tag:blogger.com,1999:blog-80774581547429081222024-03-05T03:46:28.976-08:00Art4Lifeart4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.comBlogger75125tag:blogger.com,1999:blog-8077458154742908122.post-27105143497565322462016-08-13T11:46:00.000-07:002018-08-10T05:57:37.493-07:00Edo North expo<!--[if gte mso 9]><xml>
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<div class="MsoNoSpacing">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 14pt;">Edo North art expo: Boost to youth empowerment</span></b></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 16pt;">By Ozolua Uhakheme</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 16pt;">Assistant Editor (Arts)</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 16pt;">Edo
State Commissioner for Education Mr. Gideon Obhakhan has described the recently
concluded Edo North Art Expo 2016 as a timely boost to the war against the
increasing rate of youth restiveness and unemployment in the country. He said
the expo would not only reawaken art consciousness and creativity of the
youths, but would also reveal its essentialities in contemporary society.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 16pt;">“Let
me reassure all of us that Edo State Ministry of Education is in support of
psychomotor domain of learning that embraces manipulation of skills which give
birth to arts and crafts. The ministry recognises the role of art and craft to
nation-building to the extent that two of its departments are now assigned to
handle arts related matters,” he said.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 16pt;">The
commissioner, who was represented by the Chief Inspector of Education, Etsako
West Local Council, spoke at the maiden edition of Edo North Art Expo, which
held on July 12 and 13 at the main auditorium, Auchi Polytechnic, Auchi. The
theme of the expo was <i>Reawakening the art consciousness of Edo North</i>. It
featured no fewer than 40 exhibiting artists, and performances were organised
by Merit Interior Gallery in collaboration with School of Art and Industrial
Design, Auchi Polytechnic. Curator of the expo was Dr. Helen Uhunmwagho, while
Otunba Usman Charlton Magaji, the Samari of Auchi Kingdom, was the chairman of
the event.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 16pt;">Obhakhan
reassured that Edo State is irrevocably committed to ensuring quality and all-
round education for her citizenry. This drive, he said, has informed
government’s commitment to the massive renovation of schools across the state
in order to make learning environment conducive for pupils and students.
According to him, this has, no doubt, raised the tone the public schools
and boosted the morals of the teachers.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 16pt;">“Small
and Medium Scale Enterprises (SME), which are now the fulcrum of any emerging
economy, mainly involve artistic works. Therefore, if the high rate of unemployment
of our youths must be dealt with, artistic skills must be acquired and
encouraged alongside the conventional cognitive domain development of the
individuals. Our youths must recognise that self-sustaining disciplines like
the arts and crafts are long lasting, compared to the popular white or blue
collar jobs that are no longer there,” he noted.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 16pt;">In
his paper, <i>Engaging cultural production as social activism: multidimensional
approaches to regional advocacies in an art world,</i> Prof Frank Ugiomoh of
University of Port Harcourt stated that in many cultures of the world, art is
appreciated in such a way that its activities evolve into global annual events
or two-yearly and three-yearly events.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 16pt;">Ugiomoh
cited platforms such as <i>Dakar Art Biennale </i>and<i> Life in My City</i>
Projects as examples of consistent art events that have succeeded in attracting
participants from across the globe.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 16pt;">He
noted that regional spaces such as Auchi and the Northern Edo cultural space
can overcome their provincial setting through the expo, adding that all it
requires is a commitment and a funding plan. According to him, the gains remain
inestimable and it is important to buy into a project like the Edo North Art
Expo, which aims to re-awaken the region’s art consciousness.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 16pt;">“This
annual project may not be able to build this consciousness in the desired way
where supporting events are not organised through the year. To this end, I
encourage diverse activities centred on art that would engrain and build
community consciousness regarding the subject and its cultural value. This is
where a multidimensional approach comes to play in the set agenda for this
vision.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 16pt;">“The
Northern Edo region is endowed with regards to the practice and appreciation of
the arts right from time. The initiative set forth by the current programme is
well seated in the cultural history of the region. The siting of the
Polytechnic in Auchi thus is a boost to this agenda. However, a variety of
activities aimed at sustaining and building the consciousness of the people is
required to sustain the initiative,” Ugiomoh said.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 16pt;">He
observed that in Nigeria, there is no gainsaying the reality that Lagos has a
domineering hold on cultural production and allied activities. But that the
status of cultural production of Lagos makes other epicenters of culture in
Nigeria inactive. “However, they indeed are inactive when the inventory of
activities in Lagos are placed side by side other cities in Nigeria,” he said.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 16pt;">Proprietor,
Merit Interior Gallery, Mr. Chris Ogiebo recalled the challenges he went
through to seek sponsor of the expo, describing it as monumental.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 16pt;">He
pledged that the expo will hopefully be an annual event that will bring
artists, connoisseurs, art lovers and collectors to discuss and share ideas.
“We intend to use this event to cause a revolution. Not a blood flowing
revolution, but a mind-renewing revolution that will open Edo North to the
creative world. This is timely, especially now that the Federal Government is
diversifying our economy. If the cultural element across the country is
properly harnessed the revenue will surpass that of oil,” he said.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 16pt;">Dean,
School of Art and Industrial Design, Auchi Polytechnic, Mr. Oladapo Afolayan
said Edo North is not new to art and craft world as it parades an array
of famous art and artists both modern and post-modern cultures. He stated that
in contemporary Nigeria, Edo North have records of the first generation
artists such as Mama Ugiomoh (traditional textiles) and Ms. Clara Ugbodaga-Ngu
(painting), General Bolivia and Waziri Oshioma and a host of high-life
musicians.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 16pt;">“Auchi
Art School is ever in the good news of contemporary art scene. We also parade
so numerous artists, who are creating waves and are cynosure of Nigerian art.
We could hardly count five contemporary Nigerian artists in any area of art
specialisation without Auchi alumnus mentioned,” he added.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-80963903278680597002016-06-05T09:20:00.004-07:002016-06-05T09:20:51.140-07:00tallest drum<!--[if gte mso 9]><xml>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;">Behold the world’s tallest drum</span></b></div>
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<b><i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Thousands of guests last week
converged on Abeokuta, the Ogun State capital, for the maiden edition of the
Nigerian Drums Festival, organised by the government. Dressed in colourful
attires, the guests defied the scorching sun to witness the unveiling of a
16-foot tall Isokan (unity) drum, the world’s tallest traditional drum. The
venue was the June 12 Cultural Centre in Kuto, Abeokuta. Assistant Editor
(Arts) OZOLUA UHAKHEME reports.</span></i></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The phenomenal role of the drum in
the socio-cultural life of Africans took the centre stage last Tuesday at
Abeokuta, with no fewer than 12 individual and state troupes drawn from Ogun
and Kano states performing at the first Nigerian Drum Festival. Apart from the
entertainment value, the four-day festival, which ran from April 19 to
22, brought to the fore the critical role of drum as a communication tool as
well as the need to revive the act of drumming among Nigerians.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The message on the need to revive a
dying culture was not lost in the drumming performances as each speaker
emphasised the significance and relevance of the drum to the socio-cultural
life of every African. Minister of Information and Culture Alhaji Lai Mohammed
summed it up saying that the drum festival initiative was laudable and should
be encouraged and supported by all. He urged every state to design a
cultural product to boost tourism, create jobs and generate revenue.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“The drum signifies a lot to every
community. I see this festival going places,” he added.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Governor Ibikunle Amosun of Ogun
State who unveiled the two drums, <i>Isokan </i>and <i>Saatogaa </i>described
the festival as a cultural reawakening to connect to our roots, as well as a
platform to glorify that which connects us as Africans. He said the festival is
also an opportunity to learn more about dance steps of the people, describing
Ogun as a cultural haven.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Governor Amosun declared that from
today, ‘we will not just call it the Nigeria Drums Festival, but the Africa
Drum Festival’ adding that drums are the sensual parts of the African race and
our day to day experiences as Africans and are measured on improvement of
ourselves and drums. “In fact, drums have been in existence since time
immemorial as they all perform different purposes,” he said.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">He stated that apart from the
entertainment value, drums are also part of our spiritual health and it is
therefore not wrong to say that drums are drawing a similar part in our
culture. “Beating the drum is a matter of awakening us to our rich cultural
heritage; that is all what the festival is all about. If there is anything to
take away from the festival, it is the need for cultural re-awakening in
various states, genuine social economic and political development. The festival
was indeed the first of its kind and the government used it as an opportunity
to announce that Ogun state is a cultural and tourism ground. Tourists should
not just to pass through the state, but allow the state to pass through you as
you will not regret doing that,” he added.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Ogun State Commissioner for Culture
and Tourism Mr. Muyiwa Oladipo said culture and tourism make invaluable
contributions to the economic, social and environmental well-being of a society
and its people, adding that in Nigeria, this sector is unique in its commercial
and cultural significance and has the potential to contribute to every state’s
economy while enabling Nigerians to explore their heritage and celebrate their
cultural diversity.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">He said the 16ft tall drum has a
symbolic relevance to Ogun and the IFA heritage and that with the numerous
heritage sites and festival, Ogun should qualify as cultural capital of
Nigeria. He noted that ‘our culture is dying and the festival is part of
efforts at reviving it. Drum is universal to all mankind and as such it is
central.’</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The opening of the four-day event
attracted frontline custodians of culture and traditions such as His Imperial Majesty
Adeyeye Babatunde Ogunwusi Ojaja II, the Ooni of Ife and Oba Adedotun Aremu
Gbadebo Okukenu IV, the Alake of Egbaland, Olu of Ilaro, Oba Kehinde Olugbenle,
the paramount ruler of Yewaland. Minister of Information and
Culture Alhaji Lai Mohammed represented by Executive Secretary of National
Institute for Cultural Orientation Dr. Barclays Ayakorama, Director General
National Council for Arts and Culture (NCAC) Mrs Dayo Keshi, Director General
Nigerian Tourism Development Corporation (NTDC) Mrs Sally Mbanefo and CEO of La
Campagne Tropicana Mr. Wale Akinboboye among others.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Also at the event were Aambassadors
of six African countries to Nigeria — Sierra Leone, South Africa, Tanzania,
Ghana, Senegal and Zambia.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">His Imperial Majesty, Adeyeye
Babatunde Ogunwusi Ojaja II, the Ooni of Ife, stressed the critical role of
heritage in governance dating back to pre-colonial Nigeria, noting that before
the amalgamation of Nigeria there has been governance, which was driven by
heritage and tradition. He said there is a strong binding force- drum, which is
common to all Africans as well as the dress culture. The Nigerian Drums
Festival, he said, is a strong binding force and ‘we should not joke with it.
This will reflect in the nation and continent as witnessed by the presence of
African ambassadors at the festival.’</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“We should work on harmonising our
resources to help promote our cultural heritage. This is what we own and must
be proud of it. I am proud that we are rejuvenating our heritage and culture.
This is a good starting point,” he added.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Oba Adedotun Aremu Gbadebo Okukenu
IV, the Alake of Egbaland said since the 1977 FESTAC, Nigeria has not gone back
to its roots but that with the Nigerian Drums Festival, ‘we are back to what we
should have done.’ He noted that oil is gone and Nigeria must use what it has
to get what it needs. “Ogun you have set the pace for others. Let us learn the
culture of our neighbours,” Alake said.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Oba Olugbenle, the paramount ruler
of Yewaland, said the festival would usher in blessings and turn-round in the
state economy. He stated that ‘our heritage remains our roots and we will not
go back to Egypt.’</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Director General NCAC Mrs Dayo Keshi
said there is an increasing recognition of the enormous potentials of festivals
such as Nigerian Drums Festival in stimulating economic growth. She stated that
festivals also present one of the best ways to integrate and generate economic
growth right from the grassroots which has the custody of our heritage to
state, national and international levels.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“Every state in Nigeria has cultural
products around which cultural industries could be built in such a way that it
becomes a win-win situation for income generation from grassroots in a bottom
up creation of wealth. In furthering the economic growth of Nigeria creative
industries, I wish to recommend that each state should establish an arts and
craft village in its capital which pulls cultural products from all their local
governments. These would serve as a cultural and commercial hub which would stimulate
growth of rural economy and wealth generation from bottom up,” she said.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">According to her, to further promote
and expand on the economic gains from the sector, the private sector supported
by government should give a serious consideration to the establishment of art
malls where the best of works drawn from all states are sold.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The evening was not all about long
speeches as troupes from Ogun and Kano states as well as solo and individual
cultural groups thrilled the guests to scintillating drumming. They included
the late Hubert Ogunde Troupe, ARA dance troupe, Unique Fingers, Olo Bata
group, Palm-wine Kegite Club(Ilya Olumo), and Oluweri, which featured a
84 year-old woman dancer. Others were Bata Egba, Zealous, a hip-hop two-man
group, Ogodo Egba and T-Raper, a 10-year-old boy.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The evening performances got to a
crescendo when the late Hubert Ogunde Troupe mounted the stage. In unison, the
audience joined the troupe in rendering the popular yet controversial song
entitled <i>Yoruba</i> <i>Ronu</i>, a clarion call on the need for Yoruba to
evaluate its position in national development. To the audience, the
presentation was a refreshing outing with lots of nostalgic feelings. All
through the duration of the festival, it was drumming extravaganza as different
troupes took turn to perform every evening.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The festival would have been more
grandious but for the challenge of funding. It was learnt that about 15 states
cultural troupes confirmed their participation but couldn’t make it due to lack
of funding, including neighbours like Oyo and Lagos states.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The maiden edition of the Nigerian
Drums Festival could not have come at a better time than now when Nigeria is
seriously in dire need of alternative sources of income apart from oil. If well
packaged, the festival is capable of generating revenues for the state and the
country at large. But to achieve these, the organisers must start planning for
next year’s edition today by creating specific committees and setting targets
for them. The marketing of the festival as a cultural product must be done
aggressively in order to reach wider audience and corporate sponsors.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Branding rights should be granted to
local artists who can produce gift items, souvenirs, t-shirts, and other unique
crafts that bear the logo of the festival. This is one way of making the locals
feel a sense of belonging and ownership of the cultural product and
consequently protect it. The organisers should also keep records of
visitors and guests to the festival. This will be useful for planning and
marketing strategy when sponsors are being approached.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<b><i><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Isokan</span></u></i></b><b><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">: Tribute to Africa</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The drum was conceptualised and
produced by Femi Coker of Femi Art Warehouse. It is designed on the concept
that the family is the most important unit of the community and the society as
a whole. Historically, man was created to be provider and head of the family,
while the woman’s role is to be his help-meet and manager of the home. The
children are the fruits and reward of their union. <i>Isokan</i> drum is very
symbolic of this aspect of our history and it is a tribute to this heritage.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">‘It is a representation of the
nuclear family that expands to becoming the extended family. The concord,
affection, peace and love that exist in the family are shared and extended to
members of the community.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The tallest drum stands at 16 ft
tall, and number 16 is a significant number to the Yoruba race. <i>IFA</i>, a
popular traditional religion in Yorubaland typifies 16<i> Odu</i> (corpus).
Also, in Ijebu part of Ogun State, the notable deity <i>Agemo</i>, is typified
by the number 16 (<i>Alagemo merindinlogun</i>) hence the world’s tallest
traditional drum is significantly measured at 16ft.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“<i>Isokan</i> drum is made of hard
wood and sealed at the top end with deer’s skin. Constructed around its long
solid body/frame are carved reliefs of various cultural and historical
representations and interpretations. The performance on Isokan drum represents
three slit-dancers in a ceremonial and celebratory dance and the folklorist who
chants the cognomen of the monumental drums. This is a tribute to the
true history of the African continent, the irrepressible spirit of Africa and
the immense contributions of the people of African ancestry to global trends,
innovations and civilisation.”</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<b><i><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Saatogaa</span></u></i></b><b><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">: Africa’s Commemorative drum</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<b><i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Saatogaa, </span></i></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">a re-adaptation of the <b><i>Saato </i></b>drum is conceived
and designed by Abiodun Fagbire. It is common to the Egun speaking people in
Ogun, Lagos and Benin Republic.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">It is constructed from Apaa wood
found in Dagbewe forest in Benin Republic. It took the artist two months
to complete the construction which was done at Isembaye Gallery of Drums,
Iju-Ota, Ogun State.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The drum is designed to look like
the Igunnuko masquarader of the Tapa Community in Ogun.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Among the illustrations on the drum
are Ori Olokun, Queen Idia head (Iyoba of Benin, mother of Oba Esigie),
Nigerian Drums Festival logo and theme and Olumo rock.</span></div>
<div class="MsoNormal">
<br /></div>
art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-39108967118568879352016-06-05T09:14:00.002-07:002016-06-05T09:14:49.144-07:00drum fest<!--[if gte mso 9]><xml>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 16.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;">Mbanefo lauds Drums Festival initiative</span></b></div>
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By Ozolua Uhakheme</div>
<div class="MsoNoSpacing">
<span style="font-size: 12.0pt;">Assistant Editor Arts</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">DIRECTOR General Nigerian Tourism
Development Corporation (NTDC), Mrs Sally Mbanefo has described the Nigerian
Drums Festival as a big boost for tourism in Ogun State and Nigeria as a whole.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Mbanefo said the Yoruba has a lot to
showcase to the world in terms of cultural heritage and tourist destinations
both natural and man-made.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">She spoke at the opening of the
Nigerian Drums Festival last week organised by the Ogun State government and
held at June 12 Cultural Centre, Abeokuta.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">She said: “Africa has come to
standstill today because of Ogun State. The state is the centre of action with
this well-packaged event. The Ooni of Ife, His Imperial Majesty, Oba Adeyeye
Eniitan Ogunwusi, Ojaja II, came with many African Ambassadors to this event.
That shows the importance of Yoruba heritage and culture in Nigeria.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“Most of the African Ambassadors are
here today because of tourism. All the Ambassadors have come here to support
the Ogun State Governor, Senator Ibikunle Amosun, the people of Ogun and the
Egbaland in particular. We want to unify from within: the Igbo, Hausa and
Yoruba and African countries at large.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“The success of the Drums Festival
2016 is a clear indication that if cultural tourism is well-developed and
promoted in Nigeria, we will have labyrinth of tourists’ footfalls, which will
greatly boost the nation’s economy, create huge employment and empowerment in
the communities where the tourist sites and cultural festivals are located. It
will interest you that the crowd-pulling carnivals in Nigeria are so much that
you cannot finish writing about them.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The NTDC boss, however, decried the
adverse effects of civilisation on the culture and heritage of the Nigerian
people, saying “civilisation has made us forget our culture and heritage. We
must know that a country that forgets its culture and heritage has lost its
essence. Thus, we need to appreciate and be proud of our culture and heritage
and give good attention to the promotion of our cultural heritage.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“I made the traditional rulers my
first point of call wherever I go because they are the rightful custodians of
our culture and heritage. To practically promote our cultural heritage, we must
work together with the traditional rulers.”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Describing the importance of drums,
Mrs Mbanefo said drumming is a good form of communication and a fantastic means
of entertainment.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“We are happy to be here today. We
are here to celebrate the unity of the Nigerian people,” she added.</span></div>
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<br /></div>
art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-5632314112146876462016-06-05T09:04:00.000-07:002016-06-05T09:04:09.463-07:00culture summit<!--[if gte mso 9]><xml>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 16.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;">Repositioning culture, tourism for a new order</span></b></div>
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<b><i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">A three-day summit on repositioning
culture and tourism in a diversified economy has been held in Abuja. Governors
and other top government officials, members of the academia, captains of
commerce and players in the creative industry gathered at the event to chart
the way forward, Assistant Editor (Arts) OZOLUA UHAKHEME reports. </span></i></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The Culture and Tourism sector is a
big industry; it cuts across many sectors, such as agriculture, business,
transportation, health, sports, aviation, information, technology,
architecture, etc. It is arguably the biggest means of economic growth. Nigeria
cannot afford to fold her hands, ignore the culture and tourism sector while
other nations are reaping the immense socio-economic benefits derivable from this
global vibrant sector.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“Consistency and continuity in
government policies at all levels are non-negotiable to develop the sector. To
this end, Nigeria should muster the political will to accord the sector
preferred status to effectively develop it.”</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">These were part of the resolutions
reached at the close of a three-day national summit on culture and tourism in
Abuja last week.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">In a 34-point communiqué, the summit
recommended that to “create positive image for our national buildings,
corporate offices and edifices, there is need to adorn them with Nigerian
artworks. The interior and exterior decorations (of private and public
corporate) offices of our political leaders, chief executives and Nigerian
Embassies should make strong cultural statements. The Presidency should lead
the way by ensuring that the furniture in the President’s office and others are
designed by our master carvers’’.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">It also recommended that action must
be taken to make the reviewed National Policy on Culture, Tourism Master Plan,
Tourism Development of Fund (TDF) and the National Endowment Fund for the Arts
functional for effective development of the sector. Also on the list is the
call for the resuscitation of the Presidential Council on Tourism (PCT),
chaired by Mr. President with all the State Governors as members. This,
according to the statement, is to ginger accelerated development of culture and
tourism. The lingering call for the transfer of Nigerian Copyright Commission
to Ministry of Information and Culture was re-echoed at the summit for maximum
efficiency.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The communiqué also recommended that
Nigerian cultural icons, both living and dead, be celebrated to inspire the
younger generations to strive for excellence. According to it, the change
mantra of the Federal Government can only succeed if the sector provides the
fulcrum to drive it. Community theatre projects, musical concerts and visual
designs are very effective tools for reorientation from bottom-up.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Other issues raised include:
Stakeholders need to imbibe the culture of research and documentation, so as to
increase availability of RECORDS and statistical data on the sector to aid
planning. The availability of empirical data enhances funding opportunities;</span></div>
<ul type="disc">
<li class="MsoNormal" style="line-height: normal; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Government should engage stakeholders in concluding the
nationwide Mapping of Creative Industries whose pilot was conducted by the
British Council, NBS and SONTA in 2013. This is imperative because
verifiable statistics on the performance of the sector will demonstrate
clearly the viability of the industry and attract more investors<b>.</b></span></li>
<li class="MsoNormal" style="line-height: normal; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The MOPICON and Theatre Arts Regulatory Council bills
need to be harmonized into one bill, which government could present to the
National Assembly for timely legislative action. This is in line with the
need to urgently regulate the sector and maintain high ethical standards;</span></li>
<li class="MsoNormal" style="line-height: normal; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">More stringent legislation need to be in place to
protect national monuments from the growing cases of trafficking and
willful destruction across the country. Measures should be put in place to
protect the nation’s cultural sites during times of conflict by
engendering communal ownership of such sites.</span></li>
<li class="MsoNormal" style="line-height: normal; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">In view of difficulties encountered by prospective
tourists, businessmen, conference participants, pilgrims, travelers in
acquiring Nigerian visa, there is need for a more friendly visa regime.</span></li>
<li class="MsoNormal" style="line-height: normal; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">In recognition of the strategic role of security to
sustainable tourism development, effort must be re-doubled to provide the
much-needed confidence for tourists and travelers visiting Nigeria.</span></li>
<li class="MsoNormal" style="line-height: normal; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The current name of the ministry does not properly
portray Nigeria as a country where culture and tourism is at the front
burner of development. The ministry should be renamed Federal Ministry of
Information, Culture and Tourism to adequately reflect its mandate.</span></li>
</ul>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">In tandem with the present administration’s
drive to diversify the nation’s economy, the communique recommended that
museums and indigenous languages/cultural/crafts centres should be made part of
requirements for building schools across the country in order to orientate our
younger generations on our history and cultural values as part of their
education. Also, a law should be promulgated to compel Local Government
Councils to establish and maintain community museums and craft centres and fund
at least one community festival yearly.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Minister of Information and Culture
Alhaji Lai Mohammed described the summit as a thorough learning curve, which
showed that there are many outside the ministry that can teach us about the
sector. “It is really a market place of ideas,” he added. He said a smaller
committee would be set up to harmonise all the issues raised at the summit with
a view to come out with modalities on how to implement the policies.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Mohammed disclosed that beginning
from last Saturday in Jos, an average listener and viewer will view 15 channels
free to air with better resolution. This, he said, would take away the
challenge of signal while producers of programmes would concentrate on content.
He added that the ministry would soon organise a night to honour our heroes in
the creative industry along with new talents.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The first day of the summit
witnessed an exhibition and gala night, which featured a dance performance from
the National Troupe of Nigeria (NTN), entitled, <i>Nigeriana,</i> written and
choreographed by Arnold Udoka. The summit had two plenary sessions, breakout
sessions for the culture and tourism sub-sectors, and presentation of reports
from the respective breakout sessions. Africa’s first Nobel Laureate, Prof Wole
Soyinka, represented by Dr. Wale Adediran chaired the first plenary session.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">In all, six papers were presented at
the Summit, namely <i>Culture in a Diversified Economy</i> by Mr. Frank
Aig-Imoukhuede, <i>Tourism in a Diversified Economy</i> by former Governor of
Cross River State, Mr. Donald Duke, <i>Tourism in a Diversified Economy</i> by
President of Federation of Tourism Associations of Nigeria (FTAN Chief Tomi
Akingbogun, <i>Culture in a Diversified Economy, </i>by Prof. Sule Bello, <i>Developing
Data Bank in the Culture and Tourism Industry</i> by National Bureau of
Statistics and <i>Private Sector Perspective of Nigerian Culture and</i> <i>Tourism</i>
by Bolanle Austen-Peters of Terra Kulture, Lagos.</span></div>
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<br /></div>
art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-39055716385779430992016-06-05T08:56:00.002-07:002016-06-05T08:56:35.874-07:00young photographer<!--[if gte mso 9]><xml>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 16.0pt; mso-font-kerning: 18.0pt;">Young photographer with a mission</span></b></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-font-kerning: 18.0pt;">By Ozolua Uhakheme</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-font-kerning: 18.0pt;">Assistant Editor (Arts)</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Emily Nkanga, 21, is one of the few
young Nigerians with a strong passion to excel using photography as a launch
pad. Nkanga, who studied TV and Film at the American University of Nigeria,
Yola, Adamawa State capital, urged Nigerian youths to engage in meaningful
enterprise instead of waiting for the elusive white collar jobs. She also
tasked the youths to use the social media positively and make good money from
it.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The young photographer, filmmaker
and Chief Executive of Emily Nkanga Photography, said she drew much inspiration
from everyday activities and fine art. Last year, she undertook the
documentation of the plight of the internally displaced persons (IDPs) in the
northeast. She also initiated a concept titled: “Keep Hope Alive” – which
gave back to the community a percentage of cost of her photographs sold.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">But her recently published book
entitled: <i>The caged and the free spirited,</i> revealed her story telling
talent, using images to pass strong messages. The book, a product of her
personal experiences in relationship, contains mainly photographs of a model
and quotations that reflect two extreme sides- a soul in bondage and a freed
one. But, it is also spiced with darkness, tears, pain, colourful ambience and
smiles.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">She said as a photographer her aim
is to to convey messages apart from knowing the technicalities of taking
pictures. She said people should not just see images and scroll, but should be
able to relate to them. “It wasn’t just enough to connect with people on a
personal level I needed something that would actually connect to people. So,
there was a time when I had a personal experience. This book was done from a
personal experience,” she added.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">She continued: “The book also
reveals that lots of people go through challenges, but because they smile, one
is tempted to believe such persons and do not have deep stories to
share.”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Speaking during a chat with <i>The
Nation</i> in Lagos, she said choosing photography as a career is very
challenging because you don’t want to repeat the same creative idea all over
again. “If not, it will get boring and people will get tired of it. So, if you
have about 10 clients, you need to create 10 different ideas for them.
Interestingly, my major clients are in the music industry maybe because that is
where I started off,” she said.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Though she wanted to be a
cinematographer, she believed that a good photographer is capable of being a
great cinematographer. So, instead of going into films, she chose to start with
photography. According to her, when she eventually becomes a cinematographer,
she would have great experience from photography.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Nkanga is not a stranger to the
entertainment industry. At an early age, her mother introduced her to the
church choir where she played the clarinet.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“I was actually in an orchestra. But
it was more of an all-women gospel orchestra in a Redeemed Christian Church. It
was mostly elderly women, but my mother drafted me in,” she recalled.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">When asked what attracted her to
movies or films, she said: “It is an art. Basically, my foundation is to tell
stories. If you check most of my projects, there has to be a story. I can’t
just say I am putting out images; there has to be a story behind it. So, for me
it is just like storytelling and the ability to tell the stories is what
inspires me towards filmmaking.”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Undaunted by the teething challenges
of the <i>Nollywood</i>, Nkanga described <i>Nollywood </i>as a success story,
although she agreed that it could be better. “In fact, <i>Nollywood </i>has
improved. I watched some of the new age movies and I told myself that there is
hope. In fact, hope is here. But, I think apart from proper technology, it also
has to do with proper training. People feel they can go ahead with something
without wanting to go the extra mile. But modern filmmakers know their onions
and are seeking to improve,” she added.</span></div>
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art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-85484961125577168152016-06-05T08:49:00.003-07:002016-06-05T08:50:18.401-07:00ntdc and agenda for filmmaking<!--[if !mso]>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 16.0pt;">Agenda for growing filmmaking in Nigeria</span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><br /></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The Plateau International Film
Festival, which started six years ago in Jos, is fast becoming a major tourism
event. Itsdirector, Mrs Debrah Jalmet-Ododo, speaks with Assistant Editor
(Arts) OZOLUA UHAKHEME on the event. </span></i></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Looking back, what are the
challenges organising the annual film festival</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">?</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Well, as usual every event and
indeed each edition of the festival has its challenges. But then, these challenges
have always opened new vistas for us to succeed. We have and are still dealing
with issues of funding for the festival. We use this opportunity to thank our
strategic partners and those who have supported us in several ways, too
numerous to mention, for believing in what we have set out to achieve with this
festival, which is in its sixth edition. We are very hopeful that in the coming
years, film makers especially in and around Plateau State will beat their chest
and there will possibly be no other film platform to promote creativity,
employment and entertainment other than the Plateau International Film Festival
(PIFF).</span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Despite these challenges you kept
faith with the festival, what is the staying power?.</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Yes, we have because film
enthusiasts in and around Plateau State, Nigeria and the world over have keyed
into what we are doing here. From the level of domestic and foreign
participation in past editions, it is evidently clear that we have the
endorsement and support of many. The level of foreign and domestic film entries
have continued to grow with each edition of the festival. Our target is to
develop principally young Nigerian youths who are either in the film making
business or want to take to filmmaking as a career or profession. Consequently,
we have leveraged on the existence of the National Film Institute (NFI), sited
in Jos and hopefully we intend to access some of our participants to enroll at
the NFI for further training in filmmaking. Above all, we are determined to
sustain the film festival despite the daunting challenges, just as we
will count on the goodwill of our partners, hotel and hospitality providers,
transportation companies and especially, the Plateau State Government and the
Nigerian Film Corporation(NFC) in the hosting of this year’s, and future
editions of the film festival.</span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Specifically, what is the driving
force or motivation that keeps you on?</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Participation has been the greatest
force behind the successes of the festival. This includes film entries in the
various categories of awards from domestic and foreign filmmakers, professional
and upcoming. Apart from our determination, our team of resourceful management,
resource persons and faculty, including diligent volunteers, have been
instrumental to the sustenance of the festival. We have, and are
receiving commendations from around the world. These encourage us to forge
ahead. Also, we are receiving notifications and advanced bookings for
participation. And we are equally assessing and expanding the scope and content
of the festival to meet modern day realities in contemporary film festival and
markets. All of these and many more have made us to continue to drive the
festival.</span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">What is the unique element of the
festival that separates it from others?</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The uniqueness of the festival is
hinged on the fact that we have targeted young and upcoming filmmakers, and we
are succeeding. Above all, I think we have done more than even what we set to
do in each of the festival editions. The participation levels of these
categories of attendees have kept the festival going. And the support level is
equally a factor. We shall continue to work on our strengths and develop
strategies to deal with our challenges.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Beyond entertainment, what
socio-economic issues is the festival promoting</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">?</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Beyond entertainment, our focus has
been to empower attendees with the necessary skills and up-to-date information
on filmmaking as a business venture. Consequently, we have always chosen themes
in each edition and aligned with the nation’s aspirations. In other
words, we try to ensure that in all we do, the people and the nation Nigeria
come first. For instance in 2011, the festival theme was ‘Art and Peace’, in
recognition of film as a tool for peaceful co-existence. In 2013, it was
‘Building Relationship through Film’, in 2014 ‘Film, Tourism and Culture as a
tool for education and entertainment and in 2015, ‘Film for the development of
the society.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">What’s your dream for the festival?</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Our dream is to grow the festival
into that which will make Jos, the Plateau State capital, the hub of filmmaking
and entertainment. By this, the tourism potentials of the state will be
enhanced. Employment will the generated and wealth created through the various
trades associated with filmmaking, film festivals and market.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">When are you returning to the stage
and screen as a specialist in cinematography</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">?</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Even with the enormous task of
mounting the festival each year, I am working on some productions and I intend
to fully engage in active stage and screen appearance as well. In fact,
preparation for the next edition of the festival begins from the closing
ceremony of the out gone edition. Despite these, I do at times provide advisory
roles and supervise some film projects, including the holding of technical
sessions and briefs with international faculties on film matters.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">This year’s festival is around the
corner what is the preparation level?</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Yeah, this year’s edition has since
started. Call for entry has since opened, and as usual, filmmakers are
responding. We are equally stepping up sponsorship; partnership and support
drive to enable us achieve maximum success. We have also expanded the
categories to now include, drama, animation, commercial/advertorial and music
video. We obviously expect large turnout of participants. As usual, barring any
circumstances we a hoping to live up to expectation and host a successful 2016
edition of PIFF.</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 16.0pt;">NTDC signs MoU with Cote D’Ivoire Tourisme</span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt;">By Ozolua Uhakheme</span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt;">Assistant Editor (Arts)</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Domestic tourism across the West
African sub-region got a boost last week when the Nigerian Tourism Development
Corporation (NTDC) led by Mrs Sally Uwechue-Mbanefo signed a Memorandum of
Understanding (MoU) with Cote d’Ivoire Tourism Board. The ceremony, which
was witnessed by tourism stakeholders and officials from the Nigerian
Investment Promotion Council (NIPC), its Cote D’Ivoire counterpart, Centre de
Promotion des Investments En Cote D’Ivoire (CEPICI), held during the
Nigeria-Cote D’Ivoire Economic Forum in Lagos.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Also present at the forum were the
Chief Executive Officer (CEO) of Skye Bank, Mr John Olatunde Ayeni; Ghana High
Commissioner to Nigeria, Mr. William Azumah Awinadar-Kanyirige; Ambassador of
the Republic of Cote D’Ivoire to Nigeria, Mrs Toures nee Kone Maman; Mr. Essis
Esmel Emmanuel; Sergie Olivier Gaddah; Mr. Assoua Raymond and Wande Akinboboye,
among others.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The forum, which featured
presentations on the investment climate and opportunities in both countries,
urged nations of the West African sub-region to trade among themselves.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Mrs Mbanefo said Nigeria needs to
improve its production capacity and invest in labour intensive sectors such as
tourism, agriculture and manufacturing. This, she said, was the only way to
create jobs for the small and medium scale entrepreneurs, the youth and women.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">She disclosed that the corporation
has been holding talks with Ghana Tourism Board and the South African
Tourism Board. “Two years ago, we signed an MoU with The Gambia Tourism Board
and the first batch of NTDC staff were approved for training and best practice
exchange. We will not stop until we achieve a West African Tourism Brand, so
that when a tourist begins his trip in one African country, he or she can
conclude it in Nigeria to get a holistic approach to tourism in West African,”
she said.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The Director-General said: “We want
to encourage other African countries that have best practices for cocoa
production, textile and fashion industries to collaborate with Nigeria to
create jobs for the youth. If our manufacturing and agriculture industries are
reawakened, tourism would have contributed to job creation through such
synergies with Cote D’Ivoire and other African countries, where we can emulate
their industry best practices.’</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Mrs Mbanefo explained that ‘Nigeria
must encourage mechanised farming and industrialisation. “I’m happy
associations like Manufacturers Associations of Nigeria (MAN), which I worked
very closely with when I was in Lafarge Cement, are here. The Fashion industry
is also a great opportunity to empower youth with skilled labour and grow small
and medium scale enterprises,” she said.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Skye Bank CEO Mr. John Olatunde
Ayeni called on West African countries to continually provide information about
investment opportunities in their countries and share same for overall
development of the region. He said trade among West African countries should be
encouraged, describing the signing of the MoU as the ‘beginning of good things
to come. “Lets network and invest in ourselves,” he said.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">According to Mbanefo, the
corporation has been collaborating with Cote D’Ivoire Tourism Board for the
past three years. “They have been coming to the corporation for collaboration
between the two countries, but the MoU signed today will unite us and help
achieve the ECOWAS Tourism Brand Regional Alliance, which NTDC has been working
on with other African countries,” she added.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">She described tourism as a value
chain that touches every sector in the economy because “tourism is leaving your
house to seek business, leisure, sports, cultural or religious adventure and
the vehicle you use is either a car, bus, plane or train that are
manufacturers’ benefits, fuelling it benefits oil and gas sector and going to a
<i>bukka</i> or restaurant to eat, benefits the agricultural sector”.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The Director-General reiterated
NTDC’s mandate as the apex tourism promotion and marketing agency in Nigeria to
include marketing and promoting the beautiful products of Nigeria such as
cultural festivals, arts, <i>Nollywood, </i>musicians and numerous eco-tourism
products and link them up to the rest of Africa.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Ambassador of the Republic of Cote
D’Ivoire to Nigeria, Mrs Toures, thanked all the participants for
honouring her invitation, saying: “We will co-operate and partner Nigeria in
many areas such as Tourism, textiles, telecommunication, power, health
and education.”</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Mrs Toures added that “the Forum is
a platform for Cote D’Ivoire to form an alliance with Nigeria to enable the two
countries strengthen the existing areas and explore new fields of co-operation
on a win-win situation and reduce poverty in Africa”.</span></div>
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art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-65361337319841243472016-01-20T07:08:00.000-08:002016-01-20T07:08:07.222-08:00kakadu muscial <!--[if !mso]>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 24.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;">Kakadu recreates Lagos life on Muson stage</span></b></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-no-proof: yes;"><br /></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
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<b><i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Award-winning hit musical Kakadu was
on stage at the Agip Recital Hall, Muson Centre, Onikan, Lagos from December 29
to last Sunday. The musical is a narrative of love and friendship that
characterised Lagos life of the 60s, Assistant Editor (Arts) OZOLUA UHAKHEME
reports. </span></i></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Unlike the trendy way of starting
most musical and theatrical performances, an art exhibition was held in place
of a red carpet to herald <i>Kakadu The Musical</i>.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Mounted on an unusual stand made
from raw wood at the lobby of the Agip Hall, Muson Centre, Lagos, the
exhibition featured 14 paintings and sketches by Polly Alakija, which are the
artist’s visual way of getting ‘into character’ and learning the visual
language of any subject.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The paintings include <i>These
politicians are at it again, Rehearsal and We don’t know where we are going. </i>Like
an appetiser, the paintings refresh the audience’s memories with many images of
rehearsal sessions and discussions between the cast and the director of the
musical, Uche Nwokedi.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The opening stanza of the musical,
which is a blend of music, drama and dance, leads the audience into the Lagos
life of the 60s and 70s, using a popular night club, Kakadu, as backdrop
for the era. Within the first few minutes, every slice of Lagos life is being
captured on stage. They range from traffic jam to vendors of newspapers and
food hawking their wares on the streets, mobile tailors (<i>Obioma tailors</i>)
sanitary inspectors (<i>Wolewole</i>) and the regular hangout on Saturday night
at Kakadu Night Club. On the band stand is the Fabulous Flamingo Dance Band
presenting the old school songs for the popular <i>Twist </i>dance steps.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“Kakadu is Lagos life. And Lagos
means love all girls on Saturday. In Kakadu, you don’t rush alcohol or women,”
warned the band leader.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“Forget Nigeria and the outside,
this is Kakadu in Lagos, he added. All these were pointers to the fact that
irrespective of one’s place of birth, Lagos provides the leveler for all
visitors. Issues of ethnicity and tribal differences found no place then.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Produced by the Playhouse
Initiative, <i>Kakadu The Musical, </i>which made its return by courtesy of MTN
Foundation, Access Bank Plc and Casers Group is the journey of four friends
through a time of infinite possibilities. “It is a story of peace and war, of
friendships and broken promises, and of innocence. It is a powerful plot and a
captivating storyline that sees and looks at the 1960s Lagos as a nation
celebrates the end of colonialism and the birth of a new nation.”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">No doubt, <i>Kakadu The Musical</i>
is being described as arguably Nigeria’s first contemporary stage musical and
is a real tribute to the period and infinite possibilities of Nigeria in the
60s and early 70s. Apart from offering a complete theatre that educates and
enlightens while entertaining, it also recalls the strong bonds and values that
kept Nigeria together as a nation before the unfortunate civil war that was
preceded by military coups.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Set in the 60s and 70s, the musical
concert did not fail to re-enact the significant role Highlife music played as
the soul of Nigerian music industry at that time. Classical works from the rich
repertoire of Nigerian musicians such as the late Bobby Benson, Fela Anikulapo-Kuti,
Celestine Ukwu, Christian Igbokwe, Onyeka Onwenu, Victor Olaiya, Sir Victor
Uwaifo were rendered all through the two hour performance. It was a refreshing
night for the ‘old school’ with the presentation of songs such as Bobby
Benson’s <i>Taxi Driver</i>, Victor Olaiya’s <i>Sisi Mailo</i>, Sir Victor
Uwaifo’s <i>Guitar Boy</i> and Onyeka Onwenu’s <i>Dancing in the sun</i> among
others.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">In the spirit of the independence
celebration, <i>Kakadu</i> lighten up the hall with the post-independence party
held at the club though was truncated by the announcement of a military coup.
Suddenly, the hitherto friendly Lagos life turned unbearable for many. “And we
must close Kakadu. Everything is changing. People are leaving Lagos in fear of
a looming war.”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Complementing these old tunes were
dress codes that take people back to the 70s when Afro wig hair style was the
vogue.Also part of the customs is the <i>shuku</i> (elongated) hair style
common among women of that age. “Tonight we will celebrate Africa. From Congo
to Ghana, Port Harcourt to Lagos,” the band leader reassured the audience who
danced to the evergreen Olaiya’s <i>Sisi Mailo</i> and Benson’s <i>Taxi Driver</i>
songs.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Even when the war was declared
closed, the people of Lagos still did not find it easy to accept one another
because of perceptions and misconceptions. War is ugly, and even at the close
of it, it still raises some national questions of tolerance, unity and
understanding among the various ethnic nationalities. Little wonder Jimmy
Cliff’s <i>Many Rivers to Cross </i>was aptly presented to prick the audience
conscience.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">But why are we here? Several
governments and laws have been in made but how do we build a nation? These were
some of the posers for the audience as the curtain was drawn two hours after.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Instructively, the performance is
returning on stage when similar drumbeat of war is sounding again across the
country, especially the on-going agitations by Movement for the Actualisation
of the Sovereign State of Biafra (MASSOB) and Indigenous People of Biafra
(IPOB) for the creation of Biafra nation led by Nnamdi Kanu.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">According to its Executive Producer
Nwokedi, ‘’The Kakadu storyline catches the watershed years in Nigeria’s
history.’’ He described theatre as amazing and that through this process ‘’we
get to see the truth in what we do as human beings, and learn what we should
about lives we live. The Kakadu family continues to grow and we are encouraged
by the support of many to reprise the production. With this run of Kakadu, we
will donate some of the proceeds from the show to the Pacelli School for the Blind
and Partially sighted, our chosen charity for 2015/2016’’.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">To one of the lead actors, who acted
Lugard Omo Eko da Rocha, Lagos city is life at a furious pace and it is theatre
at its best. “It is the celebration of the infinite possibilities in life. Lagos
is a musical called Kakadu, rich and enthralling, an amazing combination of
brilliant dance routines, a roller coaster of emotions and a powerful narrative
of love and friendship. It is a way to re-connect and recreate on several
levels, where stage mirrors life in Lagos,” he said. Interestingly, <i>Kakadu</i>
was performed simultaneously at the same centre same days and yet, tickets were
always sold out on each day.</span></div>
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<br /></div>
art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-7667533532846893052015-09-14T02:02:00.000-07:002015-09-14T02:02:25.801-07:00MultiChoice spent 800m dollars on Gotv<!--[if gte mso 9]><xml>
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<div class="MsoNoSpacing" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 16.0pt;">MultiChoice
spent 800million dollars on Gotv</span></b></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 16.0pt;">Call it a magical night filled with only
the best of African entertainment or Africa’s biggest content showcase
extravaganza you are right. That was the atmosphere as MultiChoice Africa hosted
its second content show at the Outrigger Resort, Mauritius Island last week. It
was a 5-day content extravaganza that witnessed DStv’s biggest channels
previewing their latest and greatest contents, reports Assistant Editor (Arts)
OZOLUA UHAKHEME. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 16.0pt;">If the caliber of guests that walked
down the red-carpet on to the sensational night of dazzling event was a measure
of success, this year’s content show has not only hit the mark, but also
achieved its desire objective-offering the biggest week in Africa’s video
entertainment.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 16.0pt;">Laced with glitz and glamour of
Hollywood, Bollywood and Nollywood berthing on the Mauritius Island paradise,
guests that included Genevieve Nnaji, Rita Dominic, Desmond Elliot, Ramsey
Nuoah, Basket Mouth, Eku Edewor, MC Ik, Banky W, DJ Sose, Flavour, Stoneboy and
The Mavins were given the full music and movie-star treatment. It was a night
that featured IK and Eku as MCs. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 16.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">However, the week-long event provided opportunity for MultiChoice and
its various partners to provide answers to some issues affecting the industry,
especially piracy, pricing, repeating of programmes and local contents among
others. Chief Executive Officer MultiChoice Africa Tim Jacobs described piracy
as a massive threat to broadcasters and right holders across the globe adding
that ‘they are only enriching themselves.’ He said MultiChoice Africa is
however working </span><span style="font-family: "Times New Roman","serif"; font-size: 16.0pt;">with
rights holders and broadcasters to tackle it, but that it is a moving target
because ‘their infrastructure means they can open new portals as we shut others
down.’ He said it’s not easy to evaluate how big the impact is, since by
definition, a lot of it is underground and spread through social media.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 16.0pt;">Jacobs who spoke at an interaction with
the media at this year’s content show held at OutRigger Beach Resort, Mauritius
Island said the challenge is broader as certain competitors broadcast a beam
that comes down into Africa. “If you have that decoder and smart card that can
pick up a service that is not designed to be broadcast in African territories,
that is also piracy because the rights for that territory either haven’t been
assigned or they are owned by a mainstream service,” he added. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 16.0pt;">Reacting to question on video
entertainment service provider’s pricing structure, Jacobs said MultiChoice
Africa is constantly evaluating its cost structures while taking into account
the cost of content relative to its different audience groups. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 16.0pt;">He noted that there have been massive
increases in the cost of content such as the English Premier League football
rights, which MultiChoice has factored into its pricing. We’re conscious that a
large part of the population is looking for a good set of quality content at
the bottom end of the market, in the USD10 area, and we make decisions on the
price points of our bouquet structure – it’s a continuous evaluation. We’re
looking at alternatives too – there’s strong consumer behavior (especially in
Nigeria) where many consumers are self-employed, and therefore, not monthly
earners, so we’re looking at whether it’s viable to address a different type of
model. However, it’s not something that’s on the immediate cards. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 16.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">On the potential for a premium offering on GOtv, he said: “</span><span style="font-family: "Times New Roman","serif"; font-size: 16.0pt;">The<span style="mso-bidi-font-style: italic;"> </span>market for GOtv is specific, and
targeted at viewers sitting on analogue signals. This is a sector of the
population that has never engaged on Pay TV. They get a rich experience on a
digital platform but at a price point that’s at the bottom of the affordability
scale. If you start to move up the value chain, you start to confuse the market
between the DStv product, which is aspirational and high-value, and GOtv which
is a fun, new, mass-market product. There’s also a capacity on DTT that’s much
more restrictive than what we have on satellite, so there are also technical
reasons to why we have to be more cautious.”</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 16.0pt;">According to him, pay-per-view sounds
attractive, but it is actually a red herring. He said an easy example is the
Mayweather/Pacquiao boxing match earlier this year, which sold on Pay-Per-View
across the world – in the USA at USD99 for 3-4 hours of viewing. “Across the
continent, subscribers pay less than that for DStv Premium for a whole month of
viewing across all our channels – and in this instance, that included that
fight, which was broadcast on SuperSport. That’s the benefit of scale for us. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 16.0pt;">“If you segment sports, for example the
EPL, the reality is that the cost of that is much higher than everyone thinks
because you need to divide up those expensive rights between a much smaller
viewing populations so the cost goes up exponentially. That doesn’t mean we’re
not looking at Pay-Per-View as an option – we need to be flexible and we get a
lot of requests for it. We’re watching consumer demand and looking at whether
it’s economically viable. It’s not on the cards right now, though, but we do
have a research team trying to work that out,” he noted. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 16.0pt;">He disclosed that MultiChoice investment
in GOtv is in excess of USD800 million, in 8 countries across the continent and
to recover such money means that MultiChoice cannot roll out towers into every
city where the population size and affordability aspect lend itself to
Free-To-Air (FTA). This, he said, explained why GOtv cannot be accessed in all
regions of the continent, adding that ‘we look at each market on the basis of
population size and the economics of rolling out a network.’</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 16.0pt;">“Because we’re a Pay TV service, we
can’t offer FTA service like governments do. In those areas, we’d typically
pair up with an FTA operator, or the national broadcaster, which is a big part
of our offering. We have a limit in terms of where our network reaches – we can
generally cover 70-80% of a country. Areas that are remote need to be serviced
through our satellite services because of factors including accessibility and
terrain - the DTT signal needs to go across ground. Normally the national
broadcaster or signal provider has the responsibility to ensure that FTA has
national coverage, so they put towers in areas that it’s not economical for Pay
TV providers to do,” he said. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 16.0pt;">On striking a balance between the
commissioning of in-house and independent productions, the M-Net Regional
Director West Africa Wangi Mba-Uzoukwu said: “We make productions in-house, but
also commission, do co-productions and acquire content from elsewhere. You
can’t generate enough content in-house. We need multiple production platforms
to be able to service our subscribers with the quality content they desire. Our
premise is that our content is created by Africa, for Africa, and we continue
to nurture and build creative talent, in the hope of developing future
producers and directors. We invest in building them up to the quality standards
we want. A good mixture of in-house and commissioned content also allows for
greater variety and allows us to engage with audience and local producers -
that’s how we build talent on the continent. As the Maisha Magic channels roll
out, our business model is to nurture local producers and once the channels are
off the ground that’s a strong focus for us.” </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 16.0pt;">The show witnessed the hosting of DStv’s
and GOtv’s biggest channels such as Sony, SuperSport, Zee World, A+E, Disney,
MTV Base, BET, Comedy Central, BBC and M-Net. </span></div>
art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-6709507011040768262015-08-23T13:07:00.002-07:002015-08-23T13:07:35.307-07:00New jerusalem in Benue<!--[if gte mso 9]><xml>
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<div class="MsoNoSpacing" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">Behold
the ‘New Jerusalem’ in Benue</span></b></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">Given the economic reality especially
the increasing foreign exchange rate, intending Christian pilgrims to Jerusalem
or Rome may look the direction of Aokpe Pilgrimage Centre in Benue State for
spiritual edification and enrichment. The 23 years old religious site is fast
emerging as Nigeria’s ‘New Jerusalem’ where thousands of pilgrims converge
every August to celebrate the ‘special day of grace’. Assistant Editor (Arts) <b style="mso-bidi-font-weight: normal;">OZOLUA UHAKHEME</b> who was at the centre’s
21<sup>st</sup> anniversary celebration, reports. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">The pain of travelling the 7 kilometre
bad road from Ugbokolo in Okpokwu local government area of Benue State to Aokpe
community did not deter the huge turnout of pilgrims to Aokpe Pilgrimage
Centre. Thousands of Christians, especially Catholic faithful drawn from
different dioceses in the country and outside Nigeria converged on the centre
for 4 days (August 1-4) to celebrate the 21<sup>st</sup> anniversary of Our
Lady of Aokpe Mediatrix of All Graces. Some pilgrims defied the scorching sun
and intermittent shower of rain to sit and pray in the open field around the Altar
of Perpetual Adoration, Crucifix of Jesus and Good Shepherd garden. <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">For the four days, the sleepy and serene
Aokpe community was literarily overrun by pilgrims and tourists to the centre. Temporary
souvenir and gifts shops dotted the community road to the centre as traders
displayed foods and gift items such as rosary, candles, pendants, wall papers,
religious cassettes and CDs among others. <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">But, to get the centre is like a journey
through the Biblical narrow path to heaven. No two big vehicles found it easy
to move on the opposite direction easily on the rough road. And all vehicles
moved on gear one all through the short distance but ‘long’ and tedious journey.
This created a brisk business for operators of commercial motor bikes (Okada)
as most pilgrims took bike, which is popular and more convenient mode of
transport to transit from Ugbokolo to Aokpe. The fifteen minutes ride on bike took
a vehicle a minimum of 30 minutes to cover only on a dry day.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">To the pilgrims the bad road is not only
a challenge, but it is also part of the penance for the spiritual edification,
enrichment and growth, which is the essence of their pilgrimage. From
visitation to apparition room, praying the Rosary, making confessions and
penance on penance concrete track leading to the crucifix of Christ, fetching
of Holy water from the spring fountain, reciting the glorious mysteries,
participating in the Hour of Mercy and the Stations of the Cross, there was no
dull moment for the pilgrims. It was marathon prayers, praise and worship
sessions accompanied by spiritual talks and the 3-hourly holy mass during which
pilgrims made constant supplications and sacrifices to the eternal father for
collective and individual needs. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">On Monday, August 3 alone, 8 masses were
conducted for the nation and state, reconciliation, students, refugees and
other internally displaced persons, peace, sponsors of Aokpe project and Holy
Spirit. At the grand finale on Tuesday, August 4 the Most Rev Dr. Michael
Apochi, Catholic Bishop of Otukpo Diocese took charge of the mass of the
Blessed Virgin Mary that lasted for three hours. <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">In his exhortation, Rector of the
centre, Rev. Fr. Ejembi Vincent said the spiritual and social challenges of
Nigerians are enormous as ‘we are living at a time when immorality is gaining
ground, insurgency, Boko Haram, youth unemployment and other economic crisis
bedevil us.’ </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">The visionary Mrs. Christiana Agbo Ejeh
who is now a lawyer said the Blessed Virgin Mary started appearing to her since
1992 when she was 12 and that Virgin Mary told her She would appear on August
4, 1994 to bestow grace on her children. “Virgin Mary told me that every August
4 should be set aside to celebrate a special day of grace,” she said. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">The story of Aokpe Pilgrimage Centre,
which is marking the 21<sup>st</sup> anniversary of its apparition (special day
of grace) is like a prophet who is unknown in his homestead. The centre
witnessed its first apparition of the Blessed Mary twenty-three years ago in
October 1992, when the Blessed Virgin Mary appeared to a 12-year old girl,
Christiana Inebu Agbo. Although the Aokpe apparition is yet to be officially
recognised, the Catholic Church has however given it some serious considerations
through the appointments of Rectors for the Pilgrimage Centre and the
involvement of her priests in the devotions taking place there. The first
positive sign that the Church’s approval would come one day was the declaration
by the Northern Bishops which was read at the centre by the Metropolitan
Archbishop of Abuja, now Cardinal John Onaiyekan at the height of the
apparitions in January 1996. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">It would be recalled that in July 2013,
there was the apparition of Blessed Mary on the wall of St. Benedict Catholic
Church at Ubiaja in Edo State. Also, in the same month in 2012, the apparition
of Blessed Mary was seen in a tree trunk in New Jersey, USA. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">Up till date, Benue State government is
yet to fix the 7-kilometre road that leads to the only religious site in the
state, which attracts thousands of tourists and pilgrims each year. What seems
visible in the community is the electricity supply that is epileptic as usual. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">Benue State Director of Tourism Mrs.
Dooter Ajoko disclosed that the state government has concluded plans to revive
the Makurdi Airport and construct the 7-kilometer Ugbokolo-Aokpe road project
that was abandoned by past administrations in the state. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">She assured that government is
determined to develop tourism as income from oil has continued to dwindle. She
said tourism is one of the priority areas the new administration is given
attention to generate income alongside agriculture, entrepreneurship
development and creating enabling environment for industry to strive. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">She stated that Aokpe is of particular
interest to the state because it has spent much money on pilgrims to abroad.
“With Aokpe, government intends to promote it to encourage domestic tourism
instead of spending foreign exchange on pilgrimage abroad. Unfortunately, not
many people in Benue are aware of the centre at Aokpe. So, government wants to
promote and develop the centre,” she said.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">According to report, ‘apart from
spiritual benefits the presence of Martian site is of immense benefit not only
to the locality but the entire nation. It is estimated that once the Catholic
Church gives its formal approval and recognition of Aokpe as a Marian site,
Nigeria could earn billions of naira from pilgrims who would throng the site
from all over the world. In fact, the Blessed Virgin Mary Herself had during
several of her appearances declared that Aokpe would become great and that She
would do great things in Aokpe.’</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">Benue State Queen of Culture and Tourism
2014/15, Miss Mimi Pine expressed shock at the size and quality of pilgrims and
activities at the centre, lamenting that she is getting to know the centre at
the close of her tenure as Miss Tourism in the state. But to add some cultural
elements and colours to the events, performing troupes from Benue State
Ministry of Culture and Tourism were on ground to thrill pilgrims to some
scintillating dances. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">.<b style="mso-bidi-font-weight: normal;"><u>Making
of Aokpe Pilgrimage Centre</u></b></span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">According to reports by the centre, the
first acknowledged apparition of the Blessed Mary on African soil took place
twenty three years ago at Aokpe, a small village about seven kilometers from
Ugbokolo in Okpokwu local government area of Benue State. In October 1992, the
Blessed Virgin Mary appeared to a 12 year old village girl, Christiana Inebu
Agbo. The Blessed Mary made consistent appearances which last till September
2004, which the visionary Christiana Agbo described as the last appearance and
the last message. Altogether, the Blessed Mary made over a hundred appearances
at Aokpe within the twelve year span that the apparitions took place, most of which
were privately done between the Blessed Mary and the visionary. Quite a few
were public in the sense that dates were fixed ahead of the apparitions and
great multitude of people assembled when the apparitions took place and
messages relayed to the audience simultaneously. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">The main public apparitions were between
August 1994 and May 1996. The most prominent was on August 4 1994, declared as
special day of grace by the Blessed Mary herself and celebrated since then by
devotees of Aokpe. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">On that occasion, the then Catholic
Bishop of Makurdi Most Rev. Athanasius Usuh who then had Episcopal jurisdiction
over the area was requested by the Blessed Mary to either come to Aokpe or send
emissaries to witness the apparition scheduled for that date. This, the Bishop
did and the emissary Rev. Fr. Emmanuel Ojaje Idoko photographed and video-taped
and documented the apparition as well as the miracles that occurred on that
occasion which included the receipt of Holy Communion by the visionary from an
Angel and the miracle of the sun.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">Landmark
features</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;"></span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">Despite the various challenges to the
actualisation of the dream of becoming a Marina site recognized by the Catholic
Church, the centre is witnessing some progress in the area of physical and
spiritual development. Already there are the upliftment of the holy spring
water discharge point, erection of the Good Shepherd Garden for retreats and
altar of Perpetual Adoration built and consecrated on August 4 2010. These were
achieved through contributions from devotees as well as the willingness of the
local community to receive guests and donate their land for development. Also,
the Mediatrix complex which comprises of some guests chalets, a conference
hall, and water fountain and garden are among facilities completed and in use. </span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt;">Currently, it is gathered that a
business consortium has also submitted proposals for the building of hostels
and tourists sites around the centre on a build operate and transfer (BOT)
basis. <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 14.0pt;">Christiana’s encounters with Blessed Virgin Mary</span></u></b></div>
<div style="text-align: justify;">
<span style="font-size: 14.0pt;">“I was in my room
praying when suddenly Our Lady appeared to me. When she appeared to me she
said: “I come from Heaven. I am the Refuge of Sinners. I come from Heaven to
win souls for Christ and to hide my children in my Immaculate Heart. What I
want you to do is pray for the souls in Purgatory, to pray for the world and to
pray to console Jesus. Will you accept?” And I answered her, “Yes.”</span></div>
<div style="text-align: justify;">
<span style="font-size: 14.0pt;">“In the same month
I was in my room and suddenly I saw two Angels singing. I do not know what they
were singing. I became afraid and ran out. My brother went and called my mother
who said that she could not see anything. The two Angels remained for some
minutes, then one of them said, “I am the Angel of Peace.” Then they
disappeared.</span></div>
<div style="text-align: justify;">
<span style="font-size: 14.0pt;">“The 1st of
December, 1992, I went to the Church to pray. After saying prayers and the
Rosary with the people, I left the Church and Our Lady suddenly appeared to me
and said: “After saying the Rosary sit down and meditate for some time.” She
then disappeared.</span></div>
<div style="text-align: justify;">
<span style="font-size: 14.0pt;">On the 1st of
October, 1993, Christiana saw a round object like a ball on the floor with
flowers around it. Our Lady came and stood on it. Prompted by her mother, she
was going to ask Our Lady’s name. Our Lady cut in quickly and said, “Behold, I
am a Holy Mother and I will introduce myself another time.”</span></div>
<div style="text-align: justify;">
<span style="font-size: 14.0pt;">When Christiana
stated, “I do not know your name,” Our Lady replied: “The time of giving my
name has not yet come. The name I will bring will be a powerful one. I will do
many things in St. Patrick’s Church” The title which Our Lady eventually gave
Christiana is one which evokes much doctrinal and devotional history: Mediatrix
of All Graces.</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 18.0pt;"><span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-20236037442186047152015-07-27T11:29:00.001-07:002015-07-27T11:29:29.889-07:00How Glo turned leading the pack into art<!--[if gte mso 9]><xml>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 18.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;">How Glo turned leading the pack into an art</span></b></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-style: italic; mso-fareast-font-family: "Times New Roman";">Call it a
big swoop or a bumper harvest of stars and you are right. Telecoms giant
Globacom has raised the bar as the nation’s network of stars, with its
endorsement of no fewer than 29 leading artistes as brand ambassadors,
Assistant Editor (Arts) OZOLUA UHAKHEME reports.</span></b><b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> (www.art4lifeo.blogspot.com)</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Globacom is huge in my industry and
I see the evidence of the company’s commitment to improving the industry and
the lives of its practitioners everywhere I turn. To be honest, it’s been a
dream to have a working relationship with the Glo brand. An opportunity to turn
this dream to reality came, and I took it.”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">That testimonial by Nigeria’s
musical star, Wizkid (Ayodeji Balogun) confirms the strong belief among leading
artistes in Glo’s massive support for the creative industry and why they found
solace with the telecom giant.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Wizkid, one of the biggest signings
this year, was formerly with MTN. He jettisoned MTN and signed for Globacom.
According to a statement he issued titled: <i>Why I signed with Glo</i>, Wizkid
said Globacom is a brand he had admired for a very long time considering its
strong persona and its very massive impact and image in the entertainment
industry in Nigeria.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">He added that it’s an incredible
blessing to be sought after by arguably Nigeria’s two most powerful brands at
the same time. “My decision to go with Globacom this time is not an act of
spite against MTN. I simply seized an opportunity to move from Yellow land to
greener pastures. God bless,” he said.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">With these record breaking
endorsements, Glo has stepped up its support for the arts and has thus attained
the largest portfolio of brand ambassadors by any company in Nigeria.
Interestingly, Glo’s massive support for the creative industry spanned themed
concerts, reality TV competitions, events promotions and campus tours, which
have over the years impacted the creative industry to becoming an economic hub
for income generation.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The new ambassadors are nine, while
20 have been with the company for some time. The ambassadors include Sani
Danja, Sammie Okposo, Ego Ogbaro, Peter & Paul Okoye
(P-Square), Bright Okpocha (Basketmouth), Funke Akindele, Ini Edo, Ime
Bishop Umoh, John Okafor (Mr Ibu), Helen Paul, Chiwetalu Agu and Wande Coal.
Others are D’banj, Omawumi Megbele, Bezhiwa Idakula (Bez), Chinedu Okoli
(Flavour), Jude Abaga (M.I), Damini Ogolu (Burna Boy), Bimbo Oloyede, Bovi
Ugboma, Ayodeji Makun (AY), Patience Ozokwo (MamG), Odunlade Adekola, OC Ukeje,
Reekado Banks, Korede Bello, Hadizah Blell (Di’ja) and Ayodeji Balogun
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The mega deal is another major
statement about Glo’s commitment to the growth of entertainment industry.
Globacom has been consistent in supporting the industry. Apart from
supporting through endorsement deals, Globacom avails the industry of its
massive infrastructure to facilitate distribution of practitioners’ works. It
is estimated that mobile operator including Globacom has generated millions of
Naira for artistes by helping them to sell their music as ringtones. Through
this deal, Globacom is ploughing hundreds of millions of naira into the
entertainment industry. No doubt, the network provider has been able to turn
the lives of many entertainment stars around. It is such a deal as this that
some up and coming stars need to blossom into mega stars.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Bez, for instance, has metamorphosed
into a huge star since he was signed up by Globacom several years ago. Glo is
also developing different segments of the entertainment industry as the
ambassadors are drawn from Nollywood, music, comedy and broadcasting.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">It has also launched a world-class
online entertainment portal for the enjoyment of its teeming subscribers across
the country which would also help to expose ambassadors to a larger audience.</span></div>
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<br /></div>
art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-23760642302005319202015-07-27T11:19:00.002-07:002015-07-27T11:19:49.794-07:00I will love to reincatnate as artist<!--[if gte mso 9]><xml>
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<strong><span style="font-size: 16.0pt; mso-bidi-font-style: italic;">‘I will
love to reincarnate as artist’</span></strong><br />
<strong><i>US-based Nigerian scholar and artist Prof dele jegede turned 70
last April. He will be celebrated by his colleagues at the University of Lagos
and Yaba College of Technology, Lagos from tomorrow. To him, good artists
never die, never fade away, but simply become more vivified; a category
which he belongs to at 70. Though disengaged from teaching, he sees the
disengagement as an opportunity to re-engage himself with his studio practice,
Assistant Editor (Arts) OZOLUA UHAKHEME reports. </i></strong><br />
<strong>With the marking of your 70th birthday, you have joined the
elder statesmen’s club. How do you feel hitting the mark?</strong><br />
Where’s the King of Soul, James Brown, when you need him? “I feel good….pa
para para para!” I am nothing but thankful. There are no two ways about that.
The older you get, the more introspective you become. The more exposed you are
to occurrences and developments, which humble you and cause you to be
appreciative of the grace without which your very existence will be naught.
When I was young—let me re-phrase that, because I am still young—when I was
much younger, a 40-year-old man was old, very old; a 50-year-old was ancient;
and a 70-year-old? That was simply antediluvian! I have since realised that
your perspectives on things shift as a result of your age.<br />
I remember in 1995 (when I was 50), a student of mine complained innocuously
about the ways of her very old dad. And then I asked how old was her father.
“50,” she responded. Of course I changed the topic. Hitting 70 (which, by the
way, happened in April) was something that I had no control over. It was not as
if I could choose how long I would live; no one has that power. I had been in a
position that I wished that death had come for me instead of someone else. It
is in that sense that I talked about grace and clemency. Ageing is one thing;
ageing gracefully is another. And that is something that I aspire to do,
especially in terms of the extent to which I inspire my peers and colleagues,
and become a positive role model for the younger generation of citizens and
artists. Living gracefully has nothing to do, in my estimation, with your
sartorial taste anymore than does your height. Rather, it is your personhood:
your moral probity, integrity, principles, forthrightness, professionalism, and
commitment to enlightened citizenship. It has to do with using your
professional and intellectual abilities to positively influence society. And
that is one of my new mantras.<br />
<strong>Retiring now at 70, how fulfilling is it to end your career outside
your country?</strong><br />
Retirement <em>ke</em>! One point of correction, I have not ended my career.
In actuality, I’ve just revved it up a notch. As a vocation, art is not a 9 to
5 job. Rather, it is an organic cocoon: something that you live; a life that
you exude. How can you talk of retirement in that situation? The committed
artist never thinks of retirement. You have heard of the maxim about old
soldiers who never die; who simply fade away. Well, that is not so with old
artists. The good ones never die; they never fade away; they simply become more
vivified. Examples abound. Look around the Nigerian art scene today and you can
construct a strong list of artists, living or departed, vertical or perpetually
horizontalised, who are continually written about in the present tense. While
it is true that I have disengaged from teaching, I construed that as an
opportunity to re-engage with my studio practice. As to where I practice, the
age of globalisation has shrunken the world so significantly that location is
no longer an issue. While my primary residence will remain where I’ve been in
the last two decades, I will also take advantage of the opportunities that my
ancestry offers.<br />
<strong>Looking back, how fulfilling has it been teaching in the US?</strong><br />
It has been both challenging and fulfilling. It has also been rewarding.
Like all countries, the U.S. has its strengths and weaknesses. For everyone,
who is career-oriented, motivated, and inspired, the opportunities are
super-abundant. Indeed, the United States remains as perennially advertised: a
land of opportunities. If you are so inclined, you can chart your own path,
create new avenues for personal success, and intuit novel ideas. But, living in
the U.S. can also signal perpetual misery for those who are interested in the
dream but lack the capacity, willpower, or wherewithal to prepare their beds
aright. For many, the U.S. is the proverbial El Dorado. Americanisms permeate
the imagination of many young and not-so-young Nigerians, who are desirous of
capitalising on life styles that Hollywood has so ingenuously marketed on a
global scale. But one of the unwritten canons pertains to the power that
culture exerts on many, who go to the U.S. but are ill-prepared for the
inevitable culture shock that they will have to contend with. Before I retired
from the University of Lagos in 1992, I had worked there as a faculty member
for 15 years. It was from there that I went on a leave of absence to study at
Indiana, where I obtained my doctorate in 1983. And in 1987, I had taught for
one year and curated a major exhibition at Spelman College, Atlanta as
Fulbright Professor.<br />
Although exposure to American culture and the qualifications that I paraded
certainly helped, they were not the primary reason for my eventual emigration,
with my family, to the U.S. in 1993. Two of our children, who were born in the
U.S. were asthmatic. In particular, our oldest son, Tolu, was chronically
asthmatic. There was hardly a week that we did not make an emergency run from
our place at Ikeja to Unilag Health Center for emergency health help, often in
the middle of the night. Those were the nights when the parental adrenalin
countered whatever dangers were posed by hoodlums and men of the night. Tolu
became something of a recurring face at the Health Center, known to virtually
all the medical personnel at that time. The situation was so dire that the
sing-song by our children was that we needed to return to the U.S. Today, Tolu
is professor at a college in Florida.<br />
<strong>In retrospect, are there decisions you would have taken differently
now concerning your career growth—studying art, media job, teaching at
UNILAG—and checking out to US?</strong><br />
With full 20-20 hindsight, it is very easy to second-guess decisions that I
took in the past, which have obviously inflected the trajectory of my
professional growth and personal development. I have no reason to do that. As
one, who has continually advocated the application of contextualism in
analyses, I could not envision reversing any of the major decisions that I took
in the past without asking for corresponding reversal of the context within
which such decisions were taken. On the contrary, I took these decisions with
deliberation and embraced the outcomes with pride and enthusiasm. My
studentship at the Ahmadu Bello University, Zaria, was the culmination of sheer
determination of a young lad, who single-handedly set and attained the loftiest
dream of attaining a university degree in the face of adversity. That decision
was significant and momentous in my life. In terms of my career, I coveted the
opportunity to work at the <em>Daily Times</em> when I was a third-year student
at Ahmadu Bello University and worked assiduously towards that end. I was giddy
with excitement when I interned at the <em>Daily Times</em> in the summer of
1972. At the end of my NYSC in 1974 (as a pioneer corps member), my career as a
cartoonist had been launched with a series of cartoons in <em>Lagos Weekend</em>
and <em>Sunday Times.</em> You could not have enticed me with anything not to
accept the offer, which the <em>Daily Times </em>gave me, as Art Editor in July
1974.<br />
As students in Zaria, some of us had determined to spruce up the exhibition
scene in Lagos after graduation. Kolade Oshinowo, Shina Yussuff of blessed
memory, David Dale, and my humble self became quite active in the exhibition
circuit. I also took up critical reviews in the <em>Daily Times</em> during
this period. I left the <em>Daily Times</em> because I was simply enamored of
academic life. Besides, I figured I could continue to do my cartoons from
anywhere without being in the employ of the <em>Daily Times</em>. I joined the
University of Lagos as Junior Research Fellow in January 1977 and was thrilled
to be directly involved in organising certain aspects of Unilag’s FESTAC 77,
which the Center for Cultural Studies undertook under the directorship of Prof
Joe Alagoa. Hankering after additional degrees was something that you would do
as an aspiring young man. So, by 1979, I was on my way to Bloomington.<br />
I should note, with extreme pride, the stable and blessed marriage that I
have had. This, indeed, ranks as perhaps the best decision that I ever took. Of
course, Joke, my wife of 40 years, took all evasive actions way back in 1972
when I first laid eyes on her and embarked upon the customary pursuit of a love
that made itself elusive. But the more unconcerned she appeared the more
determined I was to prove that I was worthy of her hand. Although she always
contests my claim that it was my cooking that eventually sealed the deal, it
seemed that she ultimately took pity on me, especially after learning of the
day that I almost got crushed by a “tipper” as I made a dash across Ikorodu
Road trying to catch a Somolu-bound <em>danfo</em> to her place at Akoka. No
matter. Joke remains my adorable friend, partner, wife, and counsellor. She is
a woman of unparalleled strength, something that I became even more appreciative
and respectful of in the wake of the cataclysmic shock that the loss of our
son, Ayo, unleashed on us in 2011. Without Joke (who was herself
grief-stricken), my story would have taken a tragic turn.<br />
<strong>Are there any memorable experiences at the early stage of your stay
in US? </strong><br />
I learned pretty quickly that the United States is at once opened and
closed. It is through its openness and transparency that I was able to secure a
job based solely on my academic and professional pedigree. It was the same
system, one that places premium on excellence and healthy competition, that
ensured my rise within the academic system. I became, at two different times
and in two states, chair of two art departments. This could have been achieved
only through a transparent academic culture. But I also learned that if you
were, like me, thoroughly immersed in your cultural heritage, you would have a
steep culture shock to contend with. Thankfully, my immediate family provided
the succor that I needed. It could get easily dreadful and lonely for those who
do not have that kind of support. I learned that racism, both overt and covert,
is alive in this country. I learned that a considerable degree of naiveté
permeates the American social fabric with particular regard to how people from
Africa are generally perceived or related to. I once ran into an American
couple at the mall. Once I confirmed my African pedigree, the next question by
my new mall friend was whether I knew his wife’s boss, a certain Stephen who is
also an African, from Tanzania! But my overall experience has been nothing but
positive.<br />
<strong>What are the post-retirement plans? </strong><br />
There is a caveat to this retirement thing: it pertains only to my job as
professor. The plan, thus, is to roam; to produce, explore, and become creatively
pontifical. This I will do without being bound by geographic demarcations. A
two-day conference (July 23 and 24), which Kunle Filani and his team organised,
comes under the aegis of the Society of Nigerian Artists. It is gratifying to
be accorded this honour and I am beholden to all who are involved in this
gesture. In July 2016, I will be having a solo exhibition at Terra Kulture.
This is the immediate project. Along the side, I will, where practicable,
participate in a few group exhibitions across continental divides. The primary
goal is to immerse myself in my studio life and savour the pleasure of
professing my art. Of course, opportunities to contribute essays, deliver
lectures, and consult for a diverse array of organisations, abound both in Nigeria
and the U.S.<br />
<strong>Having lived and studied in US for so long, what is the performance
level of African artists in Diaspora on the global scene?</strong><br />
Laudable. So much has happened in the last two decades that has catapulted
artists of the African Diaspora to the stratosphere. It is probably not that
helpful to adhere to the old, rigid idea of compartmentalising artists on the
basis of media singularities or geographic location. In the 21st Century,
the boundaries have become so pulverised that what emerges, at times, is
essentialised more by notional specificities or idiosyncratic givens than by
traditional media. From Southern Africa to the Maghreb, from West Africa to
East Africa, there is a catholicity of creative expressions that was either not
fully made manifest or was simply non-existent a mere two decades ago. As part
of this robust emergence of African art on a global scale, we should recognise
the origination of vibrant, collateral fields that have quickly become
formidable in the curating, analysis, and historicisation of the artists and
the various genres that exist. Auction Houses such as Bonhams and Arthouse
Contemporary, for example, have broadened access on a global scale. A cursory
look at the list of Diasporic scholars of African art reveals the dominance of
some of Nigeria’s best scholars.<br />
<strong>If you were to come to this world again, would you be an artist?</strong><br />
My answer is unequivocally yes. Additionally, I would, with the benefit of
hindsight, amplify my interest and talents in theater and music. But I would
still marry Joke.<br />
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<b><span style="font-family: "Times New Roman","serif"; font-size: 18.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;">How Glo turned leading the pack into an art</span></b></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-style: italic; mso-fareast-font-family: "Times New Roman";">Call it a
big swoop or a bumper harvest of stars and you are right. Telecoms giant
Globacom has raised the bar as the nation’s network of stars, with its
endorsement of no fewer than 29 leading artistes as brand ambassadors,
Assistant Editor (Arts) OZOLUA UHAKHEME reports.</span></b><b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> (www.art4lifeo.blogspot.com)</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Globacom is huge in my industry and
I see the evidence of the company’s commitment to improving the industry and
the lives of its practitioners everywhere I turn. To be honest, it’s been a
dream to have a working relationship with the Glo brand. An opportunity to turn
this dream to reality came, and I took it.”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">That testimonial by Nigeria’s
musical star, Wizkid (Ayodeji Balogun) confirms the strong belief among leading
artistes in Glo’s massive support for the creative industry and why they found
solace with the telecom giant.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Wizkid, one of the biggest signings
this year, was formerly with MTN. He jettisoned MTN and signed for Globacom.
According to a statement he issued titled: <i>Why I signed with Glo</i>, Wizkid
said Globacom is a brand he had admired for a very long time considering its
strong persona and its very massive impact and image in the entertainment
industry in Nigeria.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">He added that it’s an incredible
blessing to be sought after by arguably Nigeria’s two most powerful brands at
the same time. “My decision to go with Globacom this time is not an act of
spite against MTN. I simply seized an opportunity to move from Yellow land to
greener pastures. God bless,” he said.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">With these record breaking
endorsements, Glo has stepped up its support for the arts and has thus attained
the largest portfolio of brand ambassadors by any company in Nigeria.
Interestingly, Glo’s massive support for the creative industry spanned themed
concerts, reality TV competitions, events promotions and campus tours, which
have over the years impacted the creative industry to becoming an economic hub
for income generation.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The new ambassadors are nine, while
20 have been with the company for some time. The ambassadors include Sani
Danja, Sammie Okposo, Ego Ogbaro, Peter & Paul Okoye
(P-Square), Bright Okpocha (Basketmouth), Funke Akindele, Ini Edo, Ime
Bishop Umoh, John Okafor (Mr Ibu), Helen Paul, Chiwetalu Agu and Wande Coal.
Others are D’banj, Omawumi Megbele, Bezhiwa Idakula (Bez), Chinedu Okoli
(Flavour), Jude Abaga (M.I), Damini Ogolu (Burna Boy), Bimbo Oloyede, Bovi
Ugboma, Ayodeji Makun (AY), Patience Ozokwo (MamG), Odunlade Adekola, OC Ukeje,
Reekado Banks, Korede Bello, Hadizah Blell (Di’ja) and Ayodeji Balogun
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The mega deal is another major
statement about Glo’s commitment to the growth of entertainment industry.
Globacom has been consistent in supporting the industry. Apart from
supporting through endorsement deals, Globacom avails the industry of its
massive infrastructure to facilitate distribution of practitioners’ works. It
is estimated that mobile operator including Globacom has generated millions of
Naira for artistes by helping them to sell their music as ringtones. Through
this deal, Globacom is ploughing hundreds of millions of naira into the
entertainment industry. No doubt, the network provider has been able to turn
the lives of many entertainment stars around. It is such a deal as this that
some up and coming stars need to blossom into mega stars.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Bez, for instance, has metamorphosed
into a huge star since he was signed up by Globacom several years ago. Glo is
also developing different segments of the entertainment industry as the
ambassadors are drawn from Nollywood, music, comedy and broadcasting.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">It has also launched a world-class
online entertainment portal for the enjoyment of its teeming subscribers across
the country which would also help to expose ambassadors to a larger audience.</span></div>
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<br /></div>
art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-14749482744971756412015-07-10T08:03:00.000-07:002015-07-10T08:03:02.452-07:00nana museum<!--[if gte mso 9]><xml>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 16.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;">Nana Living Museum gets century-old war relics</span></b></div>
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<b><i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Can you imagine what the ancient
city of Ebrohimi looked like before, during and after the invasion of the
British in 1894? What of the Nana palatial residence, adjoining warehouses,
town hall and the British warships? Take a trip to the Nana Living Museum Koko
in Warri North Local Council Area of Delta State, and you will find many more,
Assistant Editor (Arts) OZOLUA UHAKHEME reports. </span></i></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">One hundred and 20 years after, some
relics on the infamous British invasion of the ancient Itsekiri city of
Ebrohimi in Warri North Local Government Area of Delta State have been donated
to the Nana Living Museum in Koko, Delta State. The donations, which include
vintage photographs of Nana palatial residence, adjoining warehouses, stores,
town hall, four British warships, (<i>Phoebe</i>, <i>Widgeon</i>, <i>Alecto</i>
and <i>Philomel</i>) were made by a former Commissioner in the defunct Bendel
State and a frontline Koko community leader Chief J.O.S. Ayomike at a ceremony
in Koko.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The items were courtesy of an Oxford
University researcher, Julia Binta Mmeg. They were received by the
Director-General, National Commission for Museums and Monuments (NCMM), Mallam
Yusuf Abdallah Usman, represented by Benin Museum curator Mr Theophillus
Umogbai and Mr Wilson Onime of Nana Living Museum.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The event brought back sad memories
of the British invasion of Ebrohimi in 1894, and the 1897 British Expedition in
Benin Empire that resulted in the looting of priceless Benin bronzes and
deportation of Oba Ovonmramwen to Calabar where he died.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">But, there seems to be more to worry
about in Koko, home to Nana Living Museum where the returned century-old
photographs are being kept for posterity. According to Chief Ayomike, the
21-year-old museum deserves greater patronage. He said a 40KVA generator
donated by Niger Delta Development Commission (NDDC) at the inauguration of the
museum in 1994 sits unused outside the museum and unconnected to the building
because of old and decrepit wiring of the ancient building.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“So, the lighting of the museum is
almost zero and this does not help the preservation of the ancient items within
it,” he said.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">He is also worried about the state
of funding of the museum at a time the country is cash-strapped. “Now that our
government institutions at all levels are cash-strapped, a way out should
urgently be found to increase revenue from this museum. The state government
and Warri North LGA should put heads together to take care of this museum,
raise its profile through publicity and make revenue from it.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“So, they do about the same way the
Mandela House in Johannesburg, Mahatma Gandhi’s House in New Delhi and such
other places in the world. This is the only living history museum in Nigeria,”
he said.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">He decried the elimination of
History as a subject from the schools’ curriculum, saying History as a humanity
discipline is crucially essential for any society. He noted that History is the
root of some disciplines such as museulogy, anthropology and ethnology.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“Even for Nigeria, still finding
ways to develop, I am afraid leaders in government, universities, NGOs have to
rethink this faux pas and restore History as discipline of study if we are to
adopt social democracy as ideological progressivism in our development. Even
Cambridge and Oxford, very old universities still teach History,” he added.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">He also expressed worry over the
sustenance of the pioneering efforts of scholars, such as Prof Kenneth Onwuka
Dike, Prof Ade Ajayi, Prof Tekena Tamuno, Prof Fred Omu, Prof Obaro Ikime, Prof
Philip Igbafe and Prof R.A. Adeleye.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">A renowned historian and author of (<i>The
Merchant Prince of the Niger Delta</i>), a biography on the late Chief Nana
Olomu of Itsekiri, Prof Obaro Ikime, said it was not enough for the commission
to declare structures or buildings national monuments, but that the commission
must maintain and preserve such structures for future generations. “Your
organisations owe Nigeria that duty. May God help you to perform it,” he said.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">He, however, urged the commission to
create more relevant monuments such that will document historical events
on how Nigeria’s first prime minister was gunned down in his official
residence in Lagos in 1966 in Nigeria’s first military coup. “Nothing marks
that house. What would it cost to erect a statue of Tafawa Balewa by that building,
with a plaque at the base telling what happened? General Murtala Muhammed was
declared a national hero. He was gunned down at a spot in Ikoyi, Lagos. Nothing
marks that spot. It will not cost the moon to build a small monument there,
with a plaque telling the story. Where was Col. Dimka captured? Is it marked by
your commission?</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Ikime who was represented by his
wife urged the DG to lead in persuading the Federal government to create a
national cemetery, which will become a national monument that will represent a
slice of the nation history.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">In his speech titled: <i>Monuments
as history</i>, he said national cemeteries across the world are tourists’
attractions such as grave of Napoleon Bonaparte in France. On the non teaching
of History in schools, he said: “We don’t teach history to our children-the
only nation I know that doesn’t do so. While we, professional historians, keep
struggling to persuade our government to make teaching of History compulsory in
our primary and secondary schools, we can use the building of monuments to
teach our peoples different slices of our history. I pray and beseech you, Mr.
Director-General to give this matter your serious consideration. I will be
willing to wait on you, if you so desire, to discuss the matter further,” he
said.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Former governor of Bendel State
Dr Samuel Ogbemudia described the presentation of the photographs as an
event that would inspire future generations to ‘magnify the exploits of their
fore-bearers, noting that the museum is a monument to the vigour of a living
people infinitely capable of resilience, renewal and creative adaptation. “Nana
the great established an epoch. Ayomike and his peers are worthy baton bearers
extending the Itsekiri race into eternity,” he added.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Director-General of NCMM Usman said
it was worthy of note that the unfortunate outcome of the war would later
provide the firm foundation for the establishment of the Nana Living History
Museum. He said the efforts of the Oxford researcher and Chief Ayomike have
further increased the awareness of the people of Koko community about the
importance of the museum to the society and the absolute need to preserve it
for the present and future generations.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“The presentation of these
historical photographs and important documents today would help to boost the
Nana Living historical monument as not only a museum but a nodal research
centre in possession of vital historical and ethnographic materials for
learning and development.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“As the custodian of the cultural
and natural heritage of any community or nation state, the museum provides
essential facilities for cultural education, entertainment and recreation
through preservation, interpretation and promotion of cultural inheritance of
humanity.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“Today’s event underscores this
essential function of the museum. In no small measure, the National Commission
for Museums and Monuments has helped the community and society in general in
self fulfillment and sustainability through exhibitions, educational
programmes, establishment of community museums and skill acquisition.
Interestingly, the Nana Living History Museum is one of such by-products,”
Usman said.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">He recalled that other donors’
gesture also bears close affinity and is in tandem with some other symbiotic
synergies which the commission has nurtured with local and foreign
organisations. According to Usman, the latest of such is the Smithsonian
Institution/NCMM international exhibition titled: <i>Chief S.O. Alonge:
Photographer to the Royal Court of Benin, Nigeria</i>, which is on-going at the
National Museum of African Arts of the Smithsonian Institution, Washington DC,
US. The exhibition, he said, will travel to National Museum Benin City in 2016.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<b><i><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Munitions of war captured on the
fall of Ebrohimi in 1894</span></u></i></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Arms</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">• 106 canon, from 3-prs to 32-prs<br />
• 445 heavy swivel blunder-buses, about half of them brass<br />
• 640 long dane guns<br />
• 1,151 short flint-lock and cap guns<br />
• 17 cases of short swords<br />
• 5 large swivel mountings for small cannon<br />
• 10 revolvers, various calibrEs.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Ammunition</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">• 1,640 kegs of powder, over 14 tons<br />
• 500 zinc cylinder case-shot, filled<br />
• 500 bamboos cylinder case-shot, filled<br />
• 1000 or more bamboo cylinders, ready for fillings, of all calibers, to suit
the cannon<br />
• 14 kegs small round shot<br />
• 540 gallon iron pots of balls of various sizes<br />
• 2 cases Snider ammunition, about 1,600 rounds<br />
• 5 cases machine gun ammunition, containing 36 feeders filled ready with 43
rounds in each- 1,548 rounds<br />
• 1 case, containing 5 empty feeders for machine gun<br />
• 2,500 rounds solid drawn machine gun-ammunition<br />
• 300 rounds Ely revolver cartridges, various calibrEs.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">•source: Merchant Prince of the
Niger Delta</span></div>
<ul type="disc">
<li class="MsoNormal" style="line-height: normal; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></li>
</ul>
<div class="MsoNormal">
<br /></div>
art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-14057321088714963192015-01-27T07:51:00.002-08:002015-01-27T07:51:12.420-08:00Lizzy's interview<br />
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<br />
<div align="center" class="MsoNormal" style="background: rgb(238, 238, 238); line-height: normal; margin: 0in 0in 0pt; text-align: center;">
<span style="color: #555555; font-family: "Tahoma","sans-serif"; font-size: 9pt; mso-fareast-font-family: "Times New Roman";">•Lizzy<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1;">
<span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 24pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;">‘Jagua Nana’s Daughter
on my mind’<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i><span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 10pt; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">In this interview, the Director of Caine Prize
and author of Blood on the page, Lizzy Attery, speaks on her works, Mabati
Cornell Kiswahili prize and the Caine Prize. Assistant Editor (Arts) Ozolua
Uhakheme reports.</span></i><span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">As
a writer who also organises an award for African writers, which is your
greatest African novel you ever read?<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">I
have a very soft spot for Butterfly Burning by Yvonne Vera. She was a Zimbawean
writer who died of AIDS related complications but she was in my opionion a
great novelist . The novel is set in the 1940’s. The novel is a sort of
musical.The novel had profound impact on me. Also in London I was introduced to
several African writers such as Cyprian Ekwesi who wrote Jagua Nana’s Daughter.
I hope to one day turn Butterfly Burnning to a film because of the
imagery I see when I am reading it.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">Why
did you write a book Blood on the page?<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">I
wrote the book, Blood on the page while I was doing a Phd but it was published
after the completion of the programme. The research I was doing got me in
contact to many authors. Some of them were new writers and they were the first
to write about HIV in South-Africa and Zimbabwe. I spent probably a year (2003
/2004) looking for text and when I found them, I discovered nobody has really
critique them. In general, such work hasn’t been done. So, I did it. I educated
myself and got to the source. I knew that in the West, gay people were accused
of spreading the HIV virus. So, to a large extent each chapter is an academic
text and what I did, was to summarise all they said.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">What
is your impression of Ake Arts and Book festival and the rocky city of
Abeokuta?<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">I
am certainly a big fan of the festival, I have met many interesting people and
I listened to what all of them said. I think it is quite a great opportunity to
engage with literary people as well as the local people. I have met several
people here including writers from all over the world. Mukoma Wa Ngugi and many
of my old friends who I have known from several parts of Africa I am
re-connecting here. The festival featured a high caliber of talents and I am
enjoying it. You rarely see this array of talents in one spot. In London as a
mother I don’t go out much to see things like this. For me, to watch Nigerian
films is not just an opportunity, but an honour because you don’t find such
every day. It will take a lot of time for me to digest it.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">You
watched October 1, what lesson did you take from it?<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">One
of the lessons I took from October 1 film is from that perspective of an
oyinbo, (a white person) through which the story is being told. There are
dangerous things, also about the priest who gave more opportunities to people
in the place where the story is set and the way he treated the young boy, the
damage he did in the process while bettering people’s live. It is still
entertaining but it makes one to think deeply why we put trust on some certain
people. Why do we send children away for education? It was a surprise to me
because my appreciation of Nigerian film is limited to Nollywood.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">Why
did you partner Mukoma Wa Ngugi for a Kiswahili prize and not a Yoruba or an
Igbo prize?<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">Mukowa
Wa Ngugi is a crime writer in his own right. He is also a professor of
literature based in the United States. We have really being able to
secure funding in South of Africa by Mabati Rolling Mills who are
producers of iron roofing sheets for over 50 years and they have an interest in
the language spoken by over three hundred million people in that region. We may
not have found a Yoruba prize or an Igbo prize. But, it is an avenue to say
companies that make roofing sheets in Yoruba to encourage Yoruba literature for
instance. Because it is important that African language should be taken
seriously for literature and there should be prizes for it. We the founders
of Mabati Cornell Kiswahili prize are still learning ourselves, it is an
interesting thing to set up for anyone who has that energy for it.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">What
next are you working on?<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">After
the announcement of the Caine prize judges at Ake Art and Book Festival, the
next thing is the funding of the Caine Prize workshop holding in Ghana in March
next year because we don’t know if we are going to get enough funds for the
workshop and flights from one African country to another as it is quite
expensive. And of course, the Mabati Cornell Kiswahili prize. I am current
receiving entries for the Caine Prize and looking through if those stories are eligible.
I have to read those that are too short, too long and the self–published
whether they are eligible. I am also preparing to teach two African courses at
Kings College, London.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">How
do you know the stories sent to you are between 3,000 words to ten thousand10,000
words?<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">I
sometimes count the number of words if I am not sure but when the number of
words published in the short story is written when sent to me, it helps because
I wouldn’t have to count. So, I have interesting things to do as the Caine Prize
Director and also boring things to do like counting the pages and number of
words from one end to the other.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">The
judges of this year’s Caine Prize for African Writing were announced at the
recently concluded Ake Arts and Book Festival in Abeokuta. The panel will be
chaired by award-winning South African author Zoë Wicomb. She will be joined by
the distinguished television and radio journalist Zeinab Badawi, Indian
author and Man Booker Prize shortlistee Neel Mukherjee, Assistant Prof of
English at the University of Georgetown, Cóilín Parsons, and Brian Chikwava,
the winner of the Caine Prize in 2003.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">During
the announcement Attree stated, “We are proud to announce the 2015 judges early
this year and hope the calibre of this outstanding panel will encourage
publishers to enter stories before the deadline of 31 January 2015.”<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">Kenya’s
Okwiri Oduor won this year’s prize of 10,000 pounds with her short story, My
Father’s Head which explores the narrator’s difficulty in dealing with the loss
of her father and looks at the themes of memory, loss and loneliness. The
narrator works in an old people’s home and comes into contact with a priest,
giving her the courage to recall her buried memories of her father.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">Chair
of the judges, Jackie Kay, praised the story, saying, “Okwiri Oduor is a writer
we are all really excited to have discovered. ‘My Father’s Head’ is an
uplifting story about mourning – Joycean in its reach. She exercises an
extraordinary amount of control and yet the story is subtle, tender and moving.
It is a story you want to return to the minute you finish it.”<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: #333333; font-family: "Tahoma","sans-serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">Oduor
directed the inaugural Writivism Literary Festival in Kampala, Uganda in August
2013. Her novella, The Dream Chasers was highly commended in the Commonwealth
Book Prize, 2012. She is a 2014 MacDowell Colony fellow and is currently at
work on her debut novel. Nigerian writers that have won the Caine Prize in the
past included Helon Habila (2001), Segun Afolabi (2005), E C Osondu (2009) and
Tope Folarin (2013).<o:p></o:p></span></div>
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<o:p><span style="font-family: Calibri;"> </span></o:p></div>
art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-11621093803709784592014-05-29T05:57:00.000-07:002014-05-29T05:57:09.177-07:00Gabriel Okara, Molue bus
‘My life and River Nun’
At 93, he walks around unaided. His sight and senses are still very sharp. In a conversation and booking signing session in Port Harcourt, River State, Pa Gabriel Okara recalled his life as poet and writer, and what motivated him to write The Call of River Nun, The Voice among others, reports Assistant Editor (Arts) OZOLUA UHAKHEME.
FOR over 90 minutes, two literary giants, Nobel Laureate Prof Wole Soyinka and Prof J.P Clark sat side by side listening attentively to a friend and author of The Call of River Nun, Pa Gabriel Okara.
Shortly before the conversation, the two writers were consumed in deep discussion and smiling intermittently. Also in the audience were renowned historian and Prof Emeritus, Prof A J Alagoa and Prof Chidi Maduka of University of Port Harcourt among others. Minutes later, guests were asked to rise and welcome the celebrant, Pa Gabriel Okara, who clocked 93 years on that day. The gathering, Meet The Author (which also featured conversation/ book signing and cake cutting),was held penultimate Thursday at the Royal Banquet Hall of Hotel Presidential, Port Harcourt, River State capital. It was held to honour Okara on his birthday and as part of activities marking Port Harcourt as United Nations Educational Scientific and Cultural Organsation (UNESCO) World Book Capital 2014.
But for the eulogies from Prof Maduka, Okara’s 93rd birthday would have gone without a word from older generation of writers. The duo of Soyinka and Clark declined to talk when requested by the compere, Anote Ajeluonuo of The Guardian for a comment on Okara.
With nostalgia, the Ijaw-born poet spoke on his growing up, his works and why he wrote The Voice, a book that promotes the Ijaw cultural heritage among others. Specifically, organisers of the Port Harcourt Book Capital celebration dedicated the evening to celebrating the life and works of the Ijaw-born poet who was found to be exceptionally active with sound memories at 93.
Telling his childhood story almost in poetic manner, he said: “I grew up with the water, fishes and trees. I attended Government College, Umuahia where I was introduced to literature. We were compelled to read one book per week and to make presentations to teachers afterward. From there, I developed the passion for writing. I was in the Gambia for sometimes. I also did printing press in Lagos. I was in the civil war and also had opportunities to go for all manners of training within and across the world. I won many awards in the civil service including that of Rivers State and national honour of OON from the Federal Government. I am happy to take part in the celebration of my 93rd year on the planet earth. I am grateful to God for good health and for strength even to climb up the high step of this podium. I appreciateall my friends.”
Like how much did he make from his first published work? Okara said: “One thing I will like to make clear is that it may appear strange to non-creative writers. I wasn’t taking money when I started writing. I created passion for writing , especially with the conflict in the society. There was a time that the British Council invited me for a poetry programme. I was so happy when it was broadcast. Later, I was asked to sign for the money for the service. I was shocked and I asked, ‘which money?’ I was happy for the joy of being heard. It was 10 pounds then. That was a big money then. All I wanted was a forum to express my feeling. I was driven by the muses. That was writing then. I was also happy with the Commonwealth Prize when it came at last. I was paid N500,000 as a joint winner. The joy was in the acceptance of what is written by the generation of loving people of Nigeria.”
What then was the concept behind the writing of this sage? “The concept of my writing is feeling, sensitiveness to situation, peculiar thought which others may not have. To me, what keeps me in writing is the desire to express the scene around me. I am driven not by fame or money but by share desire and pleasure for writing. Sometimes I write on what makes me angry as well especially in my poetry.”
He also used the forum to explain what motivated him to write his popular poetry collection, The Call of River Nun. “I was in Enugu when I wrote the book. The concept of the poem came to me when I climbed to the top of the hill and watched the insects, the soldier ants, in group, carrying their loads. I began to wonder on such a territory and such preservative manouvres these insects were demonstrating. Also, I thought about my childhood; how different was the atmosphere in the Creek compared with my new abode at Enugu? I began to think about my life journey in the River Nun. I remembered my early childhood. The Call of River Nun may be described as a poem of remembrances, desire tolive freely without any fear, without any enemy. I remembered all that happened in the decade that you might have achieved,” he said.
Though he started his career in writing as a playwright but he later dropped the idea.
Why did he quit? He said: “I cannot remember any more. It proved to me that I was on the wrong path of my creative writing. I discovered that poetry was my calling. I also wrote short story.”
Some young writers in the audience wanted to know under what influence he writes. He said: “Comedians are the most serious people. They make you laugh but are serious and collected. They invent situation to make you laugh. Poets are not made to write when they are drunk especially in Ogogoro. Some writers may be inspired by taking alcoholic drinks but not all. Some are drunken and brave in battle field. Some may be inclined to drinking, others don’t, so it is in creative writing. They make people, sometimes, to weep and sorrowful. They express this through their writing. Some sing and some play music.”
At the early stage of his writing what occupied his mind before he wrote?
“What a writer does depends on what happens in the society. Politics and reactions generally, especially the impact such action or change has on him. I keep on saying that a writer or a poet can’t just stop writing. He writes because he wants to express his feelings. Those who are familiar with classical music use that to entertain too. But most importantly, it is the expression of feelings.”
He moved around the venue without the use of a walking stick; climbed the podium unaided and responded fast to all questions. Okara disclosed the secret behind his super soundness. “Every drug has expiry date. Some foods also have. Can you accept that you have expiry date? One is kept alive through his activities and strength. He begins to wear away at certain stage. That depends on the state of his mind to start with. What is in the mind affects your age. Many of us have read about creation in the Bible. God made man in his image and likeness. It is spiritual. Does God ever die? Does he ever grow sick? Therefore, you will not grow sick or die. What we experience at death is what we believe. What is in the mind affects our life. That is the secret if it is a secret at all. What you think you are will determine what you will ever be. There is no short cut. You work hard.”
On the need to protect indigenous language and African culture, Okara said: “In what language do you read? Is it the language of your colonisers? Language grows with the culture of the people. You are known and identified by the culture of which you are nurtured and in which you grew up. So, in Nigeria, we have several languages. The common language is English. If you want your writing to be read and appreciated outside your enclave, you have to write in English language. While doing that, you have to give some sacrifices to your culture too. In Ijaw, when you say somebody is afraid, you say the person has no chest because we believe it is the chest that gives courage to struggle for livelihood. If someone has no chest, it means he is a dead person or can someone live anatomically without a chest? This symbolises the kind of life people live in riverine area. You have to fight and struggle. Bravery, strength is embedded in ones heart. Without bravery, you cannot live in those days. I have to write the way I did to maintain certain elements of Ijaw culture in the story. The language that is not used vanishes. If you don’t reflect in the language of your expression, some elements of your culture will soon disappear as we find in this country. Those who speak English are mechanised people. In villages, those who live with old ideas can easily be influenced by those who speak foreign languages like English. If we don’t revive and keep alive that aspect of our culture, we will lose our identities and we will join those people who have lost their culture. I hope we will be civilised as I do myself,” he said.
He was later treated to a rousing birthday song and warm embrace by his friends. Prof Maduka used the occasion to present a book on the symposia that were held years ago in honour of the celebrator, saying he was the first writer to be honoured with the honorary Doctorate degree of Letter by University of Port Harcourt. The evening was rounded off with a birthday cake. Present at the cake cutting were Soyinka, Clark, Mrs Koko Kalango, Molara Wood, who represented President Goodluck Jonathan and members of his family.
On Friday, it was the turn of another renowned Ijaw-born writer, Prof J.P Clark. Like his kinsman, Okara, he took the seat at the Meet The Author forum, during whiuch he shared his experiences as a writer. He said he does not beleive ‘we are a wasted generation.’ The ineraction was preceded by a poetry performsnce by some budding writers coordinated by A.J Dagatola.
He asked: “How can we say we are wasted, if we produce the literature we are celebrating today?” But, he observed that there is a dysfunctionality now, which Prof. Wole Soyinka described as a waste.
On whether poetry can serve as tool for a social change, he said:”Poetry doesn’t change a politician. Today, politics is for contesting elections even four years ahead. Every child knows our problems. Politicians spend their time and energies on winning elections. You can write all the poems, it will not change them”.
Clark recalled that during his school days, Nigeria heavily subsidized those who went to school. But, that “we were trained to be in civil service and not in politics”. According to him, Nigeria had no oil then, but proceeds from oil palm were well spent. Nigeria has money, but not well managed. And it is in the hands of the wrong hands… If I had joined the military, I would have been dead now. What is going for the west is that politicians there went to school, and are able to manage the military”. Colonial government did not hand over Nigeria to those who wanted independence, noting that Nigerians who also fought for independence have been forgotten by Nigerians and “they were in Lagos and Calabar”.
“Only a hollow crown was given to Dr. Nnamdi Azikiwe. If political power was handed over to the varsity graduates of the University College, Ibadan and others, we would have been greater. Unfortunately, they were drafted unto civil service. It is the political class that got the power in the darkeners. Those in public service were distinguished Nigerians”.
He urged young writers and poets to do their apprenticeship and know the language well. Clark also described poetry as the highest point of any language (both written and spoken), however, expressed worries about the qualities of content.
“What worries me about poetry today is that I don’t think many practitioners take the academics seriously; be it Queens English or Warri pigin. Don’t forget the syllabus… the poet is a poet; he delivers his works for the public to enjoy…There are new voices around, and am not disillusioned by all poets of today. Not everybody that says he is a poet is a poet. I am for a thousand flowers blooming but, let them be well fed from the soil”.
On his strong passion for writing, even at so, Clark said; “Sometimes I write a dozen versions of poems a day before I am happy. I am not an entertainer”.
Molue: From scrap to vehicle of knowledge
The Goethe Institut in Lagos hosted Emeka Udemba’s Witness, an exhibition of Molue, as an interactive way of taking art to the people while interrogating critical issues in the society. Assistant Editor (Arts) OZOLUA UHAKHEME reports.
IMAGINE the popular Lagos yellow passengers bus Molue, parked at a busy bus stop on a Lagos road during peak period of traffic on Monday morning. An army of anxious commuters rushed to the bus struggling to gain entrance into it. Workers, market women and students were all part of the mad rush. “Hey stop. This is not a passenger bus, please all of you get down,” a voice from one of the few seats at the back end of the bus shouted.
Surprised and shocked, the frustrated commuters wore long faces as they looked out for the real Molue. However, they did not leave until they discovered that the refurbished and attractive bus was a Molue Mobile Museum of Contemporary Nigerian Art with a vehicle registration number LND 100 XF.
Inside the bus is a medium-size flat screen television screening a documentary on the operation of Molue on Lagos roads, food and drug hawkers, newspaper vendors and shouts from the unfriendly conductor form the staccato of noise from the documentary. There were also four paintings of faceless figures (two on each side) of the spacious bus.
Also arranged on a platform at the back end of the bus are copies of journals, books, brochures and hand bills on art. It is a mini-library of sort, which is serviced by 10 comfortable covered seats
Apart from the footage, the narration of the documentary is a historical journey of when Molue bus came to be, its challenges, characteristics and mode of operation among others. Welcome to Molue Mobile Museum of Contemporary Nigerian Art, which hosted its inaugural exhibition titled Witness by Germany-based Nigerian artist, Emeka Udemba at the City Hall premises, Catholic Mission Street, Lagos. It was organised by Goethe Institut, Lagos and supported by the Consulate General of the Federal Republic of Germany, Lagos, Mercedes Benz, British Council and Ayenibiyi Limited. The mobile exhibition which will run till July 26 will move round some major streets and neighbourhoods in Lagos. Present at the opening included Muson Centre’s Artistic Director, Thomas Kanitz, Chinwe Uwatse, Ndidi Dike, and representatives of British Council, Lagos.
To the organisers of the exhibition, the refurbished Molue, which costs about N2 million is a rare symbol of public transportation system in Lagos after the scrapped Bolekaja, a wooden commuter Bedford truck. Witness according to director, Goethe Institut, Lagos Marc- Andrea Schmachtel, is not only a way of addressing the public through art but also to take the art to the people. He observed that the medium became necessary in Nigerian fine art scene, though novel in this part of the world as a way to promote art. “Fine art scene is greatly influenced by physical gallery space. But, there are other forms of presenting art, this is one. Molue is iconic in Lagos transport system. But it is going out of use soon hence we are interested in transforming the popular bus to other uses. The Molue don’t need to be demolished and scrapped as it can be used for different purposes such as mobile museum or library,” he said.
There are many aspects to the Witness project. Through it a serious missing link-a befitting art gallery- in a mega city like Lagos is being brought to the fore. And the medium being used to draw attention is an iconic object such as Molue.
According to Emeka Udemba, one of the major challenges facing contemporary art, especially in Africa today is the issue of the context, representation, presentation and documentation as well as the question of how to map the evolution of contemporary art in Africa. He raised the following posers:
“How can we engage or appropriate a critical form in the way we show and interact with contemporary art to suit our local environment and in so doing make culture more accessible to the public?
“To what extent is a museum of contemporary art capable of interrogating real issues that affect us? How do we engage the public in a more participatory and collaborative way as part of the creative process? How can we generate more interdisciplinary exhibitions that are focused and in multiple spaces,” Udemba wondered. But importantly, the primary concept behind Witness is hinged on reinventing space while simultaneously preserving an icon of the Lagos city urban transportation heritage- the Molue. It is the hope of Udemba that this iconic means of moving from point A to B, (which is being phased out by government), can serve as exploratory exhibition spaces, host exhibitions, educational programmes, screenings, performances, discussion sessions,music and workshops.
“The goal is to shift from the static to the flexible, harnessing the opportunities of social mobility within the urban space,” he noted, adding that art is not complete without the participation of the viewers.
On the characters of the operators of the buses, Udemba said: “The questionable technical condition of most of these Molue buses and the recklessness of the drivers is a constant threat to other road users. When Molues breakdown, as they often do, the drivers and their conductors often abscond leaving the passengers to their own devices.
“Like bullies on the road, Molue drivers epitomise the broad culture of impunity in the larger Nigerian society.
They are always impatient, they frequently flout traffic rules, and they stop to pick up or drop off passengers outside designated bus stops. This often exacerbates the perennial traffic jam and traffic chaos in the city.”
However, the Molue bus, to some extent, captures the spirit of optimism, resilience, and adaptation to the daily challenges of survival of the ordinary Nigerian citizen.
art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-58209912191143590522014-03-30T10:16:00.003-07:002014-03-30T10:16:48.300-07:00Ewa AsaEwa Asa: Preserving Yoruba language
In the last 25 years, the Chief Executive Officer African Mind Foundation, Rose Odika has maintained a consistent presence in stage theatre. Since the Ibadan-based actress debuted with Ododo-Eye, directed by Prince Wemimo Paul, her contributions have traversed different aspects of cultural life-acting, fashion designing, singing, skin care therapy and cultural activism. She spoke on her pet-project Ewa Asa, initiated to promote Yoruba language among students in Ibadan, Oyo State, why she has never acted in English movie and what she lost to acting, Assistant Editor (Arts) OZOLUA UHAKHEME, reports.
Her passion for stage theatre and love for Nigerian heritage kept her hands full of ideas. The Delta State-born thespian who spent most parts of her life in Ibadan, Oyo State, believes her art knows no ethnic divide or race. Little wonder she founded African Mind Foundation solely for the preservation and promotion of Nigerian languages such as Yoruba and Ibo, which are facing extinction.
Worried by the increasing security crises in the country, Odika is offering her current movie (still under production) titled Salujo- a movie that interrogates why go to war when we can dialogue- as a panacea to restoring peace in the land. This, she said, is part of her dream and fulfillment as an actress- to make people happy and put smiles on their faces.
She recalled that the Ewa Asa project (beauty of culture) was inspired by her desire to preserve Yoruba language, which many indigenes of the state can’t speak fluently because of love for English among the elite. “I have been in Ibadan since 1978 though born in Lagos. I discovered that many youths in the West are losing Yoruba language in preference for English. I said to myself, I hardly speak Ibo Language, where then is my strength? So I said let me celebrate where I have been all my life,” she said, adding that when the project has been successful in the West, it will move to Delta State.
She said the essence of the project blends with her career as an actress, describing the response to the maiden edition of Ewa Asa as wonderful.
“To my surprise, people embraced the project as students kept coming for the entry forms for the competition. So far the only challenge is funding, which is lean.
The event, which featured competition in ability to speak Yoruba language fluently and Oriki as well as awards to distinguished Nigerians such as veteran poet and actor, Alagba Adebayo Faleti was held at K S Motel, Ibadan last October. For this year, she said forms for competition, which is open to students between ages 15 and 30 will be available by August through on-line.
But paucity of funds and the seeming lukewarm attitude of government officials to supporting the event are giving the organisers some concerns. “I will continue to push in the direction of the private sectors because government officials have not demonstrated enough interest to back the project. I am therefore making the sourcing of the fund a private sector driven. The project is not about money but to rejuvenate Nigerian rich heritage. However, I am fulfilled running the programme after all I had some sponsors in the corporate world such as Learn Africa (former Longman Publishers,” Odika said with pride.
On why most actresses are single mothers, she explained that becoming a single mother is never a deliberate choice for most career women, noting that it is circumstantial because of their career.
“Most career women are however paying the prizes in terms of not having the desired married life. It is not easy to be a career woman as well as be a happy mother in a husband’s home. In fact, it is not peculiar to the actress alone as every career woman faces such problem in the world. Notwithstanding, if I come back to this world, I will be an actress again and again,” she boasted nodding her head in affirmation.
Odika recalled that but for her poor results in JAMB examination she would have studied law because she loves mediation a lot. She said at the moment, taking roles in movies has been slowed down because she is into production such that she can have time for the home front.
Her dream
“I want to be the best I can and as someone who passed through life as a mentor who is recognized as credible, morally upright intellectual. I want to be acknowledged as a point of reference in life-one who made it without much capital and get result. In fact, I want to be remembered that I can do it. Note that I was not born with silver spoon.
Marketers and cheap roles
Many marketers in the movie industry dictate to producers and actors on the scope and content of most movies. In fact, they determine close to 80 percent of what goes into a movie. All is to sell and make money not minding professionalism.
Unfortunately, most young girls are embracing such cheap roles in order to get popularity. For me, before I take up any role in a movie, I will go through and decide, no matter the price I will turn down role. I have my credibility to protect. I will not stop low for money.
I am a single parent but come from a humble background. And I still operate at that level. I don’t believe in gold and exotic cars, and I don’t owe anybody because of gold or car.
Some of my movie include Iya Niyami, Alaporotu, Onfoloke, Aminu Madajo, Toriogun, Omo mi, Gbosewo,
Prize of being a movie star
My role has helped me a lot in relating with fans. I love eating rice (elewe) but because of my career I cannot do that in public. Also, to drink water from sachet (pure water) is a problem because you don’t know who is watching you. Again, I hardly see my daughter regularly because going to locations take me out of the home. However, you must win some and lose some. My role models are Iya Awero and Iya Rainbow. My first movie appearance fetched me twenty thousand naira in 1993. That was in Ododo Eye.”
art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-73297261328837454132014-02-20T07:24:00.003-08:002014-02-20T07:24:53.241-08:00Muson centre, Immigration boss, Samodun festivalMuson Centre: Braving the odds
In the last two decades, the serene ambience of the Musical Society of Nigeria (MUSON) Centre at Onikan in the heart of Lagos has remained unpolluted. The centre is a unique brand in top-flight events hosting and a model in sustaining standard and quality in service delivery in the private sector. Its General Manager, Mr. Gboyega Banjo, reflects on dwindling support from corporate bodies and the increasing challenge of funding the centre’s flagship programmes, among other issues. Assistant Editor (Arts) OZOLUA UHAKHEME reports.
When it started 31 years ago, the founding fathers of the Musical Society of Nigeria (MUSON) were resolute on their vision-taking the best classical, folk and popular music from Nigeria to the rest of the world. Also, they were committed to the performance of serious music with emphasis on classical ones. Driven by these desires, the society established the Muson Centre that literarily became one of the leading event venues in Lagos.
Twenty years on, the vision to sustain excellence has not changed. But, what has changed is the quantum of funds at the disposal of the centre to run its flagship arts events. The establishment and running of Muson choir, Muson Music School and Muson Symphony Orchestra and the annual Muson Festival are among the centre’s landmark objectives. At inception, some corporate bodies such as Shell, Agip and Mobil committed huge resources into the construction of its facilities, especially the recital halls that earn the society regular income. Till date, it thrives on hosting top flight events. Like an oasis, the architectural elegance and serene ambience of Muson Centre stand out among other event venues on the island. The tall, luxuriant royal palm trees that provide shade at the car parks and walkways, and the refreshing cool breeze from the love garden fountain are soothing balm to every guest at the centre.
However, there seems to be a downward slide in the centre’s earnings from corporate bodies’ supports. Little wonder, it is getting increasingly expensive to fund the annual Muson Festival. “The festival was designed to broaden the music for Nigerians to include jazz, drama and literary competition. We have performances by Nigerians and African musicians. We are largely fulfilled by our objective, but it is getting increasingly expensive to fund the festival. Though shorter, we still succeed in touching wider audience,” Banjo said.
He said corporate supports these days are limited to sponsorship of concert and the annual festival, adding that the stream of income for staff emoluments and maintenance come from internally generated revenue. “Muson is a membership society with wide range of categories, and there is an inflow of income from that,” he said.
What percentage of the centre’s budget is derived from hall charges and membership subscriptions? How has the centre managed the cost implication of its maintenance culture in the last 20 years?
According to Banjo, Muson Centre at the beginning got massive donations for the construction of the recital halls, but that since then, ‘donations have been for concert and funding of emolument for Artistic Director of the centre. However, it is getting increasingly difficult to get funding.’
He said the founding fathers knew that much money would not be realised from gate takings for arts events, which was why they approached the corporate bodies for supports. “We have a strong link with the corporate Nigeria. But in running a regular event, we let out the halls to raise such income. All these are used to fund the concerts,” he said.
He said no efforts have been spared to sustain the maintenance culture at Muson but that it requires discipline of staff. “At the outset, cleaning of the facilities was contracted to cleaners, who work 24 hours every day. It costs money and yet we don’t cut corners. Adequate budgetary allocation is provided for maintenance of space, generator, clearing of the lawns and cooling system. It requires putting aside a substantial amount of money to do that. I don’t think I can give out the figure,” he added.
Muson is an example of an institution that thrives on collective efforts of private individuals; a society that encourages classical music and training of youths without a dime from the government. Its music school has moved from a basic class in music to a two-year diploma course accredited by the Ministry of Education in 2005. This has deepened Muson’s involvement in music education in the country. Telecommunications giant, MTN, is a major partner that picks the bills- tuition, allowances and books for the students.
What separates Muson Music School form the regular music departments in the universities and polytechnics? According to Banjo, training at the Muson Music School with an enrolment of 60 students is unique because its performance based. “We are extremely proud of our students and it has proven that Nigerian youths are talented,” he said. Banjo however noted that there is need to expand the school’s space to accommodate the students adequately. He disclosed that the centre is supposed to have a major concert hall. “We are looking at the possibility of having a larger hall and a multi-purpose building in future. But the school’s expansion will look beyond the walls of the centre,” he said.
Like the Music School, the Muson Symphony Orchestra is the second dream, which is an offshoot of the Muson choir. Banjo, who returned to Muson Centre after serving as General Manager between 2001 and 2006, said his satisfaction at Muson is that the standard is still being kept. “Again, the management members are young and that gives me satisfaction too as they will sustain the dream,” he said.
On the seeming challenges from other emerging events centres in Lagos, Banjo described it as a healthy development adding that ‘when City Mall located opposite the Muson Centre was coming up many thought it would drive us out of business.’ “But today, Muson Centre, located on 1, 666 hectares of land in a quiet leisure and cultural zone of Lagos, ‘has remained an icon with loyal clients. In fact, the Muson brand is uniquely different,” he said.
Immigration boss backs domestic tourism
By Ozolua Uhakheme
“I am happy that you have discovered what is necessary and needed to unlock the hidden potentialities of this sector. You will discover that most countries reaping bountifully from tourism today, first of all, looked inward, took tourism inventory in their countries, drove the consciousness in their own people, developed the sites, enhanced them and invited foreigners to see.
“This is exactly what Nigeria needs to do and it gladdens my heart that you are not only talking it but doing everything practically possible to bring it to be. This is good.”
This remark was made by the Comptroller-General of Nigerian Immigration Services, Mr David Parradang, when the Director-General, Nigerian Tourism Development Corporation (NTDC), Mrs Sally Mbanefo, visited him in Abuja.
The Immigration boss assured NTDC of his support, especially in evolving a sustainable vision to kick-start the blossoming of the tourism sector in Nigeria. Parradang said he was particularly happy that Mrs Mbanefo has been living up to expectation and spreading the gospel of domestic tourism in Nigeria, which he described ‘as the magic and a potent instrument capable of jump-starting and kindling the zeal of tourism consciousness in the nation’.
He noted that statistic within the agency revealed that foreigners love to visit Nigeria tourism sites but informed that some of them are skeptical about the status and facilities available in these sites adding ‘these are the areas which your organisation needs to work on.’
The CGI used the opportunity to highlight what the agency has put in place to further the cause of tourism and tourists saying that ‘the focal points of his administration, which is hinged on capacity building, robust border patrol, deployment of appropriate technology for monitoring and statistical analysis of foreigners and tourists in Nigeria.’
Mr. Parradang disclosed that “the Federal Government has made Nigerian visa procurement easy and smooth. “The Operation getting visa at point of entry has kicked off. There are facilities on ground now, where you can renew your visa in a day and there is no room for delay in obtaining Nigeria visa any longer.”
He reiterated the desire of the agency not only to partner with NTDC, but to collaborate in any way that could add value to the domestic tourism vision of Mrs. Mbanefo. “Whatever the case is and may be, just be assured that the Nigeria Immigration Service is not only in alliance with your vision of promoting domestic tourism but ready to support and collaborate with your corporation for the lifting of Nigeria’s tourism status among the comity of tourism states.”
Mrs. Mbanefo commended the immigration boss for having a good grasp of the tourism sector saying, ‘I am impressed by your brilliant overview and suggestion about the tourism sector, which revealed the fact that you are not only a thoroughbred immigration boss but one with informed global perspective of tourism trends.
‘This is a good sign for us at NTDC. NIS is a very important stakeholder to NTDC and it will be unwise if I did not pay respect to you and seek collaboration and advice. As partner in progress, we want a strong partnership with Nigeria Immigration Service, in the area of easy Visa regime for the entire tourists that will attract foreign investors. She disclosed that ‘we are here to strengthen and lubricate the chord of relationship and collaboration, which should be between the Immigration Service and NTDC, the two Siamese twins of the travel and tourism sector.’
Mrs Mbanefo said no tourism agency can make any meaningful impact without a strategic partnership with the immigration service. “Our paying you this visit is to tell and show you our respect and appreciation of your import and essence to the tourism sector and the domestic tourism vision. We are happy that we met a man who is well grounded in what we are about to sell to him. This has made my work smooth,” she said.
She disclosed that no serious tourism driver of a nation would undermine the position and essence of Immigration service because “statistical data and effective border control is essential to the growth of tourism and protection of the nation’s security and integrity”
Mrs. Mbanefo commended the Immigration boss for his sense of duty and the warm reception accorded her delegation. “We commend you for your warm reception, enlightenment and assurance of collaboration and support, we are leaving here re-energised, re-invigorated and with the assurance of having a productive partner in Nigeria Immigration Service,” she said.
With Samodun Festival, Oyo raises bar for regional integration
No fewer than eight states’ delegates converged on Ibadan, the Oyo State capital, for the second Samodun Festival last weekend, reports Assistant Editor (Arts) OZOLUA UHAKHEME .
This year’s valentine day celebration took a different dimension in Ibadan, the Oyo State capital at the weekend. Instead of flaunting the usual red and white colourful dresses, balloons and gift items in commemoration of lovers’ day (February 14), delegates from seven other states in Southwest including Kwara and Kogi States, converged on Ibadan to feast on the rich cultural heritage of the people. It was the celebration of this year’s Samodun Festival, which has as theme, Asa Parapo.
For two days at three venues (Lekan Salami Stadium, Civic Centre and Oyo State Cultural Centre) Yoruba language, music, art, dress, food among other intangible heritage took centre stage. Apart from security operatives, who wore uniforms, almost everybody at the festival venues wore traditional dresses such as Buba and Sokoto, Sanyan Dansiki and Buba
and Iro with good head tie or hairstyles such as Suku and Kojusoko for the women.
Participants were drawn from Oyo, Ogun, Ondo, Ekiti, Osun Lagos, Kwara and Kogi States to celebrate the second Samodun Festival initiated by Oyo State Governor, Senator Isiaka Abiola Ajimobi as a tool for regional integration. The festival, which featured cultural parade, oleku night and food fair was attended by Nollywood artistes such as Jide Kosoko, Dele Odule, Muyiwa Ademola, Saheed Balogun and Ronke Ojo (Oshodi Oke) among others.
Traditional rulers from Ibadan, Oyo, Oke-ogun and Ibarapa areas of the state were present at the opening ceremony with the trio of Alaafin, Olubadan and Soun of Ogbomoso who pledging their continuous supports for Senator Ajimobi’s desire to promote Yoruba culture and change the face of Oyo State.
Senator Isiaka said he was happy for the success of the festival, saying that through it he has scored another point in promoting the culture and tradition of Yoruba land while taking another fruitful step towards enhancing the regional integration agenda.
He said: “The concept of Omoluabi’, which has been the major guiding principle of Yoruba people, is being restored through promotion of cultural festival and enlightenment programmes such as this, adding that, ‘everything about Yoruba is unique. Our dressing, food, traditions and everything about us is fantastic and that is why people from other parts of the world are coming to learn it, because they consider it useful and crucial to living a good life.”
Governor Ajimobi, who lamented the retrogressive method of teaching Yoruba language and culture in schools, said the state government is taking serious steps in making people interested in learning the language.
“We are worried about it and part of what we intend to do apart from encouraging the teachers, is to organise cultural competition where cultural events will be held and prizes given to those who excel. This, will no doubt, go a long way in making people to be interested in learning and developing positive attitude towards the culture and tradition.
The parents, guardians and custodians of culture and tradition of Yoruba land not to relent in their efforts, but encourage people to develop interest in the culture and tradition. “Our culture is a free gift from God, it is a wonderful gift, which naturally must be flowing in us, but things have changed due to globalisation and infiltration of the western idea but we must not allow it to die,” he said.
Oyo State Cultural Troupe demonstrated their pacessetting role when they entertained the audience with a drama sketch on the king and olori. The presentation reinforced the tales about the elegance and majestic life kings enjoyed in the ancient days. The mountainous installation displayed by the Ekiti troupe was another interesting part of the event.
All through the opening ceremony, sweet melodious tunes from evergreen and contemporary Yoruba music rented the air. From the traditional dundun, sekere, bata and other drums were freely used to spice the melody. On hand to add colour was an American artist, Kelvin Berry aka Kayode Oyinbo, who tried his hand on Bata and Omele drums, which he did to the admiration of the audience.
Kayode, who spoke passable Yoruba language said he has been an advocate of promotion of Yoruba culture and tradition, and has been in Nigeria for a while. “I love this tribe, their culture is the best in the world, the dress, food, tradition and everything about the tribe I love and I will want Yoruba people not to allow the culture to die by organising events like this. Today, I have learnt a new thing. I am happy to be here,” he said.
A Japanese researcher, Dr. Satoru Muranaka of Tropical Agriculture Research Front (TARF) who was at the food fair said he loves iyan and efo or egusi, amala and gbegiri and ekuru, moin moin and akara. “I have been in Nigeria for ten years and what I enjoy most is Yoruba food. We are carrying out a research on yam and cowpea on how to preserve them,” he said.
Oyo State Commissioner for Culture and Tourism, Princess Adetutu Akhigbe Adeyemi who spoke in Yoruba, said Samodun Festival is a unique event that is organised to celebrate the goodness of God in the life of people of Oyo state and designed in a way that it encompasses events that will enhance the promotion of Yoruba culture and tradition.
According to her, “as a pacesetter, we are determined to champion the cause of taking Yoruba culture and tradition to a higher level. It is obvious that we are losing the legacies of our forefathers through the overbearing influence of Western culture on our land. But we can no longer continue to fold our arms to watch it die, we are ready, more than before, to ensure that the dying culture is rejuvenated and promoted beyond the shores of our land.”
She explained that the event was held to showcase the beauty of ‘our, music, dress, hairdo and everything associated with our tribe and which form the basis of our strength and unity, and we hope by the end of this festival the cultural integration agenda will be on another level.’
The Governor’s wife, Mrs Florence Ajimobi, who was the special guest at the food fair, said women should encourage their wards in preparing local delicacies, noting that ‘our delicacies and culture are far better than others. But we can only demonstrate it if we reflect it in our day to day activities. This kind of belief reinforces the confidence in the fact that Yoruba culture will not fade, and we are organising this food to showcase to the world that we are truly omoluabis with rich culture.’
She urged everyone to ‘encourage our culture, growth of language, our dressing and activities should reflect our tradition. If we lose it, it may be difficult to retrieve. But, I am sure it won’t.’
Oyo State emerged winner of the cultural parade, while Kwara and Ekiti took the second and third positions respectively. But the Oleku night held at the Civic Centre featured performances by acts such as Rashidi Ayinde aka Fuji Merenge, Musiliu Ishola and Tilaman. The performance by Tilaman at the Oleku night was not too homely. At a point, he invited the Oyo Commissioner for Culture and Tourism, Princess Adeyemi, to the stage only to sing ‘vulgar and obscene’ songs. The same for the youths drama sketch, which was a far departure from the spirit of the festival. Organisers should ensure presentations at subsequent editions of the festival do not only celebrate the cultural values but also key into the omoluabi principle of the Yoruba people.
art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-50923370468628193042014-02-12T09:18:00.003-08:002014-02-12T09:18:56.231-08:00Ooni showers blessings on MbanefoOoni showers blessings on Mbanefo
•NTDC signs MoU with Nigeria-Turkey Chamber of Commerce
Call it reverence or respect for tradition and culture. You are right. This year’s Oodua Festival held at Ile-Ife in Osun State, provided ample opportunities for many to celebrate the rich Yoruba heritage. One of such Nigerians is the Director-General of the Nigerian Tourism Development Corporation (NTDC), Mrs Sally Mbanefo, who explored the festival to promote domestic tourism, reports Assistant Editor (Arts) OZOLUA UHAKHEME.
For two days, the Ife Palace Square, Ile- Ife, Osun State was a beehive of cultural activities featuring dancing, singing and drumming among others. In attendance were traditional rulers such as the Ooni of Ife, Oba Okunade Sijuade, Olususe 11, representative of Alaafin of Oyo, Oba Lamidi Adeyemi, the Director-General of Nigerian Tourism Development Corporation (NTDC), Mrs Sally Mbanefo, Otunba Gani Adams, culture enthusiasts, delegates from different Yoruba socio-cultural groups and tourism operators. The gathering was the celebration of this year’s Oodua Festival organised by Otunba Gani Adams.
But of all the guests at the festival, one person stood out; the Director-General of NTDC, Mrs. Sally Mbanefo, who the Ooni of Ife, His Imperial Majesty, Oba Okunade Sijuade Olubuse 11, showered rain of blessing on exhibiting diligence at work and showcasing passion at her duty post.
Mrs Mbanefo, who was the special guest at Oodua Festival 2014 organised by Otunba Gani Adams, earned the special recognition and blessing from the Ooni of Ife.
The Ooni said Mrs Mbanefo has demonstrated a unique quality and robust sense of responsibility since she assumed office. This according to Ooni, has distinguished her as a public officer that has a vision for the national mission.
The royal father pointed out that he had kept an eye on the activities and acts of the Director –General since her appointment and she has performed creditably well by living up to her promises and building her vision for the nation.
The Ooni said that he has particularly impressed by the determination of Mrs. Mbanefo to mobilise and kick-start tourism revolution in Nigeria via domestic tourism initiatives.
“I have monitored her talking about domestic tourism and I have also read about her visit to tourism sites all over Nigeria, raising the consciousness of Nigerians to these wonderful gifts of God. And her presence here today, participating in Oodua Festival is a living testimony of her seriousness of purpose, diligence at work and commitment to national duty and vision,” he said.
The Ooni prayed fervently for Mrs. Mbanefo, supplicating to God Almighty to grant her wisdom, equipped her with strength , good health and grant her success in NTDC while predicting that she has greater role to play by her in the affairs of the nation.
“God Almighty will increase your wisdom, grant you good health, bless you, expand your coast, widen your thinking horizon not only to enable you mak a success at this post but ensure you perform better than your predecessors and see you through to a greater responsibility in this country,” Ooni prayed.
The Ooni, who commended Mrs. Mbanefo for being the first Director –General charged with promotion of tourism to identify with Oodua Festival, assured her of the support of the ancestors of Yoruba land and invoked the spirit of Oduduwa, who she came to honour, to assist her in all her ways .
He urged Mrs Mbanefo to hold on to God for strength, guidance and direction.
“In all, of these, I enjoin you to trust in God, hold on to him. Always pray and put God first. Pray to God first thing in the morning, place before him all your activities and return thanks to him in the evening. With you doing this, the sky will be your stepping board,” he said.
The Ooni, who declared Mrs. Mbanefo a Yoruba revealed that her father , Chief George Uwechue , SAN, the Owelle of Ogwashiku , has lived in Yoruba land for 42 years. He called on all Yoruba at home and in Diaspora to support Mbanefo’s vision at ensuring the blossoming of domestic tourism in Nigeria
He lauded President Goodluck Jonathan for appointing someone who has the right attitude and posture for the job, adding that Mrs. Mbanefo’s deeds, actions and vision since her assumption of duty at NTDC have vividly testified to the fact that President Goodluck Jonathan never made a mistake by appointing her to paddle the canoe of tourism sector to a prosperous bay.
Mrs. Mbanefo who demonstrated her rich knowledge of the Yoruba culture, the Ife tradition, her domestic tourism vision and strides since she assumed office by visiting some pristine tourism sites in Kaduna, Abuja, Cross River, Bayelsa, Lagos, Ondo, Akwa Ibom and Port – Harcourt for authentication, assessment and development.
She expressed her gratitude to the Ooni for “the fatherly blessing and divine prayers offer her.
Meanwhile, the management of the Nigerian Tourism Development Corporation (NTDC), under the leadership of Mrs Sally Mbanefo has been described as a purposeful team destined to lead Nigerian tourism sector aright. The Executive Chairman, Nigeria–Turkey Chambers of Commerce and industry, Dr Eze Eche Hyacinth made the observation when he led a delegation of his association on a business visit to the Headquarters of NTDC, in Area 1, Abuja.
Dr Hyacinth commended Mbanefo for “carving out the domestic vision, which does not only tallies with the expectation of the people but squarely fits into one of the goals l of his association which prompted the visit and the proposal for the signing of a Memorandum of Understanding on the vision with NTDC.”
He revealed that the Nigeria – Turkey Chambers of Commerce and Industry “has set upon itself the task of promoting domestic tourism and trading activities between the two countries for mutual benefits. Hence the need for a synergy of purpose between the association and NTDC”
Mrs Mbanefo commended the chambers for keying into the domestic tourism vision of the corporation, which she said would not only promote the appreciation of tourism sites in Nigeria but call the attention of governments for their development .
She said the MOU would not only encourage bi-lateral cultural and tourism relationship between the two countries but pave the way for economic and social integration.
Mrs Mbanefo said : “Our mission at NTDC is to showcase promote, showcase and facilitate development of our tourism assets. We are glad to find in you a willing, worthy and ready partner in the lovable efforts at selling Nigerian tourism potentialities to the world.”
A home where ‘time is well spent’
Looking for a home away from home? You need to visit Adna Hotel Limited, a destination point with personalised service, reports Assistant Editor (Arts) OZOLUA UHAKHEME.
To every first timer, House 28 is like every other residence on Ladipo Bateye Street, Ikeja GRA, Lagos. But, that impression changes immediately such guest enters the compound. Reason? It houses a boutique hotel where a homely but cosy ambience ushers in guest with personlaised service that ensures that his time is well spent. Welcome to Adna Hotel Limited, a medium-size boutique hotel located in the heart of serene area of Ikeja, where style meets hospitality.
Two years on, the new hotel management has been able to keep its head above water by creating a unique brand of boutique hotel where services are personalised. Recalling the experiences in the last two years of operation, Chairman, Adna Hotel Limited, Mr. Ehi Braimah said the hotel is constantly building a brand that thrives on personalised services, friendly, cosy ambience for customers, e-marketing and a team of dedicated staff. He said running the hotel has been a great experience though it’s a new line of business, which is different from the media.
“We are building a business that promotes standard, personal service and our slogan is ‘time well spent’, right from the time you open the gate to the hotel. Every touch should be a great experience for guest to come back. And when you have repeat customer, you are in business,” he said.
Braimah, who identified unsteady power supply as his biggest challenge, said Adna Hotel has taken on the challenge by acquiring high capacity generators that provide 24-hour power supply. Also on its stable is steady internet network service backed by modern hi-tech mast.
He noted that notwithstanding such challenges, the hotel does not compromise maintenance standard, adding that every December the hotel undertakes the face-lifting of all its facilities. “This December, it was the swimming pool that got renovated. It will be another facility tomorrow. And every December, the hotel buildings are repainted to keep it clean and customer-friendly,” he said.
On the choice of Ikeja GRA as location, Braimah said it was a deliberate marketing strategy because ‘we wanted to create a premium boutique hotel that is very close to the airport. You know that Lagos is noted for its traffic challenge, and travelers and tourists will prefer a decent hotel very close to the airport.’
Despite the seeming ‘glut’ in hospitality business as a result of security challenges, the management of Adna Hotel Limited is working hard to turn the hotel into a brand. The chairman said he would be fulfilled when he takes the hotel to Lekki, Lagos and Benin in Edo State as he is not in competition with the bigger hotels.
However, at Adna Hotel Limited, corporate bodies are its main target audience. But, most of its individual customers have become ‘ambassadors and advocates’ who promote the good image of the hotel to the world. One of such clients is Professor of English and African Studies, Southern Illinois University, United States, Prof. Robert Fox. He lodged at the hotel in July 2012 when he was guest lecturer at Prof Wole Soyinka’s 78th birthday ceremony. He presented a paper titled: From Tigritude to Transcendence: The conscience and conscientiousness of Wole Soyinka.
“You are making the point with Adna Hotel that things can really work in Nigeria,” Prof Fox told Braimah before returning to US.
art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-25162167474998932862014-02-09T12:24:00.001-08:002014-02-09T12:24:59.525-08:00Centenary bouquet for Nigeria
On January 1, 1914, the Northern and Southern Protectorates were amalgamated, giving birth to modern Nigeria. January 1, this year, marked 100 years of that union. On Monday, Femi Coker, an artist,presented the nation with a unique gift as his contribution towards the centenary anniversary, Assistant Editor (Arts) OZOLUA UHAKHEME reports.
Kemi Coker Creative Director, Femi Art Ware House , is a “weird” artist. His paintings and sculptures are often out of the box. Between 2011 and last month, he produced three firsts in the creative industry: largest African textile collage measuring 40ft by 25ft in 20011, world tallest drum (renaissance drum) measuring 11ft by 6ft unveiled during the Black History Month in February last year and world largest straw mat measuring 45ft by 30ft unveiled at the third Badagry International Art Fair in December.
Last Monday, he made another history with the unveiling of his newest artwork, world’s ‘largest’ textile map, measuring 35ft by 32ft in the form of Nigerian map. It was held in partnership with De Roots Renaissance at the Badagry Heritage Museum, Badagry, Lagos State.
The textile collage, which took him five months to produce, is made from textile materials used mainly by 50 ethnic groups across the country. It is a commemorative piece for Nigeria’s centenary anniversary. The project is his contribution to the 20-month long celebration that has featured special carnivals, art expos, literary festivals, launch of theme song and beauty pageant.
Last December, in Yenagoa, Bayelsa State, 23-year-old Queen Ubah (Imo State) emerged Nigeria’s Centenary queen. Ubah with her dazzling beauty, poise, gait and excellent display of brilliance and knowledge of Nigeria beat others from the 35 states and the Diaspora to wear the coveted crown. She was crowned as the winner and queen that will reign for the next 100 years by a former beauty queen and Creative Director, AOE Events, Chief Adenike Oshinowo.
Thematically, Coker’s collage shows that Nigeria is a beautiful mosaic with a national identity defined by its history and culture. In line with the centenary celebration, it draws out the nation’s soul for the world to see and creates a new understanding of history, strengthened by its art, culture and shared history.
According to Coker, the historical evolution of many communities is woven in the fabric of its existence. He said through textiles, history is documented, hope is expressed, encouragements are given, sympathy is shown, faith is shared, courage and heroism are patterned.
“In their motifs, memories of the past are detailed and expectations of the future are projected.
The pains, joy, challenges, encounters, frustrations, grief and fellowship of the members of the community are worn on their clothes as artistic expression of their mood and experiences,” he noted. All the fabrics used, which include tie and die, lace, aso oke, ankra among others capture the patterns, motifs and colours unique to the different ethnic groups. He creates harmony and peace out of the competing colours, which depict unity and integration of the different ethnic groups. Coker said he restricted himself to 50 ethnic groups in the country because the popular fabrics used by these groups influence what others use.
“Among the Yoruba in Southwest, there are proverbs and idioms expressed to drive home the importance and relevance of the place of textile in African culture. Such proverbs include Emi omo ti iya fi oja aran pon, Kiji pa ki n se a wo, Aso lo n bo asiri ara, Aso nla ko ni eniyan nla.
Eniyan La so mi (people are the fabric or garment we wear) that is, no man is an island as we all need people around us. In Yoruba society, the colours of the fabrics are very symbolic in expressing goodwill and affection during ceremony or passing a message.
“For instance, purple is a very significant colour as it represents royalty. It is also the custodian of African history and heritage. While white is universally acclaimed to symbolise peace and worship, indigo is about love and affection. Amongst the adherents or worshippers of Sango, the deified god of thunder in Yoruba cosmogony, red is the colour of worship, because it is believed to be a very potent colour,” Coker said.
He identified three forms of textile among the Yoruba, adding that wine colour, hand-woven textile is the ultimate of all. They include Alaari (wine colour) hand-woven textile, Sanyan (cream colour) hand-woven textile and Ettu (indigo blue) hand-spun.
These textiles he said, are choices of many during ceremonies such as child birth, wedding, burial rite, marriages chieftaincy title and coronation, which evolved into Aso-ebi among the Yoruba. He observed that today, Aso-Ebi is a strong show of affection and solidarity for the celebrants.
Coker finds this trend as promotional for the textile industry. But, he feels there is need to properly document and preserve the nation’s textile heritage. “In my quest to promote Nigeria’s rich textile heritage, I initiated the world’s ‘largest’ textile map, measuring 35ft by 32 ft. It is in the form of the Nigerian map. The textiles used for the map were sourced from many of the ethnic groups. It is certainly the single most important tribute to Nigerian textile, which also symbolises the beauty in the diversity of the peoples of Nigeria,” he said.
On the relevance of the anniversary to Badagry, he said: “The celebration of the anniversary of the amalgamation of the Southern and Northern protectorates will be incomplete without mentioning of where the British Flag (Union Jack) was first hoisted in Nigeria.
In 1843, the British flag was hoisted on Nigerian soil at the Ahovikoh Quarter in Badagry, (the spot is still there). “It was the same year that the seat of British cannon was donated to King Wawu of Badagry for the abolition of slave trade in 1843 (the cannons are still there).
On March 18, 1852, Her Majesty the Queen of England, signed a treaty for the abolition of slave trade in Badagry, through James Newburgh Strange Esquire, Commander of Her Majesty’s ship Archer with Badagry chiefs.”
Badagry given its rich historical antecedent and the role it was constrained to play in the period of the trans-Atlantic shipment of Africans to Europe and the Americas, continues to be a dragnet to the Diaspora, tracing their roots back to her. Recall that it accounted for three out of 10 slaves taken from West Africa.
‘Art is a wonderful profession’
Posted by: OZOLUA UHAKHEME in Life (Midweek Magazine) 10 days ago
At 71, Mr Ayoola Akinribola, an Italy-trained retired art teacher is unpretentious about his love for the arts. He still exhibits great hunger for drawing and painting for his local collectors in Ondo town, even at the expense of any money spinning ventures. Akinribola, who also trained at the then Nigerian College of Arts and Science, Zaria (now Ahmadu Bello University) between 1968 and 1973, lives and talks art. Assistant Editor (Arts) OZOLUA UHAKHEME, who was at his old art studio in Ondo, reports.
From a distance, nothing tells a visitor to the one-room studio what goes on there. No sign-post or banner on the busy Enuowa Street, Ondo that indicates the nature of products or services offered. But, a peep into the medium-size room reveals a busy art studio filled with different works of art and materials all competing for attention and space.
Welcome to the 32-year-old studio of Septuagenarian artist, Mr. Ayoola Akinribola. Yet, his name is a household one in Ondo town. His name may not ring a bell in art exhibition circuits in Lagos, it is synonymous with fine art in Ondo State.
A newly designed banner announcing the name of the Association of Fine Artists hangs on the studio wall contrasting the age of many paintings in the studio. It welcomes every guest to the studio that houses very old landscape and realism paintings. Despite space constraints, every item, be it a work bench, stool, brush, knife, oil cans or tubes, canvas, board and easel is in its right place.
As the president of Association of Fine Artists in Ondo town, his studio is the meeting point for the artists. He disclosed that he volunteered to lead the assocaition out of leadership crisis. It is facing at the moment.
He literarily produces art and crafts for most people in Ondo town ranging from sign writing to banner production, portraitures and outdoor sculptures. His clienteles were built over decades which dated back to his Ondo High School years as art teacher and as coordinator of the creative arts aspect of the Better Life for Rural Women programme initiated by the late Marian Babangida in the 90s. He was commissioned to handle some public works while coordinating the artistic aspects of the programme in the old Ondo State, which comprisedthe present Ekiti State.
The former art teacher at Ondo High School, Ondo lives art to the fullest not minding the relative returns his patrons pay for his services. To him, his joy is fullest when within the art environment, which he said, cannot be quantified.
“Apart from a few times when I had to do other businesses, there is nothing fulfilling as being an artist and in the business of art. Art is a wonderful profession. That is why whenever I am with an artist or group of artists, I am always happy,” he said.
Akinribola, who got scholarship to study art at the Academia Belle Arti Milano, Italia wanted to study art at the University of California.
“I had the intention of returning to Italy, but I was involved in a lot of activities that kept me back. I was given some commission works by Bode George’s administration in Ondo State. I also handled signboards, banners, sculptures and other related jobs. I did the Unknown Soldier near the palace. I was very comfortable then because my hands were full. There has never been a time in my life that I have not being maintaining a studio. Even when I was a teacher, I had my studio. I will be 72 years on October 30 this year. I have been maintaining my studio elsewhere in the town but I have spent about 32 years at this studio,” he recalled.
On his experiences with student artists on industrial training at his studio, he said: “What I observed from students on industrial attachments from Adeyemi College of Education, Ondo is that the level of their thinking is very low. When Tola Wewe and others were there as teachers, they were able to change the atmosphere of art. But today, it appears the art teachers are mainly concerned with teaching the theory of art leaving the practical side of it. However, there are some exceptional students among them.”
Akinribola sees his art education at the Academy in Milan as the greatest asset of his life as an artist. “I left for Italy because that has been my ambition. The training I had in Milan affected me positively. It was so much! Even going from one art gallery to the other enriched my knowledge of fine art. Every street in Milan is proud of many art galleries where they exhibit art works ranging from sculptures to carvings, paintings of realism, abstract and pointillism. I learnt from them a lot. And my apartment was very close to my school which, is one of the oldest art schools in the world. When I was at the Academy, the president of London Institute of Fine Art, visited to our school,” he said.
He recalled that he took special interest in fine art from his primary school days. According to him, when one Mr. Akinkanju left All Saint Primary School Ondo as art teacher, he later became the art teacher in that school. “My friends and classmates knew that I will end up as an artist in future. They weren’t surprised when they started seeing me producing some art works. I was able to encourage some people too to go into art.
“When I was teaching at Ondo High School, I was able to encourage students to study art. It was like magic to many people then whenever they saw the children working on some paintings or drawings..
Akinribola though seems to master most media but his favourite is oil painting with special interest in landscape and illustration. To him, art is a fulfilling profession ‘because I prayed for it when I was trying to improve myself by taking examinations, going to school and practicing as an artist. At that time I was young and I knew I have not attained the height I wanted. But today, I think I have to thank God that I have attained what I wanted and my children are looking after me. If the history of Ondo town is written today, I will not be left out of it.’
Notwithstanding his passion and love for art in Ondo, he warned that any artist that is too ambitious cannot survive in Ondo. Reason: Such ambition will die immediately.
Time for Nigeria’s Harmattan in London
Nigeria’s centenary celebration kicks off next month. But, inadequate cash may hinder the showcasing of hundreds of modern Nigerian art in an exhibition organised by the School of Oriental and African Studies of the University of London at Brunei Gallery in London in April, reports Assistant Editor (Arts) OZOLUA UHAKHEME.
After 16 years of consistent art experimentation, the annual Harmattan workshop initiated by master artist and print maker Prof Bruce Onobrakpeya is the toast of global art market operators. Till date, the Harmattan workshop like Mbari Mbayo art workshop, which started in Osogbo, the Osun State capital, in the 1960s, has been of benefit to students, single mothers, teenagers, school dropouts, among others.
Artworks by hundreds of participants are being packaged for the international art exhibition in London. But, the huge cost of freighting and insuring the works of art may hinder the success of the London show. Bruce Onobrakpeya Foundation (BOF), organisers of the workshop, described lack of funds as a major challenge threatening the international exhibition.
Apart from teaching skills and exposure to relevant artistic issues through lectures, the workshop, helps develop the artistic personalities of the participants through art shows, exhibitions and biennale.
Speaking at an interactive session with the art writers in Lagos at the weekend, Prof. Onobrakpeya said the foundation is very happy for the invitation to London, adding that the exhibition is one of the ways to add strength and meaning to the Harmattan workshop. He stressed that it is also a veritable platform to grow the Nigerian art and artists. “We started very small. But today, we are expanding in size and concept. In a particular year, we sent artists to Dakar biennale to experience what goes on at such forum. This literarily became a testing ground for our Brunei show.
“We must develop the art because it replenishes itself unlike other sectors that will vanish over time. However, we need fund to carry out this project, especially shipment and insurance of the artworks from Lagos to London,” he noted.
On the journey so far and the positive impact the workshop has had on the people, he said: “My two brothers who never attended art school have become master stone carvers. In the first Harmattan workshop, we admitted a talented participant who has been a dropout from the Ibru College, Agbarha-Otor. Seeing him interacting with artists in drawing and painting classes, his status in the society later changed, not only did he get a wife to marry, he got commissions to decorate buildings. Also, a large number of the women and girls who work in the jewelry and craft sections take their babies along with them to the workshop. The Harmattan workshop is not only gender sensitive but also has a baby friendly environment,” Prof. Onobrakpeya said.
According to one of the exhibition jurors, Prof John Agberia, no fewer than 240 artworks, which range from paintings to sculptures, pottery/ceramics, stone carvings, printmaking, beadworks, photography and leather works, among other media, are being juried for the international art exhibition titled: Dream, Fantasy and Reality: Agbarha-Otor Workshop 1998-2014. The exhibition, which will hold at Brunei Gallery, London between April 10 and June 21, is being organised by BOF in collaboration with the School of Oriental and African Studies (SOAS), University of London.
The famous SOAS listed Harmattan workshop as its second major international art exhibition for this year at the Brunei Gallery in Central London. The exhibition will hold after Recalling the future: post revolutionary Iranian art.
Prof. Agberia said the exhibition would feature only quality art works that truly represent Harmattan workshop, adding that issue of gender came up at the close of the three-stage screening, which became a factor for consideration.
He said the exhibition is supported by the Prince Yemisi Shyllon Professorial Chair in Fine Art and Design, University of Port Harcourt adding that its brochure will include statements, critical essays, and papers from Brunei Gallery Manager, Chairman BOF and other scholars on the curatorial responses on the exhibition title.
According to Prof Onobrakpeya, this year’s workshop is designed to complement the centenary anniversary of Nigeria which will witness different art and culture presentations across the country. He noted that the workshop, which will feature 15 departments in two sessions, will focus on examining the use of art materials in different media.
The 16th Hartmattan workshop will run from February 16 to 28, and March 2 to 14, at the Niger Delta Cultural Centre, Agbarha-Otor, Delta State. Some of the facilitators include Nike Okundaye, Tola Wewe, Alex Nwokolo, Abraham Uyovbisere, Edosa Oguigo, Peju Alatise, Ademola Williams, Bunmi Afolayan, Ato Arinze, Philip Nzekwe and Victoria Udondian. Others are Olusegun Adejumo, Obiora Anidi, Fidelis Odogwu, Raquib Bashorun, James Iroha, Nse Abasi Inyang, Peju Layiwola, Olu Amoda, Deola Balogun, Kunle Adeyemi and Nelson Edewor. The screening jurists are Prof. John Agberia, Uwa Usen, Mike Omoighe, and Sam Ovraiti.
Onobrakpeya however lamented paucity of funds to execute the workshop, which he said, has been a fresh window of opportunities for trained and non-trained artists in the West Africa sub-region.
He stressed that the first and greatest challenge facing the workshop is funding though it receives financial help from some individuals, and corporate bodies. “The Harmattan workshop is classified as charity under which the parent body Bruce Onobrakpeya Foundation, was registered. The workshop does not enjoy the status of formal education set ups and so it has no support from the government which also has not ratified the cultural policy that could provide subventions to enable such entities function properly,” he said.
‘Art is dear to my heart’
The Director-General, Nigerian Tourism Development Corportation (NTDC), Mrs Sally Mbanefo, is a lawyer, banker and self-taught artist. She speaks on her passion for art and why she will retire to art in this interview with Assistant Editor (Arts) OZOLUA UHAKHEME
A large-sized photograph of the Virgin Mary with other Roman Catholic insignia stands at the door post. The collections reveal only a part of the host, a devout Roman Catholic. But, her other parts, unknown to many, are tucked behind her door.
As the door opens, the guest is faced with the big picture: collection of colourful paintings hanging on the walls of the living room and study/studio, thus creating a picturesque many guests can’t ignore.
Apart from paintings and drawings, some reference books on art grace her shelves. They include the biographies of Michelangelo, Klimt (Life and Work), Fabian Perez, Jack Vettriano, Frederick Hart, Rene Magritte, Auguste Rodin (Master Sculptor), The Work, The Man, The Big Picture-paintings in Paris, and four of her father’s (Chief Raph Uwechue) publications: Africa’s Who Is Who, Africa Today, Makers of Modern Africa, and Reflections on the Nigerian Civil War (Facing the future). All these books are inspirational to her.
Welcome to the Ikoyi, Lagos residence of the Director-General of the Nigerian Tourism Development Corporation, Mrs Sally Mbanefo. It is like a mini art gallery of sorts.
Confronted with such collections, not many guests will walk into the flat untouched by the themes of the paintings and drawings adorning the walls. In fact, the paintings are arranged in series and sections. From realism to abstract, surreal, portraiture and expressionism they offer a rich bouquet of expressions that dwells on nature, mask, nudity and horses among others. In one of the paintings on nudity, she explained that nudity reflects the true state of man, while mask tell of man’s pretence and deceit.
Mrs Mbanefo, a former banker and top staffer of Lafarge Cement Wapco Nigeria Plc, is a lawyer, but with a passion for art. Despite studying Law, she never allowed her talent in art to suffer. At an early age, she discovered her talent in art and followed it up but she did not attend any art school to learn the basics of painting and drawing.
The self-taught artist said she studied Law not because she was not interested in Fine Art but because that (Law) was her choice. Her first painting on environment was done 31 years ago. “Art comes to me naturally because I always love to be alone, and that allows me to focus on art. In fact, I prefer to detach myself when I am annoyed as it helps me to express myself. My first painting was done in 1982 and I had my first group exhibition during a talent hunt competition organised by IMB Plc in 1990. Interestingly, I won the most talented staff from the competition,” she recalled.
She noted that if she had not studied Law, Fine Art would have been the next option, saying she would still go to art school to study sculpture, especially raisonne. Her preferred choice medium is acrylic as against the popular oil. “These days, I am very busy so acrylic will meet my desire in terms of time. Sometime, I am so desperate to paint but time constraint will not permit me. Since I got the new job at NTDC, I have not painted. So, acrylic is ideal as it dries faster than oil,” she said noting that it also allows her to manipulate figures and forms easily. Interestingly, she is at her best while on sick bed.
Apart from nature and environment, one common trace in her paintings is the presentation of human anatomy. “I love human body, form and outlines. And I have produced hundreds of paintings all in my private collections except those I gave out as gifts. I don’t paint for commercial interest. Art is my soul and my heart,” she added.
When asked of her favourite Nigerian master artist, she named the founder of Niger Delta Cultural Centre, Agbarha-Otor and initiator of Harmattan Workshop, Prof. Bruce Onobrakpeya, saying his works and techniques are very intense. “He tells story of our past in his works as he makes the viewers to think deep. Other artists I cherish their works are Tola Wewe, Joe Musa and Rom Isichie,” she added.
On tourism promotion in line with her three-fold strategic imperative for moving the sector forward, she identified the Osun, Ekiti and Ondo tourism corridors as her top priority states in the Southwest. She said that following the authentication of sites across some states in the past six months, the Southwest has a wide range of sites that would interest tourists. These, she said, included medical tourism in Ondo State’s Mother and Child Hospital, Ekiti State’s rolling hills, Ikogosi warm spring and waterfalls, and Osun State’s Osun Osogbo Festival among others.
She said that next year, NTDC would play a prominent role in the Osun Osogbo Festival, especially on how best to repackage the festival and give it international exposure. “Tourism is beyond festivals and carnivals as the core thing is how to make the sites appealing and attractive to both domestic tourists and foreigners. And the posturing and packaging must be done excellently. There are thousands of strategies, what differentiate each one is the culture of implementation: sharing common goal or vision”.
Deputy governor praises NTDC chief
BY OZOLUA UHAKHEME
Deputy Governor of Ondo State, Alhaji Ali Olanusi, has described the Director-General (DG) Nigerian Tourism Development Corporation (NTDC), Mrs. Sally Mbanefo as a light in the dark corridors of the nation’s tourism sector.
The deputy governor spoke in Akure when the DG was guest of the state at the last Mare Festival in Idanre.
He stated that considering the three-pronged strategic imperatives embarked upon by the corporation in the last six months; the DG has commenced the transformation of the sector in earnest.
“You are a light planted by the President Dr Goodluck Jonathan to light up the dark corridor of the tourism sector and you have commenced this vision in earnest. Your coming to Ondo state at this point in time is a sign of good things to come to the tourism sector in the state and in Nigeria. We welcome you with all our hearts and we assure you of a splendid time with us,” he said.
Mrs. Mbanefo toured some tourism sites, such as the Medical Tourism Village in Laje, Ondo (that houses the Trauma Centre), the Gani Fawehinmi Diagnostic Centre and the Mother and Child Hospital to authenticate the state of tourism sites in the state.
Impressed by what she saw of the sites, she pledged to support and facilitate cultural festivals and programmes organised by Ondo State that emphasise unity, stability and peaceful co–existence of Nigerians to grow domestic tourism. She said such partnership is part of her initiatives at rebuilding and growing the nation’s tourism value chain, especially domestic tourism.
The NTDC boss described Idanre Hill as a uniquely blessed city of rocks, saying: “When I went to Abeokuta, I thought it was the best of a city on a hill until I entered Idanre. This is the real city, which should be called Abeokuta.”
She also toured the Dome Village, which is the biggest Conference Tourism Event Centre in Nigeria being built by the Ondo state government. She commended Governor Segun Mimiko for ‘preparing Ondo state as a preferred tourism city in Nigeria.’
She also commended the late Deji Falae for his efforts at promoting tourism and culture in the state, and identified Mare Festival as one of the vibrant pillars of domestic tourism.
Her commitment and dedication to grow the tourism sector was further reaffirmed by one of the guest speakers at the opening ceremony of Mare Festival when she described her as ‘an extremely beautiful and intelligent lady who has a firm grip and understanding of the tourist industry. We are happy you are here and you dancing with the local and proving to all that you are a real African woman, willing and serving the nation with all your breath and beauty.’
Mrs Mbanefo, who was thrilled by the cultural wealth in Ondo State as demonstrated by the exciting cultural performances of the state troupe could not hold back her feelings as she joined the group in dancing. She described Idanre Hill as an exciting arrangement of rocks, which dwarf those in Switzerland.
Ondo State Commissioner for Information, Mr. Kayode Akinmade led the state delegation that included Ondo State Commissioner for Housing Dr. A Omoloja and Permanent Secretary in Ministry of Culture and Tourism, Mrs. Akinroye Modupe to receive Mrs. Mbanefo. Akinmade commended Mrs. Mbanefo for honouring the state’s invitation to be special guest at the Mare Festival hosted in the honour of the former Ondo State Commissioner for Culture and Tourism, the late Deji Falae.
“The government and the people of Ondo State are happy to welcome you to the state where the sun shines for all. We are grateful for honouring our invitation to Mare Festival. We are also happy because you are the first director-general of NTDC not only to visit the state but deemed it fit to honour our invitation to Mare.
We assure you of an evergreen memory of your visit to Ondo State,” he said.
NTDC boss has since assumption of office over six months ago, commenced the phased overhauling of the tourism sector with a three-pronged strategy that includes rebuilding the NTDC, growing the tourism value chain and re-inventing Nigeria’s tourism industry.
‘Religion must not drive culture aground’
The Second Ekiti State Festival of Culture and Arts Expo tagged Arts, Culture and Tourism: Tools for social transformation held last week was more than a celebration of culture. Jimoh Aliu’s Imole De, a drama performance says it all, reports Assistant Editor (Arts) OZOLUA UHAKHEME.
After a brief scintillating drama sketch by the visiting Oyo State Cultural Troupe on the open lawn of Ikogosi Warm Spring and Resort, it was time for an evening of poetry performances and reading. Venue was the Conference Hall of the resort. US-based Nigerian scholar and poet Prof Niyi Osundare and Erelu Olufunke Fayemi were guest readers at this year’s Ekiti State Festival of Culture and Arts Expo. Akeem Lasisi of Punch Newspaper presented special poems for the evening last Thursday.
Dressed in a white top on a black pair of trousers, Prof Osundare, who kicked off the evening walked up to the podium, holding a bottle of water on one hand and copies of his books on the other. He was full of smiles. His mission was to share his literary experiences with his kinsmen for the second time in his state. He returned to the country a day earlier for the festival.
“This is Ikogosi water,” he said in a low tone after a sip from the bottle of Gossy water packaged from Ikogosi warm spring. In a homage to the state, he said the rocky landscape of Ekiti is well-endowed and has produced the mindscape from which emerged lots of brilliant and successful Nigerians.
“There is no miracle in Ekiti, it is forthrightness and hard work. These are the memories that made me strong and which I want to share with you this night,” he said amid performances. He read and performed some of his poems ,such as Invocation of the word, The rocks rose to meet me, Ewi Adamo, A song for Olosunta and Tender Moment, a parting love song he rendered both in English and Yoruba language. His love for nature and his rocky hometown of Ikere-Ekiti was overwhelmingly demonstrated in his presentations. He recalled with nostalgic feelings how he grew up in the conundrum of myths, tales and fables about the Olosunta rock in Ikerre. Little wander he dedicated A song for Olosunta to the historic rock. Also, he did not deny the audience his mother’s favourite song, Aremo So Loye, which he rendered effortlessly in Ekiti dialect.
However, he lamented the continued decline in the tempo and size of the Olosunta Festival, saying, Olosunta crowd would continue to fade out like every other thing. “Unfortunately, we don’t appreciate our heritage. Christianity and Islam should not drive culture aground. Our culture is very important. There is so much culture and wisdom in Olosunta Festival.”
Osundare, who was attending a cultural event for the first time in Ekiti State, stressed that science does not stand in the way of culture and vice versa. According to him, Ifa has given mankind everything including physics, biology and medicine. “Unfortunately, for a long time, we have been looking into the sky for what is in our pockets,” he said, noting that poems can be written in Ekiti dialect.
Beyond his performances and readings, Osundare commented on the on-going transformation programmes of Governor Kayode Fayemi in Ekiti State, the need to promote Yoruba culture, especially the Olosunta Festival among others.
He said a lot is happening in Ekiti State, and that is how change begins. He said he sees promise, which must be held with both hands for growth in the state. “Allowing the women not to rot away in men’s kitchens and parlours is another way of empowering the women folks,” he noted.
Wife of Governor Fayemi who did three brief readings from her book, Speaking for myself and speaking above a whisper recalled those political periods after the re-run gubernatorial elections in Ekiti State. She read, particularly, from the chapter that dwells on the many experiences and encounters she had with political opponents, the police, INEC officials and thugs. In fact, her readings were like replays of episodes from a political drama. Her parting poem, The day the devil came to drink water, was the high point of the reading as the audience went wild in laughter after she translated the meaning of the poem in Yoruba to mean Ojo buruku esu gbo mimu.
According to her, the title of the poem was derived from response from a witness at the election tribunal sitting on the election case at Ilorin.
The festival, which ran from December 9 to 13 also featured arts expo, colloquim, women extravaganza, film show, traditional cuisine, traditional games, story telling and command performance of Jimoh Aliu’s Imole De. The drama featured artistes such as Peter Fatimilola, Folasade Aliu, and Toyin Olanrewaju.
The colloquim lead paper titled: Public/private parternship as a viable option for the promotion and branding of festivals and heritage sites in Ekiti, was presented by the Director-Genmeral of Centre for Black Arts and African Civilisation (CBAAC), Prof. Tunde Babwale at the Fountain Hotel,Ado Ekiti.
At Mare, Falae lives on
It was meant to be a low key festival in honour of the late Deji Falae. But, with a keenly contested mountain climbing competition and musical performances, this year’s Mare Festival reaffirms its prime place in the tourism calendar of the state last weekend, reports Assistant Editor (Arts) OZOLUA UHAKHEME
Despite the scorching sun, thousands of people, especially children and women, stood for hours to witness the opening ceremony of this year’s MARE Festival in Idanre, Ondo State. Every available space in between the rocks that litter the premises of Methodist School, Idanre, venue of the opening ceremony was occupied by the people. From the football field to the school fence and top of the rocks served as sitting platforms for the teeming crowd to catch a glimpse of the ceremony.
Present at the opening ceremony were the Deputy Governor Alhaji Ali Olanusi, Director-General of Nigerian Tourism Development Corporation (NTDC) Mrs Sally Mbanefo, Ondo State Commissioner for Information, Mr Kayode Akinmade, Permanent Secretary in the Culture Ministry, Mrs Modupe Akenroye and other government functionaries.
If Friday’s turnout of people at the opening is an indication that the festival is truly people-centred, the attendance at Saturday night musical concert at Olofin Grammar School, Idanre is an affirmation that the festival is not only close to the people’s heart, but it is their festival. It took the constant appeal from Information Commissioner, Kayode Akinmade, his team and the security officials to restrain the crowd from overrunning the fenced section of the field where Governor Mimiko, his wife and other special guests were seated.
The all night musical show featured special performances by some Nollywood stars such as Bimbo Oshin, Ronke Ojo (Oshodi Oke), Funso Adeolu, Toyosi Adekola, (aka Omo Alagbo) and Jibola Dabo.
The group, which rendered a special dirge for the late Deji Falae dedicated the awards they got from Lagos state to Governor Olusegun Mimiko in appreciation of his contributions to culture and tourism.
The main acts at the concert were the fuji maestro, Abass Obesere and 9Nice who thrilled the crowd to exciting musical performances. Other musicians who performed include Danny Young, Lord Ajasa, Christ Ambassadors and Taye Turaya.
Governor Olusegun Mimiko said this year’s Mare Festival would be at a very modest level as it is dedicated to honour the immediate past Commissioner of Culture and Tourism, the late Deji Falae, who has worked assiduously and contributed to record huge success in previous editions. He noted that the state’s prayer is that the late Falae’s efforts would not be in vain and that the tempo he left behind would be sustained and ultimately surpassed.
According to the governor, this year’s edition is unique in the sense that for the first time in the history of the festival, community participation to the fullest is encouraged. The various quarters within Idanre community would showcase their rich cultural heritage.
Theme of this year’s festival is Endless possibilities, which was chosen to expose the people of Idanre and its environs and by extension, the entire citizens of Ondo State to the fact that tourism has occupied a very large scale in the world economy.
Mimiko said tourism is now a veritable sector that may boost the internally generated revenue of governments and strengthen the per capital income of individual players in the sector. He added that it can also project the friendly and hospitable culture of the people.
While reiterating his administration’s commitment to development of culture and tourism in the state, he challenged the teeming unemployed youths to explore the various job opportunities that abound in the culture and tourism industry to the fullest.
Mimiko recalled that the state has re-engineered the culture and tourism sector by the re-invigoration of the state Cultural Troupe through the recruitment of 42 fire-brand artistes, participation in international cultural troupe competition,
upgrading and promotion of notable traditional festivals to carnival status, establishment of a cultural village to expose youths to acquire skills in film making, arts among others. He stressed that the state is also ensuring a robust and fruitful collaboration with Federal culture and tourism parastatals which ahs culminated in the on-going processing of the Oke Idanre enlistment in the World Heritage List of the United Nations Educational, Scientific, and Cultural Organisation (UNESCO), among others. The festival featured marathon, race, mountain climbing, raffle draw and a musical night with performances from reputable cultural ambassadors and other musical stars.
Director-General of Nigerian Tourism Development Corporation Mrs. Sally Mbanefo who describd the death of Deji Falae as a huge loss to the state and the family, eulogised the former commissioner for his commitment towards the development of culture and tourism in Ondo State. Mbanefo said she is in Mare Festival to honour the late Deji Falae and the people of Ondo State.
She urged Nigerians to value what they have as cultural heritage before sharing them with the outside world, adding that after the dancing and singing at the festival, the corporation would discuss how it can collaborate with other relevant agencies in promoting tourism in Ondo state.
Commissioner for Information, Mr. Kayode Akinmade said that the celebration of Mare festival has redefined the hills of Idanre, which no longer define the unique geography of Idanre people alone.
“With the celebration of Mare, we now have a constellation and unification of cultures that make us the proud people of Ondo State. For five years running now, Mare festival has drawn international attention and acclamation. International climbers have thronged Ondo State in search of these wonder hills of Idanre which are compared to none around the world. No surprise then that the tourist potential of Nigeria has received tremendous boost via Mare festival,” he added.
Reflecting on the contributions of the late Deji Falae, Akinmade recalled that for two robust years the former Commissioner of Culture and Tourism immersed himself in the Mare project, drove it with all his will and wits and endeared it to the hearts of lovers of tourism.
“The vision he held, the passion he shared, and the energy he exerted would be the driving force for the Culture and Tourism industry in Ondo State. For as long as MARE endures, so will the ever sweet memories of Deji Falae linger in the hearts of Ondo people and the annals of tourism and culture in Ondo State in particular and Nigeria at large,” Akinmade said.
Michael Clement won the first position in the mountain climbers’ competition, followed by Akinfolure Ayodele and Vincent Nnamdi who came second and third position respectively. Winners of the raffle draw went home with gifts, such as refrigerator and motor cycle, among others.
‘We know the value of what we lost’
BY OZOLUA UHAKHEME
The Director-General of Nigerian Tourism Development Corporation, Mrs Sally Mbanefo has said the good works of the former Ondo State Commissioner of Culture and Tourism, the late Deji Falae would remain indelible in the sand of time. She therefore urged the parents of the late lawyer to take solace in the joy that their son’s name would never be forgotten by Nigerians, especially the people of Ondo State. She said though his death is a huge loss to the state and the family, but that God who creates also takes.
She spoke on Saturday in Oba-Ile, Akure residence of the Falaes while paying condolence visit to the family for their son, Mr. Deji Falae who died in a plane conveying the remains of former Ondo State governor, Dr. Segun Agagu to Akure for burial.
Wife of Chief Olu Falae, Racheal Olatubosun, who spoke on behalf of the family, said that their hope is now his children who would console them in future. She stated that the late Deji represented the values they cherished and that they are proud of him. She added that only the family knows the value of what they lost and that for the wife, it is a painful one.
“Deji was somebody we were building hope on before he left us. As Christians, we will take it be it good or bad. What gladdens our heart is that he is appreciated as demonstrated during his funeral. We feel that if the world can appreciate him so much, then God will do better. We urge his friends to continue to pray for his nuclear family because we want his children to console us in the future,” she said.
‘We can create a university that is self-sufficient’
The growth of Afe Babalola University, Ado-Ekiti founded four years ago, has been described as a ‘miracle plus magic’. Its founder and legal icon, Aare Afe Babalola, spoke on what encouraged him to establish the university. OZOLUA UHAKHEME and KUNLE AKINRINADE report.
For about an hour, the Board of Trustees’ (BOT), meeting of the Afe Babalola University, Ado-Ekiti was ‘disrupted’ last Saturday. The meeting that was chaired by the legal icon and founder of the university, Aare Afe Babalola was put on hold to receive 26 journalists led by Prof Raph Akinfeleye (chairman, Panel of Assessors) who were on tour of the university as part of events leading to this year’s grand presentation ceremony of Nigeria Media Merit Award (NMMA) held at Ado-Ekiti.
Despite the interruption, Aare Babalola, who described the media as his friend, shared his views on how a university can be run without undue dependence on government grants. He said his experiences at the University of Lagos as pro-chancellor encouraged him a great deal to establish his university that would change the world at Ado Ekiti.
He said that as pro-chancellor of UNILAG, he encouraged participatory leadership that is also by example, adding that he donated his allowances to the university while he was there. He noted that today, the University of Lagos is better off in terms of revenue generation unlike other universities.
“My experiences as pro-chancellor of the University of Lagos are what encouraged me to establish the Afe Babalola University, Ado Ekiti (ABUAD) that would change the world. In fact, from my experiences at UNILAG, we can create a university that is self-sufficient. And that is what I have done here at ABUAD. I brought a lot of my clients to help in the development of UNILAG infrastructure and it helped in boosting the internally generated revenue of the varsity with, which the school was able to pay salaries without waiting for government grants,” he said.
He said one of such strategies he adopted at ABUAD was the establishment of the university farm to serve as regular source of food for the students.
“In the case of ABUAD, the school farm alone boasts of 85 fish ponds with about 5000 fishes each while my personal farm, which I have since donated to the university, has about 500 fish ponds with 5000 fishes each. We have bakery, we grow and process moringa olifera, a herbal drug, we grow pawpaw, mango, among other crops,” he said.
He disclosed that ABUAD, which is designed as a world-changing university, is being acknowledged by world agencies such as United Nations Educational, Scientific, and Cultural Organisation (UNESCO) as one of the prestigious private universities in Africa capable of providing a solid contribution to educational growth.
UNESCO’s Assistant Director-General in Abuja, Lalla Aicha Ben Barka in a letter dated November 14, 2013 urged ABUAD to explore collaboration with UNESCO on issues related to education, particularly on flagship programme 2 on Strengthening education systems for sustainable development in Africa: improving equity, quality and relevance.
Barka described ABUAD as one of the prestigious private universities in Arica that would provide a solid contribution to education, on these issues in collaboration with UNESCO. “We would also explore the possibility to publicise UNESCO-ABUAD initiatives on our website, portraying the university as one of the shining beacons of excellence in its endeavour to be one of the best universities in Africa and the world,” he said.
Aare Babalola however urged media practitioners to give prominence to people who have contributed immensely to humanity and do away with giving prominence to stories about the activities of violent groups.
Continuing, he said: “Although, the notice of your visit was rather short, but the media is my friend. There is a story of a British parliamentarian that insulted everyone, including the Queen of England. When he was asked who he feared most, he said the media because published messages travel far beyond where you can get to”.
Marathon: Eyeing a world record
Marathon, a giant painting measuring 2.4m x120m on canvas (mixed media of oil, acrylic, glue and sand dust) spreads across the length of the main studio. Former Ondo State Commisssioner for Culture and Tourism Chief Tola Wewe is at the verge of creating a world record. He has painted over 100 metres of the 120 metres canvas earmarked for the project. He spoke with Assistant Editor (Arts) OZOLUA UHAKHEME.
Last month, a controversial Indian American painter, Mr. Gurmej Singh in Kalamazoo, Michigan, US set a Guinness World Record for creating The Transcendental, the “world’s longest painting by an individual,” an entry that coincidentally-was disqualified from a local art competition. The painting measured 11,302 ft. 2.11 in. (3,445 metres) and took Singh 38 days to create.”
Former Ondo State Commissioner for Culture and Tourism Chief Tola Wewe is close to creating a new world record in creating one of the longest paintings. By last week, he had completed over 100 metres of his 120 metres Marathon he dedicated to humanity. At his Ondo residence, Wewe has deconstructed a section of his home to facilitate his work on the Marathon. In the last two years, work on Marathon has been consistent and progressive. But, don’t count the number of tubes, cans and brushes that have been consumed to do this artwork. Also, forget about the monetary implication of executing the painting project.
In the beginning
“Ten years ago, I was at Port Harcourt, Rivers State capital for a group art exhibition organised by the Total Petroleum. Prof. EL Anatsui was one of the exhibiting artists. He called me and said I was capable of doing a giant painting on canvas. Since then, I have been thinking about the project. But, five years ago, when I was appointed Ondo State Commissioner for Culture and Tourism, I decided to start it. Also, at that time, I had little time for serious painting of individual works. I therefore ordered for a canvas measuring 120m and I have been working on it at will. I never shared the though with most of my artist friends because I never wanted to be distracted or discouraged. Also, I did not discuss it with the press until now.
After hitting the 100metres mark
After hitting 100meters mark, which is a world record on its own, I decided to expose it to some of my friends. I wanted to do it for humanity and for art lovers. I am happy doing it. The idea was to present my experiences, a kind of visual diary, talking about corruption, kidnapping, celebration etc in Nigeria. Again, the themes are not planned for, and the section I am working on now is about the celebration of my mother’s return from kidnappers.
Cost of the project
I have not bothered myself about the cost of producing the painting. I don’t want to cost how many tubes or cans of oil I have used because the result is my utmost interest. The effort is worth it because I have to give account of my existence. All that is there are messages I must deliver to the art world. I do wake up by 1am or 2am to paint and later crashed on my bed. Each time I am done with a section, I carry out the measurement. I have not opened the entire canvas at full length, but I measure each section after completion. I can’t place a value on it now. The collectors will do that when I am ready to sell it. The painting is my life and my footprint, which is a testimonial for my existence. I keep having an inner push gearing me up to continue the work.
Duration of the painting
Actively, it took me six years. I have been consistent in the last 2 years when I was done with the government. The painting of Marathon forced me to create an extension in my house to allow for more space and concentration. The work is mainly for humanity, no sponsors for its production but might consider that when I am going to exhibit it. Apart from Mrs Nike Okundaye and Prof. Moyo Okedeji I have not told any of my artist friends, I did not want anybody to discourage me.
As at today I have done over 100 metre long marathon I don’t know if I am going to stop at 120m. I may go further if I am instructed by my superior forces. If I die after this work, I am fulfilled. My works are in most of the world’s galleries but I needed to do something that has not been done. I will publish a book on the art work and Prof. Okedeji is handling that aspect.
Showcasing Marathon for art lovers
The artwork must be viewed by the public. I intend displaying it in my farm in Ondo town, before I will show it around the world. But, I must show it here in Nigeria before taking it outside. I will do a print of sections of the painting for the majority to collect. In fact each of the work will be in form of installation. I have been selling my paintings to buy materials to do this work. I survive and live well on arts. I am also a farmer, I breed dogs, have over 20 fish ponds. When I am bored, I go to farm.
Leaving Lagos for Ondo
I left Lagos because I can’t get the same concentration and space I have here in Ondo town. My friends will distract my creative flow. This environment is good for me. I love to be with nature and the local people. I visit and attend cultural events at real shrines and I experienced the real culture. I am more at home with traditional people. It will interest you that I have two chieftaincy titles: I am the Obagbemigun of Ido-Ani and the Bobagunwa of Odo-Owo. If I reincarnate, I will always want to be an artist.
Dark moment
The kidnap of my aged mother is the only dark moment in my life. It was a nightmare. I did not sleep for 100 days. I was smoking and drinking gin (Ogogoro). I had nasty experience from the security officials because they keep promising. In fact, my appointment as a commissioner in Ondo State exposed me to kidnappers who were demanding 150 million ransoms. In one of the telephone calls, they asked me if I claimed I don’t have money, how I got my jeep. I then told them to take my jeep and free my mother.
Creative industry and the economy
The most thriving sector of the nation’s economy is the creative industry, especially visual arts. Nigeria should invest in its areas of strength, which are arts and sports. Unfortunately, Nigeria keeps investing in wrong areas like sciences.”
A buja carnival: Setting tone for centenary anniversary
Nigeria will mark the 100th anniversary of the Northern and Southern protectorates in January 2014. Last Saturday, the ninth edition of the Abuja International Carnival kicked off at the Eagle Square, setting the tone for the centenary celebrations.Assistant Editor (Arts) OZOLUA UHAKHEME reports.
If the number of participants is a determinant of its success, this year’s Abuja International Carnival may not have achieved much. But, if content and theme are what matter, then the festival is it. Of the 15 countries that indicated interest in the carnival, only five showed up. Also, 17 of the 36 states of the federation including the Federal Capital Territory (FCT) were at the opening, thus hitting an all-time lowest turnout since 2005 when the carnival made its debut. The theme of this year’s carnival was A people for a century, a people forever, and it was aimed at creating a platform for the commemoration of Nigeria’s 100 years of existence as a nation.
The First Lady, Dame Patience Goodluck, who was to declare the carnival open, and Bayelsa and Benue state governors’ wife who were expected at the event did not show up.
Unlike in the past, this year’s Abuja carnival did not evoke fears in many residents and visitors to the FCT. All major roads and streets from Garki Area One to Eagle Square, a major venue of the carnival, were all manned by armed security officials supported by men of the Federal Road Safety Commission (FRSC) and the Nigerian Security and Civil Defence Corp (NSCDC) who controlled human and vehicular traffic. For once in a long time during a national celebration, tourists walked into the square unperturbed by any fear of Boko Haram bombing. Some vehicles drove close to the square to either drop contingents or their costumes for easy reach.
The 18-kilometre street carnival that kicked off from Area One at 10 am was not just a long procession of colourful motorised floats and dancers. It was a total celebration of culture on wheels propelled by contemporary music and dance steps. Each contingent was backed by a motorised float and a mobile music box spinning vibes during the trek. The contingents, consisting mainly of youths with lots of energy to trek the long distance while having fun, were a spectacle to behold. The long trek that lasted over six hours terminated at the Eagle Square where guests were thrilled to another round of exciting celebration of the nation’s diverse cultural heritage. In fact, the atmosphere was convivial for the celebration that recorded not too impressive turn-out of both participants and viewers.
There was little or no apprehension about seeming threat from the notorious Boko Haram sect that has killed thousands of Nigerians in the northern part of the country.
No doubt, this year’s outing is an improvement of last year in the area of costumes design, float concept and content. In totality, the Abuja International Carnival has been able to shed off its traditional elements for contemporary infusions to reflect modern carnival.
Minister for Tourism, Culture and National Orientation, Chief Edem Duke said national unity and cohesion are winners at the carnival, adding that culture has in the country’s 100 years continued to grow from strength to strength.
He identified culture as one of the enduring elements of nation-building and national cohesion, which ‘continue to strengthen intra and inter-communal relations, help to build bridges, forge sustainable partnerships and provide the foundation for our distinct identity as a people with a proud heritage and a future that is laden with hope and confidence.’
He said that the carnival provides a platform for the projection of Nigeria’s rich cultural heritage. “It is always a delight to see our people from various States of the federation resplendent in their carnival costumes display Nigeria’s diverse cultural forms in a kaleidoscope of colours. The beauty of these cultural forms is firmly rooted in their diversity which has been the source of our strength as a nation in the past 100 years,” he added.
The minister stressed that beyond the celebrations and display of cultural forms, carnivals have become mega businesses around the world describing it as the catalyst and backbone of a multifaceted economy. And in order to grow the carnival, he said that federal government is building partnerships with countries where carnivals have truly become a big enterprise.
“The Federal Ministry of Tourism, Culture and National Orientation remains committed to the development of the creative sector. We are paying particular attention to this area as we believe that it has a great role to play in the organisation of carnivals and other cultural events. To this end, the new Cultural Policy of Nigeria has designated carnivals as an important cultural and economic activity and has made adequate provision for its enhancement. The Federal Government also partners with States where Carnivals are gaining grounds as an important cultural and economic activity. This is with a view to developing carnivals across the country and turn them into unique brands and enterprise,” he said.
His Trinidad and Tobago counterpart, Dr. Lincoln Douglas, whose country is one of the five foreign countries that participated in the carnival disclosed that his country has granted 10 scholarship awards to qualified Nigerians wishing to study carnival art, management of festival, and other related areas at two of Trinidad and Tobago’s universities.
Dr. Douglas who said details of the scholarship would be worked out soon added that the University of Trinidad and Tobago and University of West Indies would be the two universities where the scholarship would be offered. He said his country has resolved to offer scholarship in the area of capacity building as ‘our contribution to the commitment of the President of Nigeria, Dr. Goodluck Jonathan who has also visited Trinidad and Tobago and shown tremendous interest and support.
The visiting minister said there has been an increasing interest in the carnival in Nigeria, which he said, has great opportunity too.
“Both countries – Nigeria and Trinidad and Tobago share the same economy culture, we are oil producing countries, oil and natural gas, petro-chemicals. And we understand that those are finite resources. But our peoples, and the way of life as well as our culture are the infinite resources. As long as our peoples are here, we have something that we can leverage upon. I am excited with what I have seen this evening. And with continued support and participation, the carnival will grow.”
Continuing, he said: “In Trinidad and Tobago, we have been doing the carnival for the last 70 years or so, and we have developed an art form, an industry, and science of music, band, theatre, mask … everything working together to create wealth for our people. It has become a big industry providing employment for young people as they get involved in something that is meaningful and valuable.
“Through the carnival, we have succeeded in taking our youths off the streets or getting involved in negative things. Abuja Carnival portends great opportunities for Nigeria and we have resolved to offer scholarship in the area of capacity building as our contribution to the commitment of the President of Nigeria, Dr. Goodluck Jonathan who has also visited Trinidad and Tobago and shown tremendous interest and support. So, we are reciprocating that level of collaboration and participation.” He said he feels more at home in Nigeria than US where he spent over 15 years.
Despite the low turnout, some of the participating states had good presentations during the street carnival session and the carnival floats/performances at the opening ceremony. For instance, apart from featuring about the largest contingents at the carnival, Niger State and Akwa-Ibom State were creative in the presentation and interpretation of the festival’s theme. Akwa-Ibom State presentation at the ceremony was a total story of the Nigeria nation reflecting in visual every major political stage the country went through from pre-independence through military era till date. It also showcased the diverse culture of Nigeria as demonstrated by some members of the state’s contingents who wore different traditional dresses known to some ethnic groups in the country.
In fact, there was a deliberate effort to send strong messages of peace, cohesion and love for one another by every state contingent at the carnival. Also, the bigger picture of centenary celebration was never lost as Bayelsa State reminded all with an inscription on its float, saying: It’s our centenary, roll out the drums.
Other special contingents included representatives of Nigerian Security and Civil Defence Corps, Eagles Nest (Naija Cultural Heritage Reality Show), United Foods, makers of Indomie, Maltina Airtel among others.
The carnival which ended yesterday featured performances by school children within the FCT, durbar, cultural night/traditional cuisine and bush bar/traditional hairdo, masquerades performance, boat regatta, command performance and musical fiesta.
The mobile traders and food vendors that brought items to the Eagle Square for sale were alleged to pay about five thousand naira for the space occupied. The allocation of open space and collection of the levies created some drama outside the main square shortly before the kick-off of the opening ceremony.
The Abuja carnival was initiated by the Olusegun Obasanjo administration in 2005 as an annual event to hold during the harmattan season in Nigeria. It is to create a platform to present and preserve the rich intangible cultural heritage of Nigeria. Last year, some innovations were introduced into the carnival with the involvement of women and youth organisations, school children, non-governmental organisations, military/para-military and culture/tourism groups.
The states that were absent at the opening include Bauchi, Nasarawa, Edo, Imo, Abia, Delta, Enugu, Gombe, Ogun, Zamfara, Lagos, Osun, Borno, Cross River, Kwara, Jigawa, Sokoto and Kebbi
art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-59824019882884506262013-12-05T08:22:00.003-08:002013-12-05T08:22:55.153-08:00Abuja carnival: setting the tone for centenary anniversary
Abuja carnival: Setting tone for centenary anniversary
Nigeria will mark the 100th anniversary of the Northern and Southern protectorates in January 2014. Last Saturday, the ninth edition of the Abuja International Carnival kicked off at the Eagle Square, setting the tone for the centenary celebrations.Assistant Editor (Arts) OZOLUA UHAKHEME reports.
If the number of participants is a determinant of its success, this year’s Abuja International Carnival may not have achieved much. But, if content and theme are what matter, then the festival is it. Of the 15 countries that indicated interest in the carnival, only five showed up. Also, 17 of the 36 states of the federation including the Federal Capital Territory (FCT) were at the opening, thus hitting an all-time lowest turnout since 2005 when the carnival made its debut. The theme of this year’s carnival was A people for a century, a people forever, and it was aimed at creating a platform for the commemoration of Nigeria’s 100 years of existence as a nation.
The First Lady, Dame Patience Goodluck, who was to declare the carnival open, and Bayelsa and Benue state governors’ wife who were expected at the event did not show up.
Unlike in the past, this year’s Abuja carnival did not evoke fears in many residents and visitors to the FCT. All major roads and streets from Garki Area One to Eagle Square, a major venue of the carnival, were all manned by armed security officials supported by men of the Federal Road Safety Commission (FRSC) and the Nigerian Security and Civil Defence Corp (NSCDC) who controlled human and vehicular traffic. For once in a long time during a national celebration, tourists walked into the square unperturbed by any fear of Boko Haram bombing. Some vehicles drove close to the square to either drop contingents or their costumes for easy reach.
The 18-kilometre street carnival that kicked off from Area One at 10 am was not just a long procession of colourful motorised floats and dancers. It was a total celebration of culture on wheels propelled by contemporary music and dance steps. Each contingent was backed by a motorised float and a mobile music box spinning vibes during the trek. The contingents, consisting mainly of youths with lots of energy to trek the long distance while having fun, were a spectacle to behold. The long trek that lasted over six hours terminated at the Eagle Square where guests were thrilled to another round of exciting celebration of the nation’s diverse cultural heritage. In fact, the atmosphere was convivial for the celebration that recorded not too impressive turn-out of both participants and viewers.
There was little or no apprehension about seeming threat from the notorious Boko Haram sect that has killed thousands of Nigerians in the northern part of the country.
No doubt, this year’s outing is an improvement of last year in the area of costumes design, float concept and content. In totality, the Abuja International Carnival has been able to shed off its traditional elements for contemporary infusions to reflect modern carnival.
Minister for Tourism, Culture and National Orientation, Chief Edem Duke said national unity and cohesion are winners at the carnival, adding that culture has in the country’s 100 years continued to grow from strength to strength.
He identified culture as one of the enduring elements of nation-building and national cohesion, which ‘continue to strengthen intra and inter-communal relations, help to build bridges, forge sustainable partnerships and provide the foundation for our distinct identity as a people with a proud heritage and a future that is laden with hope and confidence.’
He said that the carnival provides a platform for the projection of Nigeria’s rich cultural heritage. “It is always a delight to see our people from various States of the federation resplendent in their carnival costumes display Nigeria’s diverse cultural forms in a kaleidoscope of colours. The beauty of these cultural forms is firmly rooted in their diversity which has been the source of our strength as a nation in the past 100 years,” he added.
The minister stressed that beyond the celebrations and display of cultural forms, carnivals have become mega businesses around the world describing it as the catalyst and backbone of a multifaceted economy. And in order to grow the carnival, he said that federal government is building partnerships with countries where carnivals have truly become a big enterprise.
“The Federal Ministry of Tourism, Culture and National Orientation remains committed to the development of the creative sector. We are paying particular attention to this area as we believe that it has a great role to play in the organisation of carnivals and other cultural events. To this end, the new Cultural Policy of Nigeria has designated carnivals as an important cultural and economic activity and has made adequate provision for its enhancement. The Federal Government also partners with States where Carnivals are gaining grounds as an important cultural and economic activity. This is with a view to developing carnivals across the country and turn them into unique brands and enterprise,” he said.
His Trinidad and Tobago counterpart, Dr. Lincoln Douglas, whose country is one of the five foreign countries that participated in the carnival disclosed that his country has granted 10 scholarship awards to qualified Nigerians wishing to study carnival art, management of festival, and other related areas at two of Trinidad and Tobago’s universities.
Dr. Douglas who said details of the scholarship would be worked out soon added that the University of Trinidad and Tobago and University of West Indies would be the two universities where the scholarship would be offered. He said his country has resolved to offer scholarship in the area of capacity building as ‘our contribution to the commitment of the President of Nigeria, Dr. Goodluck Jonathan who has also visited Trinidad and Tobago and shown tremendous interest and support.
The visiting minister said there has been an increasing interest in the carnival in Nigeria, which he said, has great opportunity too.
“Both countries – Nigeria and Trinidad and Tobago share the same economy culture, we are oil producing countries, oil and natural gas, petro-chemicals. And we understand that those are finite resources. But our peoples, and the way of life as well as our culture are the infinite resources. As long as our peoples are here, we have something that we can leverage upon. I am excited with what I have seen this evening. And with continued support and participation, the carnival will grow.”
Continuing, he said: “In Trinidad and Tobago, we have been doing the carnival for the last 70 years or so, and we have developed an art form, an industry, and science of music, band, theatre, mask … everything working together to create wealth for our people. It has become a big industry providing employment for young people as they get involved in something that is meaningful and valuable.
“Through the carnival, we have succeeded in taking our youths off the streets or getting involved in negative things. Abuja Carnival portends great opportunities for Nigeria and we have resolved to offer scholarship in the area of capacity building as our contribution to the commitment of the President of Nigeria, Dr. Goodluck Jonathan who has also visited Trinidad and Tobago and shown tremendous interest and support. So, we are reciprocating that level of collaboration and participation.” He said he feels more at home in Nigeria than US where he spent over 15 years.
Despite the low turnout, some of the participating states had good presentations during the street carnival session and the carnival floats/performances at the opening ceremony. For instance, apart from featuring about the largest contingents at the carnival, Niger State and Akwa-Ibom State were creative in the presentation and interpretation of the festival’s theme. Akwa-Ibom State presentation at the ceremony was a total story of the Nigeria nation reflecting in visual every major political stage the country went through from pre-independence through military era till date. It also showcased the diverse culture of Nigeria as demonstrated by some members of the state’s contingents who wore different traditional dresses known to some ethnic groups in the country.
In fact, there was a deliberate effort to send strong messages of peace, cohesion and love for one another by every state contingent at the carnival. Also, the bigger picture of centenary celebration was never lost as Bayelsa State reminded all with an inscription on its float, saying: It’s our centenary, roll out the drums.
Other special contingents included representatives of Nigerian Security and Civil Defence Corps, Eagles Nest (Naija Cultural Heritage Reality Show), United Foods, makers of Indomie, Maltina Airtel among others.
The carnival which ended yesterday featured performances by school children within the FCT, durbar, cultural night/traditional cuisine and bush bar/traditional hairdo, masquerades performance, boat regatta, command performance and musical fiesta.
The mobile traders and food vendors that brought items to the Eagle Square for sale were alleged to pay about five thousand naira for the space occupied. The allocation of open space and collection of the levies created some drama outside the main square shortly before the kick-off of the opening ceremony.
The Abuja carnival was initiated by the Olusegun Obasanjo administration in 2005 as an annual event to hold during the harmattan season in Nigeria. It is to create a platform to present and preserve the rich intangible cultural heritage of Nigeria. Last year, some innovations were introduced into the carnival with the involvement of women and youth organisations, school children, non-governmental organisations, military/para-military and culture/tourism groups.
The states that were absent at the opening include Bauchi, Nasarawa, Edo, Imo, Abia, Delta, Enugu, Gombe, Ogun, Zamfara, Lagos, Osun, Borno, Cross River, Kwara, Jigawa, Sokoto and Kebbi.
art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-35503132491490331622013-12-05T08:18:00.005-08:002013-12-05T08:18:43.093-08:00Olusola unddying love for artOlusola’s undying love for art
Ozolua UHAKHEME in Life (Midweek Magazine) November 6, 2013
What are the precious items in the late Ambassador Segun Olusola’s home? A flat screen television, luxury car, air conditioner and gold wrist watch? Sorry, you guessed wrong. Take a trip to the newly inaugurated resource library at the centre for Black and African Arts and Civilisation’s Headquarters on Broad Street in Lagos and see what caught the late art connoiseur’s fancy. Assitant Editor(Arts) Ozolua Uhakheme reports
Except for the absence of furniture such as bed, table and chairs, the medium-size room could have passed for one of the rooms in the late Chief Segun Olusola’s home. Among personal effects in the room are plaques, ward robe consisting of several traditional dresses (aso-oke), book shelf, ayo game, miniature talking drums, paintings and a 1990 large-size portraiture of Chief Olusola done by Ethiopian artist, Lemma Guya.
At the centre of the room is a scary leopard statue, which poses in readiness to pounce on its prey. These are some of the personal effects left behind by the late Olusola for keeps as legacies. Welcome to Ambassador Segun Olusola Resource Library, on the ground floor of the Centre for Black and African Arts and Civilisation (CBAAC) in Lagos. Last Thursday, CBAAC held a twin event- a memorial lecture and the inauguration of a library to immortalise the former Nigeria’s Ambassador to Ethiopia and founder African Refugees Foundation (AREF). Venue was the conference room, Freedom Park, Broad Street, Lagos.
A short drama sketch led by Hafiz Oyetoro aka Saka (a prominent actor in the MTN portability advert) spiced the occasion that was chaired by former Minster for National Planning, Chief Rasheed Gbadamosi. Before the guest lecturer, Dr. Kunle Filani spoke on Leveraging on indigenous African culture and artistic creativity for development: legacies of Ambassador Segun Olusola, it was rain of tributes from guests.
Tourism, Culture and National Orientation Minister, Chief Edem Duke described the late Olusoal as a man of many parts, saying that a dissection of his legacies shows that he meant different things to many people. “This is because the positive impacts he made while he was alive. Most Nigerians know him as the brain behind one of the most enduring television drama prograamme in Nigeria’s history: The Village Headmaster. Within the culture sector which I oversee, late Ambassador Olusola would be remembered as a diplomat that promoted the use of culture to facilitate and strengthen interactions among countries in Africa,” he said.
The director-general of CBAAC, Prof Tunde Babawale said that the decision to immortalise the great African is to encourage both young and old to bequeath worthy legacies to posterity. He described the late ace broadcaster as a true hero of our land who deserves to be celebrated.
“We believe that organising events of this nature would make many of our compatriots know that those who lead by worthy examples will always be celebrated even in death. Today’s event is also informed by the need for those of us left behind to decide how our epitaph will look like before the inevitability of death and what we wish to be remembered for,” Babawale said. He noted that unequivocally, late Olusola would be remembered for his impactful touch on many areas of African arts and culture.
Among those present on the occasion were Tourism, Culture and National Orientation Minister, Chief Edem Duke, represented by Seyi Womiloju, Chairman, CBAAC, Senator Brimmo Yusuf, Chief Executive Officer of AREF, Mr. Jimi Olusola, Chief Tunde Oloyede, Mr. Dejumo Lewis, Cultural Affairs Officer, US Consulate, Lagos, Mrs. Bene Uche, Executive Director, The News/PM News, Mr Kunle Ajibade, Mrs Jimi Olusola, Chairman, Equity Assurance, Chief Tutu Buraimoh, Vice-Chairman, Mutual Benefit Assurance, Mr Akin Opeodu,Chairman NANTAP Lagos, Mrs Eki Eboigbe, Dr. Ademola Azeez, and chairman of Society of Nigerian Artists (Lagos State chapter), Mr Alabi Dotun.
Guest speaker, Dr. Kunle Filani described the late Olusola as a man of measured taste and disposition, adding that temperance was a virtue he deployed in diplomatic missions and his oratorical eloquence stood him out in public debates.
“He became a soothing patriarch to the dispossessed when he founded the African Refugees Foundation (AREF) in Nigeria. He also founded the Ajibulu Moniya Gallery to serve as support for the growing artistic activity in Nigeria,” he added.
Continuing, he said: “Ambassador Segun Olusola was a polished and decent elder statesman; he was intelligent and talked with compelling convictions. His style of enunciation in speaking and his gestural emphasis evinced rhetoric. He was indeed a hero of African culture because he possessed and elicited characteristics that are highly prized in indigenous tradition. There is no better way to celebrate this true elder statesman than using his exemplary creativity and leadership to interrogate indigenous African arts and culture thereby suggesting strategies for national development.”
In his paper, Leveraging on indigenous African culture and artistic creativity for development: legacies of Ambassador Segun Olusola, Filani said African countries must initiate mutual bonds of integration through culture and the 21st century should launch Africa as a continent into unique civilisation through proper culturalisation concepts.
He said that African leaders cannot afford to underestimate the relevance of culture for national development, stressing that Africa must look inwards to tap her rich cultural resources by harnessing the potentials of indigenous science and technology. He noted that Western science and technology are not the only means of accessing civilisation and quality living. He said alternative indigenous methods must be further explored and made suitable for contemporary consumption.
“African leaders must inculcate culture into development initiatives fashioned by interactive organisations such as African Union and NEPAD. Government must begin to implement UNESCO recommendations on culture and education. Government must implement cultural policies by effectively funding and empowering relevant ministries and parastatals.
“Concerted efforts must be made by top government organisations to sensitise and encourage non-governmental and individual participation in culture development,” he added.
Filani lamented that it is unfortunate that Nigeria does not have befitting national museums and galleries. This, he said, must be urgently attended to not only to preserve and conserve our cultural heritage, but also to serve as revenue generating organs through dynamic tourism policy. He charged economically viable states to bring mega-tourist monuments to accommodate cultural and modern creative structures.
“Lagos State especially with her huge population and diverse economic potentials must lead the tourist initiative. Many African countries not endowed than Nigeria have huge cultural monuments to celebrate their origins, visions and heroes. For example, the Dakar bronze sculpture African Renaissance monument is a 49 metres tall bronze statue with expanded environment that accommodates varieties of cultural activities. It is sad that in spite of Nigeria’s strategic position in Africa, there are no befitting and well developed monuments and parks in our cities,” he lamented.
He noted that African leaders must create dynamic economic and communication linkages in the regions and sub-regions, as Africa can explore cultural affinities for social, political and economic development.
“It is certain that the deficits in political, educational, economic and social leadership can be addressed by embracing the dynamics of African culture concepts. Nigeria as the most populous country in Africa with the largest Black inhabitants in the world must take the lead in championing socio-economic and political liberation from the shackles of imperialism and neo-colonialism. This can only be done through cultural awareness of independent African countries and cultural integration of seemingly disparate states. For Africa to have a future, our present must creatively interrogate and engage the past,” he said.art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-46115562333503337392013-12-05T08:09:00.000-08:002013-12-05T08:09:54.317-08:00marathon: eyeing a world record<h1 class="name post-title entry-title" itemprop="name">Marathon: Eyeing a world record</h1><strong>Marathon, a giant painting measuring 2.4m x120m on canvas (mixed media of oil, acrylic, glue and sand dust) spreads across the length of the main studio. Former Ondo State Commisssioner for Culture and Tourism Chief Tola Wewe is at the verge of creating a world record. He has painted over 100 metres of the 120 metres canvas earmarked for the project. He spoke with Assistant Editor (Arts) OZOLUA UHAKHEME.</strong><br />
Last month, a controversial Indian American painter, Mr. Gurmej Singh in Kalamazoo, Michigan, US set a Guinness World Record for creating The Transcendental, the “world’s longest painting by an individual,” an entry that coincidentally-was disqualified from a local art competition. The painting measured 11,302 ft. 2.11 in. (3,445 metres) and took Singh 38 days to create.”<br />
Former Ondo State Commissioner for Culture and Tourism Chief Tola Wewe is close to creating a new world record in creating one of the longest paintings. By last week, he had completed over 100 metres of his 120 metres Marathon he dedicated to humanity. At his Ondo residence, Wewe has deconstructed a section of his home to facilitate his work on the Marathon. In the last two years, work on Marathon has been consistent and progressive. But, don’t count the number of tubes, cans and brushes that have been consumed to do this artwork. Also, forget about the monetary implication of executing the painting project.<br />
In the beginning<br />
“Ten years ago, I was at Port Harcourt, Rivers State capital for a group art exhibition organised by the Total Petroleum. Prof. EL Anatsui was one of the exhibiting artists. He called me and said I was capable of doing a giant painting on canvas. Since then, I have been thinking about the project. But, five years ago, when I was appointed Ondo State Commissioner for Culture and Tourism, I decided to start it. Also, at that time, I had little time for serious painting of individual works. I therefore ordered for a canvas measuring 120m and I have been working on it at will. I never shared the though with most of my artist friends because I never wanted to be distracted or discouraged. Also, I did not discuss it with the press until now.<br />
After hitting the 100metres mark<br />
After hitting 100meters mark, which is a world record on its own, I decided to expose it to some of my friends. I wanted to do it for humanity and for art lovers. I am happy doing it. The idea was to present my experiences, a kind of visual diary, talking about corruption, kidnapping, celebration etc in Nigeria. Again, the themes are not planned for, and the section I am working on now is about the celebration of my mother’s return from kidnappers.<br />
Cost of the project<br />
I have not bothered myself about the cost of producing the painting. I don’t want to cost how many tubes or cans of oil I have used because the result is my utmost interest. The effort is worth it because I have to give account of my existence. All that is there are messages I must deliver to the art world. I do wake up by 1am or 2am to paint and later crashed on my bed. Each time I am done with a section, I carry out the measurement. I have not opened the entire canvas at full length, but I measure each section after completion. I can’t place a value on it now. The collectors will do that when I am ready to sell it. The painting is my life and my footprint, which is a testimonial for my existence. I keep having an inner push gearing me up to continue the work.<br />
Duration of the painting<br />
Actively, it took me six years. I have been consistent in the last 2 years when I was done with the government. The painting of Marathon forced me to create an extension in my house to allow for more space and concentration. The work is mainly for humanity, no sponsors for its production but might consider that when I am going to exhibit it. Apart from Mrs Nike Okundaye and Prof. Moyo Okedeji I have not told any of my artist friends, I did not want anybody to discourage me.<br />
As at today I have done over 100 metre long marathon I don’t know if I am going to stop at 120m. I may go further if I am instructed by my superior forces. If I die after this work, I am fulfilled. My works are in most of the world’s galleries but I needed to do something that has not been done. I will publish a book on the art work and Prof. Okedeji is handling that aspect.<br />
Showcasing Marathon for art lovers<br />
The artwork must be viewed by the public. I intend displaying it in my farm in Ondo town, before I will show it around the world. But, I must show it here in Nigeria before taking it outside. I will do a print of sections of the painting for the majority to collect. In fact each of the work will be in form of installation. I have been selling my paintings to buy materials to do this work. I survive and live well on arts. I am also a farmer, I breed dogs, have over 20 fish ponds. When I am bored, I go to farm.<br />
Leaving Lagos for Ondo<br />
I left Lagos because I can’t get the same concentration and space I have here in Ondo town. My friends will distract my creative flow. This environment is good for me. I love to be with nature and the local people. I visit and attend cultural events at real shrines and I experienced the real culture. I am more at home with traditional people. It will interest you that I have two chieftaincy titles: I am the Obagbemigun of Ido-Ani and the Bobagunwa of Odo-Owo. If I reincarnate, I will always want to be an artist.<br />
Dark moment<br />
The kidnap of my aged mother is the only dark moment in my life. It was a nightmare. I did not sleep for 100 days. I was smoking and drinking gin (Ogogoro). I had nasty experience from the security officials because they keep promising. In fact, my appointment as a commissioner in Ondo State exposed me to kidnappers who were demanding 150 million ransoms. In one of the telephone calls, they asked me if I claimed I don’t have money, how I got my jeep. I then told them to take my jeep and free my mother.<br />
Creative industry and the economy<br />
The most thriving sector of the nation’s economy is the creative industry, especially visual arts. Nigeria should invest in its areas of strength, which are arts and sports. Unfortunately, Nigeria keeps investing in wrong areas like sciences.”art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-8253907649184840582013-09-28T04:16:00.000-07:002013-09-28T04:16:14.811-07:00How i escaped nairobi attack, by SoyinkaHow I escaped Nairobi attack — Soyinka
Ozolua Uhakheme Assistant Editor Arts
Nobel laureate, Prof. Wole Soyinka, has said that the late Ghanaian diplomat and poet, Kofi Awoonor and himself could have been together at the Storymoja/Hay Literature Festival held in Nairobi, Kenya.
He said he was invited to the same festival but could not attend.
Awoonor was killed by terrorists last Saturday at the Westgate Shopping Mall shooting in Nairobi.
Soyinka said two commitments: a public conversation with a very brave individual, Karima Bennoune, an Algerian national, whose trenchant publication – Your Fatwa Does Not Apply Here, and the annual conference of international investigators in Tunis, were responsible for his inability to attend the festival.
He said: “My absence was particularly regrettable, because I had planned to make up for my failure to turn up for the immediate prior edition. Participant or absentee however, this is one edition we shall not soon forget. It was at least two days after the listing of Kofi Awoonor among the victims that I even recollected the fact that the Festival was ongoing at that very time.
“With that realisation came another: that Kofi and I could have been splitting a bottle at that same watering hole in between events and at the end of each day. My feelings, I wish to state clearly, did not undergo any changes. The emotions of rage, hate and contempt remained on the same qualitative and quantitative levels,” he added.
Soyinka spoke in Lagos yesterday during a memorial reading session tagged Humanity and Against and held in honour of the late Ghanaian poet.
He described the late Awoonor as a passionate African who gave primacy of place to values derived from his Ewe heritage. “That, in turn, means that he was thoroughly imbued with the spirit of ecumenism towards other systems of belief and cultural usages – this being the scriptural ethos that permeates belief practices of most of this continent. We mourn our colleague and brother, but first, we denounce his killers, the virulent sub-species of humanity who bathe their hands in innocent blood,” he added.
Renowned poet, Prof JP Clark explained why Soyinka and himself were not at the funeral of the late Chinua Achebe at Ogidi, Anambra State, blaming it on politicians that hijacked the funeral. He noted that Prof Soyinka and himself did not sit and plot action on whether or not to attend Achebe’s funeral in Ogidi.
“Politicians hijacked the Achebe’s funeral. I said to myself, if there is life after death, Achebe would be laughing at the politicians. So, writers could not have found a space in Achebe’s funeral. From the President to the Governors, they hijacked it,” he noted.
Clark said critics might be wondering why a memorial is being held in honour of Awoonor in Lagos unlike when Chinua Achebe died.
President of the Association of Nigerian Authors (ANA), Prof Remi Raji, who read from his collection of poems, The Fire Next Time, said of the late Ghanaian poet: “African literature has indeed lost an influential voice. The name, Kofi Awoonor, was very present in our minds as young students. Though I never met him in person, his writings have been influential. The ANA has sent a condolence letter to the Ghana authority. Today’s memorial is very instructive. His death is a reflection of the urban barbarisms in the globe today.”
Other scholars who read excerpts at the memorial were Prof Kole Omotoso, Prof Femi Osofisan, Dr. Wale Okediran and Lola Shoneyin.
art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-26996389734854468022013-05-02T08:11:00.001-07:002013-05-02T08:11:48.160-07:00my art is my diary<!--[if !mso]> <style>
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<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1;"><b><span style="font-family: "Times New Roman","serif"; font-size: 24.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;">My art is my diary’</span></b></div><div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Seven years ago, renowned art scholar, Prof Christopher Uchefunna Okeke was struck by stroke. Last Sunday, he defiled all odds and joined friends and relations to celebrate his 80<sup>th</sup> birthday at the Fredom park, Lagos. Assistant Editor (Arts) reports. </span></b></div><div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The select audience, comprising renowned art scholars and patrons such as Prof John Pepper-Clark, Prof. Bruce Onobrakpeya, Chief Rasheed Gbadamosi, Prince Yemisi Shyllon, Joe Obiago and Oliver Enwonwu, were unmoved by the long wait. The celebrator, Prof. Uche Okeke, who turned 80, was yet to appear at the venue of the birthday celebration hours after the 4pm start off time. Still, in his absence, speakers took turns to reflect back on the doggedness and resilience of the art scholar who has been on a wheel chair since February 2007 following a stroke attack.</span></div><div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Last Sunday, Prof. Okeke ‘stood’ tall among his associates and relations who gathered to celebrate him. It was an evening of prayers and encomiums from friends, associates and relations who recalled the works of the great artist, poet and illustrator. The venue of the party organised by his children as part of activities to mark his 80th birthday, was the Kongi Gallery Hall, Freedom Park, Broad Street, Lagos. One of his children, Mr. Chindo El-Farid Uche-Okeke, was the compere.</span></div><div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">At exactly 6.51 pm, about three hours into the celebration, supported by his wife, Kaego, and children he rode triumphantly on the wheel chair into a cheering audience that stood up singing. Okeke, who wore a top made from earth-colour Ankara on a pair of milk trousers, offered a broad smile to all in appreciation of the honour. Though he did not say ‘thank you’, his body language and the expression on his face, said it all.</span></div><div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The retired art teacher at the University of Nigeria, Nsukka and founder, Asele Institute, Nimo in Anambra State, who is famed for illustrating the late Chinua Achebe’s popular book, Things Fall Apart, considered his art as a visual diary of ideas he has nurtured over time.</span></div><div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“Time is, therefore, of utmost importance to me, taking pride over place in my scales of values. Yet, I am an environmentalist of some sort, for I believe I can create my own world out of elements from my past and from the history of man on earth. For me, art has always signified the search for values. These values do not necessarily change but fall and rise with historical man as he tarries here and returns to the place of the dead,” he said in a graffitti on the wall of the hall.</span></div><div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Prof. Pepper-Clark described Prof Okeke as a versatile artist who got published by Mbari Club as a writer before his contemporaries. He also noted that Okeke’s pioneer group of visual artists from Zaria was larger than the writers association and that they made their mark more than the poets. Prof. Clark recalled that Prof. Okeke was one of the early pioneer visual artists who came to the University College Ibadan, when the Mbari Club was just formed.</span></div><div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The literary icon also used the reminiscences to talk about their school days at Ibadan. He recalled the old rivalry between the then Principal of University College, Ibadan and the Rector of the Nigerian College of Arts, Science and Technology, Zaria saying ‘there was rivalry between the two heads of the colleges on who has more degrees than the other. But, all the campuses of the Nigerian College of Art, Science and Technology, Zaria were looking up to us at Ibadan.’</span></div><div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Nobel Laureate, Prof. Wole Soyinka who came midway into the celebration observed that the creative energies and the camaraderie enjoyed by artists and writers in the days of the Mbari Club at Ibadan cannot be replicated today. “Unfortunately, it is impossible to replicate what happened when the Mbari Club started at Ibadan. We can’t enjoy the same things again. But, there is a muse of creativity that I happened to be here without notice,” he said. Soyinka who joined the celebration later was at his office to pick up his mails when he knew about the celebration.</span></div><div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Founder of Omooba Yemisi Adedoyin Shyllon Art Foundation, Prince Yemisi Shyllon, said Prof. Okeke pioneered the development of Uli art that gave birth to great disciples such as El Anatsui, Obiora Udechukwu among others at the University of Nigeria, Nsukka.</span></div><div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“I have benefitted from the great works of Okeke. We pray God to grant him good health and long life,” Shyllon added.</span></div><div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Prof Onobrakpeya, a classmate of Prof Okeke at Zaria, described the evening as an occasion to thank God for Okeke’s life and all his endowments as a visionary artist, father and citizen. “We pray God that he should get better, well and the artistic endowments should be productive and extend from now till future. We are asking that Asele Institute should be upgraded in order for his legacies to spread,” Onobrakpeya said in an emotion-laden voice. President, Society of Nigerian Artists, (SNA) Oliver Enwonwu said Prof. Okeke ‘s extraordinary career saw him rise from his student days (1957- 61) at the Nigerian College of Arts, Science and Technology, now Ahmadu Bello University, to one of the most important figures in the history of modern Nigerian art.</span></div><div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“His career begins as a clerk in the department of labour at Jos, takes off as the head of the Visual Art Section, Refugees Affairs Committee of the Biafran Directorate of Propaganda in 1968, and reaches its climax as the head of the Department of Fine Arts, University of Nigeria, Nsukka. Indeed, much of his legacy rests not only on his role as a founding member of the Zaria Art Society which later became the Society of Nigerian Artists, but his contribution to a modern Nigerian visual language,” he said.</span></div><div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Continuing, he said: “Prof Uche Okeke, we the executive of the Society of Nigerian Artists and indeed all our members are here to celebrate you.Enduring success never comes easily. It takes the struggles of life to grow strength. It takes a good fight for principles to build fortitude. It takes crises to gain courage and it takes singleness of purpose to reach a goal. This, Prof Christopher Uchefunna Okeke, describes your life story. On this occasion of your 80th birthday, we all salute you and say; May God bless you. May you prosper and live long in good health.”</span></div><div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Others who spoke included Chief Rasheed Gbadamosi, Mr. Ashim Nwoko, son of Demas Nwoko.</span></div><div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The family used the evening to announce the launch of Uche Okeke Foundation holing next year as well as the publication of a book on Uche Okeke’s seminal works. Also, a giant birthday cake was cut by the celebrant in an evening that witnessed lots of back slapping and exchange of pleasantries among arts community members present.</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><a href="http://www.printfriendly.com/print?url=http://thenationonlineng.net/new/arts/life-midweek-magazine/my-art-is-my-diary/"><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-no-proof: yes; text-decoration: none; text-underline: none;"><img alt="Print Friendly" border="0" height="17" src="file:///C:\Users\Yaya\AppData\Local\Temp\msohtmlclip1\01\clip_image001.gif" width="112" /></span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div><div class="MsoNormal"><br />
</div>art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0tag:blogger.com,1999:blog-8077458154742908122.post-78274706338826522252012-08-23T11:05:00.000-07:002012-08-23T11:05:05.440-07:00Ife 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.
art4lifehttp://www.blogger.com/profile/15432010134224049289noreply@blogger.com0