Category: Life – The Midweek Magazine

  • Two artists for Berlin, Lagos residency

    Two artists for Berlin, Lagos residency

    By Ozolua Uhakheme, Assistant Editor (Arts)

    Two artists, Afopefoluwa Ojo and Monai de Paula Antunes, have been selected for the new phase of residency exchange for artists and curators holding this year in Berlin and Lagos. This year’s residency focuses on the topic of archives; their limitations and power structures as well as their manifestations.

    For the first time, the residency in Lagos will take place online. The Berlin-based artist, Monaí de Paula Antunes, will work with 16/16 from mid-October to the end of November to implement an online project about radio and audio archives.

    “While restructuring the residency at 16/16, which is necessary due to the circumstances, it became increasingly clear how important the public programme and the community-related aspects of my project are, in order to fully execute it,” the artist said.

    “This is why the initial stages and the groundwork are designed to awaken people’s interest in working on radio programs and horticulture, by offering lectures, workshops and discussions, in which knowledge is shared and exchanged. In addition to the joint installation of a practice-oriented community garden, hosted by the project partner in Lagos, this project aims to assemble stories, sounds, records; knowledge about domestic food production, indigenous plants, urban gardening, seeds, fermentation processes; memories, dreams and much more from the vast universe of orality into a database, especially if they contain ecological knowledge. The final stage of my residency focuses on the archival experiment, using digital technology and experimental radio formats. It will create a solid framework for a sustainable and constantly growing collaborative radio as well as a sound archive that offers the possibility of replication by other radio and archive enthusiasts.”

    Ojo, who is based in the Netherlands, will take up a three-month residency in Berlin from this month to November. Her project reflects on the question of archives from a poetic point of view.

    “Berlin is one of the most vibrant cities. I’m very excited to come to a place of innovation that lies between two of the most exciting cities at the moment -Berlin and Lagos; cities that are brimming with artistic expression. During this process of creating and learning, I hope to collaborate with great institutions such asthe Goethe-Institut, Savvy Contemporary, ZK/U, Galerie Wedding, and 16/16 to re-conceptualise ways of archiving. I hope to have a lot of fun while interacting with the archives, which will be the main part of our daily work. I am also looking forward to exploring how archives can be presented visually, artistically, acoustically and technically,” she said.

    For Goethe-Institut, Nigeria, which provides financial support for the residencies, this exchange marks a renewed consolidation of artistic exchange between Germany and Nigeria, whilst offering the interested public in both cities a fresh opportunity for a change of perspective.

  • Kangiwa seeks stakeholders’ cooperation to reposition tourism

    Kangiwa seeks stakeholders’ cooperation to reposition tourism

    By Ozolua Uhakheme, Assistant Editor (Arts)

    The Director-General, National Institute for Hospitality and Tourism (NIHOTOUR), Alhaji Nura Kangiwa, is seeking stakeholders’ cooperation to reposition the tourism industry.

    He said he would focus on digitalising the institute by replacing old equipment and materials with modern ones to pace up with global best practice.

    He identified training of professionals that will service the industry as a focal point that will impact greatly on the overall developmental of the industry.

    He spoke in Lagos at the weekend after a facility tour of the institute’s Lagos campus.

    “Plans are underway to train best destination managers, employ good marketing plan and more”, he said, adding that NIHOTOUR would be upscaling its training to produce efficient hospitality professionals.

    ‘’NIHOTOUR was rated one of the best top 10 authorised training centres in Africa in August 2012 by the International Air Transportation Association (IATA) and in 2015, we became top in Africa and the world so with our certificate, unemployed youths can secure jobs abroad.

    ‘’Henceforth, we shall be engaging the best brains for NIHOTOUR training. If we do not get NIHOTOUR right, we cannot get the Nigerian tourism right. It is the bed rock of tourism.

    ‘’Training of tour operators, strategic planning, marketing plan and training of tour guides are key factors to a sustainable tourism development… Training the trainers … media contributions matter too,” he said.

    “I was impressed with all I saw during the facility tour of the Lagos institute, particularly with the vibrant and friendly staff I saw who I observed are hungry for action in working with me.

    “I believe in teamwork and I have seen that team spirit in them, they gave me courage and confident that we will satisfy the yearnings of the tourism sector in Nigeria.

    ‘’We intend to digitalise NIHOTOUR, our modus operandi will be in accordance with international best practices. To achieve this, we have to change everything; so almost all the facilities will be changed,” he said.

    Kangiwa said NIHOTOUR, saddled with the huge responsibility for basic hospitality training and other vocational qualification programmes, planned to engage best brains across the globe to carry out most of the trainings.

    He said the only way to tackle unemployment in the country was to harness the creative industry properly, which constitutes 70 per cent employment opportunities.

    Kangiwa said the institute would partner the National Assembly for the provision of sufficient funds to help the youth and women in the creative industry to be productive and independent.

    He added that the National Assembly would also be educated on the quality of NIHOTOUR certificates as unemployed youths could secure jobs overseas with them.

  • ‘Demolition of my centre cannot stop festival’

    ‘Demolition of my centre cannot stop festival’

    Despite the recent demolition of Castledown Art Centre, at Lekki Ajah, Lagos by officials of the Lagos State Government, the annual Eko Oni Baje New Yam/Beach Festival will hold as planned. The theme of this year’s festival is Promoting tourism as a learning tool, while its mantra is One Man, One Yam.

    Organisers of the festival, which is a melting pot of cultures among residents of Lagos State, disclosed that it will hold from September 25 to 27 at the usual festival ground in Ibeju-Lekki, Lagos.

    Read Also: Nigerian heritage takes centre stage in France

     

    Proprietor, Castledown Art Centre and organiser of the festival, Ozo Chiedu Idezuna, said the demolition can only affect structures, but not culture. He assured numerous followers of Eko Oni Baje Festival, which usually coincides with the World Tourism Day that this year’s event promises to be bigger with the support and collaboration of their stakeholders like Nigerian Tourism Development Corporation (NTDC).

    “This festival has metamorphosed into a cultural melting pot of all tribal nationalities living in Lagos. Unfortunately, we will be celebrating the 2020 edition on rubbles as a result of the harsh teeth of the bulldozers. We appeal, having come this far in using art and tourism to promote peaceful coexistence amongst people in Lagos, that the Lagos State government should approve this acquired site for us to continue hosting our cultural event.

  • Festschrift for  Prof Okpe at 60

    Festschrift for Prof Okpe at 60

    One of Nigerian artists and scholars Prof Tonie Okpe who is currently the most senior sculptor at the Ahmadu Bello University, Zaria will soon turn 60 years. For over 35 years, Prof Okpe has been practising, teaching, and researching on sculpture and related areas. He has also over the years influenced and mentored a large number of art practitioners within and outside the academics.

    As part of the celebration of his 60th anniversary, a festschrift is being organised to articulate, examine, document, and analyse his artistic practice, teachings as well as his scholarship. Organisers of the event have therefore called for submission of papers from interested persons beginning from September 15 till November 15. All entries should include images, where applicable, and should be between eight and 16 pages double spacing using font size 12 Times Roman. Also, submission of papers must be accompanied with a non-refundable assessment fee of N5000 to UBA 206546687.

  • Nigerian heritage takes centre stage in France

    Nigerian heritage takes centre stage in France

    The annual celebration of European heritage tagged La semaine de journée européenne de patrimoine will hold from September 18 to 20 in Nantes and September 24 in Paris, France. It will feature an exhibition of Nigerian art and talk session by Paris-based curator Bose Fagbemi. The talk, she said, will be on the arts and culture of the Benin Kingdom. The exhibition will feature two art works by each of Nigerian artists she has been promoting in France.

    According to her, this year’s edition of the event will be attended by Prince Serge Geuzo of Benin Republic and two Kings will come from Benin and Togo among other important guests from art and culture sector in France.

    “You know Europe celebrate their culture, history and art every year. It is celebrated all over Europe and museums and all historical monuments are free to visitors while lectures presented. As Edo State Culture Ambassador in France, I decided to participate. The exhibition will also feature a brief talk on the Kingdom of Benin,” she added.

  • A probe of the supernaturality of numbers

    A probe of the supernaturality of numbers

    BOOK REVIEW

    Title: World Globalization Numerically

    Autor:  Abdullahi Tunau Ribe

    Reviewer: Elo Edremoda

    Publishers:SSB Publishers

    Pages:              444

     

    Numbers, they say, don’t lie. A famous philosopher, Pythagoras of Samos, was quoted to have said, ‘numbers rule the universe.

    ‘’ They play distinct roles in human lives and events, when supernatural factors are considered, as told by Abdullahi Tunau Ribe, in his book, World Globalisation Numerically.

    Though the subject of numerals and their representations is not one that is common to discuss, it is worthy to note that very important activities of humans revolve around numbers. However, in this book, it is not certain if the significance of these numbers are generally acceptable.

    Tunau said his interest in numbers began from his primary school days, when his Arithmetic teacher would randomly call out numbers while they (himself and classmates) were in the field and expect them to write as many that they could remember when they settled in class. “He never repeated the numbers. One day, I challenged him that I wanted to score a 100 percent and he asked me to be sensitive to numbers. I got interested and curious about numbers through that mental Arithmetic”.

    The book is a 444-page prose, written in 26 chapters of varying lengths. It links notable individuals across the globe and world breaking events, tracing particular numbers surrounding them. The book touches on different aspects associated with humans. These formed the chapters.

    Before looking at the chapters, it will be appropriate to disclose the meaning of some of these numbers as told by the author. Number three signifies God’s purpose, four means universality, something that will cover the earth, six appears when something extraordinary or significant is afoot, eight signifies a new beginning, 10 is completion, 12 is fullness (when broken into its prime factor), 13 is super fullness of God’s timing, 17 is something that must surely come to pass and 31 means turning point. The names Jeremiah, Benjamin and Michael are linked to the number 13, Benjamin being the 13th child of Jacob and the Angel Michael appearing 13 times in the bible.

    In the first chapter titled ‘’The Number Six’’ the author explains that ‘six’ involves God’s relationship with man. He quotes an author, Apania Huntas Eroi, as stating that the number six signifies “spiritual engineering”. Parts of the chapter points out the fact that God waited until the sixth month to send His Angel to virgin Mary to announce the good news of Jesus; John the Baptist was six months old when Jesus was born. And among other examples, Tunau charges his readers to reflect on why the number of the Antichrist is 666.

    Chapter two is titled Education. Here the author looks at a number of persons but in particular, Marcia Tecla Artemisia Montessori, the woman who introduced Montessori teaching pattern used in many basic schools today. The numbers 31, 8, 6 and 13 all surfaced, as listed, in her life. Also, popular English thriller writer, James Hadley Chase, has the numbers 8, 10, 13 and 17 linked to him when his background and other factors that influenced his works, are considered.

    Chapter five is titled ‘’Nigeria My Country’’. Among personalities mentioned here are Pa Michael Akinkunmi, the national flag designer; Tafawa Balewa, Obafemi Jeremiah’ Awolowo, Wole Soyinka and President Muhammadu Buhari, born on December 17, 1942 as the 13th child of his mother.

    Communication is Chapter Six and the longest of all the chapters with 78 pages. It surveys the lives of persons who contributed to the invention of different means of communication, as well as making it global. It took Samuel Morse 12 years to invent the telegraph. Two of his professors were named Jeremiah and Benjamin, respectively names that have to do with 13. While the first commercial wireless telegraph was sent over the Atlantic on October 17, 1907. Another example is Bill Gates who formed a venture with Allen on computers at age 17. Numbers 13, 17 are also linked with the founding of the BBC, CNN, Wikipedia, GSM, SMS and some social media.

    Other chapters are Advertising, Timing, Global History Makers, World Music Icons, Science And Technology, Sports, Film, Disasters And Politics.

    Considering the author’s postulations, one would have expected a chapter or part of the book dedicated to the meanings of the numbers in view. This is not so which may be a shortfall of the book. Readers have to struggle with remembering the meaning of a particular number when they stumble on it. But with such a part, readers could easily identify with the numbers and apply same personally or in other spheres. This would have given more credit to the work of the author.

    While it cannot be classified as a religious book, the author based his research on Godly submissions. Like he mentions the biblical Angel Michael, pegging individuals who go by the name and accomplished global feats as having something to do with 13.

    As the name implies, ‘World Globalisation Numerically’, examines the effect of numbers on people and events. Renowned sociologist and writer, William E. B. Du bois said, “when you have mastered numbers, you will in fact, no longer be reading numbers anymore than you read words when reading books. You will be reading meanings”. The author seeks to create the consciousness that God speaks not only in words but in numbers. With numbers such as dates of birth, death, particular incidents or events, he explores supernatural factors behind many happenings across the world.

  • Enforceable laws, self-care essential to gender justice

    Enforceable laws, self-care essential to gender justice

    By Evelyn Osagie

     

    In a COVID-19 care economy, laws enforcement, social protections, synergy and self-care are essential to gender justice, advocates have said.

    They charged stakeholders to ensure the enforcement of relevant laws, social protection, cooperation and self-care for care givers. This is crucial if those working in the paid and unpaid care economy are to contribute effectively to COVID-19 and post COVID-19 recovery efforts in Nigeria and globally.

    These recommendations were made at a virtual event, tagged: “Care Dialogue”. It was organised by Red Eyes Development Initiative (REDi), a gender rights, environmental justice and sustainable development advocacy organisation, in partnership with the Centre for Conflict and Gender Studies (CCGS), University of Port Harcourt.

    Speakers highlighted the heightened vulnerabilities of women as caregivers during the COVID-19 pandemic, while focusing on paid and unpaid care at home: caring for children, the infirm/sick and the elderly; caring as vulnerable women: SGBV victims/survivors, widows, single parents, and economically poor; care in the frontlines of COVID-19: doctors, nurses, etc.

    The Dialogue, which held on Zoom and was streamed live on facebook.com/redeyesnetwork, had as speakers, eminent women’s rights and gender justice advocates and activists, Dr. Heoma Nsirim-Worlu (Acting Director, Centre For Conflict And Gender Studies (CCGS), University of Port Harcourt), Dr. Vetty Agala (President, Medical Women Association, Rivers State Branch), and Mrs. Loretta Ahuokpeme (Executive Director, Our Lady of Perpetual Help Initiative OLPHI).

    In her submissions, Dr. Nsirim-Worlu advocated for women leaders to synergise and for families to operate on equilibrium where care is not a gender specific activity, calling on policy makers, decision makers and law enforcement agencies to do due diligence in ensuring a level playing field for all genders and vulnerable groups, especially in accessing justice. She said: “We should socialise our children to understand that everyone at home is important. If boys and girls are taught to contribute equally from the home, these abuses of caregiving responsibilities will reduce”.

    Dr. Agala was of the opinion that COVID-19 is a viral disease which has abruptly affected every aspect of human endeavour including caregiving. She encouraged “women and girls to break the culture of silence”. “We need to speak up and make our voices heard, and we need to rally round one another.  It might take time for government and policy makers to intervene, but individuals, civil society organisations and institutions must form alliances and rally to help and provide care for vulnerable women,” she said.

    According to the Director of REDi, Ekaete George, the care dalogue was organised because of the organisation’s conviction that gender justice is at the heart of recovery from COVID-19 and rebuilding a post-COVID-19 care econom. She added that REDi is committed to important dialogues and conversations to promote gender justice and sustainable development efforts of other stakeholders.

    On her part, Mrs. Ahuokpeme noted the spike in sexual and gender-based violence during the COVID-19 pandemic. She reported that in working with women in communities, she found that caregiving responsibilities, though they have disproportionately increased, are being carried out by many women while they are also facing gender-based violence. She called upon law enforcement agencies to give prompt interventions and a human face by responding to cases of abuse against women on a case by case basis.

    Other participants at the event, who made various contributions, were in agreement that a gender responsive approach to paid and unpaid care response is the surest path for recovery and towards a robust post-COVID-19 care economy. The key outcome of the #CareDialogue was that the recommendations made at the dialogue should form a basis for sustained advocacy. That support and protection for paid and unpaid care workers should be continuously canvassed by REDi, CCGS UNIPORT, other stakeholders and advocates for the protections of the rights of women and other vulnerable groups. Such efforts will promote gender justice as a measure to relieve women of the increased burden of care during and post COVID-19, and will make recovery from the pandemic seamless.

     

     

  • Millennial artists interrogate cultural hybridity

    Millennial artists interrogate cultural hybridity

    By Ozolua Uhakheme Assistant Editor (Arts)

     

    A virtual exhibition of 16 paintings, graphic illustrations, hyper realistic drawings and collage by three young artists, Ifeatuanya Ify Chiejina, Nwakuso Edozien, and Johnson Eziefula, opened last week to redefine, interrogate and celebrate their identity. It will run till September 30.

    The exhibition tagged Neo Custodians is organised by SMO Contemporary Art. The young artists sift through layers of social, genetic, and cultural inheritances and influences in an attempt to define, examine, and celebrate their identity.

    Chiejina’s works speak about the duality experienced when attempting to internalise societal precepts, Nwakuso uses mixed media as a metaphor to address the various layers and complexities of genealogical and geographical impact on the self, and Johnson takes on a psychological approach with the use of light and colour to emphasise the permeation of cross-cultural influences.

    “These neo custodians do not claim to have arrived at an answer, but with each brush stroke exposes questions buried beneath the surface. They decipher the burden of the Millennial who navigates the notion of self by interrogating all inheritance and all influences,” said Nneoma Ilogu, curator of the exhibition.

    The exhibition is an exciting mixture of media at the hand of artists who are at the beginning of their artistic journey, exploring and finding their authentic voice in an art market saturated by many trend-followers. At a critical time of black political consciousness, especially amongst people of colour, and with the spotlight being thrown on how art reflects the Black Lives Matter movement, these young artists bring a fresh, multi-textured sensitivity and depth to the global conversation around identity and culture.

    “Chiejina, Edozien, and Johnson reveal a continuous sensibility that asks the spectator to recompose the continuity of a narrative of heritage and identity. A vivid incompleteness is the potential of a new era of custodians and substitutes a static fulfillment of a transforming role. Being a Neo Custodian evolves into something thrilling as we are invited to enter laboratories of discourses,” according to Dr. Charlotte Langhorst, an art historian.

     

  • The world should turn to art for COVID-19 respite, says scholar

    The world should turn to art for COVID-19 respite, says scholar

    A university don, Prof. Sola Owonibi, is a strong proponent of “poetry therapy”. He believes the arts, particularly poetry, holds respite from the aftermath of the COVID-19 pandemic. His research linking poetry and healing has earned him several international recognitions. He is currently the Vice President, Programme Council of Arts and Hearts Association and the chairman of the International Arts for Teaching and Healing Institute, both based in the United States. Owonibi, a past chairman of the Association of Nigerian Authors, Ondo State Branch, is also a member of the National Association of Poetry Therapy based in the United States. In this chat with EVELYN OSAGIE, he calls for a synergy between science and the arts and the establishment of a centre for medical humanities in universities.

     

    Connection between poetry and healing

    There is a very strong link between poetry and healing. I’d take you back to the classical era. First to a biblical allusion where poetry was used as therapy, remember King Saul and David who was a young poet in the palace of Saul. Whenever the king was afflicted by demonic oppression and depression rather than calling for his physician or psychiatrist, he would call for this young poet – David who would sing and play his musical instrument to King Saul. And the king would get his healing.

    Secondly, Apollo is regarded as the god of poetry and healing. That means there’s a bridge between poetic expression and healing which we did not countenance for a very long time. Great scholars and philosophers have known right from the start that there’s a big connection between poetry and therapy. According to a great American poet, William Carlos William, “People die every day for lack of knowledge of what is in poetry”. In the cultural and African context, incantation is poetry in oral literature.

    At age nine, I got stung by scorpion and the pain was so much. My father, a king, was a typical traditional African man who knew a lot about what we called African technology and art. He fetched an old man who put me on his lap and started recounting an incantatory poetry and I slept off on his lap. And when I woke up, not a slight pain was felt. The only thing that reminded me that something happened was that the spot often itched me. Although in the African context, there may be the invocation of other forces beyond mere poetry rendition. But there is that connection. And the Holy Bible places a very high premium on what it calls “the Word” that was in the beginning. And we understand that that Word was what transformed into a living being – Jesus Christ – that has come from heaven to heal the world. There is a very strong connection between word and healing.

    The Western world has long gained access to this. In several universities in the US, literature is a core course in their medical schools, which is not the case yet in Africa. We have overlooked it so much. Our focus has been on the orthodox medicine.

     

    My voyage into poetry and healing branch of literature

    It started when I registered for my Ph.D at the University of Ibadan. I was fortunate to come in contact with a man who has today become a personal friend and mentor who was the one that supervised my Ph.D, Prof. Babatunde Omobowale. He had his Ph.D in this area of scholarship, Literature and Medicine. And when he introduced it to me, I bought into it with my whole being because it was something novel and refreshing. And Prof was a great guide and mentor and we are today linked on a number of works. Having bagged my Ph.D in that area and, in digging further, a number of doors of opportunity began to open, such as conferences ansd workshops, among others. It was at those conferences and workshops that I met with opportunities that led to my being in the positions I now occupy and different organisations I now belong to. One that is indeed noteworthy is my meeting with a fantastic scholar, Dr. Margot Gotmann,  a visual artist, who happened to be the founder and president of Arts and Hearts Association. She co-founded the Association with Prof. Lynne Mackey, a professor of Music and a world class pianist.  Our chanced meeting in 2010, during her visit to Adekunle Ajasin University, Akungba Akoko. During our interaction, she had found a bright mind from Africa talking about medical humanities, which she thought was an exclusive preserve of the western world as at the time, led to the strong and permanent bound/collaboration. We then agreed that what is crucial in every stage of human development is a properly defined and well designed education. Arising from the above is thatntoday I am the Vice President of the Program Council of Arts and Hearts Association,  as well as the Chairman of the newly created International  Arts for Teaching and Healing Institute, Winchester VA, USA. The Institute has designed the AAA model (All Arts Approach) in promoting artistic dialogue with patients,  ( i.e. healing through literature,  dance, music, and visual arts). The institute  in collaboration with the Management Board of AHA is inviting scholars who are interested in Arts as healing from different perspectives, from across the globe, to come on board and form a strong base that can guarantee a holistic post-pandemic healing. Artists, musicians, dancers and literati that have been able to link their artistic expressions to healing are also invited. Particularly at a time like this, I think our world need us now more than ever.

     

    Respite art holds for a pandemic-stricken world

    It has a lot of respite to offer. Now that the whole world is passing through a pandemic, there is a lot that art can do in a situation like this because the aftermath of this pandemic would be psychological and psycho-traumatic crisis which largely can be handled through art therapy. It is unfortunate that not much adequate attention is being given to the arts with regards to the healing properties it holds for the world, especially at this time.

    I think medicine and art and healing should play a complementary role.

    Science has played a prominent role over time in leading the world out of pandemic as this. Nevertheless, there should be a synergy between the artists/writers that can use their work to create therapeutic expressions and the medical practitioners. The reason is that people are losing their loved ones, jobs, businesses and more; cost of living is rising at an alarming rate. There’s no medical attention that can bring back to circuit someone who is passing through depression because he lost everything to a pandemic. Whether we like it or not there would be other health challenges that would stem from this pandemic. The impacts of it may get science overwhelmed. We would need art to engage the patients and survivors. And my prayer is the world would listen to the voice and calling of the arts because not much attention has been given to it.

    On our part, the Program Council of Arts and Hearts Association is already starting a programme which it calls AAA (All Arts Approach). That is an approach whereby you can have all forms of arts that can serve as a body of therapy to engage the world and the aftermath of this pandemic- whether its poetry, visual art or dance. This may not just be the end; after survival, what next? That is where AAA comes in.

     

    Ways of collaboration between science and the arts

    Not many people believe that art can be used to engage healing. Science need to descend from its arrogant position and embrace other branches of knowledge to handle crisis and to save our world. And same goes to the government. They never believe there is much in the arts which we can use to engage healing. All they use art for is cultural reorientation or for tourism. It has never been seen as a tool for healing. And we need to rise up to this occasion in such a way that governments pay attention to literati and scholars and the arts in general; fund their projects in a way that the very best can come out of them. Up till date, I don’t think there’s a university where we have centre for medical humanities. I believe it is long overdue that our universities should begin to engage with medical humanities where very serious researches are funded on how we can use art to generate healing.

    Secondly, writing and other forms of art should not be seen as mere jamboree. We should all move beyond the point of art as entertainment to its utilitarian function. And that reminds me of a poem, “The Lost Dog”, I wrote in 1994. No one, not even the poet himself paid attention to the wordings of the poem. In 2007, I republished it again in my collection of poetry; still, nobody paid it any attention. Until, COVID-19 happened upon us. What struck me when it happened was the title of the poem, “The Lost Dog”. It’s as if the poet knew there is nothing we can do to avert it because is lost and gone forever. And our world as we knew it which was like a very huge market before now is gone. And like the palm trees bowing down in the poem, the world powers are completely embarrassed by the outbreak of the pandemic. Such a very short poem to indicate that few words should be enough for the wise, but unfortunately, the whole world lost it. And by and large, everything as predicted in the poem came to pass and is still happening.  In those days, in the biblical or classical ages, whenever there was crisis, the kings or emperors would send for the philosophers, the poets and the prophets and so on. And whenever they heeded those warnings, they got out of it completely. But our world has missed it because to us art is nothing but funfair and entertainment. And that is why literature is not a compulsory course anywhere in the world; while mathematics is compulsory. We believe science is the only branch of knowledge that knows the road and we must dogmatically follow science at the expense of every other branches of knowledge. By and large, as I’ve said before, what the world needs is collaboration, especially between science and art.

    here is a very strong link between poetry and healing. I’d take you back to the classical era. First to a biblical allusion where poetry was used as therapy, remember King Saul and David who was a young poet in the palace of Saul. Whenever the king was afflicted by demonic oppression and depression rather than calling for his physician or psychiatrist, he would call for this young poet – David who would sing and play his musical instrument to King Saul. And the king would get his healing.

    Secondly, Apollo is regarded as the god of poetry and healing. That means there’s a bridge between poetic expression and healing which we did not countenance for a very long time. Great scholars and philosophers have known right from the start that there’s a big connection between poetry and therapy. According to a great American poet, William Carlos William, “People die every day for lack of knowledge of what is in poetry”. In the cultural and African context, incantation is poetry in oral literature.

    At age nine, I got stung by scorpion and the pain was so much. My father, a king, was a typical traditional African man who knew a lot about what we called African technology and art. He fetched an old man who put me on his lap and started recounting an incantatory poetry and I slept off on his lap. And when I woke up, not a slight pain was felt. The only thing that reminded me that something happened was that the spot often itched me. Although in the African context, there may be the invocation of other forces beyond mere poetry rendition. But there is that connection. And the Holy Bible places a very high premium on what it calls “the Word” that was in the beginning. And we understand that that Word was what transformed into a living being – Jesus Christ – that has come from heaven to heal the world. There is a very strong connection between word and healing.

    The Western world has long gained access to this. In several universities in the US, literature is a core course in their medical schools, which is not the case yet in Africa. We have overlooked it so much. Our focus has been on the orthodox medicine.

     

    My voyage into poetry and healing branch of literature

    It started when I registered for my Ph.D at the University of Ibadan. I was fortunate to come in contact with a man who has today become a personal friend and mentor who was the one that supervised my Ph.D, Prof. Babatunde Omobowale. He had his Ph.D in this area of scholarship, Literature and Medicine. And when he introduced it to me, I bought into it with my whole being because it was something novel and refreshing. And Prof was a great guide and mentor and we are today linked on a number of works. Having bagged my Ph.D in that area and, in digging further, a number of doors of opportunity began to open, such as conferences ansd workshops, among others. It was at those conferences and workshops that I met with opportunities that led to my being in the positions I now occupy and different organisations I now belong to. One that is indeed noteworthy is my meeting with a fantastic scholar, Dr. Margot Gotmann,  a visual artist, who happened to be the founder and president of Arts and Hearts Association. She co-founded the Association with Prof. Lynne Mackey, a professor of Music and a world class pianist.  Our chanced meeting in 2010, during her visit to Adekunle Ajasin University, Akungba Akoko. During our interaction, she had found a bright mind from Africa talking about medical humanities, which she thought was an exclusive preserve of the western world as at the time, led to the strong and permanent bound/collaboration. We then agreed that what is crucial in every stage of human development is a properly defined and well designed education. Arising from the above is thatntoday I am the Vice President of the Program Council of Arts and Hearts Association,  as well as the Chairman of the newly created International  Arts for Teaching and Healing Institute, Winchester VA, USA. The Institute has designed the AAA model (All Arts Approach) in promoting artistic dialogue with patients,  ( i.e. healing through literature,  dance, music, and visual arts). The institute  in collaboration with the Management Board of AHA is inviting scholars who are interested in Arts as healing from different perspectives, from across the globe, to come on board and form a strong base that can guarantee a holistic post-pandemic healing. Artists, musicians, dancers and literati that have been able to link their artistic expressions to healing are also invited. Particularly at a time like this, I think our world need us now more than ever.

     

    Respite art holds for a pandemic-stricken world

    It has a lot of respite to offer. Now that the whole world is passing through a pandemic, there is a lot that art can do in a situation like this because the aftermath of this pandemic would be psychological and psycho-traumatic crisis which largely can be handled through art therapy. It is unfortunate that not much adequate attention is being given to the arts with regards to the healing properties it holds for the world, especially at this time.

    I think medicine and art and healing should play a complementary role.

    Science has played a prominent role over time in leading the world out of pandemic as this. Nevertheless, there should be a synergy between the artists/writers that can use their work to create therapeutic expressions and the medical practitioners. The reason is that people are losing their loved ones, jobs, businesses and more; cost of living is rising at an alarming rate. There’s no medical attention that can bring back to circuit someone who is passing through depression because he lost everything to a pandemic. Whether we like it or not there would be other health challenges that would stem from this pandemic. The impacts of it may get science overwhelmed. We would need art to engage the patients and survivors. And my prayer is the world would listen to the voice and calling of the arts because not much attention has been given to it.

    On our part, the Program Council of Arts and Hearts Association is already starting a programme which it calls AAA (All Arts Approach). That is an approach whereby you can have all forms of arts that can serve as a body of therapy to engage the world and the aftermath of this pandemic- whether its poetry, visual art or dance. This may not just be the end; after survival, what next? That is where AAA comes in.

     

    Ways of collaboration between science and the arts

    Not many people believe that art can be used to engage healing. Science need to descend from its arrogant position and embrace other branches of knowledge to handle crisis and to save our world. And same goes to the government. They never believe there is much in the arts which we can use to engage healing. All they use art for is cultural reorientation or for tourism. It has never been seen as a tool for healing. And we need to rise up to this occasion in such a way that governments pay attention to literati and scholars and the arts in general; fund their projects in a way that the very best can come out of them. Up till date, I don’t think there’s a university where we have centre for medical humanities. I believe it is long overdue that our universities should begin to engage with medical humanities where very serious researches are funded on how we can use art to generate healing.

    Secondly, writing and other forms of art should not be seen as mere jamboree. We should all move beyond the point of art as entertainment to its utilitarian function. And that reminds me of a poem, “The Lost Dog”, I wrote in 1994. No one, not even the poet himself paid attention to the wordings of the poem. In 2007, I republished it again in my collection of poetry; still, nobody paid it any attention. Until, COVID-19 happened upon us. What struck me when it happened was the title of the poem, “The Lost Dog”. It’s as if the poet knew there is nothing we can do to avert it because is lost and gone forever. And our world as we knew it which was like a very huge market before now is gone. And like the palm trees bowing down in the poem, the world powers are completely embarrassed by the outbreak of the pandemic. Such a very short poem to indicate that few words should be enough for the wise, but unfortunately, the whole world lost it. And by and large, everything as predicted in the poem came to pass and is still happening.  In those days, in the biblical or classical ages, whenever there was crisis, the kings or emperors would send for the philosophers, the poets and the prophets and so on. And whenever they heeded those warnings, they got out of it completely. But our world has missed it because to us art is nothing but funfair and entertainment. And that is why literature is not a compulsory course anywhere in the world; while mathematics is compulsory. We believe science is the only branch of knowledge that knows the road and we must dogmatically follow science at the expense of every other branches of knowledge. By and large, as I’ve said before, what the world needs is collaboration, especially between science and art.

     

  • Ifa as a system of divination

    Ifa as a system of divination

    By Nkechi Ihekwaba

     

    IFA, otherwise known as Orunmila is the Yoruba god of wisdom (Divination). He is one of the principal deities of the Yoruba people and it is believed to be one of the great ministers Olodumare (the Almighty God) sent from heaven to earth to perform some specific functions. He transmits and interprets the wishes of Olodumare, who was believed to have created all other deities and prescribed the sacrifices that Esu, the messenger of god must bring to him.

    Ifa knowledge covers everything pertaining to man and other things created by God. Orunmila is believed to have a complete knowledge and understanding about all matters both on earth and in heaven. His knowledge covers the whole range of time and space. He is completely informed about the past, present and future, which is the reason why they named him Akerefin Sogbon (the small one with a mind full of wisdom) as his praise name.

    Ifa is not approached directly but through some priest called Babalawo (diviner or priest or father of secret). Divination is not the only way or form of divination in Yoruba land. There are other forms though not as important as Ifa divination and only the initiated that knows the secret.

    There are many myths about the coming of Orunmila to the earth. It is believed that Orunmila came with other deities such as Obatala, Esu, Ogun and each of the deities was charged with specific functions. For instance, Ogun was dealing with war, iron-related matters while Ifa was charged with the function of using his profound wisdom and knowledge to put the earth in order.

    Orunmila lived according to the myth, at Ile Ife, he stayed in a quarter known as Oke Igeti that is why he is known as okunruku kuru oke igeti (The short man of Oke Igeti) However, it was at Ado-Ekiti that Orunmila spent greater part of his later life having lived in different parts of Yorubaland. According to myths, Orunmila while on earth first lacked children, but later had eight male children.  It is said that it was an insult from one of his children, which led to the return of Orunmila to heaven. Consequently, the earth turned into confusion, misery, want and anxiety was the order of the day. Rain refused to fall and pregnant women could not give birth.

    The people on earth persuaded his children to go to heaven to beg their father to return to earth. When his children got to heaven, they found their father at the foot of ope agunkan eyi to yasi ya buka merindinlogun (the much climbed palm tree which has 16 separate nuts like groves on its top).The children begged him (Orunmila) to return to the earth, but he refused. Instead of returning, he gave his children 16 palm nuts, which are today the famous Ikin or sacred palm nuts of divination of Ifa.

    It is with these palm nuts and other sacred objects that Ifa priest uses to find out the will of Orunmila.

     Ifa divinatory and literary corpus

    There is a profound body of materials known as Ifa literary and divination corpus. The corpus falls into two broad divination.  The first part is the odu, which had 256 numbers that fall into two parts. The first part has 16 Odu known as principal  16, which are known as the best part of literary corpus while the other has 240 odu known as omo odu  that contains the rare parts of literary corpus. The other divination of the Ifa Corpus is the ESE. Ese is a literary material in praise and poetry and indeed one can speak of Ese as poems.

    Each odu contains an unlimited numbers of ese which every Ifa priest must learn a good number of it. Some are very long and can be chanted for several hours while some are short that can be chanted for a minute or two.

    Ifa is a divination based on 16 basic and 240 derivative figures (odu) obtained either by the manipulation of 16 palm nuts or by the toss of a chain (opele) of eight half seed shells.

    While in the act of divining, an Ifa priest will grasp the 16 palm nuts in his right hand leaving one or two in the left hand. If two nuts remain, a single mark is made. When the procedure is repeated four times, it will give one of the 16 Odu while eight repeated times give a pair or combination of the 256 Odu figure. Alternatively, one of the 256 figures can be obtained by a single cast of the divining chain, head and tail, odds and even (1and 2).

    The chain is held in the middle so that four half seed shell can fall in line on each side in a concave inner surface upwards, which is equivalent to a single mark or with the surface downwards to a double mark on the tray.