The Nation Newspaper

Category: Life – The Midweek Magazine

  • Village Headmaster at 50: Positioning drama as tool for development

    Celebrating Village Headmaster (VHM) at 50, surviving cast, crew as well as stakeholders gathered recently in Lagos to chart a new path on the essence of drama in national development, Chinyere Elizabeth Okoroafor reports. 

     

    Themes of The Village Headmaster, one of Nigeria’s most popular TV drama series now rested, can never be forgotten by those who watched the longest- running television drama series in Nigeria.

    The drama, whose characters were household names, reinforced traditions, ethics and values before it was rested in 1988.

    It made its debut in 1968; each episode dwelt on various social problems in the society. There was something to learn and ponder on in every episode.

    Moderating a roundtable with the theme Drama as a Tool for national development, former Director-General Nigerian Broadcasting Corporation (NBC), Dr Nasir Danladi Bako, reminisced on Village Headmaster‘s heydays, the impact it created and the lessons learnt. He wondered why storytelling in contemporary Nigeria is evolving towards futile trends, instead of issues on ethics and values that can project the nation.

    Responding, Revd. Bayo Awala, a former producer of Village Headmaster, said theme should be the first consideration of any creative work.

    ”The problem is that many dramatists are confused because what they give out are not impactful. Drama is supposed to evoke emotion and provoke a call for action.  Nigerians are ignorant of their environment. Drama of advocacy, propaganda is the kind of drama that we should pursue as a developing nation. If you are a creative writer, let it show. A drama that will intervene in the economic situation of this nation is sine qua non,” he said.

    For Chief Executive Officer Syntel-Aza and former NTA content producer, Deborah Ogazuma, drama can teach a lesson without been didactic.

    Veteran filmmaker, Femi Odugbemi,  said when the creative industry expanded, a gap was created between early artistes and those who are there now and that didn’t help.

    “During the time of the Village Headmaster, there was a tradition in NTA of a certain model for storytelling. There was a philosophical foundational understanding that storytelling is medicine. It can be a poison or it can heal. The difference between what we are doing today and what we were doing then is ignorance.

    “To close that gap, we could close it through our schools. Unless you are building the storyteller, the story is bound to be mush,” he said.

    Veteran actress, Joke Silva’s argument was simple; storytellers must look at their environment and write stories that reflect it.

    But musician and actor, Dede Mabiaku blamed the government for not taking up the responsibility of modifying the nation’s image through drama. He said during the Village Headmaster and others, the government should have seen it to propagate the unity of the nation, the strength of the people, the power of the people and the economic development of the people and drama should have been the tool and should be the tool and the propelling force.

     

    Read Also: Craziest transfer deadline dramas: Odemwingie 2013 re-echoes

     

    ‘’Through drama you develop what the people should focus on in education. Education doesn’t have to be strictly western. Education about who we are and what we are,” he said.

    But Mabiaku believed that storytellers in Nigeria could get it right when they upheld culture and tradition. Quoting Fela’s take on the essence of culture and tradition, he said, “When we be pikin, Papa and Mama be teacher, when we dey for school, teacher na teacher. When we go university, lecturer na teacher. When we start to work government na teacher, who be government teacher? It is culture and tradition.”

    He added that what drives culture is drama. ”It is the culture and tradition of the Japanese, Chinese and Indian that is moving them and propelling them the way they are today. What drives a culture? It is the drama, the stories they share with themselves that move from generation to generation. The more we don’t harness the essence of what we are, who we are becomes irrelevant and inconsequential,” he said.

    Former NTA Director-General Dr Christopher Kolade said since drama is a resemblance of reality, it is important that storytelling project life as it is for the purpose of edifying the audience.

    “For drama to be a tool for national development there has to be a belief in what you are telling. I was told many years ago that those who work in drama must apply some suspension of disbelief.  When I watch Femi’s work on TV for example, I know that there’s something they are telling me. What they are dramatising is either what I am or what I want to be, so because of that, I am willing to watch it. Any generation that wants to use drama as a tool for development must learn about where they are and where they want to go. If you want to develop young people of this generation, you must use the things they need because they have many options to choose from and this is what creative must always remember,” he added.

    The session also featured contributions from artists, such as Joke Sylva and Kemi Lala. On the second round of discourse themed, Drama as a tool for national unity,  Prof. Duro Oni, Bassey Ekpenyong and Taiwo Ajayi-Lycett also contributed.

  • That’s a mistake!

    Have you ever had challenges with some of your home appliances? Have you bought a piece of equipment that didn’t perform up to your expectation? That was the exact experience of James Dyson when in 1978, he was dissatisfied with his Hoover vacuum cleaner because whenever the dust bag was filled with dust, its pores became clogged and the suction reduced. Other people would moan and groan about the problem or simply get a replacement for the device if available, but that was not Dyson. He started to think of his own invention that would solve the problem.

    He was inspired by a 30-foot-high conical centrifuge of a local sawmill that made use of cyclonic separation. Dyson imagined that if the technology could be scaled down, it would be possible to create a vacuum cleaner without a dust bag and that wouldn’t lose suction. For a man who spent only a year at the Byam Shaw School of Art and then proceeded to study furniture and interior design at the Royal College of Art, it was quite an audacious dream. The lofty dream, however, was not without its challenges. Dyson went on to work on 5,127 prototypes within five years. I guess we can say he failed or made mistakes 5,126 times before he got it right. Recounting the experience, Dyson noted that by his 2,627th attempt, he and his wife were counting their pennies; and by his 3,727th attempt, his wife had to start giving art lessons to make some money.

    Finally, he created a successful model. And that was the end of the joyful story? Certainly not! Next came the challenge of sales. One would have thought such an invention would be received with great excitement but not so. After he launched his “G-Force” vacuum cleaner in 1983, no manufacturer or distributor in the United Kingdom was interested. The rejection was because the existing industry had built its profit around the sale of dust bags and filters, both of which Dyson had eliminated in his design. His experience at the United States was also disastrous. For three years, Dyson travelled the world trying to sell his product without success.

    A reasonable person would wonder why Dyson was so obsessed with the invention. After all, he wasn’t the first person to be dissatisfied with a product and he definitely won’t be the last. “Why put five years of your life on the line, producing 5,126 useless prototypes?” one would ask. “Why travel the world to try and sell your product?” The answer is clear but not an easy one. It took all the failed attempts to get to that desired success. He failed, yes. He made mistakes, yes. But he succeeded, YES!!!

    Read also: Lagos teacher wins 2019 Inspirational Educator Award

    Dyson was able to launch the vacuum cleaner in Japan using catalogue sales. G-Force, which was manufactured in bright pink and was only available in Japan, sold for £2,000 equivalent and soon became a status symbol. The product went on to win the 1991 International Design Fair Prize in Japan. In 1993, fifteen years after Dyson set out to invent a vacuum cleaner, he established his company, Dyson Ltd, in the same United Kingdom where it was initially rejected. According to Forbes, as of 2019, his real time net worth was $5.7 billion. His company also employed more than 5,800 engineers, has about 60 consumer products, and is reported to spend $10 million a week on product development.

    So, you think you’ve failed? And you believe you’ve made mistakes? Who would you consider a pathological failure if not someone who failed 5, 126 times? Yet, it wasn’t failure at all but steps on the journey to success. You are not a failure until you stop trying. Join me again next week as we break down the story of Sir James Dyson and bring out valuable lessons that can aid our journey to success.

    Thanks for reading my article today. I would really love to hear from you. So, do share your views with me by sending SMS to 07034737394, visiting www.olanreamodu.com and following me on twitter @lanreamodu. Remember, you are  nothing compared to what you can become. This can be your year if you want it to be!

     

  • Edo Community monarch gets staff of office

    By Ozolua Uhakheme, Assistant Editor (Arts)

     

    Edo State Commissioner for Local Government and Community Affairs, Hon. Monday E.O. Osaigbovo, has enjoined traditional rulers in the state to continue to pray and support Governor Godwin Obaseki, the people and government of Edo State as they have always done, to take the state to next level.

    He said Obaseki holds traditional rulers in high esteem as demonstrated by his recent directive to pay five percent statutory allocation in addition to councils’ five percent revenue grant due to them.

    Osaigbovo, who spoke while presenting a staff of office to the monarch Anthony Elo Aleburu (I) as the Odibiado of Sobe, in Owan West Local Government Area of the state, implored the good people of Sobe to support the Odibiado to enable him effectively discharge his royal duties as the Odibiado.

    He blamed the seven-year delay in the presentation of staff of office to the monarch on the litigation that trailed his appointment.

    He however appealed to the warring or dissatisfied groups to sheath their sword and allow peace to reign, adding that Sobe is one big family and it is known for peace. He said it is his hope and desire that all hands will be on deck to bring about the much needed development to Sobe community and it’s environment in line with the vision, programmes and policy of Governor Obaseki’s led administration.

    “As you are no doubt aware, no meaningful development can take place in an atmosphere of rancor. In this regard, I appeal to you as the father of all in Sobe land to endeavour to use your exalted position to make positive impact on the people and to chart the path of peace, order and development at all times.

    “In the same vein, I wish to implore you and your subjects to be vigilant and to promptly report any strange and suspicious character in your midst to the law enforcement agencies so as to reduce the incident of crime and at the same time ensure peace in your domain,” he said.

    Read Also: Traditional rulers to partner Osun govt on security

    The commissioner reiterated that government will not tolerate what is capable of undermining the peace and tranquility in Sobe community, urging the traditional ruler to be fair and firm in taking decisions affecting your subjects. “You should also live peacefully with your neighbours as the state government will not tolerate any breakdown of law and order in any part of the state,” he added.

    Presenting the staff of office to the Odibiado, Hon. Osaigbovo, who represented Obaseki said: “On behalf of the state governor, Mr.Godwin Nogheghase Obaseki, the governor of Edo State, I present to you, your royal highness, Anthony Ero Aleburu, the staff of office associated with the title of the Odibiado of Sobe.”

    Commending the state government, the Odibiado of Sobe appealed to it to complete the lingering construction of Sobe-Sabongidda-Ora Road project so as to bring Sobe closer to the local government headquarters.

    “We also wish to appeal to our governor to make judicious use of Sobe Farm Settlement by making it a campus of the State School of Agriculture. It will also be appreciated sir, if the fencing of Sobe High School is done to ward off intruders and the school should be adequately staffed.

    “We thank our governor for the Cottage Hospital that is under construction. It is our hope that when completed, a resident doctor and other allied staff would be employed to man the facility,” he said.

    He assured Governor Obaseki of total support for his administration, adding: ‘’We whole heartedly support your second term ambition so that you can continue with the good work you are doing in Edo State.’’

  • ‘Lack of gallery edifice a huge setback’

    By Ozolua Uhakheme, Assistant Editor (Arts)

     

    Twelve years after former Director-General, National Gallery of Art (NGA), Chief Joe Musa, initiated plans to build a befitting art gallery for NGA in Lagos or Abuja, the management of the 26-year-old federal agency has renewed its determination to realise the goal.

    NGA Acting Director-General Dr. Simon Ikpakronyi said the  edifice meant a lot to the art community and remained a major priority of his administration.

    He noted that without a gallery edifice where NGA could hold its events, the government and the people will not acknowledge or appreciated its functions. According to him, if NGA has an edifice it will host exhibitions of its works that are rotten away in stores. “Such exhibitions will be opened to Nigerians and foreigners to appreciate the quality of artworks by Nigerian artists, living or dead. This is my major concern and direction,” he said.

    Ikpakronyi, who spoke on his six months in office, described the lack of such facility as a huge setback  to the growth of Nigerian art and artists, adding that the poor conditions of some artworks in the stores wouldn’t have arisen if NGA had its edifice designed to host as many shows as possible on periodic basis.

    “Periodically, artworks in our collections would have been exhibited for months and later returned to the store for preservation. Artworks are supposed to be kept under certain conditions and space that enhance their preservation or conservation. As we speak, we cannot guarantee such appropriate conditions and spaces where the works are now. We have over 3000 artworks by the masters in our collection. By cramping them together we are denying the artworks life,” Ikpakronyi lamented.

    He stated that he has been part of the NGA journey and now is the opportunity to make a difference.

     

    Working towards the goal

    During my defence of NGA budget at the National Assembly recently, I made it clear that my dream and direction is for NGA to have a befitting gallery. The good news is that the two committees (House and Senate) on culture and NGA are on the same page on this matter.

    ‘’NGA has been at the Federal Secretariat Complex, Abuja for some years now. And you cannot find any identification to show NGA exists there. Yet, we have about 26 outstations across the country.

    ‘’We may adopt Public-Private partnership arrangement to raise funds for the project. I know for sure that building such an edifice is not a day’s work, but we can start from somewhere. And it will grow from there,’’ he said.

     

    Overcoming challenges

    It is a huge challenge running a parastatal like NGA. Till date, many top government officials cannot differentiate the functions of National Commission for Museums and Monuments from that of NGA and National Council for Arts and Culture (NCAC). To this end, we are planning to host members of the two National Assembly committees on culture to rub minds on these key agencies’ needs and mandates including having edifice that represent the quality and quantity of works Nigeria has.

    Again agency like Centre for Black and African Arts and Civilisation (CBAAC) deserves same edifice that will house its collections, which maybe in poor state like those of NGA and NCAC.

    Resuscitating major art programmes and image of NGA

    ‘’Truly, NGA has been doing some of its programmes but in few months these will be forgotten. However, we will still do the major ones, but we have not been able to hold major ones, such as ARESUVA, that we transformed to Biennale. This is worrisome.  In fact, we need to resuscitate these programmes and possibly trim them.

    ‘’As for the Aina Onabolu Complex in Lagos, it is unfortunate that as at today, it is the only property NGA has. Yet, we have not given it adequate attention. But it is going to be of priority to us now. We will soon be in Lagos for a Christmas exhibition featuring works from our collection. Hopefully, we will turn the complex around.

    Read Also: New gallery, fresh breath on Lekki artscape

     

     

    Celebrating producer of FESTAC mask, Pa Joseph Igbinovia Alufa

    On November 26, NGA will hold an exhibition of the artist’s works and images in Benin City. Already, a documentary is being done on him because up till now, no single write up on him. Remember that Pa Alufa rescued the Black race from British embarrassment when Britain refused to return the original Queen Idia mask that was used for FESTAC 77 symbol. On this note, we decided to put a search light on him and project his works to the world. The exhibition will be accompanied with a book

     

    Scorecard in the last

    six months

    “I came in at a time programmes of NGA were no longer coming up as regularly as before due to paucity of funds. Even though the Gallery account was almost empty at the time, I was convinced that we could bring NGA back to reckoning again. For me, programmes are the soul of any government organisation. There are no excuses for not executing them on a regular basis. As a foundation staff, I looked back to NGA’s glorious past and I was poised to turn the table, money or no money. Hence, I rolled up my sleeves and dared management and staff of NGA to think outside the box and bring back that glory.

    On July 8, at Cyprian Ekwensi Centre for Arts & Culture, Abuja, NGA held a programme tagged, Rainbow art: Unlocking creativity designed to tap the hidden creative genius of children and youth to the admiration of the culture community.

    Between July 16 and 20 at Exhibition Pavilion, Opposite Radio House, Abuja, NGA staged a major art exhibition featuring the works of Nigeria’s revered artist and scholar, Prof. Jimo Akolo titled, Jimo Akolo: Eminent Scholar and Painter. A comprehensive book publication documenting the life and works of the Professor emerged from the programme.

    Also, between July 26 and 28, at the same Exhibition Pavilion, Radio House, Abuja,  NGA held another major exhibition and a standard book showcasing and documenting the works of the iconic artist and architect, Demas Nwoko titled, Demas Nwoko: Renowned Artist and Outstanding Architect emerged.

    From August 22 to 24, NGA was in Benin at the Conference Hall, Protea Hotel, staging another major exhibition tagged, Art of Benin Kingdom: Complementing Coronation and Igue Festival. A rich publication on Benin Art was equally presented at the occasion.

    On August 30, NGA was at Igbo-Ukwu, Anambra State where it had a successful and colourful art exhibition to mark this year’s New Yam Festival. The exhibition was received with applause by the indigenes and visitors.

    On the 2018 Senior Staff Promotion, I released funds for it to be conducted. The result barring any delay will be released soon.  Arrangement is also ongoing for that of 2019 and all things being equal will be held before the end of the year.

     

    Staff welfare

    Welfare is a priority to me. It is a motivation that the staff needs to perform at optimum. So, when I met backlogs of security and cleaners’ salaries among others, I had to deal with the issue decisively. I began by offsetting three months at once from the meagre allocation the organization received. I have since then been able to maintain regular payment to them. I ensured that a considerable amount is set aside to offset backlogs of Staff Welfare stipends.

     

     

    ‘I came in at a time programmes of NGA were no longer coming up as regularly as before due to paucity of funds. Even though the Gallery account was almost empty at the time, I was convinced that we could bring NGA back to reckoning again’

  • How political intrigues, feud marred ANA convention

    Writers, under the auspices of Association of Nigerian Authors (ANA), will not forget Enugu State in a hurry. Thirty-eight years after their inaugural convention held in the state, their recent return to the Coal City for this year’s  edition, tagged ANA Homecoming 2019 left them without a leadership for the first time in the association’s history. The event was tainted by political feud and theatrics. EVELYN OSAGIE reports

     

    They rode into Enugu, the Coal City, and capital of Enugu State, with high hopes of charting a way forward for the Nigerian literature and their craft.

    The city was instrumental to Nigeria’s independence and is today the seat of Enugu State Government. But, for the Association of Nigerian Authors (ANA), it was a Homecoming. The maiden edition of its yearly convention held in the state 38 years ago, when the association was established by the patriarch of Modern African Literature, Chinua Achebe, and others.

    Over 400 delegates, comprising creative writers, literary critics, journalists, academics and other stakeholders, converged on Enugu, determined to deliberate on Literature, Nationalism and the Poetics of Integration, the theme of this year’s convention.

    But nothing prepared them for the political feud and theatrics that fouled the air at the 38th ANA International Convention held from October 31 to November 3, at the Institute of Management Technology (IMT), Enugu.

    “What happened at the convention should be an eye-opener to ANA to reinvent itself, flush out the weeds that strayed in and strive to become again the ANA that Achebe founded in Enugu 38 years ago,” said an ANA Trustee and Editor, African Literature Today,  Prof Ernest Emenyonu, who flew in from the United States for the conference.

     

    Theatrics, feud that taint

     

    It was another election year, with four aspirants – Camilus Uka, Ahmed Maiwada, Ofonime Inyang and Chike Ofili – contesting for the post of National President. Excitement was in the air – it was with delight that the delegates began the conference with an evening of cocktails on Thursday. This was followed on Friday, November 1, by cerebral and book activities, including performances.

    However, like a premonition of what was to come, they were reminded of their role in the society by various speakers at the grand opening. Prof Zainab Alkali urged the writers to rise to their responsibilities, “first as healers of a sick society, mobilisers of collective consciences, moderators of excessive behaviours, tamers of unruly conducts, but, above all, as agents of love”.

    Prof Emmanuel Egya Sule of the Ibrahim Badamasi Babangida (IBB) University, Lapai, Niger State, who gave the convention’s keynote address, warned that literary writing should provide a critical insight to Nigerians in the course of rehabilitating the idea of a nation-state.

    Veteran poet Odia Ofeimun who lamented that writers, who are supposed to influence the politics of the larger society, have been unfortunately influenced by it; advising that they should lead by the examples of ANA’s founding fathers in their conducts, politically or otherwise. All the pieces of advice seem to have gone with the wind.

    Saturday, November 2, was characterised by political feuds and theatrics that culminated in the cancellation of the election allegedly on the grounds of “faulty” electoral process. The tension was heightened when the outgoing executive, led by Mallam Denja Abdullahi,  was said to have allegedly brought in “soldier boys” and other security operatives to the venue, perhaps to monitor elections, amid counter allegations of money changing hands, among other malpractices.

    Aggrieved delegates not only raised the alarm over the move, they also faulted the electoral process. As a result, a new electoral panel was constituted with Prof. Akachi Adimora-Ezeigbo as chairman. Mr. Ofeimun, a former ANA president, Prof. Remi Raji, Diego Okenyodo and chairman of Lagos ANA branch Yemi Adebiyi as members.

    All hell broke loose when displeased delegates, especially from Akwa Ibom branch, were further aggravated by discrepancies in the list of delegates qualified to vote. This led to a swarm of writers protesting, calling for the cancellation of the election.

    Fearing that violence might arise, the leadership of IMT, venue of the meeting, ordered that they vacate the hall.

    And since decisions could not be reached on how to conduct the election, after a long deliberation that ran into the night between Adimora-Ezeigbo-led panel and the 25 ANA branch chairmen, Raji addressed delegates in line with the association’s constitution, saying: “After deliberation between the five-man panel led by Prof Adimora-Ezeigbo and the 25 ANA branch chairmen, it was agreed that election is postponed, and would hold within the next 180 days as enshrined in the ANA constitution. The place or state where it would be held would be communicated to us through the chairmen of the state branches.”

     

    Writers on the convention

     

    The convention has ended but writers have continued to trade blame, while reflecting on the convention. Some blamed the past executives; others blamed the aspirants, particularly the presidential candidates. Some others blamed it on those they called “hoodlums” allegedly “parading themselves as writers”. Many, however, observed that the battle was not about who led the association but a war over ANA land at Mpape, Abuja.

    Emenyonu observed that it is a reflection of how far the aims and objectives of the founding fathers of ANA have been polluted and debased in contemporary times.  He said: “There are many people in ANA today who do not know what the association is all about.  Some of them roam into it, believing it is one of those political forums where you go to make money.  Thirty-eight years ago when Achebe founded ANA, it was an association of published creative writers. You could be a professor of English, published extensively in your field without being a member of ANA. Today chapters go to secondary schools to recruit members without even reading the ANA constitution. In the early decades of ANA nobody scrambled for offices, nobody campaigned for offices. In some cases new members were invited.

     

    Read Also: Institute, Enugu govt to boost arbitration in Southeast

     

    “Today, you have people who go to wayside printers to print trash and thereafter proclaim themselves authors! ANA should purge itself of these loafers and return to the ANA founded by Achebe and follow its lofty ideals and objectives, which had earned it world-wide recognition and respectability. What transpired at the ANA convention was the mistake of some people who tried to see ANA as an organisation akin to a contemporary Nigerian political forum with all its mannerisms and antics.”

    Former Art Editor, The Sun newspaper, now a university don, Dr. Sola Balogun, said: “It’s so clear now how society has changed our men of letters rather than the other way round. The immediate past president of ANA has, by his conduct, undermined the integrity and sanctity of the writers’ profession.”

    Abdullahi denied the accusations, saying it was a calculated attempt by a few to disrupt the process.

    He said: “ANA is an association of intellectuals. Anyone vying for any leadership position must do so with a mind to serve. Leadership is not a do-or-die affair. We know of those who paid for people’s accommodation and were sharing money. Why? What for? It is indeed unfortunate.”

    On his part, former Rivers State ANA branch chair, Uzo Nwamara, stated: “We keen watchers of ANA were not fooled by the well-planned and executed coup by men desperate for power. We know those who worked so hard to abort the elections because they realised that they would be disqualified because they broke the rules. We know those who could not win free and fair election in ANA and boasted that they will kill ANA and only their regional body where they play god will thrive in the land.

    “We know their cronies and poster boys deployed to successfully execute their evil agenda against the general interest of ANA members. Let those who trade in violence know that the day a brave man was born in one community was the day another brave man was born in another community. We allowed you to show your lack of leadership capacities and decorum to the world yesterday. You can take this to the bank: ANA will not be led by thugs.

    “People stood their ground that the whole process must stop and it stopped. Kudos to the electoral committee. Within the next six months, ANA election will be conducted at a neutral place and everyone shall be alright,” Akogun Tai Oguntayo, a lawyer and one of those vying for the post of general secretary, said.

    ANA Oyo Branch Secretary, Afolabi Tawakalit El-Mubashir called for sanitisation of the association. He said: “ANA needs a total reshuffle to accommodate exigencies. It needs to come up with legislations that will guide its future progress – put in place a streamlined structure that would regulate admittance of members and code of conduct guiding same. Otherwise, ANA would be just a farce!’’

     

    ‘There are many people in ANA today who do not know what the association is all about.  Some of them roam into it, believing it is one of those political forums where you go to make money.  Thirty-eight years ago when Achebe founded ANA, it was an association of published creative writers.  You could be a professor of English, published extensively in your field without being a member of ANA. Today chapters go to secondary schools to recruit members without even reading the ANA constitution’

  • 300 artists eye Impart Artists Fair

    By Ozolua Uhakheme,

    Assistant Editor (Arts)

     

    No fewer than 1,000 artworks by 300 African artists will be on display at the maiden edition of Impart Artists Fair holding from October 25 to 27 at Eko Atlantic, Victoria Island, Lagos.

    The three-day event, organised by LASMARA, with the theme Art meets tech, will attract about 6,000 international and local art collectors, members of the art community, students and art enthusiasts.

    According to the founder, Director of Lasmara, Hana Omilani, the fair is being organised to increase awareness on the African arts and culture sector, as well as to improve African art recognition in the global market. “This is where technology plays a vital factor and we believe that through technology we can reach a larger audience – the audience that is needed to create volume in the transaction of African Art.

    “What’s important to understand is that the fair is a way to officially launch Impart the platform,” she further revealed.

    “Impart is a new initiative – a platform to promote African artists and the Impart Artists Fair – is just one of the series of initiatives. Impart Artist Fair uses technology to promote art, this is why the maiden edition of Impart is themed Art meets tech.”

    “We have ongoing plans to empower artists through this platform, as we are actively involved in social, non-profit activities, such as community building, portfolio management, talks, artists’ workshops, residency programmes and special workshops for women, to help increase the representation of female artists in the field,” she said.

    She disclosed that the vetting for the fair was very thorough by the selection committee of 11 art professionals and collectors.

    Other activities, during the fair, are a digital art showcase (using ground-breaking virtual reality and augmented reality technologies), workshops with artists and professionals, and  exclusive collectors’ events, among others.

    With the support of Templars (a law firm), the Consulate of the United States in Lagos, 9Mobile, Mirinda Apple, AXA Mansard and Iron Capital, the fair will offer artists a platform to exhibit themselves via the use of interactive and immersive technology.

    She added: “You cannot afford to miss this experience.  So, tell a friend to tell a friend to tell another friend. Come and enjoy the best that African art has to offer. Interact with your favourite artists, purchase their artworks, meet new people and make new connections while taking pictures and enjoying lovely music. It will be a very exciting and stimulating experience.

    “Our database of artists is constantly expanding, both well-established and up-and-coming, but always exciting and original. Our speciality is African but our interests are global, and we work with clients, galleries and art houses all over the world.

    “In addition to sourcing and acquiring artworks, we can also assist with the liquidation of art collections, resale of artworks, art handling, administration of loans and consignments, shipping and storage, and much more. We look forward to working with an expanding array of Nigerian and international clients, to meet their requirements while increasing awareness of African art and African artists across the globe.”

    Lasmara is an independent art consultancy, specialising in contemporary African art. It offers a wide range of specialist art services, from commissioning artists and sourcing works to creating strategies for investment and exhibition.

    Lasmara sees every client, like every piece of art as unique.  So, it collaborates very closely with clients to understand their individual aesthetic and requirements, and to provide personally tailored solutions.

     

  • Talking drums with master drummer

    Dr. Sylvanus Kwashie Kuwor, scholar and leader, Hesu African Drum Ensemble, Ghana, is the head of Department of Dance Studies at the University of Ghana. He has over a decade experience in Britain as a cultural educator, where he used African drum, music and dance to integrate African refugees into mainstream society. Kuwor, who was lead speaker at a roundtable, titled: Drumming the future at this year’s African Drum Festival in Abeokuta, Ogun State, speaks with Ozolua Uhakheme on the relevance of drum to the preservation of heritage, the place of drum in development and how the younger generation can buy into the culture of drumming, among other issues. 

     

    What is your take-home from the interaction at this African Drum Festival?

    My take-home is in different dimensions, but primarily with the theme of the festival I want to say that there is a momentum in gathering to ensure that the drum is used as a tool for conceptualising a better future that all African nations are really craving for.

    So, I have decided to emulate Nigerians who have initiated thoughts that will see some of my communities in Ghana, owing to building a consensus that I will eventually bring up as a National Festival of the Drum.

     What methods are you thinking of?

    Well, I am looking at trans-disciplinary methodology, which has to do with combining science with society. It will also involve co-production of knowledge. So, we are not going to look at drummers alone, but will also look at the story-tellers too. We will look at the dancers as well. We will look at the people who do sculptures. We will look at dancers, we will look at the historians-bringing all of them together. Playing drums as master drummers may be alright, but there are certain pieces of  information that we have not been really privy to. We need a historian. We need oral tradition speakers to come in and tell us why these drums were made and what the purposes were at the beginning. You will also realise that the concepts of performance of these drums and music may have changed overtime; these things need to be documented. So, I am looking at trans-disciplinary as an approach that will actually get close to something accurate. We may not get to a perfect position.

    Read Also: Drogba, Aguero tear football fans apart

     

     Now that all is geared toward development, is it bottom-top or top-bottom approach?

    Yes, of course. We have used the top-bottom approach so long, it never worked. But, this is actually bottom-top, and in the sense that, the new liberalism that various governments have adopted does not only leave you alone, but also gives you the power to decide what will work for you. So, in reality, I will say this is one of the appropriate methods that we can develop. Development is not about building houses, building universities or hospitals. Development has to do with knowledge. If you don’t have knowledge, you are not enlightened; you have not developed yourself. As an individual, he must develop him/herself to be able to have that awareness to respond to the socio-economic problems. So, I believe this is a platform that brings us to that realisation.

     In these days of globalisation and the influence of Information Technology, how do you overcome all of these, especially among our youths?

    It is very simple. Globalisation does not exclude anybody. The global is not completed if you have not been included. So, the first thing to do is to discover and rediscover your identity. So, if we have a globe, you should have a position in that globe. And the technology world is giving the opportunity.

     

     

    ‘ We have used the top-bottom approach so long, it never worked. But, this is actually bottom-top, and in the sense that, the new liberalism that various governments have adopted does not only leave you alone, but also gives you the power to decide what will work for you. So, in reality, I will say this is one of the appropriate methods that we can develop. Development is not about building houses, building universities or hospitals ’

     

  • Changing face of African art

    Federal Palace Hotel, Victoria Island, Lagos was a beehive last weekend as local and foreign artists, collectors and enthusiasts converged for this year’s Art X, a West African premiere international art fair, Assistant Editor (Arts) Ozolua Uhakheme reports.

     

    UP till late last Friday, hundreds of artists, collectors, connoisseurs and art lovers continued to throng Marquee A Hall of the Federal Palace Hotel, Victoria Island, Lagos to savour the rich artworks on display at the Art X, Lagos.

    Among guest, who attended the colourful opening ceremony was Vice President Yemi Osinbajo, Lagos State Governor Babajide Sanwo-Olu, Speaker, House of Representatives, Femi Gbajabiamila; Chief Executive Officer (CEO), Access Bank, Mr. Herbert Wigwe; Acting Director-General, National Gallery of Art, Dr. Simon Ikpakronyi, who represented Information and Culture Minister, Alhaji Lai Mohammed; founder/CEO, Nike Art Foundation, Chief Nike Okundaye; Lagos State Commissioner for Tourism, Arts and Culture, Mrs. Olufunke Adebolu and renowned United Kingdom(UK)-based Nigerian artist Yinka Shonibare.

    Traffic to the fair increased through Sunday when guests were treated to special performances, talks on the life and times of the late curator and founder, Centre for Contemporary Art (CCA), Lagos, Bisi Silva.

    Art X Lagos, launched in 2016, has since become a cornerstone of the Lagos art calendar, drawing local patrons and international collectors, curators, and critics yearly. Since its debut, it has welcomed over 22,000 visitors to see the works of Africa’s leading and emerging artists, including representatives of institutions, such as the Tate Modern, Zeitz MOCAA, the National Museum of African Art at the Smithsonian, the Art Institute of Chicago and Centre Pompidou. These attendees and the satellite exhibitions that have emerged in response to the fair are, undoubtedly, indicators of Lagos’position as a fast-emerging and exciting cultural hub.

    Unlike past editions, this year’s fair attracted an unprecedented size and calibre of guests and participants, thus raising the bar. The venue and presentation of this year’s fair were professionally managed, thus creating ideal ambience for the appreciation of the collection. The fair also featured new programmes dedicated to showcasing pioneers of African modern art presented by Stanbic IBTC Pensions, which spiced the fair.

    Artists, such as Abayomi Barber, Uche Okeke, Ablade Glover and Demas Nwoko, were the artists featured by three galleries.

    In all, no fewer than 93 artists, drawn from 24 countries, participated in the fourth edition of the fair that ran from November 1 to 3.

    Apart from the exhibition of modern and contemporary artworks by various galleries, the fair also featured special art programmes, such as performances – If not for a child, by Ngozi Schommers, Art X talks – The Progress of Love: Bisi Silva Remembered, Art X Live, curated projects by Emeka Ogboh that incorporated reality, virtual reality and sound, film and installation as well as virtual reality film by Joel Benson titled: The Realities of Demas.

    Commending the efforts of ART X Lagos founder and Director, Tokini Peterside,  Sanwo-Olu promised to sponsor the fair next year.  He added that part of its contributions would be on how to remove the red tapes  to make Lagos a destination of choice.

    For Peterside, this year’s edition is  legendary in terms of numbers of visitors to the fair. She noted that, in three years, over 22,000 people had come through the hall of Art X Lagos. “We are going to make a greater number this year. Artists and gallerists featuring at the fair are from countries like Brazil, Ethiopia, Kenya, Uganda, Senegal, Cameroon, South Africa, and the list is endless.

    ‘’I thank all of you who represent the artists and who continue to trust us to be your custodian as you come to the city of Lagos,” she said.

    On the challenges of getting visas for visitors and artists to the fair, she recalled that she wrote every visa application letter and got calls in the middle of the night from embassies requesting for her certificate of incorporation and details of her passport.

    “Apart from international guests, we have professors and students from Ibadan, Nsukka, Zaria as well as pupils from Agege, Makoko,, among others communities in Lagos. They were enthralled as they toured the exhibits. Art X Lagos is an art fair with a difference. We have actually changed the model of an art fair, which is typically for the collectors and buyers. We have created an art fair model that is inclusive; that is saying that in this city where there is so much cultural diversity, and richness we want every member of the public to be able to attend.

    “Nigerian music is being played all over the world, our films, fashion have gone far. And now our visual art is so much going further. This year’s outing is just the beginning of our great effort. We are the ones to tell the world of who we are and through the works of our artists we can and we will do so. The change will come quicker than we think. We created this platform for the talents that can revitalie the narrative about our city, country and continent. As we bring in international guests to the fair, we want them to leave with the most phenomenally positive stories about our people.

    Wigwe said it was heart-warming the excitement that Art X is bringing to Nigeria. He described the fair as an opportunity to bring thousands of people to share in the beauty of art, tourism and entertainment.

    According to him, the first Art X attracted about 5,000, but for this year’s edition, a great number would attend.

    “With the success recorded this year, the fair has moved from being West Africa’s premier international fair to Africa’s premier fair. The fair is speaking to inclusiveness and beauty of art, not just in Africa but across the globe.

    ‘’This year, we have 93 artists from 24 countries participating to share the best of African art.

    “For me, the reason Access Bank is supporting the fair is to show that as African, we can harness the best we have in the continent, and that we can begin to change the narrative not just about Nigeria, but Africa. The world must begin to focus on our continent and the quality of skill that we have.

    ‘’Other reason we did this is to support the talented young artists. This year, Yvonne Etinosa, a self-taught artist is one of such artists we must celebrate. She won the Access Bank Art X prize.

    ‘’Her artwork captures issues that come with trauma and terrorism. Access Bank is providing her with generous financial package and residency programme with a foreign gallery. Next year, this space may not be enough to host the fair. And CBN Governor and Lagos State government have determined to change the creative sector and in two or three years, we will hold the fair at the National Theatre,” he added.

    Among  gallerists at the event were SMO Contemproary,

    TAFETA, Arthouse-The Space, Bloom Art, Everard Read, Retro Africa, Addis FIne Art and Mydrim Gallery, Nike Art Gallery,  Thought Pyramid, Afriart Gallery,   TTA  Artyrama, and Circle Art Gallery, Goodman Gallery, Gallerie MAM Douala, Tiwani Contemporary (UK) and Gallwery 1957.

  • China, others light up MUSON Festival

    The International Cultural Night, a new addition to the MUSON Festival’s line-up of events this year, featured intercontinental performances to strengthen cultural ties between Nigeria and participating countries. EVELYN OSAGIE reports

     

    THE Shell Hall of the MUSON Centre was aglow with colourful displays of exotic costumes and fantastic dances from Azerbaijan, Brazil and China during the International Cultural Night.

    The segment, which was a new addition, brought a different vista to the yearly MUSON Festival of the Arts. It’s another event that attendees can look forward to as the festival continues to evolve into its finest form.

    One of the spectacles of the night was the Chinese Lion Dance. In Chinese folklore, it is believed that the dance helps to repel evil spirits, bring ample good luck and fortune.

    In the same vein, on the night, the dance took possession of the well-illuminated stage – agile “lions” displaying various skills to the audience’s delight. The dance  dispelled boredom, enlivening the faces of people who watched with bated breadth. In their presentations, the Chinese lions were simply awesome.

    The Azerbaijani Dance with Gaul was a one-woman show performed by Mrs. Billura Bayramova-Bernard; it equally left the audience spell-bound.

    At the end of her performance, Mrs. Bayramova-Bernard, who partly put the dances together, said: “Besides being a platform to portray different cultures from different countries, more especially that of the Azerbaijani people, the International cultural night has a great role to play in Lagos life. Despite that it was a new idea this year and the short notice to organise it, in general, I can say it was nice.

    “But I think entrance should have been free. I am already looking forward to another round of this amazing segment come next year if the festival committee would consider it befitting to be included in the lineup of events. The stage was good, program great and the dances beautiful.”

    Read Also: MUSON Festival celebrates excellence in arts

    Similarly, the Brazilian and Colombian Troupes were not left out of the electrifying show. Their dances were greeted by resounding ovation from an excited audience. Reminiscent of a typical Calabar Carnival, the beautifully adorned dancers swayed symmetrically to the rhythms from drums and other musical instruments.

    However, it was the Ofala Dance by Arts Afrique Dance Troupe that brought the audience back home from their foreign reveries courtesy of their fabulous cultural display, bordering on the new yam ceremony as performed annually by the Onitsha people.

    Giving historical context just before the presentation, it was revealed that Ofala derives from two root words Ofo and Ala, meaning authority and land, and that the annual festival is specifically celebrated by the Onitsha people. To give respect to their ancestral lineage, a short homage was paid to the Oba of Benin, ruler of the Edo people from where the Onitsha people are believed to have migrated to their present location.

    The Footprints of David had given an apt curtain raiser at the beginning of the eclectic cultural dance extravaganza. Also, the Sharo Dance from the northern part of the country was on hand to perform a dance that highlighted the philosophy of “winner takes it all in marriage ceremony” popular among the Fulani people of Kaduna State.

    Speaking after the performances, the MUSON Centre Chief Executive Officer (CEO) Mrs. Ayo Jafojo said the idea of having an international cultural night was mooted by one of MUSON’s patrons, Mrs. Francesca Emanuel, and  supported by Bayramova-Bernard, who also advocated the inclusion of foreign troupes from Brazil and Azerbaijan.

    An award was given to the dance troupes by MUSON Centre Vice Chairman, Mr. Louis Mbanefo (SAN).

  • Ooni to govt: tap art, tourism potential

    THE  Ooni of Ife, Oba Adeyeye Enitan Ogunwusi, Ojaja II, has called on Nigerians to take advantage of the prospects in art and tourism sectors to solve the problem of unemployment.

    He made the call at the maiden edition of a 50-man exhibition hosted by the Enterprise Development Center of the Pan Atlantic University, (PAU), in collaboration with Toonwalk Enterprise, a start-up art foundation.

    The Asoju Asa Ile Oodua, Oloye Morounranti Ashabi, who represented the Ooni, said: “It is important we all begin to find economic potential in our unique cultural values and see the prospects they hold”. Pointing to the decline in communicating with the Yoruba language, the Ooni called for a cultural introspection, saying: “We do not want to hear about Osogun and Obatala, but you want to hear about Abraham and Daniel and you want to hear about how Moses turned a rod into a snake but we cringe at the sight of Babalawos performing rituals.”

    Citing his visit to the Buckingham Palace, where he discovered the original piece of the popular artifact Ori-olokun, he said: “I noticed that the artifact held a premium place there while we the original owners do not know how priceless it is.”

    Omooba Yemisi Shyllon, a renowned art collector, who is concluding plans on the first private-owned museum of contemporary art at PAU, said if harnessed, culture and art have colossal returns on investment.

    He said that music, artworks, paintings and other categories of the arts have the potential to end youth unemployment.

    “We should not demean our culture but create infrastructure and investment opportunities in the form of robust tourist sites. The western world does not rate us so much because we do not place much regard on our culture,” he said.

    Addressing the theme: “Art of our culture”, Shyllon, also the chairman of the event, highlighted the elements of culture, such as music, forms of dressing, language, recreation and how the stereotype of tagging our cultural relics as demonic has done a lot of harm to the growth of the art and tourism sectors.

    Drawing on historical evidence,  Shyllon, who is Africa’s largest private art collector, said tour moral compass, value system and social organisation have been established even before the advent of the imperialists.

    He said: “At the end of 2019, America would have made about $ 8.8 million on tourism and there are predictions of making up to $1.6 billion. Tourism is about attracting, showcasing, selling of culture to outsiders and even insiders, if we have our culture properly articulated, even domestic market will thrive, you would like to go, for instance, to Sokoto to see the Sultan Palace. At the end of 2018, we welcome 1.8 million tourists and it was reported we made $8 billion.

    “If tourists from all over the world make $8000 multiplied by $100 million per annum, Nigeria has the potential to make N 8.8 billion per annum from tourism, compared to the N 2.5 billion we make from exporting oil. Again, we need to keep our country crisis free because no one wants to go to a country that is not peaceful.”

    Art promoter, Theo Lawson, who designed the master plan for the popular Freedom Park in Lagos, was the keynote speaker at the occasion. He traced the history of the Yoruba culture to make case for reparation, restoration and installation of art works.

    According to him, reparation is necessary to be done so the artworks may be returned to forestall further damages while restoration connotes the replacement of these artifacts to and installation typifies the act or process of putting these things in their appropriate places.

    He lamented the disappearing culture of our fashion, music and hairstyles. Lawson commented on how important these are to be the narrative of telling original stories. He also said the average Nigerian could travel to Indian to buy the Sari but would choose not to travel to Abeokuta to invest in adire; he, therefore, recommends an urgent change in our psyche.

    Hyper realism artists, charcoal painters, photographers featured at the event. Young and upcoming artistes were given an opportunity to display their works.

    Among them is Zennia Onyinye,  who uses nails and strings to portray the pains of women. She said: “The string reflects connectivity between everything. I wish my heart could console the disturbed and heal the troubled.

    Oladimeji Moshood is grateful for the opportunity to showcase his art piece as a secondary school leaver. He said he could not have hoped for a better platform to display, he said: “It feels very fulfilling to have met the likes of Omooba Yemisi Shyllon and Theo Lawson whom I have read in the news and seen on the screens.

    Other artistes that exhibited include Omovo Ayoola, Damian Terfa, Haneefah Adam Oladimeji Moshood among others.

    Chief Operating Officer of Toonwalk Enterprises, Adekunle Gafar, who is also a chief promoter of the event, said 167 art works from 50 carefully selected artists were exhibited during the ‘Art of Our Culture’ event on Wednesday, October 30 at the Lagos Business School.