CHIEF Nathaniel B. Styles, Jr.  (Olosun) is the first born of his parents and natural sees himself as a leader. While studying International Affairs and Business at American Universities in the USA, England and Italy in the 80s, the first continental Africans he met were Nigerians while studying in Italy. They were three brothers, a set of twins who worked in the arts, music and theatre, and Eddie, a Professor of Architecture. Hosted in Nigeria during his first visit by Olorogun Michael Ibru, he received a birds eye view of business success in Nigeria. Through him, he knew about Nigeria, the heart of Africa. Through the Ibru family hewas exposed to many luxury brands integrated with traditional object d’art. Shortly thereafter, Styles completed University in London and returned to the USA where he incorporated Ethnic of Ybor with Nassim Saidi, a  businessman in Lagos, producing accessories, clothing and furniture in Nigeria and distributing to JC Penney throughout the USA.

They also supplied several Museum stores, boutiques, galleries and theme parks throughout USA and Caribbean, utilizing traditional craftsmen to manufacture contemporary items that were created with the intention of sustaining  traditional crafts and the families that created them. [size=13pt]The Ghanian Chief traveled to South Africa and met Yoruba and Hausa traders selling Aso-Oke, Benin Bronzes and Opon Ifa at the Arts Market in Johannesburg. He was invited by the Moroccan Tourism Board to see highly trafficked historical cities on their tourism itinerary and help to develop a plan to attract African-American tourists. Amazed by the Gnawa tribe who emigrated from Sub Sahara Africa and many of the similarities between the present day Yoruba and those customs and traditions still being practiced in Morocco today, he realized that the similarities between the travels, and the footprints our ancestors subsequently left, “which won’t be so easily forgotten”,  needed to be preserved, hence the registration of an exchange programme that will promote and sustain Nigerian culture and tradition.[/size]
Five years ago, they relocated to Miami’s Liberty City community where they created the African Caribbean Cultural Arts Corridor and Osun’s Village Initiative, an international plan for culturally based economic and community development.  Prior to her transition, Styles was mentored by the late Adunni Olorisa Susanne Wenger, mother of the New Sacred Art Movement, a group of traditional artists who worked with the late Orisha in the sacred groves of Osogbo creating sculptures and monuments of immense spirituality.
A true believer in culture use as a tool to create sustainable cultural enterprise, driving trade and tourism, that will aid in economically transforming Nigerian communities, Styles speaks with TADE MAKINDE on the purpose of his visit to Nigeria. Excerpts:

Why are you so in love with Nigerian culture?

I love Nigeria because, although I, like so many in the Diaspora, am not in Nigeria, Nigeria is in us. I was taught very early that Africa is the mother of civilization and with that understanding ,it was clear to me that the world’s cultures originate from Africa. As a child I was raised in a spiritual temple in South Florida. I was always intrigued by spirituality and watching the elders work magic. It was through Afro Cuban Yoruba practitioners in our community that I became  aware of the fact that many of my family’s spiritual practices were, in fact, from our West African ancestors. The babalawo identified many of the spiritual practices of my stepfather as ancient customs and traditions inherited from his Nupe ancestors. Many of these same practices were taught to him by his Yoruba ancestors in Cuba. Although we were not consciously practicing African spirituality, as far as we were concerned, we were spiritualists practicing metaphysics. My mother is from the Gullah Geechee area of the US in the Carolinas. The  Geechee originally from the Mende and Yoruba tribes of Sierra Leone, have preserved their distinctively African traditions  despite centuries of existence in the USA. My late mother’s employment in the travel and tourism gave me an opportunity to fly across the globe and have direct exposure to culture at my discretion. Florida is the capital of the Diaspora and since my childhood I have seen Africanisms  expressed through the Caribbean carnivals in Miami, like those in Salvador ,Brazil, the Bahamian Junkanoo and Moko Jumbie stilt walkers from Trinidad, like the Egungun dancers of Nigeria. These are all Africanisms that were present in my life as I grew up. We celebrated sacred spiritual days, watchnight services to bring in the new year, feast of the Epiphany on January 6 where we would devour delicious home-cooked Southern meals prepared by men and women members of our temple. We observed ceremonies to welcome newly born babies into our families and community.  Our coming of age was marked by ceremonies with family and friends present. Culture has always been  engraved in my consciousness. It’s what we live, eat and breathe. My first love in my adult life was Nigeria, it’s through her that I made a direct connection to my roots.

What efforts have you made to promote Nigerian Culture in your country?
For 20 plus years I have been actively involved in preserving the traditional art, culture and spiritual practices of my West African ancestors. My work from the late 80s through 2000  focused on the manufacturing of Nigerian and other West African contemporary objects crafted for Western audiences utilizing traditional craftsmen and the sales and distribution of these items throughout the United States. From 2000-2005, it was the development and completion of commercial, educational, religious and residential facilities incorporating the African architectural and interior designs In 2006, I was involved in the  drafting of legislation and unanimous passage of the Senate Bill 308 that designates the African Caribbean Cultural Arts Corridor and Osun’s Village in Miami, Florida.  From 2005 till date,  we engaged in the visioning and architectural planning of the African and Caribbean Cultural Arts Corridor and Osun’s Village and in 2007, we presented initiative to the Curator of the UNESCO World Heritage Tourism Site-Osun Sacred Groves- and the Ataoja of Osun Osogbo. We have presented the African Caribbean Cultural Arts Corridor plan to the Ooni of Ife and the Federal Minister of Culture Tourism and National Orientation’s Prince Adetokunbo Kayode. I am happy that it plan has received Federal Ministry’s endorsement

What role does travels and tourism play in American economy?
The arts, humanities, and museums are critical to the quality of life and livability of America’s cities. It has been shown that the nonprofit arts and culture industry generates over $166 billion in economic activity annually, supports over 5.7 million full time jobs, and returns over $12 billion in federal income taxes annually. Governments which support the arts on average see a return on investment of over $7 in taxes for every $1 that the government appropriates.

Furthermore, federal, state and local governments, private foundations, corporations and individuals provide access to artistic activities for peoples of all races, creeds, and income levels. Recognizing the importance that the arts play, federal resources must also be invested in nonprofit arts organizations through their local arts agencies with full funding of the federal arts and culture agencies.

Could culture and tourism be the new oil of Nigeria, driving the economy?
Properly marketed, Nigeria’s cultural resources can positively impact trade, tourism and economic development for local communities. If the Federal Ministry of Culture Tourism and National Orientation allocates necessary resources to the artisans in their respective communities for manufacturing, promotion and marketing of their cultural assets to those in the Diaspora, especially the Yoruba Orisha Community, there will be an immediate flow of income in communities where moneys are desperately needed. The support of these artisans creates a sense of pride for the artisans and provides the necessary resources to educate the next generation. With value being placed on the skills that the artisans have preserved through generations and exposure through artist exchanges through programs such as the African Caribbean Cultural Arts Corridor, artisans are able to gain a renewed sense of value and worth as they are directly exposed to practitioners in the Diaspora and lay persons who appreciate and support the preservation of their craft,

How do you think the Nigerian Government can come to your aid on this plan?
We need to ask if Nigeria is interested in tappng into the $166 billion arts and culture industry generates in the USA, if the country would like to market her cultural assets to this market. Would Nigeria like to attract international tourists to enrich the local economy? Why not bring a taste of Nigeria to the USA? To have a presence in the African Caribbean Cultural Arts Corridor is the most logical way to do this. The acquisition and cultural programming of a Nigeria House/ State House within the Cultural Arts Corridor in Miami will provide training opportunities for those in the creative, cultural and tourism industries, for those Nigerians identified by their Local Governments to participate in the Initiative, on a rotating basis. Government is actually the mouthpiece of the people. I would like to see Nigerian visual and performance artists become actively involved in the initiative, expanding their international market base in the USA while also serving as Cultural Ambassadors for the country. Artists are, in fact, some of the greatest cultural ambassadors a country can create. Arts have an impact far greater than is admitted. Building design, landscaping, clothing design, interior designers, shoes, airplanes, automobiles, busses, bottle and container manufacturers, factories, cosmetologists, hair stylists, all of these industries, employ artists to create prototypes of items that are eventually produced.

How do you see Nigerians?
Nigerians are the custodians of a very rich cultural heritage that has been preserved throughout the Diaspora by the descendants of those strong souls that survived the travesty of the Trans-Atlantic  slave trade.

Do you believe in the rebranding project?
I believe the exhibition of Nigeria's cultural assets to a global audience is one of the most effective means of re-branding  Nigeria.  We’ve been involved in a lot of programmes lately, particularly with the people. Even as an Architect, we integrate culture and tradition identity to have a point of reference from a traditional perspective in terms of who people are, where they come from, through our programme. This exchange programme will create job opportunities for artists in Nigeria, just as they can have the opportunity of travelling to America for six to twelve months.

How long have you been on this project?
Five years.

Is it targeted at Nigerians only?
No, it is for Africans and Africa. But we are really focusing on Nigeria having played a lead role in music development in Africa. What we are doing is strictly about cultural identity, it is not about a movement. This is about business exchange programmes, capacity building for artists, etc. We try to market the country and as well as many of the indigenous cultural and tourism activities that takes place in the country.

This is capital intensive. How do you plan to get sponsors for the programme taking into consideration that things don’t work in this country like yours when it comes to sponsorship?
I think getting sponsors in this country is difficult because of the significance of your project to the society and the people behind it. If sponsors are able to identify with you, if you are able to get the backing of many partners, that will move your programme effectively. If you are talking about money, that will come after, but for now, it is to get the people to be aware of the programme. We have met with officials in Abuja, Oyo State and Osun.

Is it true that you are here on the invitation of Oyo State?
Yes. The governor is excited about the project. We even went on tour of some towns with him during his campaigns. We have discussed with some officials

Do you plan to involve the federal government or you are only interested in the states?
We are not looking at the federal level, we are focusing on Oyo State for now.
We saw something about Osun.You know the new governor is trying put his cabinet in order. We understand the undeniable significant role Osun will play, they have a very large role to play in Osun and in a matter of months, we will be sitting with the governor of the state to discuss.

So, what are we expecting now in Oyo?

We are going to involve all the 33 local governments in the programme. They will be taken to Miami between the period of six to twelve months on rotational basis to establish and exchange relationship, promotion and marketing of the cultures in Yoruba. We are looking at the entity that offers international exchange programme, but in this case, we make this unique. This is not a festival, it is a typical cultural exchange programme, it is cultural destination that will reflect  Africa. It is about our tradition, customs and practises. We are celebrating our diversities in Miami and the work they are doing.