Ife changed my life

‘Ife changed my life’ In 1984, Robert Elliot Fox, a Professor of English and Africana Studies, Southern Illinois University, United States, was among the select audience who witnessed the 50th birthday of Nobel Laureate, Prof. Wole Soyinka at the then University of Ife, UNIFE (now Obafemi Awolowo University, OAU). Penultimate Thursday, Prof. Fox was the guest speaker at the 78th birthday lecture for Soyinka. He speaks on how Unife shaped his intellectual growth, the relevance of Negritude and the challenges of globalisation, among others, with ASSISTANT EDITOR (ARTS) OZOLUA UHAKHEME. In your paper: From Tigritude to Transcendence: The Conscience and Conscientiousness of Wole Soyinka, at the Soyinka lecture in Lagos, you said you have not been able to experience the same intellectual engagements you had at University of Ife (UNIFE) since you returned to the United States. What is responsible for this? “I don’t find the same kind of intellectual engagement at home in my university as I had years ago at Ife. I think it is the same here too because there was a woman who spoke after my lecture that in Nigeria the kind of training they used to have in the 70s and 80s was quite different and doesn’t happen anymore. I didn’t know how to counter that but I think it is unfortunate because we might call those days ‘glory days’ because there was so much energy, intellectual development and we debated a lot. I am still close to some of those teachers because we had mutual respect for one another even when we disagreed sometimes but that didn’t mean we could not understand one another. What influenced your decision to take up teaching job at UNIFE? I was young and I had only been teaching maybe for one year in colleges and universities before I came to Nigeria. But I was developing intellectually and I was finding that development in a country very different from my own. So, that gave me an international experience. Again, I went to UNIFE because Prof. Desmond Hamlet, who had been my mentor since when I was getting my PhD, had gone there on one year sabbatical and he decided to stay. So, I went and joined him since I wanted to be associated with that kind of opportunity. But, if someone had told me that I would be there for seven years; maybe I will not have gone but I am glad I did because it changed my life in a very positive way. What was your impression of Soyinka the first day you met him at Ife? There were quite a number of people I interacted with at Ife. But, I can remember a woman who was a Creative Director originally from Jamaica, but had been in Nigeria previously from another university before she came to Ife. She was one of the first people I met when I arrived at Ife and in our conversation, she discovered that I read Soyinka when I was a graduate student and was very interested in his works. So, it happened that she had been invited to Soyinka’s house for a dinner and she asked me if I would like to go with her and meet him. So, I went and met him and many other people. It was an interesting evening because I was able to talk with Prof. Soyinka irrespective of many guests that were present. As far as this lecture is concerned I talked about issues that other people have talked about, which are most important. As I told a number of people, I spent seven years working on African literature. The last time I saw Soyinka was in 2008 when he came to my university because we had a conference around his works and a production. So, I had been concentrating on that until Prof. Segun Ojewuyi called and asked if I was going to be committed to the summer. I told him I was not and he said he had an assignment for me, which was theatric. But as I started carrying out the assignment, more ideas began to come in. Nadine Gordimer wrote an essay entitled: Soyinka; the Tiger. You also wrote on Soyinka’s tigritude. In this lecture, what is the link between Soyinka and tiger? It was one of the first things I heard about him and it was one of his most famous quotes that was very short and striking. He was responding to a philosophy known as Negritude, which was developed by French speaking Black writers from Africa and the Caribbean who were educated in France. Soyinka will start to be dismissive about all of that because, in his comment what he meant was if you are a tiger all people need to do is look at you and see who you are, instead of saying look at me, I am a tiger. It does not need to be said and that was taken to mean that this was nonsense and he actually insisted that Negritude is something that we need to engage in that is important. But, he believes the people were selling an idea and also because what Negritude was doing was taking characteristics of people of colour ascribed to them by white people and written down as negative and making it positive. For example, the European will say we are intellectuals and you (black) are emotional. The negritude people will say what’s wrong with having this feeling? Abiola Irele, who is one of Africa’s leading critics wrote in one of his books that there isn’t any writer who actually embodies the principles of Negritude more than Wole Soyinka. So, there is a lot of complexity and more to it. And the idea of tiger came up in 2008 when Soyinka came to my university where Gordimer worked on Soyinka’s tigritude. What I meant by that his firm commitment to justice, he does not talk about something and he tries to act on behalf of those issues he is committed to. I was also concerned about his moving from being somebody who was a very strong Nigerian patriot to a Pan African view point to a global view point. That was to broader perspective. Do you think Negritutde has really lifted the course of Africans and how relevant is it at this contemporary time? I don’t think ideas that are relevant lose their relevance completely. I don’t believe in too many people pushing the notion of Negritude now. I was trying to compare Fela with Soyinka in their approach to the Negritude movement. Fela was somebody who was actually promoting Negritude without ever using the word because Negritude was trying to resist the European’s view that blackness was nothing and as such holds that black is everything. That was what Fela did. And he did it crudely. But Soyinka embodies in less obvious much more subtle way. Today, it is common knowledge that many African nations are trying to get over the challenges of colonialism. Now, globalisation has come with its greater challenges. How will Africa get out of these? I had a similar conversation and several people asked me about globaliSation and I think it is a problem. There are countries who are still trying to find their footings and identity and I think Nigeria is one of them. The United States is not old but we have got a couple of centuries and they created their own system. But Nigeria inherited one and is still trying to figure out how that will work and it is not a simple thing to achieve. And now, comes globalisation when Nigeria is still trying to establish her identity and everyone’s identity is being upset because of the flow of ideas and images around the world. And if you must consider what has been happening within the last decade even in Europe and the United States, it has been turbulence for everybody even in countries that were stable and well established. So, it is a bigger problem but the ability to speak to the whole world like Soyinka did, and be heard is what is very important. Hopefully, that will help people learn how to understand each other. Do you think the world is more at peace now than when it was polarised between two world powers - US and Russia? The collapse of the old conflict did not mean that the problems have been resolved. In fact, one of the things that have happened is that these powers were able to suppress lots of conflicts. But once they lost the power to do that all of those issues came back, they never gone away. Up until the collapse of the Soviet Union, they could not do anything about it. So, the past came back to hunt the present. And now, there are much of economic problems around the globe. Even in communist China, there are emerging millionaires. I will not want to go back to the cold war era, but things are little more dangerous now. What did you miss since leaving Ife in 1985? I was in Nigeria from 1978 to 1985 and I have been back a couple of times. But I have not been able to come as often as I would have liked. I see differences although I haven’t been out of Lagos this time because I have only been here for weeks. I am seeing people who are so accomplished doing good things especially the man who owns the hotel I am in right now. The way he has been able to develop his business and make things work and also find people who are ready to work with him is commendable. But, the traffic in Lagos is awful, yet the people are getting on. But I just wish that the problems that I had seen 30 years ago concerning electricity doesn’t still exist. To provide electricity is easier than providing some other things like having your own airline. So, I think there are still some issues in terms of leadership that the people need to make serious changes on. Any shift in paradigm in terms of content of books by African-American writers? There have been lots of changes and developments in books by African-American writers. When I was young, there were not too many African-American writers known to people. There was just a handful. But in the 60s, there was militancy in the US not just in the wake of the civil rights movement. And Black people started going to white universities and courses were being reviewed and demanding Black Studies. The interest of Black writers then grew, but they were more on protest over racism etc. It is not that racism no longer exists that we have a Black president. There is still racism in US. People have now moved beyond saying ‘look at me I am a human being.’ Now, they are writing about African-Americans who are successful and wealthy. What fired your interest to study Africa-American literature? I got interested in it because when I was in graduate school, I was a teaching assistant and I wanted to find text for my students that were various and engaging and I did not know much about Black American writers. But I later discovered some African-American writers I never heard of who were remarkably good. You wrote a long piece on Soyinka. Who is Soyinka? I think he is a great man and a spokesperson for humanity.

How I cheated death

‘How I cheated death’ Renowned Afro-jazz musician and founder, Peter King College of Music, Lagos, Mr Peter King, 74, is bed-ridden, following a stroke. After seven months at the Lagos University Teaching Hospital (LUTH), Idi-Araba, he is back at his Ilogbo, off Badagry Expressway, Lagos home battling the sickness that has paralysed his left hand and leg. He speaks with Assistant Editor (Arts) OZOLUA UHAKHEME on his narrow escape from death, his dream for his 30-year-old school, his relationship with his former students, such as Lagbaja and ASA, among others. But for his steady voice and perhaps the unkempt grey bears, Peter King’s identity has been ‘altered’. He appeared weak and tired, and a shadow of himself. However, he still has his memory intact. He took time to answer questions. At intervals, he battled to sit upright or massage his left fingers, demonstrating a strong will to live and to overcome his health challenge. The Trinity College, United Kingdom-trained musician described the seven months he spent at the Lagos University Teaching Hospital (LUTH), Idi-Araba as a narrow escape from death. According to him, to have left the hospital alive was a miracle because its state of facilities “is a national embarrassment”. “Most teaching hospitals are highly rated all over the world. To find facilities, such as water and light at LUTH in that state, beats my imagination. I was even lucky to come out of the hospital alive because many people died while I was on admission there. Some of the medical workers did not even bother about me. It was all about what they can get. Everybody, from the nurses to the doctors, was very cunning,” he said. King blamed his illness on prolonged hours of work without break. He said he worked very hard at his school to ensure standard and quality. “At times, I teach in class and even overdo it to the extent that my wife would be complaining. Sometimes, she has to practically drag me out of class. I believe I overstressed myself because I was in a hurry to bring the school up to standard,” he said. King, who returned home shortly after performing along with his band, The African Messenger of Sango as a member of the British contingent at the Second World Black and African Festival of Art and Culture (FESTAC 77) said he never experienced any symptom of hypertension. He said he couldn’t remember if he ever took ill and, as such, felt his health was okay. For now, his school is being managed by his Jamaican wife. because of his inability to move around and use his hands effectively. Asked if he would consider allowing the school to go public, he said: “Yes, that’s what I will do in the future. Till date, I have worked so hard to sustain the school and it has been a one-man-show. At inception, I designed the structure myself to my taste. I then gave it to the construction company to execute. At the moment, we have started building a studio for recording. It is a storey building.” He added: “Unlike other subjects, the teaching of music demands a lot of sacrifice. I teach most of the students because I play almost all the instruments ranging from drums to string and wind. That is what helped me to sustain the school; if not, Nigerians can disappoint you. So, I was able to run it alone for almost three years before I started bringing in the old students to teach new intakes.” On the relationship between him and his former students, King said some of them like Bayo and Jerry still get in touch with him. He said though many are outside the country, they still write him about their career growth. “ASA always comes to see me, but she travels a lot and now she has settled a bit. When she doesn’t come herself, she sends somebody,” he said. For Lagbaja, he said the masked musician used to come, but he hasn’t seen him lately. There are many foreign cultural agencies in Lagos that will be interested in the school. Have you received any assistance from such agencies? he was asked. He said some foreign agencies that assisted the Peter King College of Music were the French Embassy and Canadian Embassy in Lagos. The embassies, he said, contributed immensely to the growth of the school, adding that they financed the construction of most of the halls. He recalled that the first five years of the school were hectic for him because he worked so hard so that it woould not fail. “When I came here, I bought four acres. One plot of land then costs about N500, and if you multiply it by six, that gives you N3,000 or N4,000 per acre at most. So, we started building the side we are sitting now first. I built a small house for the school, which served as a quarter where the school started. “Within the first four years, it was the Canadians who first came to my aid. They sent us instruments. A Canadian musician, Mr Oliver Jones, came to Nigeria. He used to come here from the Federal Palace Hotel, Victoria Island, Lagos. He was in the country courtesy of the Canadian government. Then, we were already developing the school, but he saw the potential and the direction we were going. So, they did a lot,” he said. While King was studying in England, he had a band and was still practising.When he returned home, he thought about how to set up a music school. Before then, he was encouraged by a friend, Mr Abayomi Barbers, to join the University of Lagos. “But when I got there, they started the same old story that I should only teach maybe voice, singing, and all that trash. I did not want to do that. That was in 1987 or 1988. Fortunately, I brought my band, The African Messenger of Sango to Nigeria. I was at the FESTAC 77as a member of the British contingent. And that really encouraged me,” he said. Undaunted by his experience at the university, he opted to establish a music college. Location was a concern, as he was fed up with his Maza-Maza, adjacent FESTAC Town apartment, which he described as a ‘noisy zone’. He sought a virgin land in Ilogbo. “I was really fed up with Lagos because after all the hard work during the week days, you still cannot have some quiet moments because of weekend celebrations on the streets. I mean the Owambe party that disturbs creativity. It was a big challenge for me teaching and rehearsing with my band under such conditions. In fact, I was doing so much at a time because I resolved never to return to the United Kingdom (UK) because I brought my wife and child. Asked what kept him back in after FESTAC 77, he said he saw so many possibilities in the country, adding that Nigeria did wonders during the festival. “I have attended festivals across the world from Japan, to Switzerland, Italy for jazz concerts but FESTAC 77 was properly organised. I was surprised. In fact, they blew my mind. Imagine building a town for the festival and the town was booming with surplus good food and everything working fine. So, after the festival, I saw that with lots of dedication, you can do a lot rather than going to England or America,” King, who has 12 albums to his credit, said. His Jamaican wife is managing the college with the assistance of some old students. “I gave her all the rights to run the school and if she needs advice, she comes to me,” he said. He is not disturbed by the non-accreditation status of the college’s programmes, saying his primary aim is to make a student a musician as quickly as possible by training his ears for good music. He cautioned: ”If you want to be a musician, money is not the most important thing; it is what you want to do with the money that counts.” He said he is not fulfilled yet because the stroke denied him the opportunity of participating in the London Olympic Games. He said: “If not for this sickness, I would have been at the London Olympic Games. I was invited because they thought I should be there. But even in my sickness, they still wish to release most of my records at the Olympics. In fact, the organising committee is releasing my old records at the Olympics.” He said he has lots of compositions that have not been recorded, promising to work on them as soon as he recovers. One of the works is entitled: The Palm Wine Vendor, which he would have released if not for the illness.

Even at 90, I will not be done yet

Even at 90, I will not be done yet On August 30, one of Nigeria’s oldest practising artists, Prof. Bruce Onobrakpeya, will turn 80. Expectedly, his birthday is being marked with series of arts events across Nigeria, US and Ireland. In November, the birthday train will berth at the Institute of African Studies, University of Ibadan, Oyo State, for an exhibition and a book launch. The founder of Bruce Onobrakpeya Foundation (BOF) said that even if he clocks 90, he may still be unable to realise his dream as an artist. Assistant Editor (Arts) OZOLUA UHAKHEME reports. Prof. Bruce Onobrakpeya, 80, is a household name in Nigeria’s creative industry. He is one of the most documented and oldest practising Nigerian artists. The renowned printmaker, painter and sculptor has exhibited in leading galleries across the globe, including the famous Tate Modern London, National Museum of African Art of the Smithsonian Institute, in Washington DC and the Malmo Kontshall in Malmo in Sweden. His yearly Harmattan art workshop at Agbarha-Otor, Delta State, has recorded over 3,000 participants from Nigeria, US, France, Belgium, Ghana, Togo and Benin since it was founded 12 years ago. Yet, Onobrakpeya said even if he clocks 90, he would still have much to accomplish as an artist. He said to turn 80 is by the grace of God, but that the strange thing he feels is that there is still much undone as an artist. “If I am given more years, it still may not be okay to accomplish my dream as an artist,” he added. He, however, gave gratitude to God for his sojourn so far on earth, noting that though there is destiny, one great thing that contributes to longevity is physical engagement at all times. He recalled that his late father was 112 before he died. “If you set a target of what to achieve, and you are doing it, then you will be unmindful of time. But when you feel it is over for you, then life tends to stop,” he said. According to him, his 80th birthday has been a one-year-long programme of events, which started with this year’s Harmattan workshop at the Niger Delta Centre for Arts and Culture, Agbarha-Otor in February. There was an exhibition (revisit of the Sunshine Period) which included presentations, interviews on life, art and inspirations for his art. At the Dakar Art Biennale, a group exhibition featuring 19 artists’ works was held at Kajinol Station, Dakar, Senegal, between May 10 and 24 as part of the celebration. The exhibition featured some of the best examples of the experimental works resulting from the Harmattan Workshop, undertaken by a galaxy of artistic stars. Onobrakpeya showed an installation entitled: Igbe Jubilee 2 (Jubilee Dance 2) and several experimental works that have been closely associated with Onobrakpeya’s innovative career spanning over 50 years. There were about 40 works on show at this exhibition. But he regretted that the Harmattan workshop has not been able to hit the mark in its 12 years of existence because he went into the project without ascertaining the financial and structural developmental needs for its sustainability. “If I had been tutored on all this, the workshop would have grown bigger than what it is now. However, the Harmattan is the longest running workshop in South of Sahara,” he said. Onobrapkeya said the Harmattan workshop caters for the lowest to the highest in the art, adding that the academics realise the relevance of the workshop in skill acquisition. He cited the late Twin Seven-Seven as an example of how the informal workshop has contributed to the nation’s artistic growth. He said the late Twin Seven-Seven was the only Nigerian artist listed in a publication, 30,000 Years Of World Art - The Story Of Human Creativity Across Time And Space, published in 2007 by Phaidon, New York. The late artist’s work that was listed is The Lazy hunter and the poisonous wrestler (Lizard ghost and the cobra). He said there was need for more of such informal workshops, adding that government should assist such workshops to get the best. “Also, the corporate bodies and donor agents should come to their aid,” he added. On his dream for the Harmattan workshop, Onobrakpeya said development is on-going at Agbarha-Otor that would see the old structure being turned into a museum. He said: “Ours is a success story. It has helped to develop the local community, the state and the nation. We are creating network for artists to grow. The sky is not the limit for the alumni.” Onobrakpeya’s 80th birthday will be commemorated with a series of art events in Nigeria, the United States and Ireland. Leading the pack of art institutions is National Museum of African Art, Washington D.C. US that will hold a reception for Onobrakpeya after the opening of an exhibition at the Skoto Gallery in New York between October 18 and November 24. In Ireland, Onobrakpeya will be the keynote speaker at the SMA sponsored Rev. Father Kevin Carroll Conference on African Christian Art holding at Dromantine Conference Centre, Northern Ireland, between October 5 and 8. Onobrakpeya, a noted collaborator of Fr. Kevin Carroll, was an early advocate of the use of African art in churches. The conference, which will also be attended by Prof. John Picton of University of London will feature presentation of Onobrakpeya’s illustrations, prints and materials connected with Fr. Kevin Carroll’s pioneering work on Christian art. On the home front, there will be a summer retreat between August 5 and 18 at Niger Delta Arts and Culture Centre, Agbarha-Otor, Delta State. The retreat, which is being organised by The Bruce Onobrakpeya Foundation, will centre on Bruce Onobrakpeya and the environment and will feature mature artists who want to escape the distractions of the city and enjoy the serene and rustic Agbarha-Otor. A retrospective exhibition, 50 years of Bruce Onobrakpeya: Window Into his Art, of selected works from various periods of Onobrakpeya’s artistic career from 1957 till date will hold at the Nike Gallery of Art, Lekki, Lagos from August 25 to 30. The first segment of the exhibition is the Mythical Realism (1957–1962), which represents paintings, and lino-cut prints that depict folklore themes, and Northern landscapes (Zaria). The second segment focuses on the artist’s workshop experiments and his bronzed lino relief series otherwise known as the Sunshine Period (1962–1967) while the third is The Mask and the Cross (1967–1978). The fourth segment represents the historical vignettes. These are pictures known as the Symbols of Royalty (1978–1984) which depict historical figures, mostly royalty from the Benin Kingdom and Niger Delta. Also on display is The Sahelian Masquerades (1984–1988), which draws a lot of attention to the role of government in relation to the issues of desertification. The Mask Series (1990–1995) represent the development of images, which inspired depictions of masks treated in different print media that bring out the philosophies of the people. Social Unrest (1995–1999) is the period of strife within the society. His installation periods from 1995 till date will also be featured. This show will be jointly curated by Nike Okundaye, Sam Ovraiti and Bode Olaniran. From Nike Gallery the train moves to All Saint Church Yaba, Lagos where a thanksgiving service will hold on September 1 by 10 am. This will provide opportunity for well wishers and the art community to worship, celebrate and give thanks with Onobrakpeya and his family. Reception follows at the V. Ginis Centre, Opposite WAEC, Yaba, Lagos A retrospective show of selected works from various periods of Onobrakpeya’s artistic career will hold at the Institute of African Studies, Univeristy of Ibadan in November. It will be accompanied by the launch of a book: Mask of Flaming Arrows edited by Dele Jegede, a 446-page of essays by leading scholars on Onobrakpeya from 1967 to date with over 100 colour illustrations. Onobrakpeya is also noted for the illustrations of some classic novels of many Nigerian writers such as Chinua Achebe’s No Longer At Ease, Heinemann, London, Adeboye Babalola’s Iwe Ede Yoruba, Apa Kini, Longmans of Nigeria, 1961,Cyprain Ekwensi’s An African Night’s Entertainment, AUP Lagos, 1962, Cyprain Ekwensi’s, Juju Rock, AUP Lagos, Nigerian Episcopal Conference, May Your Kingdom Come, Geoffery Chamman, London, 1969, Nkem Nwankwo’s Tales Out of School, (Cover illustration), AUP, Ibadan, Kola Onadipe’s Sugar Girl, AUP, 1964, Rosemary Uwemedimo’s Akpan and the Smugglers, AUP, Ibadan, 1965, T.N.O. Quacoopne’s West African Religion, AUP,Ibadan, 1969, Oladele Taiwo’s The Hunter And The Hen, AUP, Ibadan, 1969, Barbara Haeger’s Africa: On Her Schedule is Written A Change, AUP, Ibadan, 1981, , Kola Onadipe’s Magic Land of the Shadows, AUP, Lagos, 1970, Soyinka and Fagunwa’s A Forest of a Thousand Demons, Nelson, London, Clementine Deliss’ Seven Stories About Modern Art in Africa, White Chapel Art Gallery, London, 1985, and Onuora Nzekwu and Michael Crowder’s Eze Goes to school. ‘How I cheated death’ Renowned Afro-jazz musician and founder, Peter King College of Music, Lagos, Mr Peter King, 74, is bed-ridden, following a stroke. After seven months at the Lagos University Teaching Hospital (LUTH), Idi-Araba, he is back at his Ilogbo, off Badagry Expressway, Lagos home battling the sickness that has paralysed his left hand and leg. He speaks with Assistant Editor (Arts) OZOLUA UHAKHEME on his narrow escape from death, his dream for his 30-year-old school, his relationship with his former students, such as Lagbaja and ASA, among others. But for his steady voice and perhaps the unkempt grey bears, Peter King’s identity has been ‘altered’. He appeared weak and tired, and a shadow of himself. However, he still has his memory intact. He took time to answer questions. At intervals, he battled to sit upright or massage his left fingers, demonstrating a strong will to live and to overcome his health challenge. The Trinity College, United Kingdom-trained musician described the seven months he spent at the Lagos University Teaching Hospital (LUTH), Idi-Araba as a narrow escape from death. According to him, to have left the hospital alive was a miracle because its state of facilities “is a national embarrassment”. “Most teaching hospitals are highly rated all over the world. To find facilities, such as water and light at LUTH in that state, beats my imagination. I was even lucky to come out of the hospital alive because many people died while I was on admission there. Some of the medical workers did not even bother about me. It was all about what they can get. Everybody, from the nurses to the doctors, was very cunning,” he said. King blamed his illness on prolonged hours of work without break. He said he worked very hard at his school to ensure standard and quality. “At times, I teach in class and even overdo it to the extent that my wife would be complaining. Sometimes, she has to practically drag me out of class. I believe I overstressed myself because I was in a hurry to bring the school up to standard,” he said. King, who returned home shortly after performing along with his band, The African Messenger of Sango as a member of the British contingent at the Second World Black and African Festival of Art and Culture (FESTAC 77) said he never experienced any symptom of hypertension. He said he couldn’t remember if he ever took ill and, as such, felt his health was okay. For now, his school is being managed by his Jamaican wife. because of his inability to move around and use his hands effectively. Asked if he would consider allowing the school to go public, he said: “Yes, that’s what I will do in the future. Till date, I have worked so hard to sustain the school and it has been a one-man-show. At inception, I designed the structure myself to my taste. I then gave it to the construction company to execute. At the moment, we have started building a studio for recording. It is a storey building.” He added: “Unlike other subjects, the teaching of music demands a lot of sacrifice. I teach most of the students because I play almost all the instruments ranging from drums to string and wind. That is what helped me to sustain the school; if not, Nigerians can disappoint you. So, I was able to run it alone for almost three years before I started bringing in the old students to teach new intakes.” On the relationship between him and his former students, King said some of them like Bayo and Jerry still get in touch with him. He said though many are outside the country, they still write him about their career growth. “ASA always comes to see me, but she travels a lot and now she has settled a bit. When she doesn’t come herself, she sends somebody,” he said. For Lagbaja, he said the masked musician used to come, but he hasn’t seen him lately. There are many foreign cultural agencies in Lagos that will be interested in the school. Have you received any assistance from such agencies? he was asked. He said some foreign agencies that assisted the Peter King College of Music were the French Embassy and Canadian Embassy in Lagos. The embassies, he said, contributed immensely to the growth of the school, adding that they financed the construction of most of the halls. He recalled that the first five years of the school were hectic for him because he worked so hard so that it woould not fail. “When I came here, I bought four acres. One plot of land then costs about N500, and if you multiply it by six, that gives you N3,000 or N4,000 per acre at most. So, we started building the side we are sitting now first. I built a small house for the school, which served as a quarter where the school started. “Within the first four years, it was the Canadians who first came to my aid. They sent us instruments. A Canadian musician, Mr Oliver Jones, came to Nigeria. He used to come here from the Federal Palace Hotel, Victoria Island, Lagos. He was in the country courtesy of the Canadian government. Then, we were already developing the school, but he saw the potential and the direction we were going. So, they did a lot,” he said. While King was studying in England, he had a band and was still practising.When he returned home, he thought about how to set up a music school. Before then, he was encouraged by a friend, Mr Abayomi Barbers, to join the University of Lagos. “But when I got there, they started the same old story that I should only teach maybe voice, singing, and all that trash. I did not want to do that. That was in 1987 or 1988. Fortunately, I brought my band, The African Messenger of Sango to Nigeria. I was at the FESTAC 77as a member of the British contingent. And that really encouraged me,” he said. Undaunted by his experience at the university, he opted to establish a music college. Location was a concern, as he was fed up with his Maza-Maza, adjacent FESTAC Town apartment, which he described as a ‘noisy zone’. He sought a virgin land in Ilogbo. “I was really fed up with Lagos because after all the hard work during the week days, you still cannot have some quiet moments because of weekend celebrations on the streets. I mean the Owambe party that disturbs creativity. It was a big challenge for me teaching and rehearsing with my band under such conditions. In fact, I was doing so much at a time because I resolved never to return to the United Kingdom (UK) because I brought my wife and child. Asked what kept him back in after FESTAC 77, he said he saw so many possibilities in the country, adding that Nigeria did wonders during the festival. “I have attended festivals across the world from Japan, to Switzerland, Italy for jazz concerts but FESTAC 77 was properly organised. I was surprised. In fact, they blew my mind. Imagine building a town for the festival and the town was booming with surplus good food and everything working fine. So, after the festival, I saw that with lots of dedication, you can do a lot rather than going to England or America,” King, who has 12 albums to his credit, said. His Jamaican wife is managing the college with the assistance of some old students. “I gave her all the rights to run the school and if she needs advice, she comes to me,” he said. He is not disturbed by the non-accreditation status of the college’s programmes, saying his primary aim is to make a student a musician as quickly as possible by training his ears for good music. He cautioned: ”If you want to be a musician, money is not the most important thing; it is what you want to do with the money that counts.” He said he is not fulfilled yet because the stroke denied him the opportunity of participating in the London Olympic Games. He said: “If not for this sickness, I would have been at the London Olympic Games. I was invited because they thought I should be there. But even in my sickness, they still wish to release most of my records at the Olympics. In fact, the organising committee is releasing my old records at the Olympics.” He said he has lots of compositions that have not been recorded, promising to work on them as soon as he recovers. One of the works is entitled: The Palm Wine Vendor, which he would have released if not for the illness. ‘Ife changed my life’ In 1984, Robert Elliot Fox, a Professor of English and Africana Studies, Southern Illinois University, United States, was among the select audience who witnessed the 50th birthday of Nobel Laureate, Prof. Wole Soyinka at the then University of Ife, UNIFE (now Obafemi Awolowo University, OAU). Penultimate Thursday, Prof. Fox was the guest speaker at the 78th birthday lecture for Soyinka. He speaks on how Unife shaped his intellectual growth, the relevance of Negritude and the challenges of globalisation, among others, with ASSISTANT EDITOR (ARTS) OZOLUA UHAKHEME. In your paper: From Tigritude to Transcendence: The Conscience and Conscientiousness of Wole Soyinka, at the Soyinka lecture in Lagos, you said you have not been able to experience the same intellectual engagements you had at University of Ife (UNIFE) since you returned to the United States. What is responsible for this? “I don’t find the same kind of intellectual engagement at home in my university as I had years ago at Ife. I think it is the same here too because there was a woman who spoke after my lecture that in Nigeria the kind of training they used to have in the 70s and 80s was quite different and doesn’t happen anymore. I didn’t know how to counter that but I think it is unfortunate because we might call those days ‘glory days’ because there was so much energy, intellectual development and we debated a lot. I am still close to some of those teachers because we had mutual respect for one another even when we disagreed sometimes but that didn’t mean we could not understand one another. What influenced your decision to take up teaching job at UNIFE? I was young and I had only been teaching maybe for one year in colleges and universities before I came to Nigeria. But I was developing intellectually and I was finding that development in a country very different from my own. So, that gave me an international experience. Again, I went to UNIFE because Prof. Desmond Hamlet, who had been my mentor since when I was getting my PhD, had gone there on one year sabbatical and he decided to stay. So, I went and joined him since I wanted to be associated with that kind of opportunity. But, if someone had told me that I would be there for seven years; maybe I will not have gone but I am glad I did because it changed my life in a very positive way. What was your impression of Soyinka the first day you met him at Ife? There were quite a number of people I interacted with at Ife. But, I can remember a woman who was a Creative Director originally from Jamaica, but had been in Nigeria previously from another university before she came to Ife. She was one of the first people I met when I arrived at Ife and in our conversation, she discovered that I read Soyinka when I was a graduate student and was very interested in his works. So, it happened that she had been invited to Soyinka’s house for a dinner and she asked me if I would like to go with her and meet him. So, I went and met him and many other people. It was an interesting evening because I was able to talk with Prof. Soyinka irrespective of many guests that were present. As far as this lecture is concerned I talked about issues that other people have talked about, which are most important. As I told a number of people, I spent seven years working on African literature. The last time I saw Soyinka was in 2008 when he came to my university because we had a conference around his works and a production. So, I had been concentrating on that until Prof. Segun Ojewuyi called and asked if I was going to be committed to the summer. I told him I was not and he said he had an assignment for me, which was theatric. But as I started carrying out the assignment, more ideas began to come in. Nadine Gordimer wrote an essay entitled: Soyinka; the Tiger. You also wrote on Soyinka’s tigritude. In this lecture, what is the link between Soyinka and tiger? It was one of the first things I heard about him and it was one of his most famous quotes that was very short and striking. He was responding to a philosophy known as Negritude, which was developed by French speaking Black writers from Africa and the Caribbean who were educated in France. Soyinka will start to be dismissive about all of that because, in his comment what he meant was if you are a tiger all people need to do is look at you and see who you are, instead of saying look at me, I am a tiger. It does not need to be said and that was taken to mean that this was nonsense and he actually insisted that Negritude is something that we need to engage in that is important. But, he believes the people were selling an idea and also because what Negritude was doing was taking characteristics of people of colour ascribed to them by white people and written down as negative and making it positive. For example, the European will say we are intellectuals and you (black) are emotional. The negritude people will say what’s wrong with having this feeling? Abiola Irele, who is one of Africa’s leading critics wrote in one of his books that there isn’t any writer who actually embodies the principles of Negritude more than Wole Soyinka. So, there is a lot of complexity and more to it. And the idea of tiger came up in 2008 when Soyinka came to my university where Gordimer worked on Soyinka’s tigritude. What I meant by that his firm commitment to justice, he does not talk about something and he tries to act on behalf of those issues he is committed to. I was also concerned about his moving from being somebody who was a very strong Nigerian patriot to a Pan African view point to a global view point. That was to broader perspective. Do you think Negritutde has really lifted the course of Africans and how relevant is it at this contemporary time? I don’t think ideas that are relevant lose their relevance completely. I don’t believe in too many people pushing the notion of Negritude now. I was trying to compare Fela with Soyinka in their approach to the Negritude movement. Fela was somebody who was actually promoting Negritude without ever using the word because Negritude was trying to resist the European’s view that blackness was nothing and as such holds that black is everything. That was what Fela did. And he did it crudely. But Soyinka embodies in less obvious much more subtle way. Today, it is common knowledge that many African nations are trying to get over the challenges of colonialism. Now, globalisation has come with its greater challenges. How will Africa get out of these? I had a similar conversation and several people asked me about globaliSation and I think it is a problem. There are countries who are still trying to find their footings and identity and I think Nigeria is one of them. The United States is not old but we have got a couple of centuries and they created their own system. But Nigeria inherited one and is still trying to figure out how that will work and it is not a simple thing to achieve. And now, comes globalisation when Nigeria is still trying to establish her identity and everyone’s identity is being upset because of the flow of ideas and images around the world. And if you must consider what has been happening within the last decade even in Europe and the United States, it has been turbulence for everybody even in countries that were stable and well established. So, it is a bigger problem but the ability to speak to the whole world like Soyinka did, and be heard is what is very important. Hopefully, that will help people learn how to understand each other. Do you think the world is more at peace now than when it was polarised between two world powers - US and Russia? The collapse of the old conflict did not mean that the problems have been resolved. In fact, one of the things that have happened is that these powers were able to suppress lots of conflicts. But once they lost the power to do that all of those issues came back, they never gone away. Up until the collapse of the Soviet Union, they could not do anything about it. So, the past came back to hunt the present. And now, there are much of economic problems around the globe. Even in communist China, there are emerging millionaires. I will not want to go back to the cold war era, but things are little more dangerous now. What did you miss since leaving Ife in 1985? I was in Nigeria from 1978 to 1985 and I have been back a couple of times. But I have not been able to come as often as I would have liked. I see differences although I haven’t been out of Lagos this time because I have only been here for weeks. I am seeing people who are so accomplished doing good things especially the man who owns the hotel I am in right now. The way he has been able to develop his business and make things work and also find people who are ready to work with him is commendable. But, the traffic in Lagos is awful, yet the people are getting on. But I just wish that the problems that I had seen 30 years ago concerning electricity doesn’t still exist. To provide electricity is easier than providing some other things like having your own airline. So, I think there are still some issues in terms of leadership that the people need to make serious changes on. Any shift in paradigm in terms of content of books by African-American writers? There have been lots of changes and developments in books by African-American writers. When I was young, there were not too many African-American writers known to people. There was just a handful. But in the 60s, there was militancy in the US not just in the wake of the civil rights movement. And Black people started going to white universities and courses were being reviewed and demanding Black Studies. The interest of Black writers then grew, but they were more on protest over racism etc. It is not that racism no longer exists that we have a Black president. There is still racism in US. People have now moved beyond saying ‘look at me I am a human being.’ Now, they are writing about African-Americans who are successful and wealthy. What fired your interest to study Africa-American literature? I got interested in it because when I was in graduate school, I was a teaching assistant and I wanted to find text for my students that were various and engaging and I did not know much about Black American writers. But I later discovered some African-American writers I never heard of who were remarkably good. You wrote a long piece on Soyinka. Who is Soyinka? I think he is a great man and a spokesperson for humanity.

Even at 90, I will not be done yet

Even at 90, I will not be done yet On August 30, one of Nigeria’s oldest practising artists, Prof. Bruce Onobrakpeya, will turn 80. Expectedly, his birthday is being marked with series of arts events across Nigeria, US and Ireland. In November, the birthday train will berth at the Institute of African Studies, University of Ibadan, Oyo State, for an exhibition and a book launch. The founder of Bruce Onobrakpeya Foundation (BOF) said that even if he clocks 90, he may still be unable to realise his dream as an artist. Assistant Editor (Arts) OZOLUA UHAKHEME reports. Prof. Bruce Onobrakpeya, 80, is a household name in Nigeria’s creative industry. He is one of the most documented and oldest practising Nigerian artists. The renowned printmaker, painter and sculptor has exhibited in leading galleries across the globe, including the famous Tate Modern London, National Museum of African Art of the Smithsonian Institute, in Washington DC and the Malmo Kontshall in Malmo in Sweden. His yearly Harmattan art workshop at Agbarha-Otor, Delta State, has recorded over 3,000 participants from Nigeria, US, France, Belgium, Ghana, Togo and Benin since it was founded 12 years ago. Yet, Onobrakpeya said even if he clocks 90, he would still have much to accomplish as an artist. He said to turn 80 is by the grace of God, but that the strange thing he feels is that there is still much undone as an artist. “If I am given more years, it still may not be okay to accomplish my dream as an artist,” he added. He, however, gave gratitude to God for his sojourn so far on earth, noting that though there is destiny, one great thing that contributes to longevity is physical engagement at all times. He recalled that his late father was 112 before he died. “If you set a target of what to achieve, and you are doing it, then you will be unmindful of time. But when you feel it is over for you, then life tends to stop,” he said. According to him, his 80th birthday has been a one-year-long programme of events, which started with this year’s Harmattan workshop at the Niger Delta Centre for Arts and Culture, Agbarha-Otor in February. There was an exhibition (revisit of the Sunshine Period) which included presentations, interviews on life, art and inspirations for his art. At the Dakar Art Biennale, a group exhibition featuring 19 artists’ works was held at Kajinol Station, Dakar, Senegal, between May 10 and 24 as part of the celebration. The exhibition featured some of the best examples of the experimental works resulting from the Harmattan Workshop, undertaken by a galaxy of artistic stars. Onobrakpeya showed an installation entitled: Igbe Jubilee 2 (Jubilee Dance 2) and several experimental works that have been closely associated with Onobrakpeya’s innovative career spanning over 50 years. There were about 40 works on show at this exhibition. But he regretted that the Harmattan workshop has not been able to hit the mark in its 12 years of existence because he went into the project without ascertaining the financial and structural developmental needs for its sustainability. “If I had been tutored on all this, the workshop would have grown bigger than what it is now. However, the Harmattan is the longest running workshop in South of Sahara,” he said. Onobrapkeya said the Harmattan workshop caters for the lowest to the highest in the art, adding that the academics realise the relevance of the workshop in skill acquisition. He cited the late Twin Seven-Seven as an example of how the informal workshop has contributed to the nation’s artistic growth. He said the late Twin Seven-Seven was the only Nigerian artist listed in a publication, 30,000 Years Of World Art - The Story Of Human Creativity Across Time And Space, published in 2007 by Phaidon, New York. The late artist’s work that was listed is The Lazy hunter and the poisonous wrestler (Lizard ghost and the cobra). He said there was need for more of such informal workshops, adding that government should assist such workshops to get the best. “Also, the corporate bodies and donor agents should come to their aid,” he added. On his dream for the Harmattan workshop, Onobrakpeya said development is on-going at Agbarha-Otor that would see the old structure being turned into a museum. He said: “Ours is a success story. It has helped to develop the local community, the state and the nation. We are creating network for artists to grow. The sky is not the limit for the alumni.” Onobrakpeya’s 80th birthday will be commemorated with a series of art events in Nigeria, the United States and Ireland. Leading the pack of art institutions is National Museum of African Art, Washington D.C. US that will hold a reception for Onobrakpeya after the opening of an exhibition at the Skoto Gallery in New York between October 18 and November 24. In Ireland, Onobrakpeya will be the keynote speaker at the SMA sponsored Rev. Father Kevin Carroll Conference on African Christian Art holding at Dromantine Conference Centre, Northern Ireland, between October 5 and 8. Onobrakpeya, a noted collaborator of Fr. Kevin Carroll, was an early advocate of the use of African art in churches. The conference, which will also be attended by Prof. John Picton of University of London will feature presentation of Onobrakpeya’s illustrations, prints and materials connected with Fr. Kevin Carroll’s pioneering work on Christian art. On the home front, there will be a summer retreat between August 5 and 18 at Niger Delta Arts and Culture Centre, Agbarha-Otor, Delta State. The retreat, which is being organised by The Bruce Onobrakpeya Foundation, will centre on Bruce Onobrakpeya and the environment and will feature mature artists who want to escape the distractions of the city and enjoy the serene and rustic Agbarha-Otor. A retrospective exhibition, 50 years of Bruce Onobrakpeya: Window Into his Art, of selected works from various periods of Onobrakpeya’s artistic career from 1957 till date will hold at the Nike Gallery of Art, Lekki, Lagos from August 25 to 30. The first segment of the exhibition is the Mythical Realism (1957–1962), which represents paintings, and lino-cut prints that depict folklore themes, and Northern landscapes (Zaria). The second segment focuses on the artist’s workshop experiments and his bronzed lino relief series otherwise known as the Sunshine Period (1962–1967) while the third is The Mask and the Cross (1967–1978). The fourth segment represents the historical vignettes. These are pictures known as the Symbols of Royalty (1978–1984) which depict historical figures, mostly royalty from the Benin Kingdom and Niger Delta. Also on display is The Sahelian Masquerades (1984–1988), which draws a lot of attention to the role of government in relation to the issues of desertification. The Mask Series (1990–1995) represent the development of images, which inspired depictions of masks treated in different print media that bring out the philosophies of the people. Social Unrest (1995–1999) is the period of strife within the society. His installation periods from 1995 till date will also be featured. This show will be jointly curated by Nike Okundaye, Sam Ovraiti and Bode Olaniran. From Nike Gallery the train moves to All Saint Church Yaba, Lagos where a thanksgiving service will hold on September 1 by 10 am. This will provide opportunity for well wishers and the art community to worship, celebrate and give thanks with Onobrakpeya and his family. Reception follows at the V. Ginis Centre, Opposite WAEC, Yaba, Lagos A retrospective show of selected works from various periods of Onobrakpeya’s artistic career will hold at the Institute of African Studies, Univeristy of Ibadan in November. It will be accompanied by the launch of a book: Mask of Flaming Arrows edited by Dele Jegede, a 446-page of essays by leading scholars on Onobrakpeya from 1967 to date with over 100 colour illustrations. Onobrakpeya is also noted for the illustrations of some classic novels of many Nigerian writers such as Chinua Achebe’s No Longer At Ease, Heinemann, London, Adeboye Babalola’s Iwe Ede Yoruba, Apa Kini, Longmans of Nigeria, 1961,Cyprain Ekwensi’s An African Night’s Entertainment, AUP Lagos, 1962, Cyprain Ekwensi’s, Juju Rock, AUP Lagos, Nigerian Episcopal Conference, May Your Kingdom Come, Geoffery Chamman, London, 1969, Nkem Nwankwo’s Tales Out of School, (Cover illustration), AUP, Ibadan, Kola Onadipe’s Sugar Girl, AUP, 1964, Rosemary Uwemedimo’s Akpan and the Smugglers, AUP, Ibadan, 1965, T.N.O. Quacoopne’s West African Religion, AUP,Ibadan, 1969, Oladele Taiwo’s The Hunter And The Hen, AUP, Ibadan, 1969, Barbara Haeger’s Africa: On Her Schedule is Written A Change, AUP, Ibadan, 1981, , Kola Onadipe’s Magic Land of the Shadows, AUP, Lagos, 1970, Soyinka and Fagunwa’s A Forest of a Thousand Demons, Nelson, London, Clementine Deliss’ Seven Stories About Modern Art in Africa, White Chapel Art Gallery, London, 1985, and Onuora Nzekwu and Michael Crowder’s Eze Goes to school. ‘How I cheated death’ Renowned Afro-jazz musician and founder, Peter King College of Music, Lagos, Mr Peter King, 74, is bed-ridden, following a stroke. After seven months at the Lagos University Teaching Hospital (LUTH), Idi-Araba, he is back at his Ilogbo, off Badagry Expressway, Lagos home battling the sickness that has paralysed his left hand and leg. He speaks with Assistant Editor (Arts) OZOLUA UHAKHEME on his narrow escape from death, his dream for his 30-year-old school, his relationship with his former students, such as Lagbaja and ASA, among others. But for his steady voice and perhaps the unkempt grey bears, Peter King’s identity has been ‘altered’. He appeared weak and tired, and a shadow of himself. However, he still has his memory intact. He took time to answer questions. At intervals, he battled to sit upright or massage his left fingers, demonstrating a strong will to live and to overcome his health challenge. The Trinity College, United Kingdom-trained musician described the seven months he spent at the Lagos University Teaching Hospital (LUTH), Idi-Araba as a narrow escape from death. According to him, to have left the hospital alive was a miracle because its state of facilities “is a national embarrassment”. “Most teaching hospitals are highly rated all over the world. To find facilities, such as water and light at LUTH in that state, beats my imagination. I was even lucky to come out of the hospital alive because many people died while I was on admission there. Some of the medical workers did not even bother about me. It was all about what they can get. Everybody, from the nurses to the doctors, was very cunning,” he said. King blamed his illness on prolonged hours of work without break. He said he worked very hard at his school to ensure standard and quality. “At times, I teach in class and even overdo it to the extent that my wife would be complaining. Sometimes, she has to practically drag me out of class. I believe I overstressed myself because I was in a hurry to bring the school up to standard,” he said. King, who returned home shortly after performing along with his band, The African Messenger of Sango as a member of the British contingent at the Second World Black and African Festival of Art and Culture (FESTAC 77) said he never experienced any symptom of hypertension. He said he couldn’t remember if he ever took ill and, as such, felt his health was okay. For now, his school is being managed by his Jamaican wife. because of his inability to move around and use his hands effectively. Asked if he would consider allowing the school to go public, he said: “Yes, that’s what I will do in the future. Till date, I have worked so hard to sustain the school and it has been a one-man-show. At inception, I designed the structure myself to my taste. I then gave it to the construction company to execute. At the moment, we have started building a studio for recording. It is a storey building.” He added: “Unlike other subjects, the teaching of music demands a lot of sacrifice. I teach most of the students because I play almost all the instruments ranging from drums to string and wind. That is what helped me to sustain the school; if not, Nigerians can disappoint you. So, I was able to run it alone for almost three years before I started bringing in the old students to teach new intakes.” On the relationship between him and his former students, King said some of them like Bayo and Jerry still get in touch with him. He said though many are outside the country, they still write him about their career growth. “ASA always comes to see me, but she travels a lot and now she has settled a bit. When she doesn’t come herself, she sends somebody,” he said. For Lagbaja, he said the masked musician used to come, but he hasn’t seen him lately. There are many foreign cultural agencies in Lagos that will be interested in the school. Have you received any assistance from such agencies? he was asked. He said some foreign agencies that assisted the Peter King College of Music were the French Embassy and Canadian Embassy in Lagos. The embassies, he said, contributed immensely to the growth of the school, adding that they financed the construction of most of the halls. He recalled that the first five years of the school were hectic for him because he worked so hard so that it woould not fail. “When I came here, I bought four acres. One plot of land then costs about N500, and if you multiply it by six, that gives you N3,000 or N4,000 per acre at most. So, we started building the side we are sitting now first. I built a small house for the school, which served as a quarter where the school started. “Within the first four years, it was the Canadians who first came to my aid. They sent us instruments. A Canadian musician, Mr Oliver Jones, came to Nigeria. He used to come here from the Federal Palace Hotel, Victoria Island, Lagos. He was in the country courtesy of the Canadian government. Then, we were already developing the school, but he saw the potential and the direction we were going. So, they did a lot,” he said. While King was studying in England, he had a band and was still practising.When he returned home, he thought about how to set up a music school. Before then, he was encouraged by a friend, Mr Abayomi Barbers, to join the University of Lagos. “But when I got there, they started the same old story that I should only teach maybe voice, singing, and all that trash. I did not want to do that. That was in 1987 or 1988. Fortunately, I brought my band, The African Messenger of Sango to Nigeria. I was at the FESTAC 77as a member of the British contingent. And that really encouraged me,” he said. Undaunted by his experience at the university, he opted to establish a music college. Location was a concern, as he was fed up with his Maza-Maza, adjacent FESTAC Town apartment, which he described as a ‘noisy zone’. He sought a virgin land in Ilogbo. “I was really fed up with Lagos because after all the hard work during the week days, you still cannot have some quiet moments because of weekend celebrations on the streets. I mean the Owambe party that disturbs creativity. It was a big challenge for me teaching and rehearsing with my band under such conditions. In fact, I was doing so much at a time because I resolved never to return to the United Kingdom (UK) because I brought my wife and child. Asked what kept him back in after FESTAC 77, he said he saw so many possibilities in the country, adding that Nigeria did wonders during the festival. “I have attended festivals across the world from Japan, to Switzerland, Italy for jazz concerts but FESTAC 77 was properly organised. I was surprised. In fact, they blew my mind. Imagine building a town for the festival and the town was booming with surplus good food and everything working fine. So, after the festival, I saw that with lots of dedication, you can do a lot rather than going to England or America,” King, who has 12 albums to his credit, said. His Jamaican wife is managing the college with the assistance of some old students. “I gave her all the rights to run the school and if she needs advice, she comes to me,” he said. He is not disturbed by the non-accreditation status of the college’s programmes, saying his primary aim is to make a student a musician as quickly as possible by training his ears for good music. He cautioned: ”If you want to be a musician, money is not the most important thing; it is what you want to do with the money that counts.” He said he is not fulfilled yet because the stroke denied him the opportunity of participating in the London Olympic Games. He said: “If not for this sickness, I would have been at the London Olympic Games. I was invited because they thought I should be there. But even in my sickness, they still wish to release most of my records at the Olympics. In fact, the organising committee is releasing my old records at the Olympics.” He said he has lots of compositions that have not been recorded, promising to work on them as soon as he recovers. One of the works is entitled: The Palm Wine Vendor, which he would have released if not for the illness. ‘Ife changed my life’ In 1984, Robert Elliot Fox, a Professor of English and Africana Studies, Southern Illinois University, United States, was among the select audience who witnessed the 50th birthday of Nobel Laureate, Prof. Wole Soyinka at the then University of Ife, UNIFE (now Obafemi Awolowo University, OAU). Penultimate Thursday, Prof. Fox was the guest speaker at the 78th birthday lecture for Soyinka. He speaks on how Unife shaped his intellectual growth, the relevance of Negritude and the challenges of globalisation, among others, with ASSISTANT EDITOR (ARTS) OZOLUA UHAKHEME. In your paper: From Tigritude to Transcendence: The Conscience and Conscientiousness of Wole Soyinka, at the Soyinka lecture in Lagos, you said you have not been able to experience the same intellectual engagements you had at University of Ife (UNIFE) since you returned to the United States. What is responsible for this? “I don’t find the same kind of intellectual engagement at home in my university as I had years ago at Ife. I think it is the same here too because there was a woman who spoke after my lecture that in Nigeria the kind of training they used to have in the 70s and 80s was quite different and doesn’t happen anymore. I didn’t know how to counter that but I think it is unfortunate because we might call those days ‘glory days’ because there was so much energy, intellectual development and we debated a lot. I am still close to some of those teachers because we had mutual respect for one another even when we disagreed sometimes but that didn’t mean we could not understand one another. What influenced your decision to take up teaching job at UNIFE? I was young and I had only been teaching maybe for one year in colleges and universities before I came to Nigeria. But I was developing intellectually and I was finding that development in a country very different from my own. So, that gave me an international experience. Again, I went to UNIFE because Prof. Desmond Hamlet, who had been my mentor since when I was getting my PhD, had gone there on one year sabbatical and he decided to stay. So, I went and joined him since I wanted to be associated with that kind of opportunity. But, if someone had told me that I would be there for seven years; maybe I will not have gone but I am glad I did because it changed my life in a very positive way. What was your impression of Soyinka the first day you met him at Ife? There were quite a number of people I interacted with at Ife. But, I can remember a woman who was a Creative Director originally from Jamaica, but had been in Nigeria previously from another university before she came to Ife. She was one of the first people I met when I arrived at Ife and in our conversation, she discovered that I read Soyinka when I was a graduate student and was very interested in his works. So, it happened that she had been invited to Soyinka’s house for a dinner and she asked me if I would like to go with her and meet him. So, I went and met him and many other people. It was an interesting evening because I was able to talk with Prof. Soyinka irrespective of many guests that were present. As far as this lecture is concerned I talked about issues that other people have talked about, which are most important. As I told a number of people, I spent seven years working on African literature. The last time I saw Soyinka was in 2008 when he came to my university because we had a conference around his works and a production. So, I had been concentrating on that until Prof. Segun Ojewuyi called and asked if I was going to be committed to the summer. I told him I was not and he said he had an assignment for me, which was theatric. But as I started carrying out the assignment, more ideas began to come in. Nadine Gordimer wrote an essay entitled: Soyinka; the Tiger. You also wrote on Soyinka’s tigritude. In this lecture, what is the link between Soyinka and tiger? It was one of the first things I heard about him and it was one of his most famous quotes that was very short and striking. He was responding to a philosophy known as Negritude, which was developed by French speaking Black writers from Africa and the Caribbean who were educated in France. Soyinka will start to be dismissive about all of that because, in his comment what he meant was if you are a tiger all people need to do is look at you and see who you are, instead of saying look at me, I am a tiger. It does not need to be said and that was taken to mean that this was nonsense and he actually insisted that Negritude is something that we need to engage in that is important. But, he believes the people were selling an idea and also because what Negritude was doing was taking characteristics of people of colour ascribed to them by white people and written down as negative and making it positive. For example, the European will say we are intellectuals and you (black) are emotional. The negritude people will say what’s wrong with having this feeling? Abiola Irele, who is one of Africa’s leading critics wrote in one of his books that there isn’t any writer who actually embodies the principles of Negritude more than Wole Soyinka. So, there is a lot of complexity and more to it. And the idea of tiger came up in 2008 when Soyinka came to my university where Gordimer worked on Soyinka’s tigritude. What I meant by that his firm commitment to justice, he does not talk about something and he tries to act on behalf of those issues he is committed to. I was also concerned about his moving from being somebody who was a very strong Nigerian patriot to a Pan African view point to a global view point. That was to broader perspective. Do you think Negritutde has really lifted the course of Africans and how relevant is it at this contemporary time? I don’t think ideas that are relevant lose their relevance completely. I don’t believe in too many people pushing the notion of Negritude now. I was trying to compare Fela with Soyinka in their approach to the Negritude movement. Fela was somebody who was actually promoting Negritude without ever using the word because Negritude was trying to resist the European’s view that blackness was nothing and as such holds that black is everything. That was what Fela did. And he did it crudely. But Soyinka embodies in less obvious much more subtle way. Today, it is common knowledge that many African nations are trying to get over the challenges of colonialism. Now, globalisation has come with its greater challenges. How will Africa get out of these? I had a similar conversation and several people asked me about globaliSation and I think it is a problem. There are countries who are still trying to find their footings and identity and I think Nigeria is one of them. The United States is not old but we have got a couple of centuries and they created their own system. But Nigeria inherited one and is still trying to figure out how that will work and it is not a simple thing to achieve. And now, comes globalisation when Nigeria is still trying to establish her identity and everyone’s identity is being upset because of the flow of ideas and images around the world. And if you must consider what has been happening within the last decade even in Europe and the United States, it has been turbulence for everybody even in countries that were stable and well established. So, it is a bigger problem but the ability to speak to the whole world like Soyinka did, and be heard is what is very important. Hopefully, that will help people learn how to understand each other. Do you think the world is more at peace now than when it was polarised between two world powers - US and Russia? The collapse of the old conflict did not mean that the problems have been resolved. In fact, one of the things that have happened is that these powers were able to suppress lots of conflicts. But once they lost the power to do that all of those issues came back, they never gone away. Up until the collapse of the Soviet Union, they could not do anything about it. So, the past came back to hunt the present. And now, there are much of economic problems around the globe. Even in communist China, there are emerging millionaires. I will not want to go back to the cold war era, but things are little more dangerous now. What did you miss since leaving Ife in 1985? I was in Nigeria from 1978 to 1985 and I have been back a couple of times. But I have not been able to come as often as I would have liked. I see differences although I haven’t been out of Lagos this time because I have only been here for weeks. I am seeing people who are so accomplished doing good things especially the man who owns the hotel I am in right now. The way he has been able to develop his business and make things work and also find people who are ready to work with him is commendable. But, the traffic in Lagos is awful, yet the people are getting on. But I just wish that the problems that I had seen 30 years ago concerning electricity doesn’t still exist. To provide electricity is easier than providing some other things like having your own airline. So, I think there are still some issues in terms of leadership that the people need to make serious changes on. Any shift in paradigm in terms of content of books by African-American writers? There have been lots of changes and developments in books by African-American writers. When I was young, there were not too many African-American writers known to people. There was just a handful. But in the 60s, there was militancy in the US not just in the wake of the civil rights movement. And Black people started going to white universities and courses were being reviewed and demanding Black Studies. The interest of Black writers then grew, but they were more on protest over racism etc. It is not that racism no longer exists that we have a Black president. There is still racism in US. People have now moved beyond saying ‘look at me I am a human being.’ Now, they are writing about African-Americans who are successful and wealthy. What fired your interest to study Africa-American literature? I got interested in it because when I was in graduate school, I was a teaching assistant and I wanted to find text for my students that were various and engaging and I did not know much about Black American writers. But I later discovered some African-American writers I never heard of who were remarkably good. You wrote a long piece on Soyinka. Who is Soyinka? I think he is a great man and a spokesperson for humanity.

Repackaging Owanbe for all Four years after Governor Babatunde Fashola signed into law a bill banning the blocking of roads for social or commercial activities in Lagos State, organisers of the popular Yoruba Owanbe, which often holds on the streets, are exploring alternative modes of celebrating with their loved ones, reports ASSISTANT EDITOR (ARTS) OZOLUA UHAKHEME. In Lagos, it was common place every weekend to find some streets or roads closed. It was also common to find hundreds of plastic chairs, tables and canopies of different shapes and colours as well as heaps of waste from food and drinks littering the streets. Sound pollution from musicians, who performed on the streets to the detriment of other road users, was common too. That was before May 2008, when street parties were banned in the state. Today, all that has changed. Governor Babatunde Fashola of Lagos State on May 12, 2008 signed into law a bill banning the blocking of roads for social or commercial activities in any part of the state. The law, entitled: Bill on Commercial Activities and Prohibition of Obstruction of Traffic, makes it an offence for any person or group to obstruct traffic on any road in the state as a result of social or commercial activities. By the provision of the law, anybody who obstructs a law enforcement agent of the state while enforcing compliance to this law will be liable to six-month jail term, with an option of fine of N10, 000 or both. But, remember the old song 'Satide la ti n patibaba l’Eko/Ojo Sunday la fi n moti aye/ Laroo Monday, Eko o ni gba igbakugba o' by the late Afro-beat legend Fela Anikulapo-Kuti? Street party culture of Lagos is the subject of that song, which translates to "On Saturday, we erect tents for street parties in Lagos/Sunday is for drinking/Monday is the no nonsense day in Lagos." Even Fela, when crafting the song never anticipated the open display of opulent affluence occasioned by sudden wealth from the oil boom in Nigeria. The Sowambe party, which is described as a symptom, but not a cause of a moral meltdown in the Southwest region, came with its own performance culture, its music and its aesthetics. The Sowambe music operates on "bottom power." The term comes from a question, Bebe idi, Sowambe? (Beaded waistband? Is it there?) This is a rhetorical question around which the male and female dancers weaved their body dialogue in street party dances, sometimes with erotic twists. According to US-based Nigerian scholar, Moyo Okediji, the passing of the anti-Sowanbe law against the throwing of street parties marks the beginning of the end of an era. He said Yoruba people enjoy lavish celebrations and they mark and celebrate the rites of passage along the cycle of life, namely birth, marriage and death. Okediji noted that the ban on street parties in Lagos has some benefits as it prohibits those hosting parties from blocking the streets with their tents, which range from small canopies for about 20 people, to enormous structures constructed to accommodate hundreds of partiers. "Because streets are not blocked to stage these parties, the ban contributes to a better flow of traffic throughout the nation, from the north to the coast. Motorists no longer have to face the frustration of aggravated traffic chaos that plagued the city resulting from street partying. "Because the parties are restricted indoor, the ban probably reduces the stress from noise pollution and from blasting music into the open air. The environmental benefits of such reduction of stress are mental and psychological. But they contribute to a decent image for an international city of the calibre of Lagos." Apart from the environmental nuisance created by street partying, he said the lack of a street venue to openly display ill-gotten wealth may discourage greed and corruption. This, he stressed, might encourage the relocation of the street parties away from Lagos, to hospitable metropolitan centres in the Yoruba provinces. "Were Fela to wake up today from the grave, he would be surprised that the streets of Lagos are no longer clogged with party tents during the weekends," he added. Expectedly, since the passage of the law, new event centres have emerged in Lagos. They include Balmoral, Kingsize (both on Oregun Road), Regence on Adeniyi Jones, Expo Hall of Eko Hotel and Suites Victoria Island, Blue Roof, Time Square and The Havens. Their rates range from N5,000 to N10,000 per hour on weekends depending on the class of centre. Chief Executive Officer of an Oregun-based event centre, Balmoral, Mr Ezekiel Adamu, said the ban on street parties is not a plus per se, but an added lift for the services offered Nigerians. He recalled that holding parties on the streets did not portray Nigerians in good light because many road users are not only denied free access, but molested by street urchins. "The use of event centres has made parties convenient and comfortable for all. Things are now done in proper and civilised ways and everybody is enjoying it. At Balmoral, which stands for royalty, we provide for the elites at affordable prices. But Nigerians have not fully utilised the many opportunities in event centres because people tend to link event centres only to parties for merriment. So far, in the scale of 1-10, Nigerians have utilised four opportunities," Adamu said. He noted that with healthy competition, clients’ demands are growing and getting higher than before. This, he said, has kept Balmoral on top of the game having sustained trust, good image and standard. However, he identified epileptic electricity supply as one big challenge facing the operators. To him, other challenges are opportunities to grow because if there are no challenges, there will be no growth. Chief Executive Officer, Havillahmd Cakes and Events, Mrs Olasinde Adenike, described the ban as a blessing in disguise for stakeholders in the sub-sector. She noted that the shift from streets and roads to build event venues has not only brought orderliness and boost to service providers, but has also elevated the image of operators. "The rental and catering services are increasing expanding by the day and it is safer to supply food and other items to venues as their safety are guaranteed. Unlike in the past when parties were held on the streets, cutlery and other valuables are exposed to theft. Also, parties held at such venues are restricted to invited guests, thus making planning easier for both the organiser and the providers of services," she added. Banning street parties, according to her, has not threatened the Owanbe culture among the Yoruba, instead it has helped to refine the modes of hosting such parties. She observed that shifting to event centres did not stop holding Owanbe but that people choose primary school playground as venue to reduce cost. Yet, she described event centre and catering business as one of the fastest growing business in the country. To succeed, she noted that operator must be well connected as the business is embedded with many opportunities. She said the ban has brought reduction in noise on the streets, reduced extravagance and wastages, ease traffic flow around the streets, increase in employment opportunities: cleaners, designers, tents builders, security men, food vendors etc, safety of life and vehicles; are among the multiplier effects of the ban. In the past Okediji recalled that the emergence of the middle class in Lagos caused an explosion in the purchase of new cars driven along the same few streets, with minimal maintenance. He said parties held to "wash" cars only blocked small sections of the street, unless it was jointly organised to celebrate a house-roofing. "But the king of all street parties is the obituary performance. It was the "obituary" owambe parties that attracted the largest and longest street shutdowns. Lagos street parties no longer started on Saturdays. Impatient celebrants began to erect tents as early as Thursday evening in some instances. The parties before the big partying rolled in as early as late Thursday. NEPA circuits were more efficient and were not so loaded with electronic gadgets. Few homes had television sets or fridges," he added. To him, everyone knew the party was not sustainable. But 'nobody wanted to pull the plug and stop the music. The government ban is one of the attempts to pull the plug. It has not stopped the mentality of extravagant partying, but celebrants have to contain their parties indoor now.' ‘Why looting of artefacts thrives’ The controversy that trails the illegal excavation of Nigeria’s Nok terracotta, one of the oldest metallurgical technologies of the continent, was the thrust of a stakeholders’ meeting in Nok, Kaduna State. Museum authorities, local archaeologists and German partners reached a fragile truce on the allegations and the modus operandi of the MoU guiding the partnership, Assistant Editor (Arts) Ozolua Uhakheme reports. The long standing partnership agreement between the National Commission for Museums and Monuments (NCMM) and the Goethe University, Frankfurt, Germany on the archaeological project on Nok culture came under scrutiny recently following fresh allegations of ‘illegal large-scale looting’ of terracotta by German researchers. The president of the Archaeological Association of Nigeria (AAN), Dr. Zacharys Anger Gundu of the Ahmadu Bello University, Zaria, had accused German researchers (Professor Peter Breunig and his team) of promoting ‘unethical archaeological practices in the Nok Valley in the name of ‘scientific’ archaeology. He also alleged that officials of the National Commission for Museums and Monuments connived with the foreigners in the ‘looting’. “Visiting German archaeologists who are posing as researchers are involved in the large-scale looting and illicit digging in places such as Kwatarkashi, Ife and other parts of Nok valley in Kaduna State,” Gundu alleged. He, therefore, called for a review of the Memorandum of Understanding (MoU) with a view to addressing contentious issues such as the exclusion of Nigerian universities and archaeologists in the project implementation, money made during exhibition should be ploughed back to the community, and ensuring transparency and avoiding return of ‘fake objects.’ But the Director-General of the commission, Mallam Yusuf Abdallah Usman, denied the commission’s involvement in any ‘unauthorised excavation’, while clarifying that NCMM, since 2005 has been in partnership with the Institute for African Archaeology and Archaeo-botany of the Goethe University, Frankfurt am Main, Germany. He stressed that the German researchers are in the country with the aims of enriching findings onNok Culture. At a stakeholders’ meeting organised by the commission, held behind closed door at the National Museum, Nok, Kaduna State, penultimate weekend, it was resolved among others that the MoU should be reviewed to address all the concerned issues, especially the return of the Nok pieces taken to Germany by the researchers for laboratory analysis. The six-point communique issued at the end of the meeting also stressed the need for security agencies and community leaders to help in curtailing the activities of illegal mining and illicit trafficking of Nok. The stakeholders also resolved to bring to the fore permanent position of Nok in Nigeria’s art tradition, inscription of Nok area as a World Heritage Site in line with the proposal of National Tourism Master Plan as well as the need to review the law establishing the National Commission for Museums and Monuments. The meeting that was chaired by the director-general of National Commission for Museums and Monuments, Mallam Yusuf Abdallah Usman had Prof. Joseph Jemkur of the University of Jos, Prof. Peter Breunig, Mr. Yohanna Nock, Dr. Nicole Rupp, Mr. Yashim Isa Bitiyong of NIPOST, Bulus Zakka, Dr. Zacharys Gundu, and Prof. Ibrahim James in attendance. Others were Iliya Bako Bying H. Dura, Mallam Yaro Wakilin Kpop Ham, representing His Royal Highness, the Kpop Ham, Mallam Gyer Maude, Elisha Buba Hakimi, Kpop of Ham, His Royal Highness Illiya Bako Bying H. Dura, Wakin Sarkin Jare and the President of Ham Community Development Association, Mr Monday Tela. Mallam Usman disclosed that all the restored objects taken from Nok to Germany by the researchers would return to Nigeria in 2013 to form the nucleus of the permanent exhibition. Reacting to the allegation of large scale looting of artefacts on the Nok valley, the director-general described it as mere allegation without substance. He said efforts have been made by the commission to safe guard the nation’s priceless objects in the museum. He added that illegal mining takes place in Nigeria both in artefacts and solid mineral resources. “So long the local communities are ignorant, so long they are impoverished, the act will continue,” he said. According to him, ‘unfortunately, Nok archeological sites became victims of unprecedented looting, especially in the 90s when some of these sculptures were illegally exported to Europe and the United States.’ “The need to embark on scientific studies became very urgent in the face of this threat. Thus, the commission entered into a partnership with the Institute for African Archaeology and Archaeo-botany of the Goethe University, Frankfurt am Main in 2005…The joint archeological research is operated under the rules and guidance of the National Commission for Museums and Monuments,” Usman said. He recalled that when he assumed office as the D-G in 2009 he carried out some operational review in the areas of legal and administrative frame work, community involvement and capacity building.

Buses' loss, trains' gain

Buses’ loss, trains’ gain
•Railway increases train trips from eight to 12 per day

They came with their luggage. Men, women and children waited patiently under the sun to board a train to Iddo terminus, Lagos. Many of them went for the train because of the hike in bus fares, following the removal of petrol subsidy. Assistant Editor (Arts) OZOLUA UHAKHEME was on a ride to Iddo.
For two hours, scores of commuters at Agbado,a community in Ifo Local Government Area of Ogun State, waited patiently for the arrival of a train, from Iddo, Lagos. Unmindful of the sun, they chatted while waitingfor the arrival of the Ijoko bound train. "I hope it will not be like the other day I waited for hours before the train arrived," a market woman with a basket of load, said to no one in particular. Others turned to look at one another, shrugging their shoulders and resigning to fate.
"I am ready to wait. I can’t afford the exorbitant fares bus drivers charge these days since the fuel subsidy removal. In fact, I am not in a hurry because am going to the market to buy few things and hope to return with the afternoon trip at 2pm," Mrs. Ebere Eze said.
During the long wait, the passengers chatted endlessly. It was either a recall of a train breakdown or why the corporation did not provide a waiting lounge at the station for passengers. But, one recurring question was, when will the train arrive? Yet, in the midst of their complaints, the cheap fare of N150, safety and absence of heavy traffic remained the attraction for them.
"It is my fault. If not that I missed the early morning trip, I would have no business waiting here for this long. In fact, I should have been in Lagos by now," a middle-age man who got to the station by 8.30am said. Time was 9.50am. It was a Friday and traders who use the setback on the rail as shops and kiosks had started setting up their wares. Some commuters left in frustration to catch the next bus going to Ijaiye bus-stop on the Abeokuta Expressway. The crowd that kept increasing by the minute comprised market women, artisans, workers, children and hawkers. Most of the commuters were heading for Yaba, Ebute Metta and Oyingbo in Lagos.
As the train sounded its last warning alarm before pulling up, there was a mild drama at the entrances of the train. Some young men who were prevented by officials of the Nigerian Railway Corporation, attempted to board the train on its way to Ijoko and return without paying for the ticket. Reason: The commuters were not sure of getting seats on the train on its return from Ijoko as the coaches would have been filled to capacity.
According to a regular passenger on the train, that mild drama is a daily scene since the fuel subsidy removal last month.
One hour after, the train arrived at Agbado from Ijoko almost filled to capacity. For the next five minutes, it was survival of the fittest as passengers scrambled to get into the eight coaches that have 90 seats each. Getting access into the train was as horrible as remaining in them. The situation in the train was not different from that of the yellow Molue buses: overloading, long queue of standing passengers, an army of hawkers and beggars who all struggle for space in the congested coaches. At intervals, checkers moved round to punch tickets and maintain some order. The 105-minute, ride would have been pleasure but for the aforementioned hitches.
In a chat, the District Public Relations Officer, Mr Muyiwa Adekanmbi, said the introduction of the four trips of intermediate trains as additional services between Iddo and Ijoko was in response to the increase in demand by commuters. He said the corporation is capable of increasing its trains to meet the passengers demands. He, however, noted that the corporation needed more coaches to do that. The Federal Government, he said, plans to bring in diesel multiple trains to boost the existing ones as part of the palliatives for the subsidy removal. He said in 2010, 25 new locomotive engines were procured by the government for the corporation. These engines, he said, are self diagnostic and require little manual maintenance unlike the old ones.
Apart from the Iddo to Ijoko route, Adekanmbi said the Lagos to Ilorin route has been improved with additional trip on Tuesday to complement the Friday trip. "By April, the Lagos to Kano express will begin," he added.
On the menace created by some passengers who climb on the roof-top of the trains, Adekanmbi said the management would not relent in its efforts to stop the act, which he said, is tantamount to attempting suicide. He said offenders are tried and jailed as a way of deterring others.
"At a time the management erected barriers on the roof-top of the trains to discourage this act. But they still beat the barrier to get to the roof. So, the management then decided to raid the trains and arrest defaulters. The surprising thing is that some of these passengers have tickets, he said. Safe and cheap as rail transportation is, its popularity has continued to dim, no thanks to several factors. But NRC’s current management seems ready to do things differently, especially in enlightening the young ones about rail transport.
"We run excursion trains every month for students as a way of enlightening the young ones about rail transportation. We carry hundreds of school children from Idddo to Agbado. Unfortunately, in Lagos, the rail passes only one route as such not many Lagosians will experience its services. So, that can explain why there is low awareness about train among Lagosians who don’t live around this only route. However, the corporation is doing all within its resources to bring rail transport to limelight," Adekanmbi explained.
Plans are afoot to develop park and ride facility at most of the stations to provide safety for car owners who chose to ride on the train.
Since January 30, the Lagos District mass transit trains record about 14,000 passengers as against 9,000 before the subsidy removal. This increase in passengers on the mass transit services may not be unconnected with the subsidy removal. Commuters on these routes are going for trains which are cheaper and safer means of transportation.
Until the last nationwide protest against subsidy removal, the Lagos District of NRC only provided eight trips per day in its mass transit train services. But on January 30, it introduced additional four trips to complement the existing trips. The addition was in a January 26 memo by the District Superintendent, Lagos District, Ebute-Metta Junction to all stations in the district. NRC also increased from one to two the Iddo to Ilorin trip. The areas covered include Iddo, Apapa, Iganmu, Ebute-Metta Junction, Yaba, Mushin, Oshodi, Sogunle, Ikeja, Agege, Iju Agbado, Itoki and Ijoko. The Federal Government bought 1,600 buses during the nationwide protest against subsidy removal to cushion commuters hardship. Nigerians have yet to see the buses on the roads.

IMF mission in Lagos museum

IMF mission in Lagos Museum
International Monetary Fund (IMF) Managing Director Christen Lagarde was at the Lagos Museum during her visit to Nigeria. The visit, which followed that of the Vice-President of Ford Foundation, Mr Darren Walker, demonstrates the place of culture in global networking, reports Assistant Editor (Arts) OZOLUA UHAKHEME.


When the Managing Director of the International Monetary Fund (IMF), Ms Christine Lagarde, visited Nigeria, not many expected her to visit the National Museum, Onikan, Lagos. She had earlier met with President Goodluck Jonathan, Senate president, David Mark and chieftains of the organised private sector (OPS), among others.
Her visit came a few weeks after that of Vice-President of Ford Foundation Mr Darren Walker during the opening of Nigerian arts in the cycle of life at the museum.
Lagarde was received at the museum by the Minister for Culture, Tourism and National Orientation, Chief Edem Duke, and Director-General of National Commission for Museums and Monuments (NCMM) Yusuf Abdallah Usman. Lagarde toured the on-going exhibition, African Lace:A history of trade, creativity and fashion in Nigeria, which first opened in Vienna, Austria in February and the permanent exhibition, Nigerian arts in the cycle of life, which opened last month.
Lagarde’s visit showed her willingness to work with African leaders in providing a platform for the expansion of their economies.
Impressed by the exhibits on display, she praised the museum’s management for mounting a classical exhibition, saying she “recognises the quality of what Nigeria has in its cultural heritage”.
“It is really a great pleasure for me to be here and I recognise the beauty you have. What you have is the beauty of a remarkable time and period. Unfortunately, for me, my time is too short ... So, I will like to come again,” she added. Duke later presented her with an artefact, a reproduction of a crown head of an Ooni of Ife as a gift from his ministry.
Duke said Nigeria has the largest collection of art on the continent, spreading across most leading museums and galleries in the globe.
According to Duke, the IMF boss has been busy attending business and political meetings, adding that it would be appropriate for her to have a feel of the other side of the country. “None of these memories would last longer than what she would witness at the museum. Economic policies and postulations can be the same in all countries, but when she walks through any of Nigerian museum’s exhibitions, the experience will be memorable. With her visit, the sector will be better for it,” he noted.
Duke said Lagarde’s visit would deepen her knowledge and awareness about the biggest black nation in the globe, especially its rich culture. “It is when a foreigner visits Nigeria that he will appreciate the abundance and colour of its heritage,” he added.
Duke, while explaining that funding from IMF was not likely to be on Lagarde’s schedule, said future support from the organisation could not be ruled out especially “when the nation is working on its Endowment Fund for the Arts. There could be collaboration and support from IMF.”
Last month, Walker hailed the partnership between Ford Foundation and the museum that brought about the hosting of the Nigerian arts in the cycle of life exhibition. He said the gesture was in recognition of the value of a Nigerian culture, which is vibrant and rich. “In Houston, Texas, there was a long queue of visitors wanting to view Nigerian arts. This is because it is rich and vibrant. Also, that is why there is much interest by Ford Foundation,” Walker said.
Culture, Tourism and National Orientation Minister, Chief Edem Duke is not moved by the tasks ahead of him.
He said even though they are daunting, they are not insurmountable. The tasks included human capital development; reinventing the National Theatre complex, re-engineering the Abuja National Carnival, and implementating the tourism master plan, among others.
At the opening of a permanent exhibition, Ezi Na Ulo Ndi Igbo (Igbo Household) at the National Museum, Owerri, Imo State capital, Duke said the exhibition has the magnifying effect of not only boosting tourism in the state but also reminds us of the peaceful co-existence and harmony that existed before now among the Igbo people.
The minister, represented by the Director-General of National Commission for Museums and Monuments, Mallam Yusuf Abdallah Usman, said the exhibition, which is a recreation of the Igbo life style, was curated to integrate all aspects of the nation’s cultural heritage for development and enjoyment.
“This is one task that needs the unalloyed support of international organisations, corporate bodies and well-meaning successful business men in Nigeria to actualise. The concerted effort will in great measure deliver mutual benefits for the development of our great country,” he said.
The director-genral commended Imo State governor Owelle Rochas Okorocha for providing the expanse of land for the construction of a new museum in Owerri.
Among dignitaries at the opening were House of Representatives’ Committee on Culture Chairman, Mr Ben Nwankwo, representative of Imo State governor, and Commissioner for Culture and Tourism, Alex Ogwazuo; the Eze of Owerri, Samuel Emenyonu Njemanze, OzuruIgbo V; Dr. Musa Hambolu, Ms Ronke Ashaye and Mr Ozoboile Alasan, among others.
The exhibition, which captures the various socio-political and economic life of the Igbo people, is put together following the realisation that the technology and other intangible heritages are being threatened in the waves of modernisation and globalisation. The exhibition is made to capture and preserve the Igbo world views and the sustenance of the rich cultural civilisation and institutions, for which the people are known worldwide.
Earlier in an interview with The Nation, Duke said there is need to skew the reorientation of the nation’s leadership towards making creative industry be at the centre of national developments. He stated that the foundation of the nation’s development must first draw from sources of its being- culture and values that make Nigeria. He added that failure to do this would amount to building a house from the roof.
According to him, this requires lots of advocacy to address this fabric for the sustenance of the nation state. “This advocacy can only be led by the government but, most importantly, the media must lead the campaign for value orientation…This is an agenda for the sector for the period of transformation,” he said. As an advocate of private-public partnership (PPP), he said we must move away from the old ways of doing things, though change is very challenging.
He said the ministry is seeking the help of corporate Nigeria to rescue the National Theatre, Iganmu, Lagos, noting that four proposals have so far been received on the re-investment plans. He said this is a significant development for a complex that has been lying fallow for years. He said the Presidency has approved a plan for the establishment of a Museum of National Civilisation in Abuja.
On the new spirit of Abuja carnival, the minister said: “I have spoken with Trinidad and Tobago’s High Commissioner to Nigeria on the need to hold workshop on creative industry, especially on carnival. We have to open the eyes of the youth to the fact that not only is carnival a tool for economic empowerment, but also that of fulfillment.
“Carnival is not an expression in of useless energies. We must prove to our youths that when you drum and dance, you can earn a ticket to mount stage of global performance. There is no reason why in two years, we should not have an institute of carnival...In 2012, you will see an Edem Duke’s hand in Abuja carnival.”

‘Lagos Photo is bigger than me’
By Ozolua Uhakheme
Assistant Editor (Arts)

Founder of African Artists Foundation (AAF) and organiser of LagosPhoto festival, Mr Azu Nwagbogu, has described the last edition of the event as “challenging”. He said despite the challenges the festival recorded impressive turnout of participants and quality works. He disclosed that the foundation did not get its first payment by sponsors until three weeks to the opening, which made things very difficult.
“The maiden edition was great in terms of my emotional attachment to a debut show of that magnitude. The format of the presentation was imposing. Though energy sapping, this year’s festival also made great impact, especially the quality of its content,” he said.
The LagosPhoto festival was initiated by AAF as a new yearly photography festival aimed at representing African sensibilities. It hosted an indoor and outdoor exhibition featuring a mix of 41 Nigerian and international photographers, workshops, and a fashion exhibition. LagosPhoto attempts to challenge the idea that “discourses on the African continent are not necessarily applicable to their object and that their nature, their stakes, and their functions are situated elsewhere.”
Nwagbogu admitted that AAF promised to take care of the welfare of the participating photographers at the initial stage, but that due to paucity of funds, the foundation could not meet their demands. According to him, this was one of the setbacks experienced at the opening of the festival because some of the sponsors had not redeemed their promises to the foundation. “Still overheads cost continued to increase. Above all, we had a wonderful interaction with both local and international participants,” he noted.
But he assured that organisers of the festival would, among others, expand the outdoor centres in order to reach a larger audience, increase the number of indoors across the state, as well as open the centres simultaneously.
Nwagbogu is not unmindful of the need to preserve the collection of photographs in the foundation. He said efforts are on to build a rich collection in collaboration with major sponsors of the festival adding that the project would be discussed with similar festival organisers in Africa, such as Bamako photo biennale, in Mali.
Nwagbogu, who once contemplated entering the world of professional boxing before pursuing a master’s degree in public health from Cambridge University, switched his focus to promoting African arts, and photography took the prime position among visual arts.
On plans for African photography, he said: “We would love to show LagosPhoto, and we have been speaking with other partners like Foam in Amsterdam. We want to represent African sensibilities to a wider audience. I don’t mean showing the work of local photographers—I mean showing the photographers who we think are representing the continent in a truer fashion, as opposed to showing the work of people who are coming for two weeks on an assignment and heading back to New York and sitting back with a drink after their hardship posting on the continent. We want to show the work of people who actually spend time here, who are emotionally invested, who have captured sensibilities on the continent. It’s very important that the world take notice of these stories.”
He recalled how he started his journey into the world of photography. “I’m a fan of photography as an artistic medium. I flirted with a bunch of ideas around photography: I have set up a photo agency because there’s a massive pool of talented photographers here. But there isn’t really a formal school for photography here, and I thought, how do I stimulate this industry? Beyond that, in my international travels I have been to various exhibitions, various art shows around the world. Going out there and being inspired by images captured on the continent, especially in Lagos, made me think. Foreign photographers coming to Africa, working here, are documenting something really important, and a lot of people back home are not able to dialogue or really engage in these images because they’re not exhibited here,” he said.
Nwagbogu added: “So, I thought it would be great to have a festival where local and international photographers can dialogue and exchange ideas, can share work and have a working partnership. This is really the key thing for LagosPhoto -to create a dialogue for local photographers and photographers based elsewhere to tell the stories and give voice to the stories that we feel are underrepresented on the continent.”
He explained that it is also meant to develop the talent pool and tell our own stories in our own way adding that a lot of the stories that ‘we want to tell are less commonly seen or represented in popular media. But his dream is for the festival to be bigger than him and the foundation.

‘Eko Hotel too elitist for photo festival’
By Ozolua Uhakheme
A participant in the LagosPhoto Festival, Mr Nana Kofi Acquah, from Ghana, has described the Eko Hotel and Suites, Victoria Island, Lagos venue of the opening ceremony as too elitist and restrictive for the appreciation of photography.
Acquah said the event would make better impact if held at a venue that reflects Lagos and where people can feel free to interact.
“Take the photographs to the people where they will feel free to view them,” he said.
LagosPhoto Festival, which was organised by African Artists Foundation in collaboration with the European National Institutes for Culture (EUNIC), had as theme: What’s next Africa? The hidden stories. It held at Murhi Okunola Park, MKO ABiola Park and Falomo Underpass, in Ikoyi. It featured over 40 photographers from Nigeria, Ghana, Italy, South Africa, India, Holland and France, among others.
Acquah observed that the festival has greater potential than other similar festival in the continent because of the huge market in Nigeria and the calibre of photographers in and outside it. He, however, noted that such potential could only be transformed into reality if the organisers look outside the box in the planning and execution of events. He noted that it would make economic sense if the festival is held once in two years like a big biennale in the continent.This, he said, would allow for better planning and reduction of donor fatigue.
“It does not make sense holding the festival every year as donors will soon get fatigued. And this can affect the survival of the event. Also, if staggered it will allow photographers enough time to create quality works that will make the festival,” he said.
He observed that much as the festival was successful despite the rain, organisers should consider hosting the event when the rain is less to allow good attendance of the various outdoor shows.
Acquah decried the organisers’ non-payment of per diem to participating photographers, as many photographers went through tough time during the festival.“It was of no use lodging me in a five star hotel like Eko Hotel and Suites and I can’t afford a breakfast. It is bad still if am not given per diem to support my stay in such hotel,” he said.
On the quality of works, curatorial and presentation, Acquah observed that all of that could still be improved upon in future editions.
This year’s theme is aimed at using the power of photography to showcase everyday hidden stories on the continent as opposed to the over represented, sensationalised, dramatic images on Africa popular across the globe.
Over 200 colourful photographs of Africans, places and institutions shot by 41 international photographers drawn from across the globe adorned the walls of the underground park of Eko Hotel and Suites, Victoria Island, Lagos at the opening. The festival curated by Mr Marce Prust featured incredible, historical and awesome images of the continent.

‘How much is that artwork?’
When an artist ‘pours’ out his heart on canvass, what you find is an artwork that is as close to his heart as his new born baby. Can a collector really pay for that ‘soul’ of the artist? If not, what then is the real value of such an artwork? Can it be an alternative investment? These are some of the puzzles resolved by a team of financial experts, collectors and auctioneers in Lagos. Assistant Editor Arts Ozolua Uhakheme was there.


If I give my artwork to GTBank as collateral for a credit, assuming the bank accepts it, how will it value the artwork? How do you convince bankers that art is worth investing on and how do you value the artworks for insurance?" These were some of the questions raised by Nigeria’s former Permanent Representative to the United Nations, Ambassador Arthur Mbanefo, the Odu of Onitsha, at a business seminar organised by the Ben Enwonwu Foundation in Lagos.
Ambassador Mbanefo, a renowned art collector, said he paid one pound for his first artwork- a used envelop on which the late Ben Enwonwu sketched some drawings. The artwork, he said, was, however, lost to the civil war in the late 60s.
He regretted that but for the civil war, the old envelop would have fetched him millions of naira today. "If that art piece is still with me today, it would have fetched me lots of money up to an annual salary of a senator in the National Assembly. But each artwork I acquire, I find it difficult in disposing because it is like a baby to me," he said.
Mbanefo, who was chairman of the seminar, said he started collecting artworks in 1962, because of two reasons. "I collect for sentiment, which is a way of supporting the artists. I also collect because of the aesthetic of the artworks," he said in a remark to set the tone for the discussions.
Participants were drawn from various sectors of the economy to jaw-jaw on the topic: Art as an alternative investment? Leading the speakers was the Director of Contemporary African Art, Bonhams Auction House, London, Mr Giles Peppiat; President, Omooba Yemisi Adedoyin Foundation (OYASAF) Prince Yemisi Shyllon; Chairman, Philips Consulting Group, Mr Foluso Philips, founder of Femi Akinsanya African Art Collection (FAAC), Mr Femi Aknisanya, and founding Executive Director, Communicating for Change, Mrs. Sandra Mbanefo-Obiago.
Peppiat, a chartered arts and antique surveyor, said art could be a good investment, adding that sound judgement and good fortune are both needed for this to be so. He, however, noted that only a small fraction of all the art ever produced around the world, sells at a value above its initial purchase price. The majority of this, he said, is bought solely for enjoyment and not for investment.
"I do believe that for the long term, art can be the best investment that a collector or individual can make. If astutely bought, correctly maintained and properly sold, the returns will easily outstrip any other asset class," he said.
Peppiat recalled how Pablo Picasso’s Nude, Green Leaves & Bust was bought by its owners, Mr and Mrs Sidney Brody of Los Angeles, US for $17,000 in 1950, and was later sold for $106 million in May 2010."I will leave you to do the mathematics to calculate how good an investment this was," he said.
In any investment, he noted, dividends are important, pointing out that, unfortunately, artworks do not pay investors any dividend except for their long term appreciation in value. "The most important fact is to remember that art is an investment that does not pay a dividend. The non-tangible dividend to the owner is the enjoyment and appreciation. Buying an asset in the hope that someone else will pay more for it in future is ‘speculation’. But speculation with considerable benefits," he said.
Peppiat explained that establishing insurance value is a difficult task, advising that it should be done by an independent party. On how art can transform into an alternative investment, he said art collectors must determine what to buy and sell and take curatorial decisions that would shore up the value of his collections, which could, ultimately, become an investment alternative in future.
"Buy what you know about and like. Knowledge of the artwork is very important. Collectors should attend auctions and talk to professionals to know more about pricing. There is, however, the international effect on art pricing. For instance, the five highest prices of Ben Enwonwu works were set in Bonhams sales. But any art market needs a domestic platform to thrive," he said.
The buying of artworks, he said should be an investment of passion, made with the heart not the head. He said it is for this reason that enormous prices are paid at auction. Collectors, he said, are thinking with their hearts and not solely in pecuniary terms.
The Bonham chief said collectors should buy what they could afford and not be fearful of asking questions about pricing. He noted that buying works with good provenance is as vital as the quality of the work. "Aim to acquire works with good provenance, preferably traceable back to the artist. It also helps if works have previously been in an eminent or famous collection," he said.
He added: "Selling is important in many ways as this will stimulate new collection and entry of new artworks into the market. The timing of selling is, however, important but difficult. Timing should be when sales are strong because taste changes."
He advised collectors to always loan their works for exhibition as well as research their artworks to record the valid details about the pieces. These, he said, would add value to the collection. Buying into fine art funds such as the British Rail Pension Fund, according to Peppiat, is one sure way of investing in art without buying artworks.
On his part, Akinsanya never saw art collection as a business but a hobby. He noted that for art to be an alternative investment, there must be lines of interested participants in the business of buying and selling. According to him, "we have to create a network on how works change hands. There are different tiers of collections. Artists should set their minds on globalisation when creating artworks because art is one way to cross borders. We need to have a staying power to remain productive. So, gallery owners should provide means to boost artists’ productivity."
Philips called for the creation of a structured market that allows artists to focus on practice. He charged the artists to develop brand and add value to their works.
Shyllon, who noted that the British Pension Fund example would not work in Nigeria, said investment is not always about returns. He noted that other variables like risks should be considered when examining arts as an alternative investment. He said: "I did not start collecting arts from the point of view of investment. I am enjoying the arts. But what happens when collectors die? In Europe, private collectors donate their works to galleries and museums for keep before they pass on."
He said Nigeria does not have a befitting gallery that could house the private collections. Apart from that, he said preservation and conservation are vital to the sustenance of value of artworks.
Obiago challenged investors to look at the long term investment opportunities in the local creative industry as investing in arts makes sense.