‘My studio is my labour room’
By Ozolua Uhakheme
Raqib Abolore Bashorun is an artist with multiple talents. Apart from being a creative graphic designer and art teacher, Bashorun expands the frontier of design concepts beyond paper and canvas to wood, a medium he constantly explores with various power machines as a tool of creative visual expression. Today, he has shifted further in opening up fresh vistas to new possibilities of creative wood application that accommodates functional and aesthetic values.
A childhood encounter, at a carpenter workshop owned by his Uncle, had inspired his strong passion for wood as a medium of visual interrogation. Little wonder his passion got skewed towards graphic design and later to art education through to two master degrees in Fine Art and Art Education at the University of Missouri, Columbia, US.
An ardent follower of Bashorun’s creative experimentations with wood will certainly appreciate the artist’s strong belief in offering sculptural pieces in their natural state. But at a time when most people including his artist friends are abandoning wooden objects, he is busy scavenging them to recreate and recycle the objects for a new life. "My focus since I was beginning again was on renewal and most of the materials used as a vehicle in realisation of this feeling were recycled, making deliberate moves to recreate the abandoned, abused and discarded, neglected and lonely everyday familiar materials begging for attention", he said in his Rhapsody’s brochure.
One other strong reason for this new feeling is in response to global concern for preservation of the world’s natural resources. In achieving this, he used soda cans from around the world to explore the value of colour and the reclaimed wood to provoke memories and connect man with his past whereby he sees through the layers of time.
"I saw among other things, the charm of nature in the variety of wood I used; I wanted to ignite questions in the way I generated my forms with qualities of mysteries and surprise such that make the viewers want to take another look at the pieces," he added.
Inspiration to create
‘The period of my exhibition is very important. It’s a period when I discuss about my works in the open. I started putting these works together some time last year October. And the energy behind putting these works together is just the environment in which we find ourselves, which is Nigerian environment. With the many problems and obstacles that we all talk about, I believe very strongly that these obstacles will always be there. It is just a question of us deciding which way we want to take ourselves; your works, your ideologies or whatever you have in mind that you want to achieve.
When I was coming this morning, I was listening to music by Dolly Parton in my car, saying that everything in this world is beautiful. She was talking about something that I’ll be addressing in my works. That is when something happens, there is always something beautiful about it if only we can see it and not just look. I see the environment we are as one that is inspiring, an environment that can motivate you, and I keep wondering what is happening to Nigeria as a whole in terms of our government that keeps promising us but they never fulfill what they promised us.
We can do it
‘I read that few determined individuals can change the course of history for good or for bad. If you compare the population of those in the National Assembly to the population of this country of 150 million people, it is so insignificant. But, because they are determined to take us to where we are today, that is where we are. If they so wish, they are going to do something good for this country, I’m sure they can do it. It’s just a matter of determination. So, it’s that sheer determination that I have invested in putting these works together under six months.
And I believe that what is happening in Lagos today is one of the things that is affecting me as an individual. What the governor Lagos State is doing to change the environment is something we can always be proud of. And when I look at the changes, and if we so much love what is happening in Lagos , we should be proud of the change that is happening.
I don’t have a big generator to run my machines. The small generator I have is just 3.5 kva that can only carry my power tools. And what I do each day is to map out strategy before I put on my generator and between 30 and 45minutes I will finish the job.
Sometime, I find myself working on three, four pieces at the same time. And the meaning of that is that what you are doing now will tell you what you’ll do next. And that’s why I urge my fellow artists or students not to wait until they are comfortable to do something. That comfort will never come in the real sense of it. Now is the time to start. Whatever you have now should be able to move you to which ever level you want to go. Don’t wait until you have a large studio before you start working.
Packaging art exhibition
Art exhibition should be a total package because it is your show, which should be your birthday. So, you look at what is available and do whatever you can to make it a success. It’s not the money we make that is important, but the fact that we have people around to view what I have been labouring to do in my labour room. I wake up in the morning and go straight to the labour room and I labour for 12 hours. Nothing is easy and nobody ever told me it’s going to be easy, so I should not expect it to be easy.
Introducing colours to wood
The introduction of colours to my works is a function of clamour from people that I should introduce colours. I still don’t want to put colours directly on the wood because I cherish the natural state of the wood. There are ebony, ayunre, akala, mahogany etc that can reflect different colours. I am still thinking of how best I can add colours to my wood. Sincerely speaking, I’m still looking into that and that is one thing I was struggling to achieve. I’m still addressing that kind of problem, only that I am still looking for better ways of doing it. However, it has to be at my own time.
What is happening today in the wood industry is that the wood will start falling apart three months after you bought them. What is the problem if some woods survive for more than 70 years? We don’t allow wood to mature enough before we chop them off in the forest and we start using them. And whenever we do that, we don’t plant new ones to replace those that are over 70 years.
There are some wood I bought some four to five years ago that I have in my studio. Even when I want to use them, I don’t buy and use them immediately but allow them to season.
Treatment of wood
Naturally, wood has its own in-built preservatives. If you allow wood to mature by itself in the forest, nothing will happen to that wood. But because we don’t allow the wood to be preserved in the forest, that is when we start thinking about preservatives. And if we don’t allow wood to mature by itself before we fell it, no amount of preservatives will salvage or rescue any wood because it is a natural thing.
Among his works at the exhibition are Black Roses, which is the soul and signature piece of the exhibition. The reason being that he started working with Black Roses and it was the first thing he made and all other works started coming in.
This has to do with what you and I think about ourselves as black people. Some people believe that blackness is a bad thing. As an artist, he does not believe that blackness is anything bad and he sincerely believes that if you search very well, you will find black some where on the surface of the planet. It’s not only white or pink, it’s just a function of what you see and how you’ve seen is what probably informs us on what we believe in. So, I believe you can find Black Roses some where. The woods have natural colors so this is Black Roses,’ he said of the Black Roses.
Frozen Past is a work that looks protected from time till now. That is why it has a frozen past. Past Brought Forward and Frozen Past are from the same family of wood but one is looking pale, the other one is looking fresh. It’s like bringing it forward but they still can co-exist and complement one another.
Contemporary Shrine looks at contemporary time, in relation to religion and why should contemporary shrines be scary? The piece is addressing co-existence of every religious belief and the need to live peacefully and harmoniously with one another.
Mega Dream is a work done in appreciation of the changes that are taking place in Lagos State, especially the infrastructural development and the go green campaign embarked upon by the Fashola administration.’


Preemptive: July bouquet for Soyinka at 76
By Ozolua Uhakheme

Until December 25, 2009 when Umar Farouk Abdulmuttalab, 23, attempted to bomb an American aircraft, not many Nigerians realised the psychological torture of being on the United States terror watch list. Ever since that Christmas day incident, war against terrorism and the Muttalab issue in particular, have gone beyond politics, economics, social factor to culture. This was the concern of some Nigerians who used live drama presentations to examine how terrorism had affected man, his colour and race as well as how international policies affected the Black, especially his culture.
Preemptive, a play written by a US-based Nigerian writer, Niyi Coker Jnr, is the choice of Z-Mirage Multi-Media Limited, organisers of the travelling performance that will kick off at the Muson Centre, Lagos on July 13, in honour of the Nobel laureate, Prof. Wole Soyinka, who will turn 76 this year. According to the Chief Executive Officer of Z-Mirage Multi-Media Limited, Mr. Teju Kareem, Preemptive, is a six-man cast play that will go on stage to address peoples’ lives, which is the traditional role of theatre. The cast include Dr. Ahmed, an African Muslim psychologist working in the City of New York; Vivian, a psychologist with the New York City Police Department; Ted, a retired police officer at the New York Police Department, Mama, Ahmed’s single parent in Senegal; Fatima, Ahmed’s fiancé in Senegal and a judge at the District Court for the State of New York.
Kareem explained that the theatre presentation is being put together as a transnational project partly in commemoration of Nigeria’s 50th independence, adding that it would move from Lagos to Calabar and Abuja. The Lagos show, which will run for three days at the Muson Centre before moving to the National Theatre, Lagos, is expected to attract about 76 top Nigerian movie stars on the red carpet displaying the photograph of Wole Soyinka. Beyond Nigerian cities, Preemptive will be performed in the United States with the support of strategic partners like Southern Illinois University under the aegis of Africana Theatre Laboratory; the Theatre Tabernacle in UK for three days and Barbados.
The travelling performance, according to Kareem, will cost the organisers about N35million. He noted that given the support from strategic partners, the play would achieve a minimum of 50 per cent gain from gate takings. On the use of a foreign cast for the play, Kareem said the issues addressed in Preemptive were about humanity and world peace; adding that they were not purely about Nigerian theatre alone, but to use theatre to address diverse experiences on terrorism.
Preemptive is set in New York City, United States and Zanzibar in Africa, against the backdrop of an impending city-wide racial unrest caused by police brutality and systemic paranoia. A charged space of diverse histories and competing world-views, the characters must wrestle with inter and intra-racial demons, even in this age of Obama. Rather than come to the meeting of the minds, is a preemptive strike against the opposition justified? The prevailing climate and undercurrent of paranoia and xenophobia create a gulf between humans that the technology of cellular phones fails to bridge. This is a theatre of angst and optimism even in the face of xenophobia and ignorance, the likes of which have recently foiled our global aspirations for human dignity and peace. It is also a theatre of magical transpositions.
To further increase the awareness on live theatre and Preemptive in particular, the organiser of the play is putting up an essay competition on the title of the play. The competition is open to journalists, writers and students who are expected to submit online their entries of not more than 1,500 words. Deadline for entries is May 15, 2010. Winner of the first prize will get a cash award of N100,000, while second and third place winners get N 75,000 and N50,000 respectively. The last 15 winners will get consolation prizes.

‘In US, menial jobs kill dreams’
By Ozolua Uhakheme

Can an artist really survive on his art in US?To say that one can’t survive as an artist in America is a big lie. You can survive, but it takes sacrifice and paying your dues to survive. First, you must understand how the city and the art business are run. Unlike in Nigeria, artists don’t hawk their works here nor gate crash galleries. They use the Internet to network and fix appointments for meetings. Again, you could be frustrated by many gallery owners who will snub your emails. How was your first six months in America?
I came into the US in August and by November I went for a show in Temple University, Philadelphia, full of promise as a successful Nigerian artist. Behold, I did not sell a piece. At the close of the three-day show, I met a lady who advised me that my works do not belong to the American society. She even bought some works which she did not pay for, but gave me little money as advance. I was so happy because somebody showed interest in my paintings. She, however, paid the balance three months later.
But to make ends meet, I took up a menial job. The job required my standing for 12 hours every four days with three days as off. After my first three days, I told myself that I would start painting, but it was not possible because it took me longer time to recover from that 12 hour-standing job. After eight months, I told myself I must quit. When I told my wife I was going to quit the job, she asked how we were going to survive. Luckily for me, I had some commissioned jobs I sold for $20,000. With my little savings, I took off to Nigeria for a solo show at Nimbus Art Centre in Lagos, from where I made some money. That was how I started a new phase of life and living on my paintings.
Interestingly, I came back to the US and participated in a group show in Chicago that was a sell-out. That was the real turning point. Nnamdi Okonkwo, a sculptor was the second Nigerian artist on that show. At that show, I was introduced to the owner of Nicole Gallery. The gallery was interested in my paintings and I had to drop one painting which it sold for $7,000 instead of the $5,000 price I put on it. With this sale, I told myself, yes, I have got the confidence to go ahead and paint. It was great to make such money unlike when I was working. I could only earn about $600 in two weeks.
Before this sale, a lady sent me a cheque for one little painting she took from me some weeks earlier.
My real major outing was the New York Art Expo where I featured as solo artist. And I found that New York is the biggest city in the world in terms of art. In fact, it was more fulfilling for me that I took my works to New York Art expo and collectors responded to them. It was a different level of achievement for me. What informed the shift in content of your works?
Style was the same, but the content had to change to meet the needs of American collectors. As a Nigerian artist, I painted lots of figures, but I later moderated those figures with subtle colour scheme and style in such a manner that the figures are not real. At the end of the day, my figures and their colours meet the taste of both black and white collectors. Also, I had to turn the face of my figures away from the viewers. Did all of these give you any challenge?
Not really a big challenge. Even back in Nigeria, I realised I could paint my figures in such a manner that it soothes and not task the viewers eye to eye. I did this because it is always easier for viewers to appreciate a piece better if the figures’ eyes are taken away from the viewers. But, I still paint works like market scenes. Market is market any where in the world where buying and selling go on. How about titling your works?
Sure, I still do that. But I will not title to a work Oshodi market here in the US because it will not make sense. In one of my last paintings of market scene, I titled it After the rain. I am simply capturing the fact that no matter how bad the weather or situation, the market must hold. And morning time might be slow, but the evening will pick up. That is, after the rain, comes sunshine. Any form of discrimination from collectors or gallery owners in US?
Let me tell you the real fact, I have not experienced any discrimination since I came to Atlanta. I have heard series of such allegations. There are shows it took me four years to get listed, so I don’t see that as discrimination. In your first major outing in America, did you feel intimidated exhibiting alongside big artists?
There was this US movie star, Epathra, who featured in an art show in 2005. And she was itching to meet with me having seen some of my paintings, unfortunately I came late. Behold, when she came back to my booth, she was all over me, hugging and embracing me. She commended me for the paintings, describing them as fascinating. There was a series of paintings entitled Simple Rest, which thrilled her. And she bought the work for $6,500. That mild drama between Epathra and I, sent every other viewer scrambling to take another look at my paintings. In fact, it elevated me in the US art market because it was like receiving a testimonial. But I made Americans realised that my clientele go beyond the US movie star and that I have painted the ‘who is who’ in Nigeria, from former president Obasanjo to Goodluck Jonathan, Senate president, Mrs Ngozi Okonjo-Iweala and top traditional rulers in Nigeria. I remember I flew a business class to present Okonjo-Iweala’s portrait to the bank that commissioned me for the painting. As a young Nigerian, did the name ‘Nigeria’ hunt you in your dealings with American art collectors?
Not at all. In fact, I am on a field that is much appreciated here. When American collectors see modern Nigerian artists’ works, they marvel. Many a time, buyers of my paintings give me their credit cards to charge and I never abused it. I have my studio on the net and I can’t run away because of small money. Do you have a manager that handles the marketing aspect of your art business?
I do, but managing here could be done in different ways. Personally, I have galleries, Nicole Gallery in Chicago and Reign Gallery in New Port, Rhodes Island manage my paintings. These two galleries cover enough ground for me, but I handle the Atlanta environment myself. However, I go for specific shows that are global in perspective. Which pays you better, commissioned jobs or selling via galleries?
You can’t live on commissioned jobs alone because it does not come often. So, it will be ideal to paint and send to galleries as well as enrol for big shows like art expo. How will you describe the US appreciation of art works by Africans, especially Nigerians?
Our works are highly rated here. They see many of us as well read and talented. In most homes of collectors that bought my works, I still find other Nigerian artists’ works there. An example is Bruce Onobrakpeya. What are your daily runs like?
My day starts at 4.30 am everyday. And each day I paint is like destroying my studio because I am very messy. I virtually turn it upside down. Then, I take my kids to school at 6.45 am get back around 8.30am. I start painting from 9am till 4pm. I pick the kids from school by 4.30pm and help them with home work till their mother returns from work. I return to the studio by 9pm to paint for another two hours before going to bed. Sometime, my schedule changes, especially in summer when there are lots of art events that make me travel and when children are on vacation. In summer, I can be away to Chicago, Rhodes Island or New York for two months. For me, winter is time to prepare the works while summer is time to show. Do you still get inspiration from by those rural Nigerian settings you are used to?
Sometimes I find it difficult to paint because there is no inspiration. But when comes, I will not know whether I am in Nigeria or America; the whole thing will be flowing. However, after a while, I still go back to Nigeria and I return loaded and refreshed. For you as an artist, what is the missing link between Nigeria and US?
It is the resource material I wish to use and things I wish to see. Everything here is too orderly, so what do you paint of that? You attended Auchi Polytechnic where colour is supreme. How did you tone your colours to meet their taste?
After a while, the US environment changed me. The colours I see outside, dress colours, what people keep in their homes in a way, affect my psyche. Though my colours are still brilliant, it is kind of subtle and this also comes with age. To me, it is like a little boy wearing red or arrange colour shirt, which may not be attractive to an adult. Having practised in both societies, if you are asked to make a choice of practising in the US or Nigeria, where will you choose?
Practice wise, I will choose America. Thougha lot is happening in Nigeria and I am happy about that but America has it. Business in America works and, unfortunately, Nigeria is a very small place to operate. After Lagos and Abuja, it is all over, unlike in America. Don’t ask me why are bigger artists practising there? Note that I am not comparing myself with great artistssuch as Onobrakpeya because they are established institutions. Collectors from across the globe seek them wherever they chose to live. In a show in New York, one of Onobrakpeya’s works was protected from viewers’ touch and it was not for sale. For me, is like I have to be in America to make such big name. Again, the city of Dallas is as big as Nigeria and there are more art fairs and galleries there than in Nigeria. In the US, opportunities are wider and bigger for the artists. In the last six months, I have not made any show, yet it is better than the earlier six months. But, with the economy picking up, I hope to hold shows this summer.There is the belief that some Nigerian artists do not find the US environment conducive to practise. What are the challenges?
First, it is the challenge of becoming a legal resident. Again, even at that, they keep procrastinating that after one year of working, they will go into full time studio practice. I tell you, they never realise that dream. I was told this before leaving Nigeria, so I fought against that spirit. That was why I dumped the menial job after eight months and faced the studio. So, it is not going to be easy for a growing artist from Nigeria to find his feet immediately on arriving US. He can’t have enough time to paint because of the dirty job. I told my Nigerian friend, Ehi Obinyan, who came to US recently that for him to be somebody in US, he must paint and not clean American gutters or streets to earn a living. He listened and abandoned his job. I tell you, it takes lots of guts and courage to achieve it. Unfortunately, some Nigerian artists come here and get lost.
In America, you can’t be a professional artist and be a security guard in a gas station. You are just hustling. After 12 hours of standing doing menial jobs, you are exhausted and the brain will be dead. So, you can’t be a true professional artist end at the same time working elsewhere.


Adeniran’s mission to Germany
By Ozolua Uhakheme
Who is Prof. Tunde Adeniran? This question would have been asked many a time by some admirers decades ago, when the University of Ibadan trained political scientist just returned from the US to his alma mater as a young teacher. But having served for 20 years at the premier university where he rose to be head, department of political science, and later served as Nigeria’s Minister of Education, such question on his identity among political class will be a rare one at least on the local scene.
Today, same question will also be a rarity in the diplomatic world having served as Nigeria’s ambassador to Germany between 2004 and 2007. The former ambassador who lost his second ambassadorial posting to the US no thanks to his son’s alleged misdemeanour, reluctantly recorded his diplomatic mission to Germany in a 361-page book, My Mission to Germany, thus joining the league of few diplomats that have written their memoirs. He has lots of stories to tell. In his remedial measures and policy prescriptions, he notes that the gap between promise and performance of our system and disconnect between individual aspiration and the objective conditions and social realities of national existence propelled the culture of reckless migration. Importantly, he among others urges the federal government to repatriate Nigerian destitute in Europe before they become rejects, dregs and pitiable miscreants as this dents the nation’s image. Also, he stresses the need for a strategic framework, a mechanism through which to work with Nigerian nationals abroad to ensure positive disposition to Nigeria by foreign governments. Good governance, peace and stability, and the consolidation of democratic values, policies and practices and promotion of social justice and human rights at all levels top his minimum prescriptions to remedy migration problems facing the country.
In My Mission to Germany, a 13-chapter memoir, addresses many topical issues. From economic diplomacy: searching for investors, to mobilizing the Nigerian community, presidential visits, African connection and image of Nigeria in Europe, the scholar-diplomat recalls the retreat the ambassador-designates had at the Protea Hotel, Abuja in January 2004, which he said, was a most rewarding experience, full of educative presentations and some form of amusements. Before departing for Germany, one issue that was agitating Adeniran’s mind beyond how well to reposition the Nigeria-German relations was the unending Halliburton scandal that began on December 6, 2006. But when Nigeria-German delegations met on March 16, 2004 during President Johannes Rau’s visit to Nigeria, the Halliburton issue was not topical. Today, given the renewed efforts at prosecuting corrupt personalities involved in the mess, Halliburton scam may be hard to ‘kill’.
Adeniran, author of Introduction to International Relations, International Violence and African Security and World Politics, talks about his fascination with the way Germans elect their chancellor, the Bundes (federal) president and president of the Bundestag. Though using the common phrase, ‘economic diplomacy’ like a creed, he had a compulsive hunger to tackle the image hangover created by the Abacha administration when Nigeria was a pariah state.
"Every move and statement of Nigerian envoys was suspect and, as the relationship manager and promoter, all bilateral issues would have to be micro-managed even when visualized from a macro perspective. And this called for initiative, imagination and proactive steps which could only work in the right environment and atmosphere," he says. The former ambassador to Germany observes that the crippling crisis of values faced by Nigeria in the past decade had not disappeared when he assumed office in Berlin, Germany’s capital. However, he is fascinated by four aspects of Germany: Bundestag (supreme law making body), Bundesrat (federal council), Laender (legislature) and the relationship between the central government and states.
On whether his mission to Germany was accomplished, the professor of international relations and strategic studies has a long list of ‘harvest of goodwill’- awards, exchange programmes, scholarships and research fellowships.


Nigeria through women’s eyes
By Ozolua Uhakheme

The tortuous journey of the Nigerian visual artists, especially the womenfolk in the campaign for equality and empowerment was recently captured in a group art exhibition, 50 years ahead through the eyes of Nigerian women held at the Civic Centre, Victoria Island, Lagos.
Organised by the African Artists’ Foundation in partnership with the Embassy of the Kingdom of the Netherlands and Schlumberger Nigeria Limited, the group exhibition which will also hold at the Transcorp Hilton, Abuja from tomorrow till Saturday April 24, featured six Nigerian women artists, Unoma Geise, Zemaye Okedeji, Priscilla Nzimiro, Taiye Idahor, Chineze Araka and Aisha Augie-Kuta that used different media ranging from photography, new media, sculpture, painting and video art to tell the story. Beyond the aesthetic appeal, the collection is a representation of the everyday Nigerians’ struggle to survive against the deplorable state of infrastructure, disregard for culture, racial, cultural and socio-economic divides as well as women’s struggle for equality and self actulisation.
Unoma Geise’s Double caste is a multi-racial visual representation of races like Japanese, English, German, American, Australia as well as other tribes in Nigeria. But Kuta’s Versus is one strong series collection that plays on contrast in development of man and his environment. In specific, she places education against entrepreneurship, leaders versus the led, pedestrian versus machine, religion against development, fashion versus culture and young against old. She simply dwells on the dualism of life.
Like a satire, Idahor represents Nigeria’s 50 years of existence in the form of a hollow Ludo dice that each player throws without any certainty of its outcome.
Again, she uses the works to decry the hope and faith with which most Nigerians result to when confronted with challenges. "Life in Nigeria is often like a game of chance, you roll, shake, but there is no real strategy,’ Idahor says of her works.
Second Secretary at Netherlands embassy, Mr. Ronald Sonnemans, described the exhibition as expression of Netherlands belief in human beings being born free and equal in dignity and rights. He noted that issue of rights does not matter the religion, gender or colour of skin adding that unfortunately, the road towards real equal economical, political and social rights for women in Nigeria is long ‘and we are certainly not there yet.’
"The development of female empowerment is often associated with social, political, economic and even physical struggle. I believe that emancipation should be seen as a process by which public opinion gradually reshape the dominant culture. Art can play a vital role in reshaping culture, and thus provokes socio- political change," he said.

Artist who sees human images in trees
By Ozolua Uhakheme

You are the only photographer from Nigeria. Do you think photography can compete well with other popular media at this expo?

As a visual artist, I have three means of expressing myself. I use photography, video and painting. In photography, you can capture lots of things happening around the world that you can’t sit down and paint. Through photography, you can record a lot of unlimited issues. That is why I chose the medium for this art expo.
But, why wood or trees as a vehicle to express yourself?
Wood is one of my big sources of inspiration. Once I see them, there are always lots of things to capture in them. In fact, I see form that ordinarily many won’t see. With them come the messages of different sorts. The most glaring one is about women. The trees are there, very natural and bare without anything to hide, unlike humans who will not show you their real self. I see everything I want to see in the trees.
Do you feel disturbed by viewers perceiving your theme as obscene or sexually motivated?
At times in art, the more you look the less you see and sometime, the more you look, the more you see;. The disconnection is that human beings are so busy that they can’t sit down and look deeper and meditate. That is also the challenge when artists use art to bring issues to the front burner, yet many still can’t see the issues. However, most people are beginning to appreciate my works, saying they are amazing, sexual, and unique. Anyway, the works are there to tell these issues and many are appreciative of the methodology too.

How effective are these works to change people’s views about women rights?
Surely there are many people who after seeing my works, stopped to think about how they have been treating women. There was an art enthusiast who after viewing my works on women, said ‘Lucy, I will from now on be calling you Oluwalucy’, a Yoruba word meaning God Lucy. I told him, no, you can’t call me by that name, because I am only expressing my heart through my art’. In fact, he felt guilty of these abuses against women. My works on women make many men to stop and ponder about issues of abuses raised in the works. I can tell you that many are beginning to be sensitive to all these issues.
Are the issues addressing function of personal experiences?
The issues raised in the works are not from my experiences per se, but from reading and observing of happenings around the society. Also, I learn from different sources like films because I watch movies a lot. I have never been a victim of these abuses. But there is that thing in me that makes me focus on these issues.
My works such as Shine your eyes, simply warns everybody to be on the alert and never allow any hindrance or obstacle to keep you down or from realising your dream. It is a universal appeal to all, irrespective of sex. Still a victim, is another piece that is very touching to me. Each time I find these woods that reveal lots of issues, I always look around me to find if other people are seeing what I see in the woods. Unfortunately, I found nobody. But immediately I find the woods, the impression I get inspires me a great deal. In fact, when I saw this wood in Abuja, the impression I got was that of a rape case, and a victim that was used and dumped. The instinct gives me what to do with the wood and to be interested.

Do you reorganise or sculpt any part of the wood to get your desired form?
No, not really. It is the form that tells me what to do. For instance, there is a piece entitled Amadiuwa … I decided to dramatise it using cloth to cover part of the wood. This is to tell the many stories of married women who are actually not happy with their homes. But when the cloth is off, you see the real agonies they are passing through. These agonies or pains are depicted in red colour flowing down their bodies. Also, in the same realm, is With Love from Africa, which shows a smiling face despite the deprivations from colonialism. It is another way of lending my voice to the late Fela Anikulapo Kuti’s song, Suffering and Smiling.

Did you ever think of going into sculpting?

Well, there was a time I was advised to go into sculpting while in school. But, in my school then, except you have money you can’t go through it successfully. There were cases when some students had to pay others to chisel their woods for them, so that was a setback. To me, an artist is always an artist any moment irrespective of specialty. You are the only photographer from Nigeria at this year’s New York expo.
What is your impression of the expo?
The art expo New York is a wonderful experience. But I will not say it is an eye opener because I have participated in many foreign shows such as France, Johannes Borg and Bamako. In France in particular, I saw larger than life size canvasses paints of18th century. Unfortunately, back in Nigeria many artists are considering how to feed, which affects their creativity. For me, art is not all about money making. You must create what is in your mind first and money will follow later. First thing first, every artist must listen to his inner mind first. I love large canvasses.
You are into photography, painting and video, which is closer to your heart?
Virtually all of them. I love all of them and they have a way of making me fulfilled. What are your next projects?
I am working on my collections for my next show at the French Cultural Centre, Lagos. Also, there is a group show on off the beating part, a women-related show that will go on world tour. The invisible border project to Dakar, Senegal is another pending programme for May/June this year. You were part of the Invisible Border project to Bamako. What were your experiences?
It was my most memorable experience on the road. It was an eye opener. What lesson did you learn from the trip to Bamako?
I took it philosophically by saying that this too shall pass. Whatever it is in life shall pass. Unfortunately, the group became the victim of the quest it went to unravel. However, it was a very big performance for me.

Creative push for Nigerian artists
By Ozolua Uhakheme
With over 450 artists, galleries, collectors, arts enthusiasts and publishers, this year’s 32nd Art Expo in New York, that held between March 25 and 28 provided fresh window for the celebration of creativity from across the world. From the naive to contemporary, mundane, weird and modern art, the exhibits showcased by the participants were an aggregate of global art trends.
For the six Nigerian artists; Fidelis Odogwu Eze, a metal sculptor, Lucy Azubuike, photographer; Stanley Agbontean, painter; Chinedu Onuigbo, painter; Wale Ajayi and Sussan who partiicipated in expo, the opportunity could not have come at a better time than now in their career as young artists.
According to Stanley Agbontean, a 2003 fine art graduate of Auchi Polytechnic, the outing is a lovely experience for Nigerian artists, as it provided platform for other participants, especially gallery owners and collectors to savour works from Africa. "Our works have given them the opportunity to see Africa from a positive perspective through the artists. I am impressed beyond imagination. I have not attended an exhibition as big as this before and this is a big one. I have been exhibiting in the US but this is a bigger one. Also, I have been able to see from the eyes of other artists, their culture, their artistic impressions and so far, I have seen different techiniques and materials. The cultural exchange is wonderful."
The only photographer among the exhibiting Nigerian artists, Lucy Azubuike who was at last year’s Bamako photography biennale, described her experiences at the expo as explosive. She said there are lots of works atthe expo that would inspire her to improve on her works noting that it is not all about sales, but exposure. "You see works from serious artists; how they dedicate their time to their works aside the materials and framing. When I return to Nigeria after the fair, I shall be thinking more on how to package my works and put more efforts to excel rather than just taking my works for granted," she added. Azubuike’s works (photographs of trees) at the expo dwell on gender equality and freedom of the womenfolks. They include Female Mutilation, Ready To Defend Myself, Waiting to Excell, My Gift to You and Shine Your Shine. She said women don’t come out to tell their stories but today, such stories are being told through trees in a more glaring and obvious manner - using cut down trees as metaphor for maltreated women. Continuing, she said: "When I see the trees, I feel the impact of mutilation, I can feel the real pains the cutting brings. I chose trees as my medium because they are interesting and they give me the real and true pictures of what women go through - their hopes and aspirations." She presents Still the Victims to depict a woman that lies in the mud, filty environment, where she is dumped. Still, some women wear hopes that tomorrow will be better even in the midst of challenges.
Despite his first time appearance at the expo, metal sculptor, Fidelis Odogwu Eze sees the platform as eye opener having met with lot of artists with different ideas, media and beliefs. In one of his exhibits, Compatriot, he tries to identify the major ethnic groups in Nigeria, highlighting the repetition of patterns, motivs to paint the picture of what he has in mind. Argungun tells the visual story of a conventional cultural festival holding in Kebbi State of Nigeria. "I am hungry for the next show, this is an eye opener. I have done shows outside the country, but this is a different one altogether, I have exhibited in Venezuela in 2008, featuring artists but it was nothing compared to the magnitude of works and artists we have here. This is great," Odogwu said.
Art teacher at the Adeyemi College of Education, Ondo, Mr. Wale Ajayi said the expo would not have been impactful for him if he was not present at the opening noting that the expo has been very interesting. "It is an experience that will remain in my memory for years to come. Most of these artists, I have seen their works in magazines but here I am with them, face to face. I have met with them, discussed with them and we have shared ideas. In my closet, I felt I was inferior but what they said about my works encouraged me," His works include Faces of Africa, The King and the Subject, Savanah Landscape, Celebration and Under Water.
He said most of his collections are to develop on what his mentor - Late Gani Odutokun started before his death. This, he said, is a liquidized form of art, which when you work with makes it easier for to express yourself. "There are colours that come together and flow naturally and at the end of the day, you will disover you are making more impact and expressing yourself more than you would have done with brushes," Ajayi noted.
Chiedu Onuigbo, described the art expo as an ideal platform for younger artists to grow and get exposed to global trend.
To him, the most important thing is the ability to meet artists from across the globe becuase this is the biggest art expo in the world and there are many countries participating, especially Europe and America. "Also, I have been able to see new techniques that are contemporary, which I could use to make my works better. My works talk about Africa and I use African motifs and materials. In mixed media, I use ethnic things like cowries and combs. My titles include Welcome to Africa, which talks about the hospitable nature of the African people. The brightness of Africa as compared to the impression that Africa is a dark continent. The Land is Good depicts that our land is blessed, we do not experience natural disaster, but all that is required is to make the best out of it. Yellow Gele goes to show our rich dress culture," Onuigbo added.


Harmattan workshop showcases young artists
By Ozolua Uhakheme

A model, Destiny Agbroko, was unmindful of multiple eyes as she poised before a class of 14 artists for several hours on the middle floor of the workshop and exhibition building of Niger Delta Art and Culture Centre, Agbarha Ottor in Delta State.
The session was one of the life-drawing classes conducted by the former president of the Society of Nigerian Artists, Mr. Kolade Oshinowo, at the just-concluded 12th Harmattan art workshop organised by the Bruce Onobrakpeya Foundation.
For almost an hour, every aspect of her frame was being sketched on paper by the artists, using charcoal and pencil. The drawing exercise, which is a core course in Fine Arts, is often taken for granted by many student-artists. Expectedly, the session became a herculean task for participants who battled to bring their drawing skill to bear on the exercise.
From the single model, the 14 artists produced various perspectives ranging from close up, silhouette, semi-abstract and reality. But not without frequent directives from the renowned art teacher, Oshinowo, who observed that life drawing is one of the most challenging aspects of Fine Arts curriculum, which many often avoid.
"If you leave life drawing one day, it leaves you for one month. It requires constant practice and perfection. Interestingly, it is the hub of every artist’s training. Unfortunately, many artists are embracing abstract as an escape," Oshinowo said.
The former deputy rector, Yaba College of Technology, Lagos, who is a first timer at the workshop, said the forum deserved every support from all, especially the local, state and federal governments. He added that it has become an institution many artists look up to every year. He admitted that he was inspired by the creative environment at the workshop, describing the efforts of Prof. Onobrakpeya as praise worthy.
"One must praise his vision, and how many Nigerians can do this? It is a load he has been carrying. Though there are shortcomings here and there, the workshop is what artists must be encouraged to attend. I learn from artists as a facilitator. "The workshop provides for the opening up of one’s horizon. It has become an institute people look up to. I don’t want to see a year pass without the Harmattan workshop. The workshop deserves some support from local, state and federal governments," he said.
According to the art teacher, issues like power generation and accommodation can be improved upon, if adequately funded. He stressed that there was no reason why artists-in-residence programme should not hold every six months at the centre. "I have a strong feeling that it will get there because the seed has been sown. We just need a government that is apolitical in taking it up," he added. For Onobrakpeya, this year’s workshop adapted for Nigeria’s 50th independence anniversary is on course. He disclosed that since the workshop opened on February 14, lecture presentations were used to analyse the movements of art from independence to date. Contributions of icons, such as Sussan Wenger, were also used as a case study to examine the role of artists in the socio-cultural development of the nation since independence. Slide presentation on the life and works of Munich-based impressionist artist Vassily Kandinsky also added global flavour to the programme, while contemporary issues affecting exhibiting artists were discussed with a view to broadening the horizon of the artists, especially in planning for exhibition, relationship with collectors and press, personality building and networking, relationship between art and religion and the role of drawing in a painting. Among artists that participated in the first and second sessions of the workshop were Jide Adeniyi-Jones, Sam Ovraiti, Bode Olaniran, Godwin Onobrakpeya, Mrs. Stella Awoh, Taiwo Sullayman, Folu Folorunsho, Ifeoma Anyaeji, Destiny Agbroko, Ademola Balogun, Kunle Adeyemi and Harry Bazunu.


‘I have consistently condemned coup plotting’
By Ozolua Uhakheme


As a former governor of the defunct Western State, I have the right to comment on issues within my experiences. But to start citing role models far away from Nigeria is not my kind of option. As a matter of fact, there are several of them locally, be it in entertainment or sports. And Obasanjo is my role model. He may be your own antagonist as a journalist. Governor Gbenga Daniel is my role model but the most superior role model in this country is the Ooni of Ife.
Baba Obafemi Awolowo was to me a father, not that he is not a role model but he is a father figure and sage. He was a leader of people not just of men. But before we start going outside our environment and making me sound or look like an authority on African behaviour and misbehaviour, I will want us to restrict ourselves to my own environment.
"For instance, for most Nigerians elected into the National Assembly or state House of Assembly to serve, once they get there, they make themselves masters of the people who elected them. I cannot single out anybody that is truly serving this nation but to enrich himself, as they see it as an opportunity. These are within my environment and those are issues I can comment on.
"In my military days, I don’t like anyone making me what am not. I am not an authority on anybody’s role modelship. I am a concerned Nigerian citizen. As a retired service chief and former military governor, I feel disturbed when elected governors turn themselves into executive governors, which to me, is a meaningless designation. It is not in the Constitution because nobody was sworn in as an executive governor. Everybody in service of this nation that is elected or appointed will say he is executive. What about executive? One will soon find executive messenger or executive secretary to a goddamn local government? All these executive titles are meaningless. It is the fault of the press. All these were as a result of press creations. No governor will come out and say, I am the executive of any state, but the fault is from the print media.
But why accept the tag? After all, the governors can correct the press if they don’t find it appropriate.
I am very sorry to say, this is the most annoying question to answer. It always upset me hearing it from learned people. For example, it is like somebody dips his hand into his pocket and gives N50 to a policeman at a road block and you are asking why did the police man receive it. Are you talking of the cause or effect? Or better still, when a politician plans a coup and using surplus money to fund it. Whose fault? Is it the military?
Why don’t the military refuse to accept such an offer? It is like coming in here and I spelt your name wrongly. Would you take it from me? The title "executive’ to me, is like a name or a tag.
Misspelling of names is quite different from that. However, the former governor of Ondo State, Olusegun Agagu said in a press release that he should not be referred to as executive governor and his wife should not be called first lady. All these titles are from people who are seeking favours and the press took it over and amplified it.
You were described as a perfectionist during your days in the Navy and that you had a tag on your table that reads: Why not the best?
When I became a military governor of Western State, people started publishing all sorts of things on the pages of newspapers describing me as visionary leader and God sent messiah. I had to issue a press statement directing them to channel all the money for such advertorials to motherless babies’ homes. After I issued that statement, nobody sent me such greetings any longer. And it is because Nigerians glorify in all these titles and I trust only one person that cannot tolerate that in Nigeria, that is, former President Olusegun Obasanjo.
Though I suffered from him, that is my true opinion of him. I was the governor with the shortest tenure (30 days) in Nigeria under Obasanjo’s administration for refusing as a principle, to hand over the University of Ile-Ife to the Federal Military Government in September 1975.
On the issue of perfection, is it humanly possible for man to attain that level of performance as indicated by your slogan? Again, it is a common saying for people to declare that ‘I did my best’ even when their best is not good enough.
Then you are covering up, which means you are not honest and not straight forward. At a stage your boss will find out that you are not reliable. So, what you are saying now is that, what people are saying about me in the Navy could never had happened because one day people will say ‘Ojo gbogbo ni ti ole and ojo kan ni ti oninkan’. One day, you will be judged and for me, I can say, for the four years I was honored and graced by God, I did my best and that best was, in fact, by the grace of God, not man that saw me through. That introduced me to a man I had never met, never spoken with in the person of President Shehu Shagari to have made me Chief of Naval Staff

Mary eyes Easter feast for Love
By Ozolua Uhakheme

After an initial rave that trailed the release of her debut album, Love, Port Harcourt-based upcoming singer, Mary will make an entry into the music industry this Easter season. The launch, which will also witness the official opening of the record label, BJ Records, on April 5 at Aladumo Miracle Hall, GRA Junction, Port Harcourt, Rivers State is expected to host the release of another new album from a new artiste, Chibani on the same label. There will be a red carpet reception preceding the event.
Expectedly, video clips for Love are being shot in Lagos, Port Harcourt among other locations, which will be concluded this month.
According to the Director of BJ Records, Mr. Joel Nwachukwu, the three events are rolled into one during the Easter celebration as part of strategy to offer lovers of music the ideal music for the season.
Mary’s name might not readily ring a bell but her velvety voice will strike you with her simple delivery, composure and all that is evident in her 10- tracker collection. The thrusts of her songs border on love, compassion, freedom, struggle and appreciation.
Born, Agbani Obiekotoma Mary, who is a member of staff of the Rivers State Council for Arts and Culture is an emerging gospel artiste, who hails from Rivers State. She is signed on to BJ Records and she loves singing, reading and listening to music. Her songs are a fusion of Reggae, Rock and R & B. They are delivered with carefulness, tenacity of purpose and fluidity which is all evident in her voice.
The slim built singer takes her challenges as a student, singer and performer with the State Arts Council as more of inspiration than burden.
"I am a civil servant with the Rivers State Council for Arts and Culture. It has never been easy combining performing for the State Troupe and exercising my God’s given talent of singing. At the same time, I am currently in school and into modelling too. It’s the grace of the Lord that is seeing me through all of these," she said shortly after her performance at last year’s Abuja Carnival as a member of her state delegation to the annual carnival.
Her 10-tracker includes songs such as Love (Remix) featuring Perez, Ginikamugarime, Spread my wings, I appreciate, We dey hail you featuring Space G and Paul Nature, Imela featuring Eze Ekegwu, Love, Beta (Jaration), Love (Remix) instrumental and We dey hail you (instrumental).
The album variously features artistes such as Perez, Space G, Paul Nature and Eze Ekegwu.
"At present, my debut album is being promoted in all of the radio and television stations in Port Harcourt. It has got to Lagos and arrangements are on ground on how it will go round other states in the county and outside Nigeria as well. My performance in the last year’s CARNIRIV 2009, held in Port Harcourt went a long way in promoting my album, where the likes of the Governor Chibuike Amechi and other top dignitaries, visitors within and outside Nigeria were all in attendance. Also, I am undertaking a playing tour of major churches as well as attend social gatherings for performances."
On why she went into music, she said: "To me, it is hereditary; my dad sings and I was born a singer. I started singing right from childhood. I was the leader of the junior choir (Angels without wings) in my church. From there I grew to the adult choir and finally to the church’s band.
My primary and secondary school education went on well alongside music. When I am back from school, I go for my music rehearsal and travel for shows too. However, the reverse was the case when I got into the university and it was tough. But, I was careful enough so as not to miss out my lectures and examination as well."
Mary said she also performed as back-up artiste for many artistes, adding that her experiences all through the period, though hectic, went a long way in building her musical career. "I composed my songs, did my back-up, rap and did my solos. Indeed, it is a productive experience," she confessed.
She disclosed that foreign artists such as Laurel Hills and Nigerian 2face Idibia, and Asha are her favourites.


Auction house nets N60 million
By Ozolua Uhakheme

For the fourth year running, the annual art auction by Art House Contemporary Limited will hold on Monday March 1, 2010 at the Civic Centre, Victoria Island, Lagos by 6pm. It will feature 108 art works by 73 renowned and upcoming artists from Nigeria, Ghana and Kenya. Expectedly, British auctioneer, John Dabney will direct proceedings at the auction. According to the director of the auction house, Mrs. Kavita Chellarams last year’s auction recorded a total sale of 75 per cent amounting to N60, 070,000 against a total estimate of N77million.
She explained that this year’s edition of the auction is expected to generate more interest in the Zaria school as rare works by Gani Odutokun and Jerry Buhari are included for the first time. Also, works by some of their younger contemporaries are included alongside those by the celebrated groups associated with Nsukka, Osogbo and with the Lagos art scene during the 60s and 70s.
She however noted that getting quality works and choosing the right works that represent the best of the art are some of the challenges organizing the auction since inception three years ago. Also, of concern to the organizers, she said, is the need to discover new artists who would use the platform to grow in their profession.
Mrs. Chellarams stressed that female artists are strongly considered for the auction hence the inclusion of artists like Ndidi Dike, Peju Layiwola, Peju Alatishe, among others.
But among renowned Nigerian artists whose works are regularly included in the auction include Ben Enwonwu, Uche Okeke, Bruce Onobrakpeya, and Ben Osawe. But the likes of Sokari Douglas-Camp, Osahenye, Ben Osaghae, Peju Laitshe, and Lemi Ghariokwu are featuring on the auction. Ghana is represented in the auction by Ablade Glover, Amon Kotie, Ato Delaquis, George Hughes and Kofi Agosoor while Peter Elungat. To facilitate widespread participation, telephone bidding will be used during the auction.

Idoani: One community, many tongues
By Ozolua Uhakheme
The three-part twelve-chapter book, Idoani: My Historical Jottings, by Alfred Bandele Alabi is one of the few authentic and holistic publications on Idoani, a town in Ose local government area of Ondo State. Beyond being a detailed account of the historical, socio-political development of the people of Idoani, the 257-page book is rich in factual evidences of the author’s sources, unlike earlier reports by others on the community. Since the book also doubles as an autobiography of a sort, the author undertook researches on his personal family roots in the community, as well as the origins of the six communes (Ido, Amusigbo, Isure, Iyayu, Isewa and Ako) that form Idoani. The strength of the book can be found in an indigene telling his story without undue bias.
Consequently, the author presents to the readers a carefully crafted report of his years of tireless research into the origin, circumstances, events and personalities, past and present who, through their lives, ministries, professions, occupations and uncommon commitments, sowed and nurtured the seed of Idoani’s development.
In Chapter One, the book introduces the different communes that form Idoani, as well as the other sub-groups highlighting the origins, the relationships between the quarters and their cultural traits. Chapter two dwells on the nature of confederacy operated in Idoani dating back to 1880, the evolution of the present day Idoani, and locations of the old sites before the famous merger of 1921, the making of the first confederate traditional ruler following the death of Alani Atewogboye on January 3, 1921. This chapter also reveals one interesting aspect of Idoani, which is the presence of two rulers in one community or settlement. For instance, in page 51, the author states that "evidence indicated that there were two rulers in Isure, the Olupefa and the Olusure.
Evidence also showed that there were two rulers in Amusigbo, the Oniye and the Alamusi, as also in Iyayu headed by the Olupara and Oludosi." In fact, Idoani is a peculiar confederation. And there were serious efforts to harmonise the variations in socio-cultural matters. As there were more than one traditional ruler in a community, so were chieftaincy names duplicated in many of the communities.
Such efforts were directed at, among others, on the duplication of chieftaincy names in Idoani. The author explains that there were confusions at meetings of the council of chiefs in reference to individuals during deliberations. This, he says, resulted into efforts at reducing the anomaly in the 1970s. "It was suggested that, upon the death of any chief with duplicated title, the successor would be conferred a new chieftaincy at Idoani level, that would carry all the rights and processes of the old quarter title."
Apart from some specific instances, Chapter three simply covers the beliefs, cultures and traditions of Idoani people, which share similarities with other Yoruba communities. Good examples are matters like belief in deities and Supreme Being, belief in the ancestors and the relevance of Ogboni, Aje and Ogun are not a far departure from other Yoruba towns. However, the author provides incisive accounts of how age groups are administered within the gerontocratic set-up using the Isure age groups example and their responsibilities. ‘
The economic pursuits of the people of Idoani, the impact of the inter-tribal wars as well as the British exploits in the early 19th century, form the thrust of Chapter four, which also covers the educational growth and adventure of some Idoani people for opportunities outside their community in recent time. But the rural-urban migration that has become a recurring decimal in the economic growth of most towns also takes its toll on Idoani. The author, worried by this trend, says: "For economic development and prosperity, there is great need for a major return to the land and tapping of the endowed, natural resources. That is where the hope of a prosperous Idoani lies."
Chapter five is dedicated to the 19th century Yoruba wars and the impact on Idoani. The author also offers the reasons for the wars, the characteristics of the people, how the war started and the key players. Interestingly, the author goes beyond his jottings to carry out a comparative analysis of the Ogedengbe/Idoani war in a tabular format, showing the strength and weaknesses of each combatant. Without prejudice, the author acknowledges the overwhelming strength of Ogedengbe and the resultant victory, which he says, had great impact on the people of Idoani ‘and changed the course of history in several ways. "Men, women and children were forced away by the victors and while the greater majority went to Ijesha and Ekiti lands, a good number went off to Ondo Benin, Ibadan, Ijebu and elsewhere where most found new homes, never to return to Idoani even after the Ekiti parapo war."
Expectedly, the author did not fail to write on the Christianity, economic life and the attendant conflicts between traditionalists and the Christian converts in Idoani, which according to him, gave rise to the likes of Pa Isaac Tenabe, who got baptised by Rev. S. M Luke in 1892. With a Bible in one hand and cocoa seeds in the other, Tenabe made impacts on both Christianity and economic prosperity as an evangelist and a farmer. This aspect of Idoani life is treated in Chapter eight. The author takes readers’ attention to the great and sterling contributions of individuals like Bello Akure, a sergeant major in the World War 1, to the growth of Idoani, the influence of World War 1, the West African Frontier Force, the seized Idoani crowns, the relevance of farmers in the life of Idoani, and the challenges ahead of Idoani of tomorrow in Chapters 9 through 12.
The book which was inspired by a friend of the author during his (Alabi) 70th birthday celebration in 2003, like the subject, Idoani, is a unique piece that will be of interest to many history students, sons and daughters of Idoani and lovers of good literary and factual works. Alabi’s profile as an Idoani high chief, a seasoned public servant and a fellow of the Institute of Chartered Accountants of Nigeria, and Nigerian Institute of Management, provides a rich reservoir for the writing of the book.
But, there are few typos and editing errors that do not undermine the quality of the content. For instance, in the preface to the book, the author states "war leaders that resisted the combined forces of Ijesha, Ekiti and forced them to seek for assistance from Ibadan army in 1879" instead of seek assistance. In reference to one of his sources on page 230, a Benin historian of note, Egharevba was wrongly spelt as Eghareuba. Like other researchers, the author did not answer one of the major lingering questions on Idoani’s culture: why the Ani was easily accepted by the Asewa and how the crowning arrangement that has survived to date was consummated. A paragraph on page 175, "The partitioning of the HAO people’s area of Ondo State…" was repeated on page 176 as third paragraph.



It will be miracle for Nigeria to achieve the MGDs’
By ozolua Uhakheme

Former district governor of Rotary International, District 9125, and founder of St. John and Mary Hospital, Akure, Ondo state, Dr. Bayo Oni, has doubted Nigeria’s capability to meet the United Nation’s Millennium Development Goals (MDGs) in the year 2015. He said it would be a miracle for Nigeria to achieve the set goals. His fears came on the heels of a recent UN progress report saying that more than half way to the 2015 deadline to achieve the MDGs, major advances in the fight against poverty and hunger have been too slow or even in the reverse as a result of economic and food crises.
The assessment, launched by UN Secretary-General Ban Ki-moon, in Geneva, has also warned that despite many successes, overall progress has been too slow for most of the targets to be met by 2015.
Oni said the implication of this is that Nigeria would not witness any significant socio-economic growth, as the people would continue to live in poverty and ill health. He noted that at local levels across the country, there are not enough functioning primary health care centres that should complement the tertiary health institutions in urban communities. "Even where there are such primary health centres at local levels, they are either without drugs or equipment and manpower needed to run the facilities," he added.
He lamented Nigeria’s current listing as one of the four nations in the worldstill ravaged by the dreaded paralytic disease, wild polio virus, five years after Rotary International initiated the polio vaccination programme across the globe. He said of the 125 countries with cases of polio infection at the ouset, Pakistan, Afghanistan, India and Nigeria are the countries still having cases of polio virus. He said that Nigeria, regrettably, accounts for 68 percent of polio infections in the four countries put together; blaming it on the setback caused by some northern states that refused to accept the polio vaccines as genuine. Over the years, there were myths and misguided fears about the polio vaccines, such as that they were the Western world’s plan to sterilise Africans or give them HIV/AIDS.
Speaking to The Nation in Akure, Oni described the Mother and Child Hospital project being executed by Governor Olusegun Mimiko’s administration in the Ondo State as a good concept towards the realization of the UN goals. But warned that such project must be backed by sustained planning- construction, training of manpower and equipping of the hospital. He noted that for a specialist hospital of that standard, the twin issues of manpower training and equipment should be top priority because professionals that would man the hospital cannot be produced within a short period of time.
He added that but for the corrupt tendencies in the system, which could truncate the survival of such hospital, it would have been an excellent health project everybody would be proud of.
The 22nd Rotary District Governor explained that in practice, the four-way test of Rotary Club is an ideal creed for good leadership and governance capable of preventing conflict and violence if it is observed to the letter. Asked to reconcile the increasing rate of corruption in the society with the size of Rotary Club’s members in leadership positions across the country, Oni said corruption is a human trait not peculiar to a race or ethnic group, but that it is unfortunately endemic to Nigerians.
"Rotary’s four-way test cannot work in Nigeria. If you come out to reform the society, you will meet with lots of obstacles. Getting the society to toe the line of sanity is a big problem. However, there has been a push for Rotarians to go into politics; but the political climate is not clement enough for the thriving of the four-way test," he said.
Oni who recalled that he turned down an offer to be appointed commissioner for health in Ondo State during the tenure of retired Navy Captain Abiodun Olukoya, (1990-92) described politics as no go area, saying he would never be a politician at any prize. "In Nigeria, it is too murky and dirty because you must be prepared to tell lie and kill to get there. In fact, my father warned me to keep off politics. Again, most Nigerians do not go into politics to serve the people, but themselves. I refused to accept the appointment as commissioner of health in Ondo State under Navy Captain Olukoya," he stressed.
On his tenure as district governor between 2007 and 2008, Oni admitted that his programmes, which were functions of funds he raised during the year were executed in line with the Rotary International’s theme- providing portable water- for that year. Of the five million naira raised, he funded the borehole water projects at the Aleshinloye market, Ibadan, Oyo State; Ishinkan market in Akure, Ondo State; toilet facility at Okene General Hospital, Kogi State; as well as micro credit schemes at Karu in FCT and at the Emir market in Ilorin, Kwara State.
The governorship of the district, he said, afforded him the opportunity to visit other states of the federation under his district, know the diversity of Nigeria’s culture, to understand man the more thus making him a better manager of man. But he however regretted that though he loves serving people, but the one year tenure was at the peril of my hospital business because ‘I was almost on sabbatical.’

akin aduwo

‘I have consistently condemned coup plotting’

At the outset of this interview, I ensured that I kept to my promise not to dwell on political issues. But, as the interview progresses, it became unavoidable not to pick a strand of political issues for analysis or as reference point. The former Chief of Naval Staff, Retired Vice-Admiral Akin Aduwo is one naval officer in his own class. Much as he cherishes the good things of life, he remains contented with what posterity bestows on him. “I don’t like arrogating undue credit to myself in maters I am not a specialist,” he will repeat the umpteenth time.
Yet, he cuts the personality of an active military top brass despite the age at his retirement days. At intervals, he would shout almost like a parade commander at the sentry ordering the guards to keep the gate closed, apparently to avoid distractions.
The small reception on the ground floor of his Omole Estate, Lagos residence might be a mirror-image of the main sitting room; where everything is at its right place. It is also a mini-museum of a sort, displaying many memorabilia, portraitures, Ooni of Ife’s rare photograph and showing those glorious military days (including a collection of photographs of his course mates at the US War College). All these exhibits are capable of keeping any guest, including this reporter, busy for half an hour.
Expectedly, he did not hide the military in him, as he avoided engaging in any undue pleasantries. But when he became unimpressed by the prelude to my first question, and insisting he is not an authority on foreign role models like Nelson Mandela, I rephrased the question: ‘As an ex-service chief, don’t you have right to comment on national issues affecting the society?’ ‘Why not,’ he said. That opened the afternoon interview that lasted over four hours. He spoke with Assistant Editor (Arts) OZOLUA UHAKHEME on why Obasanjo removed him as governor of Western State within a month, his priority for the Navy as a service chief, his assessment of the Nigerian political class, his worries about younger generation of Nigerians, his resentment for military in governance and fear for freedom of information bill.



“As a former governor of the defunct Western State, I have right to comment on issues within my experiences. But to start citing role models far away from Nigeria is not my kind of option. As a matter of fact, there are several of them locally, be it in entertainment or sports. And Obasanjo is my role model. He may be your own antagonist as a journalist. Governor Gbenga Daniel is my role model but the most superior role model in this country is Ooni of Ife.
Baba Obafemi Awolowo was to me a father, not that he is not a role model but he is a father figure and sage. He is a leader of people not just of men. But before we start going outside our environment and making me sound or look like an authority on African behavior and misbehaviour, I will want us to restrict ourselves to my own environment.
For instance, for most Nigerians elected into National Assembly or State House of Assembly to serve, once they get there, they make themselves masters of the people who elected them. I cannot single out anybody that is truly serving this nation but to enrich himself, as they see it as an opportunity. These are within my environment and those are issues I can comment on.
In my military days, I don’t like anyone making me what am not. I am not an authority on anybody’s role modelship. I am a concerned Nigerian citizen. As a retired service chief and former military governor, I feel disturbed when elected governors of states turn themselves into executive governors, which to me is a meaningless designation. It is not in the Constitution because nobody was sworn in as an executive governor. Everybody in service of this nation that is elected or appointed will say he is executive. What about executive? One will soon find executive messenger or executive secretary to a goddamn local government? All these executive titles are meaningless. It is the fault of the press. All these were as a result of press creations. No governor will come out and say, I am the executive of any state, but the fault is from the print media.

But why accept the tag? After all, the governors can correct the press if they don’t find it appropriate.
I am very sorry to say, this is the most annoying question to answer. It always upset me hearing it from learned people. For example, it is like somebody dips his hand into his pocket and gives N50 to a policeman at a road block and you are asking why did the police man receive it. Are you talking of the cause or effect? Or better still, when a politician plans a coup and using surplus money to fund it. Whose fault? Is it the military?
Why don’t the military refuse to accept such offer? It is like coming in here and I spelt your name wrongly. Would you take it from me? The title “executive’ to me, is like a name or a tag.
Misspelling of names is quite different from that. However, the former governor of Ondo State, Olusegun Agagu said in a press release that he should not be referred to as executive governor and his wife should not be called first lady. All these titles are from people who are seeking favours and the press took it over and amplified it.


You were described as a perfectionist during your days in the Navy and that you had a tag on your table that reads: Why not the best?

When I became a military governor of Western State, people started publishing all sorts of things on the pages of newspapers describing me as visionary leader and God sent messiah. I had to issue a press statement directing to channel all the money for such advertorials to motherless babies’ homes. After I issued that statement nobody sent me such greeting any longer. And it is because Nigerians glorify in all these titles and I trust only one person that cannot tolerate that in Nigeria, that is, former President Olusegun Obasanjo.
Though I suffered from him, but that is my true opinion of him. I was the governor with the shortest tenure (30 days) in Nigeria under Obasanjo’s administration for refusing as a principle, to hand over the University of Ile-Ife to federal military government in September 1975.



On the issue of perfection, is it humanly possible for man to attain that level of performance as indicated by your slogan? Again, it is common saying for people to declare that ‘I did my best’ even when their best is not good enough.

Then you are covering up, which means you are not honest and not straight forward. At a stage your boss will find out that you are not reliable. So, what you are saying now is that, what people are saying about me in Navy could never had happened because one day people will say ‘Ojo gbogbo ni ti ole and ojo kan ni ti oninkan’. One day you will be judged and for me, I can say, for the four years I was honored and graced by God, I did my best and that best was in fact by the grace of God, not man that saw me through. That introduced me to a man I had never met, never spoken with in the person of President Shehu Shagari to have made me chief of Naval Staff during his administration. I was not even a northerner or an indigene of any state that was governed by his party. I am a Christian not even a northerner.
Maybe they were trying to satisfy federal character.
Shagari appointed all the three services and the inspector general of police and we were all Christians and none was from the state governed by his party, National Party of Nigeria. MD Bello, the chief of air staff was from Gongola and I am from Ondo State and I think the Inspector General of Police from Oyo state.
I have not been happy or impressed by journalistic profession in this country because, they write all stuff and they want people to belief that it is real. They are not in the chamber of power, yet publish reports that the cabinet has decided to do this and that.

But can we say there is no federal character?
So, federal character means you can bring an idiot as long as it represents his state to a position, which he is not in any way qualified to occupy? That brings to mind the recruitment exercise I participated in as a serving officer for candidates at the Nigerian Defence Academy (NDA). I had to contribute to sending away one applicant who scored 72 per cent representing Ogun state because that state was entitled to three and the last of the candidates already has been short listed and qualified with 78 per cent. That same interview, I have to contribute to bringing in a Bauchi State candidate who scored less than 40 per cent because that was the highest score from that state. So, is that a pleasurable character? I was Chief of Naval Staff for four years.

What was your priority for the navy as chief of naval staff?
My priority was training for the navy because no one qualifies for anything unless he has been trained for it. No one in the military do a specific job without the appropriate training for the job. So, training is most important. I mean you cannot even if it’s a gift, jump into a car if you are not trained to move or drive a car. So, that is the priority for training. When you have trained your men, you have pointed out who are really equipped. If it is engineering you can identify those who are really equipped with the knowledge of performing the duty of engineering in a particular type of ship: a patrol ship, patrol boat, landing craft and so on. In the military, it will be like employing a law student as chief judge of a state or appointing a young National Youth Service Corps member as attorney general, and when the wind blows, you will see the back side of the hen. Put the right person at the right place and if things go wrong, then it must be by act of God.
As a member of the political reform committee, I know what I spoke against, and I remember what I suggested to Obasanjo, some of, which he ignored but came to hunt him later. He is a courageous man and a patriot. And he did not restrict himself to the Yoruba nation.
What is your take on the non-passage of the freedom of information bill by the national assembly in the light of the secrecy surrounding Yar’ Adua’s health?

Nigerian press will abuse it.

How?

I’m talking from experience. The senate president, David Mark was complaining bitterly about a report in newspapers concerning senate giving federal executive council ultimatum on Yar’Adua’s state of health. He said there was no such ultimatum.

Could there not be a whistle blowing group in the Senate?

Who is blowing whistle?
And you can not confirm the authenticity of that? You just take it like that?
Again, you see most Nigerians don’t understand governance. You don’t understand what is called secret. You have to keep your mouth sealed until an official statement is released… You say some people are whistle blowers that say we are going to do this, does that and they are authoritative statements?

How will you describe the confidence level between Nigerian leaders and the led?

I will not place any trust on any leader or any individual for which confidence I have not proven. Everybody is thinking about his or herself and what he can get from you or the favour you can bestow on him. And by any means, he wants to get close to you. That is why they even consider assassination and murder. Yet, the newspapers and individuals blame the police.
Uncle Bola Ige was killed seven years ago. What did the police do? The policemen are not magicians. Like a pressman, if you are looking for information and if you can’t get it, you will be blank. What will you do? The police like the court of law depend on the witnesses. The judge or the magistrate cannot go to the scene of incident at the moment it was happening.
When you approach Uncle Bola Ige’s house where I have gone many times in his life time to attend meetings either of the Yoruba leaders or his own family function, you have to go through roll of houses to reach his gate. But nobody will come out to say I saw a blue car, a white van at that time of the night. That is not what happens in Europe or American where we learnt our democracy. Only now that people are depending on scientific D.N.A, which I don’t think we have the technology in Nigeria. Unfortunately, witnesses will say I did not see anybody because they don’t want to be dragged to the court or be punished and letting the culprit go. That is the problem we have in this society. Prof. Wole Soyinka once said that within two weeks, he would name killers of Chief Bola Ige. It was head line news.
Are you worried about this new generation, especially their inability to integrate into Nigerian society and the recent arrest of Mutalab in US?
I am worried because I have my children who have grown up as well as my grand children. Unfortunately, the opportunity has been misused. I used to trek five miles to school and five miles back, for five days in a week, throughout my primary school days. I pray and hope that our culture would help to stabilize these conflicts. Though, hope is a prayer and you can hope and it does not come to past. For as long as we continue to send our children to study in foreign land, and return to meet a non-conducive environment, we will remain in this mess.
This scenario use dot happen in the Navy when men are trained in sophisticated war ships abroad only to return home to work on smaller coastal ships. Also, as a result of coups, the Navy got rid of some of its best brains. We had to start all over again in training fresh ones who are mediocre. That reduces the culture of military professionalism, power and strength. I am lost for words to describe this calamity.

You took over from Prof. Wole Soyinka at the FRSC. What were the challenges?
A Nigerian man is the most arrogant, the rudest and reckless road user I have seen. I took over from Wole Soyinka as corps marshal and I discovered that in Nigeria, there is no respect and regard for life and laws. I have been insulted several times while cautioning people on the highway to slow down or wear seat belt. A woman even said she is pregnant and so could not wear seat belt. Some road users would ask me was it my business if they don’t wear seat belt.
We blame government for bad road, what I blame government for is lack of a functioning railway system and inland waterways. The neglect of these two systems was caused by the northern traders who invested in trailers. They have murdered the rail system. Now, we have been bedeviled by darkness. Everybody now operates his business and home on generator. Nigeria has gone from bad to worse.
I blame the press for a lot of things, but I commend them on issues dealing with governance, freedom from military rule, publication against the strong handed rule of late General Sani Abacha.

Nigerian leaders do not lead by example. You find law enforcement agents like Police breaking the rules with ignominy. How about that?
Police are like other Nigerians. Being a Nigerian is a great lesson in life. In my last few interviews with the press, I condemned the decision of the House of Representatives sending delegation to Saudi Arabia to see Yar Adua. All they were interested in is the money they would make form the trip. Also, I condemned government picking the bills of pilgrims to Mecca and Jerusalem. These are wasteful policies.
But you and I know that some groups of Nigerians live on these policies. Are you sure any administration can muster the needed political will to right these?
What can these groups do if a government with the political will wants to stop it? Certainly, nothing.
What is your take on the lingering deregulation crisis?
Deregulation to me, does not make sense. Why should government be bordering itself about how I fill my car tank? If I am capable of buying a car, fueling it should be my headache. Why is government not subsidizing my hair cut?

The argument is beyond that level. Nigerians are questioning the economic sense in Nigeria as a leading oil producer importing petroleum products?

Ok. What happened to the elected law makers assigned the duty of overseeing the rural electrification project? They are in court now over misappropriation of funds. So, where are we going to start from? If I were in government, I would ask the president to give me the ministry of works.
Why?
I will not repair any road.
Why and what would you use your vote for?
This is because the worse the road condition is the less there would be accident.
I thought you would order the withdrawal of tankers and trailers off the highways?
No way. That is another ministry’s job. That ministry should revive the railway system for heavy duty equipment transportation. In Nigeria, everything goes by road, so the road can never be in good condition. It is better to loose time than waste life on the road.

You served as military governor in 1975, yet you feel uncomfortable with military incursion in governance. Is it an after thought?
Not at all. I have never one day supported military in governance. I always maintain that the military should allow the politicians to dance naked and make a fool of themselves. I believe through that they will learn. So far, I salute the military for keeping to their constitutional duties.

In August 1975, Obasanjo removed you as governor of Western State barely 30 days of assuming office. Today, you are among his protagonists. What is your take?
People express shock that I speak highly of Obasanjo who removed me as governor of Western State. If he did not remove me someone else will do. If Judas did not betray Jesus Christ, can we talk about Jesus Christ today? Judas thought he was doing Jesus some harm; Obasanjo also thought may be I will suffer. Five years on, I became the chief of naval staff, which is the highest rank in the navy. And I got it under a non-Christian and non-Yoruba.
Who has done me good? It is Obasanjo, because I might have been killed in the following coup. My successor, David Jemibewon spent two nights inside the booth of his car during the coup. But today, the likes of Jemibewon whom Obasano made minister in 1999, are among those pouring venom on Obasanjo. And most Nigerians still blame Obasanjo got doing this and that. Believe you me; I have no grudges against Obasanjo. My removal as governor was God’s blessing in disguise.
In fact, I expected retirement when Obasanjo handed over to Shagari in 1979. May be they missed my name. Five years on, Shagari made me chief of naval staff. But Obasanjo played his role in my destiny. Going to Ibadan as governor I felt sorry for my self. It was like asking you to climb Olumo rock without a rope or ladder. Until that posting, I was enjoying the best appointment at the executive of navy commanding a ship. It is the noblest appointment you can get.
Coup planning or scheming to become governor never crossed my mind while serving in the navy. Obasanjo’s removing me from Ibadan as governor culminated in my rise in the navy and becoming the chief of naval staff as well as becoming the Taarelase of Ife in 1987. I got the honour of Taarelase fm the Ooni of Ife following directive of the late Oba Aderemi who noted in his diary that I should be honoured by Yoruba kingdom for refusing to hand over the University of Ife to federal government in 1975.

how i climbed 2000ft mountain, Netherlands honours El Anatsui, Dev culture workers, The woman of calabar,

‘How I climbed 2000ft mountain bare-footed’
After defying his father’s instruction never to climb the rocky mountain of Idanre, 10 year-old Sunday Akinwunmi, a JSS 11 student emerged the winner of the maiden Mare mountain climbing festival in Idanre. That feat has won him a state-sponsored scholarship up to university level. Little Sunday spoke with Assistant Editor (Arts) OZOLUA UHAKHEME how he achieved the feat.

From answering the call of nature on the rocky mountain of Idanre to participating in the Mare mountain climbing festival, ten year old Akinwunmi Sunday, a JSS II student of Methodist High School, Idanre last Friday emerged the winner of the maiden Mare mountain climbing festival in Idanre, Ondo State. The fifth child of a family of six, climbed to the top most part of Idanre Mountain within a record time ahead of others from the community that participated in the mountain climbing festival. Young Sunday was immediately received on the hill top by the professional mountaineers from Europe who got there before all others.
Speaking shortly after emerging winner, Master Sunday who wore a Chelsea Football Club’s regular blue T-shirt on a dirty white short said he did not undertake the mountain climbing purposely to contest but that he went up the hills to answer the call of nature. "I went up there to ‘shit’ when I saw people climbing the hill. I later joined them in the climbing which I did with my bare hands and feet because some parts of the hill are slippery. I had to move in between holes, trees and shrubs to overtake the older people who were also climbing. I met some monkeys and squirrels on the way up. At first, I was scared of encountering other dangerous animals because no body had climbed that far on the hills in recent time.
"Before the festival, I used to climb the hills regularly to make traps for rodents and hunt for snails. But I have never gone this far in climbing. I will continue to climb the hills in future festival so long as God spares my life," Sunday told The Nation. Few hours after, Sunday’s name became a household name in the rocky town of Idanre, as visitors, especially journalists sought to interview him.
In appreciation of his gallantry performance and courage, the Ondo State government awarded him a state-sponsored scholarship up to university level, and an all expenses paid trip to Europe for future exposure. Governor Olusegun Mimiko described Sunday as ‘exhibiting the traits of gallantry and courage of an average Ondo state youth.’ He said ‘Mare is about culture, tourism but Mare is also about scaling new heights, Mare is about doggedness, creativity, and courage; that is the new Ondo state.’
To his old father, Pa Akinwunmi Joseph, 70, who is a prophet with the C &S Church, Oke-Isegun, Idanre, Sunday’s feat was the handiwork of God because he has always warned his son never to go up the hill. "It is the work of God. Before he left for the hills, he was with me and I asked him to get me some water. Later, I heard the news that Sunday has been declared winner of the mountain climbing exercise. At first, I did not believe it because I have warned him many times never to go up the hill because of the danger. But now I am happy for him because God actually did it for him," Pa Akinwunmi said smiling.
According Ondo state commissioner for culture and tourism, Mr. Tola Wewe, the scholarship is awarded Sunday to enable him realise his potentials by first providing him free education up to university level. He said the sponsored trip to Europe is also to expand his horizon in order to make proper choice of career in life.
The maiden edition of Mare festival which ran from 17 to 19 December 2009 was initiated by ministry of culture and tourism in collaboration with a private tourism outfit, Motherland Beckons, to promote the assets of Idanre town and its scenic hills as a tourism destination. Mare is a coinage from (Mare Bo), a Yoruba word meaning don’t fall off. The festival also exhibited the local customs and traditions of the people through a carnival of dancing and drumming that drew participants from across all local councils in the state.
Speaking at the festival, the commissioner said the festival has opened various opportunities for Idanre people apart from being a rallying point for the celebration of mountain climbing.
"We are all here today for several reasons; there are those who are here to do business; to meet their loved ones, friends and to see the beautiful mountains surrounding Idanre. There are those who are here for the fun of it, they just want to be here to enjoy the music, dance, float that we are going to witness today. There are even those who are here to sell pure water; even some cynics are here, they just want to see what is happening, what we are doing here. All these summed up is tourism; this is what tourism is all about," he noted.
Wewe stressed that the era of oil is gradually fading-off; as the whole world is now investing on tourism and Ondo state cannot be left out. According to him, this is the time for Ondo State to invest on tourism. "What we are seeing today is a part of investment. As a matter of fact, it is like a farmer sowing some seeds. Investors, economists and business men will refer to what we have put into today’s programme as seed capital. So, whatever the amount we have spent on today’s programme is an investment and by the grace of God we shall reap it. Idanre is unique in terms of the physical structure and historically; there is no two cities like Idanre in the whole world. The history of Idanre too, is unique and it is on this note of its uniqueness that we have decided to partner with Motherland Beckons to organise this project called Mare. So, we are today investing on tourism, let us build Ondo state, and unite to invest on tourism," the commissioner said.


Netherlands honours legendary El Anatsui
•Wins Prince Claus Fund laureate for 2009
Four months after he was selected as one of the eleven recipients of this year’s Prince Claus Fund laureates, Prof. El Anatsui last Friday in Lagos received a cash prize of 25,000 Euros at an award ceremony, two days after the principal prize of 100,000 Euros was awarded to Colombian architect, Simon Velez in Amsterdam, Assistant Editor (Arts) OZOLUA UHAKHEME reports.
A few minutes before seven in the evening, guests were already seated in the reception hall of House 14 a/b, the Netherlands Embassy on Walter Carrington Crescent, Victoria Island, Lagos. And the occasion was the Prince Claus award presentation by the Netherlands Ambassador to Nigeria, Mr. Arie van der Wiel. It was a well-attended ceremony that attracted diplomats, arts enthusiasts, collectors, artists, top government officials and art writers.
For Prof. El Anatsui, last Friday night was like harvest time for his exceptional contributions to visual arts as he received a cash prize of 25,000 Euros courtesy of Prince Claus Fund Award 2009. The award though funded by a foreign culture agency, further confirmed the great contributions many African arts scholars are making towards the growth of the global art culture.
Speaking at the ceremony, he said awards are not only what they represent or do, but are for the marketing of artists’ works. He noted that while awards are laudable they don’t alter the course of global aesthetics as Picasso and Vincent van Gogh did. Accordidng to him, some awards serve as public event while many create a new order in public space. To him, art is not only the joining of man and materials but about originality that points to new future.
The Ghana-born art scholar is a board of trustee member of the Centre for Contemporary Art, Lagos.
He was honoured for the outstanding aesthetic and intellectual qualities of his creations; for his innovative use of materials to highlight the dialogue between culture and nature, and for his dedicated and inspirational role in the development of the visual arts in Africa.
Each year, individuals, groups, organisations or institutions that have made outstanding contributions to culture and development within the Prince Claus Fund’s area of interest receive the prize. The awards are given to individuals, groups and organisations around the globe, but primarily in Africa, Asia, Latin America and the Caribbean. The principal award of 100,000 Euros was awarded to Colombian architect Simon Velez whilst 10 others received 25,000 Euros each. They included Santu Mofokeng (South Africa) Sammy Baloji (DR Congo) and Doual’art, an independent, non-profit organisation founded in 1991 that has revolutionised the art scene in Cameroon.
El Anatsui, born in 1944, is a beacon in contemporary African art. Graduating from Kumasi University of Science and Technology with art and art education degrees that focused on European traditions, he turned his attention to African aesthetics. Each year, the Prince Claus Fund invites an expanding network of colleagues, partners and experts in fields relevant to the fund’s mission to nominate candidates, offer insights and give second opinions on the proposed candidates. Nominations were received for this year’s awards. Documentation and research on the nominations were considered at a meeting of the awards committee on December 4, 2008, A shortlist was established and the staff of the fund’s bureau then carried out further research and gathered extensive second opinions from advisors in the fund’s network. On May 27 and 28, 2009, the awards committee met again for an in-depth assessment of the shortlisted candidates and the jury selected eleven recommended recipients for this year’s Prince Claus awards.
El Anatsui: His work, life
In 1998, a book, EL ANATSUI: A Sculpted History of Africa was co-authored by John Picton with Gerard Houghton, Yukiya Kawaguchi, Elisabeth Lalouschek, Simon Njami and Elizabeth Péri-Willis. Highly regarded in Africa, where he is considered to be one of the leading sculptors of his generation, El Anatsui is rapidly establishing a wide international reputation. Chosen to represent the African continent at the 44th Venice Biennale in 1990, he has since participated in many exhibitions abroad – in England, Germany, Japan, the United States and Brazil – and is a leading contributor to a number of international workshops for artists. While there have been numerous articles that deal with his impressive body of work, this book represents the first attempt to draw together, under a single cover, the many aspects of El Anatsui’s singular career. The book offers those interested in the expanding field of modern art, as well as readers particularly interested in contemporary African art an overview of El Anatsui’s career and an analysis of his work to date. The various texts are complemented by carefully selected colour reproductions of his work. Just as El Anatsui is concerned with the hidden histories of different cultures, so too this volume is a composite tissue woven from different sources and written in different languages. The contributors are John Picton, Reader in African Art at SOAS, University of London; Gerard Houghton, writer and linguist at the October Gallery; Yukiya Kawaguchi, Curator at the Setagaya Art Museum of Tokyo; Elisabeth Lalouschek, Artistic Director of the October Gallery; Simon Njami, Editor of Revue Noire, Paris, and Elizabeth Péri-Willis, an expert on West African visual artistic practices.
Anatsui on materials
"About six years ago I found a big bag of liquor bottle tops apparently thrown away in the bush. At the time I was searching for a pot monument (pillars of stacked pots, each of which represents bereavement in the village) that I had seen decades before in that locality. I kept the bottle caps in the studio for several months until the idea eventually came to me that by stitching them together I could get them to articulate some statement. When the process of stitching got underway, I discovered that the result resembled a real fabric cloth. Incidentally too, the colours of the caps seemed to replicate those of traditional kente cloths. In effect, the process was subverting the stereotype of metal as a stiff, rigid medium and rather showing it as a soft, pliable, almost sensuous material capable of attaining immense dimensions and being adapted to specific spaces.
"To me, the bottle tops encapsulate the essence of the alcoholic drinks which were brought to Africa by Europeans as trade items at the time of the earliest contact between the two peoples. Almost all the brands I use are locally distilled. I now source the caps from distillers around Nsukka, where I live and work. I don’t see what I do as recycling; I transform the caps into something else. If there is a direct link between the bottle tops and the fabric cloths, it is probably the fact that they all have names linked to events, people, historical or current issues. Take Ecomog gin: this refers to the regional military intervention force which brought the wars in Sierra Leone and Liberia to an end. The brandy called Ebeano (meaning ‘where we are now’) references a popular electioneering slogan from the last political polls in the state in which I live. Similarly, kente cloths are given names like takpekpe le Anloga (conference at Anloga) or can be named after a personality. Fading cloth is more of a formalistic name, with the full blooded reds at the top and bottom of the cloth yielding to creams and other pale colours in the centre. Flattening and stitching the caps is laborious and repetitive – a very different process to my earlier work using power tools on wood. I have several assistants working with me, and we start with strips and eventually assemble them into the final composite results. The process of stitching, especially the repetitive aspect, slows down action and I believe makes thinking deeper. It’s like the effect of a good mantra on the mind."


Developing culture workers for improved productivity
By Ozolua Uhakheme
Tourism, Culture and National Orientation Minister, Senator Bello Jubril Gada, has charged culture workers to be properly educated on the national cultural agenda vis-a-vis their roles as important stakeholders in the nation’s desire to make culture a key sector for economic growth. He said culture could contribute significantly to national wealth creation, job creation, and poverty alleviation, if the nation’s resources are effectively mobilised.
The minister, who was represented by a director in the ministry, Chief George Ufot, spoke at a recent workshop organised by the National Institute for Cultural Orientation (NICO), on repositioning Nigerian culture workers for improved productivity held at the Hamdala Hotel, Kaduna. He stressed that the culture and tourism sector of the economy is critically relevant to the achievement of President Yar’ Adua’s seven- point agenda and the realization of vision 20-2020. He noted that as professionals in the sector, workers have a critical role to play in harnessing the cultural resources for economic gains. "We are fully convinced that if our cultural resources are adequately and effectively harnessed they will be a credible alternative to crude oil," he added.
In his address, the executive secretary of NICO, Dr. Barclays Ayakoroma, said the three-day workshop was conceptualised as a platform where professionals in the culture sector at the federal, state and local government levels meet annually to be kept abreast of developments and trends in the sector so as to enhance their productivity.
He noted that there are problems professionals have to grapple with, which he said, include wrong perception of culture by policy makers and top government officials, degeneration in values, growing decline in the use of indigenous languages, formidable threats to cultural identity and national pride posed by globalisation and the urgent need to make culture responsive to the clarion call for a diversified economy.
The workshop which featured eight speakers, resolved in a communiqué that ‘culture should be properly repositioned to its central role in national development; Nigeria should embark on cultural revolution before economic revolution like China, Japan and Korea to bring out the best values in her citizens; the government should undertake well-funded researches and documentation of all aspects of our culture to preserve it for the education of the future generation.’
It also resolved that ‘Nigeria’s cultural tourism potentials should be adequately harnessed through proper exposure of festivals, fiestas and sites, continuous interface of internal/domestic tourism that generates the inflow of international tourists and the adoption of the one village, one product strategy; culture should be placed at the centre of development; and that Nigeria can advance its image and relationship with the rest of the world through cultural diplomacy by promoting the positive aspects of things that are distinctively Nigerian in music, sports, art works, movies, clothing, cuisine and literature.’
Among speakers at the workshop were Prof. Olu Obafemi, Dr. Elizabeth Ben-Iheanacho, Prof. A. Adelakun, Prof. Barth Oshionebo, Dr. A. Olaoye, Dr. Mohammed Inuwa Buratia, Dr. Abba Gana Shettima, and Dr. Douglas Anene.


The Woman of Calabar goes on screen
The myths and misconceptions surrounding The Woman of Calabar will soon be uncovered for many Nigerians in their living rooms when the TV adaption of the Elechi Amadi’s play, The Woman of Calabar comes on air. Beyond that, the TV drama will bring to the fore issues of unity and love in a multi-ethnic society like Nigeria, reports Assistant Editor Arts) OZOLUA UHAKHEME.

After years of stage presentations, Elechi Amadi’s The Woman of Calabar is being adapted for television in the second quarter of next year. The adaption of the play is being carried out by Bode Alao of the Kaymouzo Productions, a Lagos-based company. The production of the 13-episode TV serial, set in Ibadan, Port Harcourt and Calabar, has since commenced. It will feature popular artistes, such as Ngozi Nwosu, Tina Mba, Toyin Osinaike, Omobogogo Ombo, Emmanuel Ozzi, Ify Omalicha, Charles Iluluodu and Egechi Elechi Amadi.
Produced by Mrs. Victoria Emamouzo Ajayi and directed by Jide Alli, the serial brings to mind the erroneous beliefs and misconceptions about certain ethnic groups and people in the post-colonial Nigeria. It tells the intriguing story of a young Nigerian graduate surveyor, Eme, who falls in love with Adia, a ravishing beautiful girl of Efik extraction in Calabar, Cross River State.
But Eme’s mother, the over-protective Debo Akrika, would not have her only son get married to a Calabar girl. Mrs. Akrika’s anxieties are not unconnected with the age-long perceptions, which ascribe witchcraft and fetish inclinations to the average Calabar maiden. Worse still, the sad memory of Debo’s brother who suffered a cruel fate, allegedly in the hands of a Calabar lady, lingers. The above are the undercurrents that set the stage for a confrontation between Mrs. Akrika and Adia.
Despite the confrontation, two botched attempts to separate the lovers (Eme and Adia) set the stage for the final showdown between the Calabar woman and her estranged would-be mother-in-law. The Woman of Calabar is filled with romance, suspense, and a display of wits. Interestingly, the encounter between Mrs. Akrika and Adia culminates in a revelation that fosters a quick resolution of the conflict. The drama explores the theme of love and ethnic hatred.
Speaking on location in Lagos, Mrs. Ajayi said there is always a message in Elechi Amadi’s works and that the author is her role model. She noted that he plays around the many myths about a Calabar woman in the play.
Ngozi Nwosu (Mrs. Akrika) observed that the quality of the script spurred her interest in featuring in the production, saying the cast is equally very good and committed. She, however, warned the young producer to be passionate about the job otherwise she would be frustrated by many obstacles, especially funding.
On the message of the TV drama, Nwosu stressed that in these days of global village everyone should follow his or her heart and let love be no respecter of ethnic, religion or race.
Seventeen-year-old Egechi, daughter of Elechi Amadi, who is appearing on TV drama for the first time, said she was scared at first when given the script of the play. "But I was excited too to be part of the play because I enjoy the play. However, being Elechi Amadi’s daughter is a lot of burden for me because people expect a lot from you in terms of morality, behaviour and intelligence," she added.
For Ify Omalicha, at first, acting the role of a 19-year-old girl was her biggest challenge in the production of The Woman of Calabar. She has, however, overcome that after a series of researches on the Calabar woman and her myths, especially her memories of her father’s short stay in Calabar as a bachelor.

Giving hope to the hopeless, SONTA in fresh drive, Bamako encounter, Nollywood

Giving hope to the hopeless
By Ozolua Uhakheme
Assistant Editor (Arts)
It is common knowledge that activities of most non-governmental organisations are targeted at city dwellers to the detriment of the rural communities who are the most deprived of the basics of life. This trend was recently reversed at Igarra in Akoko Edo local council area of Edo state when Ningim Hope Alive Foundation organised a three-day free medical (cancer and health life style) campaign for the people. With the theme; Community health our concern, hundreds of old men, women and children from Igarra and its environs were treated of different ailments ranging from appendicitis, to eye defects, hernia, as well as screenings for HIV/AIDS, cervical and breast cancer for free. The 18- man team of medical staff that attended to the people during the campaign held between November 10 and 12, 2009 was led by Dr. Okey Okoroji, an ophthalmologist, and supported by Dr. R.E Bello of the Igarra General Hospital.
It was the first in recent time that the people of Igarra and its adjoining communities in Edo, Delta, Ondo and Kogi states would be privileged to such a comprehensive free health services courtesy of an NGO.
President of Ningim Hope Alive Foundation, Dame Tumini Akogun, said as a result of the increasing demands and huge turn out of people from the communities, the campaign was extended by another day in order to attend to every complaint. She said moving around with the first lady, Hajia Turai Yar’ Adua influenced her a great deal especially on medicare. “I saw the zeal and responses of the people and their need for the treatment. But when I started, I did not know how much it would cost me. But the more I continue, the more the zeal to do. Many of the rural people have been carrying and living with the diseases for years without any hope for cure. And because some could not afford fifteen thousand naira, they could not get treated. I am happy that I did the programme, she added.
Ningim Hope Alive Foundation is not only concerned with health of women and children. It is equally concerned with reducing mortality rate among youths, children and women as well as empowering them because they are mostly affected by poverty. Through the awards of scholarship to indigent students, it is also promoting literacy among these people.
She said every individual deserves to be empowered in order to achieve his true potentials and that her foundation is set to impact on the life of the people by promoting community health. She added that the fight against cancer cannot be overlooked as many of the people especially the rural women are falling prey to the deadly scourge.”Cervical cancer is today one of the leading causes of death amongst our people. It is stated that every year half a million new cases and a quarter of a million deaths are experienced and Sub Saharan Africa bears over 80 percent of the burden. The most effective way to curb this is by early detection and treatment, Akogun noted.
She therefore urged all women to partake in the free medical exercise because early detection saves life and could only be if women submit themselves to screening at every given opportunity. She said it was with the realization that most women could not afford the screening that made her NGO underwrite the cost thereby delivering the services free of charge.
Continuing, she said: “I encourage you to take advantage of the free medical delivery that is taking place. Our partners are here to give treatment to the sick, eye check up, eye glasses, drugs and even surgeries. I decided to bring this programme home to give you the opportunity to be well without going to spend your meager resources going to native doctors or living in fear all your life or even blaming your relations and in-laws for attacking you with witchcraft meanwhile you could just be suffering from cancer or any other disease. But I felt satisfied that people got treated but unhappy that many are yet to be attended to. So, my zeal to do more keeps me going on.”
Among dignitaries that attended the campaign include wife of senate president, Mrs. David Mark, who represented the first lady, HajiaTurai Yar Adua, the minister of health, Prof. Babatunde Osotimehin represented by Mr. Greg Izuwa, the director-general of Consumer Protection Council, Mrs. Ify Omenyi, who was also represented and representatives of several women organizations, Peoples Democratic Party women leaders in the state and local council.





SONTA in fresh drive for professionalism
By Ozolua Uhakheme
Assistant Editor (Arts)

The newly elected executive of the Society of Nigeria Theatre Artists (SONTA), led by Prof. Emmanuel S. DanDaura rose from a recent interactive session with arts writers in Abuja more determined on the need to reposition theatre practice, make its abundant human resources available for national development as well as initiate a regulatory framework for the practice of the profession in the country. The gathering that was attended by some past and present executive members of SONTA and senior theatre art scholars from various universities unanimously agreed that the association, which is the umbrella body for theatre practitioners in the country, is perceived to be asleep except during its convention.
Worried by this erroneous impression, the current president of the association, Prof. DanDaura said its executive would soon embark on networking and consultation with other theatre practitioners across the country with a view to come up with a bill that would be presented to the National Assembly for the regulation and promotion of standard practices in the profession. He said the association is long overdue for a regulatory framework and a proper instrument for the regulation of the practice, which is why the National Endowment for the Art (NEA), has been elusive these past years. “As a professional body, there are lots of talents in our fold that are being under-utilised. Sixty professors of theatre arts are with SONTA who are grossly under-utilised. We need to make them available to tap from. This is part of the philosophy of the new executive,” he added.
Prof. Ayo Akinwale observed that despite the wrong notion that the association has been inactive SONAT has not only been publishing journals that cover news on current research findings but working hard to uplift the profession. He cited the prompt response of the association to the rumoured sale of the National Theatre complex in Lagos and the split of the National Troupe of Nigeria and National Theatre management boards by federal government. He however warned that if SONTA must make impact on government, ‘we must talk with one voice so long as we are ready to face the challenges confronting the association.’ This was corroborated by the deputy vice chancellor of University of Jos, Prof. Dauda Enna Musa, who disclosed that Nigerian theatre journal is one of the Educational Trust Fund listed journals for publication on indigenous researches. He noted that more than ever before, art would face more challenges because of sciences.
In his contribution, one of Nigeria’s leading theatre scholars, Prof. Kalu Uka, enjoined the practitioners to make the profession visible at the post primary school level in order to have a steady and continuous flow of interest from that level of academic training. He regretted that SONTA lost out in the struggle to realize this objective saying, ‘I hope SONTA will not fail in this effort again.’
He stressed that the concern of the association is not the quacks but the need to have an academy that would lift the profession because Nigerians love entertainment. He described Nollywood phenomenon as gap filler that was very necessary at the time it came.
Continuing, he said: “It is time we started honouring our own stars deliberately so. What is happening in Nollywood is because there is no alternative. We need independent sources of funding for SONTA to thrive. We can’t let theatre die.”



‘Poor funding bane of cultural development’
By Ozolua Uhakheme
Assistant Editor (Arts)


Executive Secretary of National Institute for Cultural Orientation (NICO), Dr. Barclays Ayakoroma has blamed the seeming failure of some government’s programmes on inability of the initiators to take cognisance of the cultural relevance of such programmes to the peoples’ need. He said for any development to be meaningful and impactful, the implementation must take into consideration the cultural background of the people adding that in global economy, the place of culture is very vital to human and physical development. He observed that unfortunately, government is yet to appreciate the vital role NICO could play in orientation projects.
Ayakoroma who assumed office as executive secretary of NICO early last month for a first four year tenure explained that NICO is not all about training culture workers but to change peoples’ orientation towards dress culture, food and language as a well as making people accept government policies and programmes.
He therefore assured that all NICO programmes are carried out to further bring NICO to the reality of Nigerians noting that what comes to minds of Nigerians when NICO is mentioned is orientation and it still sounds new.
“We are alive to our responsibility. We have the personnel to get the result. All we need is give directions. There are many programmes on ground and we are going to ensure that all are carried out to bring NICO to the reality of Nigerians. In fact, there are many areas we can key into. The dredging of the lower Niger River is one of such programmes and there are many ways to enlighten the communities in that region. We will continue to enhance our visibility in national and international levels. Also, we would explore the various opportunities in UNESCO for effective performance and growth,” Ayakoroma said.
He stressed that his new management team are reading up what is on ground and building on them for continuity citing the recently concluded workshop, Repositioning culture workers for greater productivity held in Hamdala Hotel, Kaduna featuring both state and federal government culture workers as one major events for the year ending.
Commenting on the recurring complaint of poor funding of national arts events like NAFEST and Abuja Carnival by some states, the former executive director at Bayelsa Council for Arts and Culture recalled that over the years, resources accruing to Bayelsa State continued to dwindle thus affecting the level of funding of cultural events. He however noted that that is not an excuse for failure or poor funding of culture events adding that it is possible to work ahead of time in order to prepare well. According to him, since preparations are always adhoc, states must assist culture directors so that they are not overstretched.
“For this year’s zero budget allocation for Abuja Carnival, the plight of the carnival is that they are victims of circumstances. Holding the carnival is like squeezing water out of stone,” he noted.
The author Dance On His Grave and A Matter Of Honour, who led Bayelsa to this year’s NAFEST in Minna Niger State, is full of praises for his state art council saying ‘they gave me the leverage to be at NICO.’ He said he would miss the council but that though he might not be there in person, he would be with them in spirit. Little wonder he pledged the cooperation and support of NICO to the Bayelsa Council for Arts and Culture in the areas of research and documentation of cultural materials when the council management team paid him a visit in Abuja recently. He said he was ready at all time to support the state council in ensuring that it achieved its objectives especially being its immediate past executive director.
In her response, the acting executive director of Bayelsa Council for Arts and Culture, Mrs. Payeboye Festus-Lukoh also pledged support of her council in assisting NICO achieve its objectives noting that NICO should see her council as an extension of NICO in Bayelsa.



Bamako Encounters artistic rebirth
Unlike the Europeans who in 1989 disengaged themselves from the old principle of border intangibility, Africans are still enmeshed in the dilemma of geo-political borders that were created at the Berlin conference in 1884 among colonial powers. Today, the Bamako Encounters 2009, the African photography biennale is attempting at moving beyond those treaties and conventions by using visual art-photography, video and installations by 40 artists from across Africa and the Diaspora to address the many border-related issues on the continent. Assistant Editor (Arts) OZOLUA UHAKHEME who was at the biennale reports



For every passing day since the formal opening of the Bamako Encounters 2009, the eight edition of the African photography biennale on November 7, more artists, arts writers, curators and collectors of contemporary African art have continued to converge on the city of Bamako, Mali to consciously examine the multiple issues surrounding borders (complex realities or imagined) as they affect the life of Africans. And their tools are cultural products like photographs; video and installations produced as either documentaries of personal experiences, realities of time and or imagined scenarios. This year’s biennale with the theme, Borders, is holding mainly at the Musee National, Bamako and other centers across the city and for the next one month (November 7 to December 7).
Featuring symposia and conferences, post-production workshops, portfolio readings and public screenings, the annual biennale, which started in 1994 has acted as catalyst for creativity in photography as well as helped pushed many African photographers to international market. Importantly, this year’s biennale that is being directed by the duo of Michket Krifa and Laura Serani, both female artistic directors, is expected to open a fresh page in a world that appreciates the shared wealth of its cultural diversity and an art market of equality.
With these, the theme is approached from different angles by the participants in order to measure the scope of the border issues in Africa in particular and across the globe. “At times transfigured and interpreted by artistic views that combine imaginary and real, personal witness and narrative, this topic always arouses ethical concerns and reflects the deep conscience and commitment that are manifest in all the artists, which we are happy to share,” according to the artistic directors.
Square Rocks by Kader Attia, an Algerian/France photographer appears to be one of the favourites. It is on the cover design of the biennale brochures, posters and banners. It is a photograph of Bab El-oued beach, a poor district in Algiers where youths spent summer vacations watching the coming and going of ships that link Algeria and Europe. The beach has huge rock constructions that separate them from the continent of their dream as well as imprison them in their reality. Beyond that, the photographs reveal lust for the unknown, anxiety, hope and dream of the youths sitting atop the rocks. And the endless horizon of the sea which forms the background and depth of the pictures, illustrates the fantasy and uncertainty on the other side of the borders.
Also striking and touching are two works; A sense of common ground and A camel for the son by Fazal Sheikh displayed at Musee du Bamako. The two pieces recount the life of the inhabitants of refugee camps in Kenya following the political crisis in Somalia. The photographs done over a period of ten years are the artist’s denouncement of the living conditions of the refugees. In A camel for the son, Sheikh captures the aerial view of the hundreds of camps housing over 45,000 Somali refugees including under nourished children and their mothers.
Of all the exhibits at the main exhibition hall of Musee National, Bamako, World mosaic by a Burkina Fasso photographer, Saidou Dicko, which shows a mosaic of miniature blurred pictures of human and animal figures arranged in linear format in ten layers stand out both in concept and presentation. Symbolically, the piece depicts a world without borders, ‘a travel diary wherein people will be able to travel without visas in an imaginary world of pictures’ that shows viewers what they want to see. While Dicko’s piece might be focusing on physical border challenges, that of Nigerian artist, Andrew Esiebo, Living queers in Africa, a video presentation on homophobia and its consequences attempts at drawing attention to internal discriminations among people living under one roof. Esiebo’s video presentation is enhanced by a soothing Afrobeat music backed by a fluent narration by the child victim. But the poor visual, almost erases the impact and relevance of the video. Like the other two video works, there are no enough elements to engage viewers other than the documentary format. The real art in them seems to be lacking, which makes the content unchallenging to the viewers.
Perhaps on the extreme, Majida Khattari’s Veiled, Unveiled is a strong illustration of the increasing threat of suicide-bombers in some parts of the globe, a development that also relates to border issues. But in fashion format, Khattari shows photographs of women covered and partially covered as a reflection on how lace and backdrop were used when Algerian elders paint Parisian women models on one hand and their use by suicide bombers on the other. According to the artist, ‘each pose becomes a face-to-face encounter with a mirror where the other’s impurity face dwells. Erasing impurity and regaining the illusion of purity: this is how the suicide-bombers in the last two pictures jump out at us.’ The two pictures Handbags and Women martyrs, show two ladies covered with veils, but behind their lace is what looks like a green hand grenade.
Again, human trafficking and prostitution, which are recurring social problems among many African nations, find space at the biennale. London-based Nigerian
photographer George Osodi shows in his photographs the extent many youths, especially girls go to migrate to the West, even at the risk of crossing the desert on foot or the Mediterranean with old small boats.
In Benin City, Osodi chronicles the rituals of blessing and cleansing some desperate girls go through in their homeland preparatory to searching for the greener pastures in Europe. Unfortunately, they knowingly undertake the journey to become companions of men in foreign lands, which of course is not without big price. Osodi shows in his collection, a blow by blow account of the series of rituals that start from consulting Ifa oracles, to bathing by the river bank, offering sacrifices to water goddess for blessings and returning to the cold street of Europe waiting for customers at night. All these are in the name of making money to break the poverty boundary.
For installations, there is a conspicuous one mounted opposite the entrance to the main exhibition hall. It is a commercial lorry made from found objects and loaded with personal effects both within and atop the vehicle that has become cynosure of eyes. The passengers inside are sculptural pieces of human figures reflecting a typical overloaded commercial lorry that are common place in most cities in Africa. From the loading pattern, there is total disregard for order, balance and safety of the occupants of the vehicle. Perhaps it is to depict what many go through when crossing borders either as traders or as refugees.
All through the exhibiting halls at the different venues, the works were well curated except for some few like the video. Also lighting of the halls was adequate thus enhancing the illumination and viewing of the works.
But while major players in world art market are focusing attention of the Bamako Encounters, the local public appears apathetic showing little or no interest in the various activities going on in the city. From one venue to another each day, you see the same group of guests, mainly from France and a handful of other Africans and those from the Diaspora. Even on the opening day, the Musee National premises were overrun by Europeans making observers to wonder for whose interest the biennale is being organised. Ordinarily, one expects to see apart from the few government functionaries, a good representation of the art community in Mali, especially the student’s artists and the general public at the opening. Granted sponsors and partners should be visible at such programmes, but the overall essence of the event will be lost if the man on the streets and students in schools are not showing enough interest.
Little wonder the managing director of the biennale, Mr. Samuel Sidibe, agreed that mobilizing the interest of the local public has been a big and difficult challenge to the biennale. “This challenge is one that many biennales on the continent have to face. It is a difficult question, the solution of which can be found in multiple long and mid term approaches,” he said. Sidibe however identified the search and development of local partnerships to finance the biennale as part of mobilizing the local audience. “Partnership with the local press and the reinforced presence of the continental press should contribute to giving the biennale a stronger visibility on the national and international scenes,’ he noted stressing that while the mobilization is still modest, it represents a veritable hope if the biennale is to take roots.
In terms of representation of the African regions, the organisers might have featured the size of participants their budget could accommodate. However there is room for improvement in future editions. The eight biennale is organised by the ministry of culture in Mali in collaboration with Culturesfrance, Paris, with financial, technical and media supports from many local and international corporate bodies.
A group of ten Nigerian photographers, Invisible Borders 2009 added extra spice to the biennale as they opened fresh windows to the issue of border, especially between Lagos-Bamako. They completed their road travel from Lagos to Bamako in six days as against a projected three days. The group left Nigeria on Tuesday and arrived Bamako the sixth day. The photographers include Uche James Iroha, Lucy Azubuike, Emeka Okereke, Amaize Ojiekere, Uche Okpa Iroha, Ray Daniels Okeugo, Unoma Geise, Chris Nwobu, Nike Ojeikere and Charles Okereke.
At a video presentation of their experiences, the group summed up that the objective of ECOWAS appears defeated given the multiple hindrance created by immigration officials at each border. “To us the essence of ECOWAS is rubbish going by happenings at the borders,” Emeka Okereke, said on behalf of the group.


Nollywood takes centre stage at Bamako biennale
By Ozolua Uhakheme
Assistant Editor (Arts)

In Bamako, Mali many people claim to know and appreciate the phenomenal growth of Nigeria’s Nollywood. From the guest participants at the on-going Bamako Encounters 09, the African photography biennale, to the local artists and the public they can conveniently recall many names of popular Nigerian movie stars with ease.
But at one of the opening exhibitions at the Palais de la Culture in Bamako, the myths and archetype that characterise the Nollywood were recreated in Pieter Hugo’s photographs, Nollywood, that tell more of horrifying scenes than entertaining while attempting to erase the boundary between fiction and documentary. The South African is featuring under Michael Stevenson Gallery as guest gallery at the biennale.
The exhibition is also featuring photographs by Angele Etoundi Essamba’s Mother Earth and Jean Depara’s Les annees Kinshasha among others. Expectedly, Hugo’s Nollywood shows the most explicit and obvious examples of how he as a photographer directly engages with fictions rather than facts. The work is the result of his exploration of the Nigerian film industry, and all of the photographs were purely make-up with the help of others. Where, if not pure fiction, will you find a man in a suit stands barefoot over a bleeding bull? Like the Hollywood space movies, the power of make-belief is the key instrument, but unfortunately, the bizarre is what fascinates Hugo.
The questions many are asking are: What is the artistic essence of the works, what are the messages contained for viewers and how contextual are these fictive and negative imageries?
According to a critic the ‘images are both surreal and disconcerting, but allude to their own falsity so overtly that the viewer can immediately decipher their fictive nature, and can clearly understand that these are ‘subjects imagined’ rather than documented. That said, the pictures remain incredibly provocative, at least to a Western eyes, expressly because they present graphic, violent and unnerving myths and symbols, which are deeply embedded in our understanding of contemporary Africa itself.’
To a large extent, Hugo has simply reaffirmed that photographs are simply the realisation of the photographer’s own prejudices and preconceptions, because these works on Nollywood are collective imaginings, shared by both the so-called ‘actors’ portrayed and the intended audience. Nollywood, like Hyena series, provokes questions, demands attention and is a bundle of controversy.
But there lies a potential window for Nigerian photographers to look beyond commercial photography and tap into the abundant issue based documentaries that will educate Nigerians as well to make the world understand and see us through our own lenses.