you not to go.

Martial arts schools come in many forms. They can be part of a franchise, belong to an organization, or be a one man show run by a single instructor. They may resemble a fitness gym, yoga studio, gymnasium or warehouse.

Don't judge a book by it's cover, and don't judge a martial arts school by it's facility.

Although you can't measure the quality of a school by the facility alone, it does reveal a lot about the owners mindset, aptitude, emphasis of the style and curriculum, as well as the school's level of professionalism.

The degree of cleanliness may reflect the standard of service. You can get a good idea of the school's style and emphasis by the school's design.

A school should have the amenities and equipment that support the context of it's curriculum, such as a cage or ring for MMA or kickboxing, proper mats for Jiu Jitsu, etc.

Consider what the school puts money into and determine if it actually adds value to your training.

Also notice the subtle details of the facility that may effect on your training. Does the air stink? Does the lighting or colors of the facility effect your energy and mood? How's the parking? Is it noisy?

Remember, expensive equipment, and other luxuries equals higher tuition fees. Be aware of the costs of extra rooms and large offices that don't directly add value to your training.

With a good instructor and some basic equipment you can practice anywhere!

8.SERVICE:

Some schools have great sales and marketing techniques to get you to join. But, it's the quality of ongoing customer service that really counts.

Choosing a school that's skilled in customer service will potentially save you from a lot of unnecessary headache. Poor customer service can ruin your martial arts experience at any level.

Make sure that there are open lines of communication and that staff members are readily accessible to answer questions to your satisfaction.You may be with a school for many months or even years. Choose a school that cares enough to build a relationship with you.

Know how to distinguish sales techniques from service.

As mentioned, some schools are great at getting you in the door with attractive features and promotions. The question is, once you have signed up are you just another enrollment?

A good comparison is the large franchised fitness gyms. Their amenities, equipment and low monthly fees are hard to pass up. However, once you join there's virtually no service whatsoever. There are too many people who have gym memberships and don't use them. They already have your financial commitment - a contract. Rest assured their service will pick up when it's time for renewal. But is that service or just another sales technique?

The level of transparency is the greatest measure of a school's integrity. It's a reflection of their standards of service.

• Does the school fully disclose all the costs involved in your training? Some schools have additional fees, like mandatory programs or association fees, that they don't mention until you reach a certain point in your training.
• When you have questions, do you get a clear answer right away or do you get an evasive response? The response you get is a good sign of what kind of service you can expect.
• Many schools require you to sign a contract in order to take classes. Some schools offer a trial period where you can pay for a number of classes before you agree to a contract. A contract is simply a written agreement between you and the school, and it can always be negotiated. They should be willing to explain the details of the contract to your full understanding and agree to make any changes you feel are important, as long as it's mutually beneficial.

9. Price and Fees:

How important is price to you? For many people, it's the only real limiting factor.

Since most people don't know how to compare value to price, martial arts schools generally don't advertise their prices - unless they're promotional.

Be honest. Before you read this guide, what's one of the first thing you wanted to know about a martial arts school?

Fees are usually priced by:

• Term period - specified time period with flexibility of the amount of classes taken, usually monthly or yearly
• Number of classes - specified amount of classes taken
• Combination of term and number of classes - usually a monthly fee based on the number of classes taken per week
• Specific Programs - packaged programs such as Black Belt Clubs, Instructor Programs, Certification Programs, Seminars, etc.

Tuition can range anywhere from $50 per month to $500 per month, depending on the school. Nowadays, the average tuition is about $150 per month for 2-3 classes per week.

Tuition isn't the only cost to consider. You will eventually be investing in training equipment, to some extent. Keep in mind that some styles require more equipment.

While price is important, a common mistake is to compare price without comparing value.

Consider the previous steps and the benefits before you focus on price. This way you can place some sort of dollar value on each component of a school and then shop around.

Think of the convenience of schedule and location, the suitability of teaching style, class dynamic and level of instruction in relation to your personality and goals - can you put a price on that?

With the knowledge you gained by reading this guide, you can make an educated choice in "how to invest" in your training instead of "being sold" a membership.

Most schools require annual contracts. The contract should clearly explain the details of your membership. Generally, schools don't offer any refunds on tuition.

In most cases, a school will agree to make reasonable changes to the contract if you ask them.

If you're committed to your practice and have found a school following this guide, signing a contract is usually not an issue. However, knowing potential costs and understanding school policies will help you negotiate any changes, if necessary. What you're really after is "peace of mind", isn't it?

A contract should be mutually beneficial, so you want to insure that the contract also benefits you. This can mean discounted rates, as an example. A contract is also an incentive for you to get your money's worth by coming to class regularly.

Ask about:

• Price incentives for paying in full
• Discounts for family members
• Training equipment - and if they have to be purchased directly from the school
• Belt testing fees
• Any federation or association member fees
• Cost for programs such as Black Belt Clubs and any other mandatory programs
• Membership freezes in case of travel, injury, or maternity
• Policy for relocation or moving
• Fees for early cancellation

It's also a good idea to ask whether the billing is managed directly by the school or if they use a billing company. Many schools use a billing company to help manage your tuition payments.

If the school out-sources their billing, you will be dealing with the billing company for the payment of your tuition fees. The billing company will generally only contact you if you are late on your payment. If you ever have to deal with the billing company you can expect the type of service you get from a collection agency. They can also make negative reports on your credit.

A high-quality school has the confidence to earn your business without requiring a contract. But they are rare. These schools are clear about their role. They focus on their core responsibility of providing quality instruction and guidance in your martial arts practice. Schools of this caliber don't need to use creative sales and marketing techniques. Their business is built by their reputation, word-of-mouth.

10. INSTINCT:

Pay attention to your intuition when visiting a school. While going through the 10 steps outlined in this guide, you'll instinctively know when you've found the right school.

• How long the school has been in business? Are they stable?
• Are you confident in the instructor?
• Do you like the instructor's teaching style and personality?
• Are the students friendly?
• Did you have fun? Did you feel inspired?

Ultimately, we make decisions based on our emotions and we justify them with logic.

Your decision should be instant and definite. If you find yourself thinking too much or having to convince yourself, something is out of whack. Go back to step 1 or keep looking.