Category: Life – The Midweek Magazine

  • UNODC, NAPTIP partner aviation agencies to tackle human trafficking

    By Ozolua Uhakheme

    When she was offered a ticket to Oman to start work as a house help, Adaora, 28,  envisaged a bright future abroad. But, once in Oman, her dreams turned into a nightmare. Confronted with a slave-like condition of service, she suffered serious physical and psychological abuse and eventually was forced into prostitution.

    Her passport was taken from her and there was no escape. She managed to send a distress call home to her family who reported to the National Agency for the Prohibition of Trafficking in Persons (NAPTIP), which flew her back to Nigeria.

    Adaora’s trafficking by air is not an isolated case. Air travel remains the primary mode of transportation for human traffickers. According to UNODC 2018 Global Report on Trafficking in Persons, 20 per cent of the 225,000 victims detected worldwide between 2003 and 2016 were trafficked by plane.

    Airlines, their crew as well as passengers can play a key role as first-line responders in detecting victims and their traffickers before departure and while on board aircrafts before victims become difficult to trace in destination countries.

    In the context of its ongoing project with NAPTIP, UNODC is, therefore, supporting the agency to engage airlines, airport management authorities, travel agencies and through them travellers at large in helping to detect and prevent the trafficking of persons. Following its successful partnership with Ethiopian Airlines, UNODC together with NAPTIP, is forging alliances with key stakeholders in the aviation sector, such as the International Air Transport Association (IATA), the Nigerian Civil Aviation Authority (NCAA), the Federal Airports Authority of Nigeria (FAAN), the National Association of Nigeria Travel Agencies (NANTA) and flight company Air Peace, that has recently signed a Memorandum of Understanding with NAPTIP.

    Following consultations with these partners and with the support of the US government, UNODC in partnership with NAPTIP have developed a series of specific airports and on board sensitisation materials on trafficking in persons. Aimed at travel agents, airport personnel, flight crews, and passengers, the materials seek to provide basic information on how to identify victims of trafficking and how to report such suspicion safely. Initially, these materials will be deployed in Abuja and Lagos international airports halls, including on electronic boards, on boarding passes, tickets, in-flight magazines and through public announcements on board.

    Such materials are part of a sensitisation campaign conducted under the project also targeting traditional rulers, youths in school, civil society organisations, entertainment industry, border communities, law enforcement agencies, state governments and road transport sector.

    In parallel and recognising that awareness raising materials may not be enough to sensitise the air travel industry, NAPTIP and UNODC trained managers in the air transport sector on specific operational measures that can be taken to facilitate the detection of victims and their traffickers   from October 7-10 in Lagos.

  • Levels

    •Lanre Amodu

    It was a memorable experience for me several years ago when I had my first air travel. I had always looked forward to it, wondering what it would feel like to takeoff, cruise at an amazing altitude above the sea level, and finally touchdown. Don’t be mistaken, I wasn’t naïve about airplanes since several people around me travelled by air and I had watched several movies depicting it; just that I had never been on an airplane. So, there I was buckled in my window-seat. I didn’t want to miss any part of it. The hostess completed her safety demonstration and the plane started to taxi slowly on the runway. Gradually, the speed increased and with a force that pushed me into my seat, I felt the nose of the plane lift. I looked through the window and loved the sight as the airport and surrounding communities dropped far beneath us.

    “That was cool!” I thought. But my lesson was just about to begin. I noticed that we were approaching the clouds that appeared so far away when we were at the ground level. Suddenly, we started to pass through them! I was thrilled as the clouds, which at the airport looked like a thick collection of wool, started to give way and float past us like ordinary mist. By the time we climbed to the cruising altitude of our trip, all I could see was a clear cloudless sky above me and all the clouds below. At that point, I learnt some very valuable lessons about life. Let me share some of them with you:

    • Life is a journey of continuous change of levels: on our flight, we started from the ground level, we lifted above the houses and buildings, then we travelled above the clouds. It would amount to self-deception to assume that there are no levels in life. We didn’t appear in the cloud; we rose from the ground. To go up, you must start from down. You must be prepared to develop gradually as you approach your destination.
    • What you see depends on where you stand: I found it amazing that from the ground, I watched the clouds from below, but from the cruising altitude, I viewed the cloud from above. The challenges that are above some people are below some others. Where you stand determines the view you have. If you want to overcome the challenges you currently face, you must be willing to change your level. One of the ways to do this is to seek more information so that you can increase your knowledge. A student fails an examination because he doesn’t know enough on the subject to make a pass grade. With dedication and commitment to learning, he will acquire enough understanding to tackle the examination questions. Likewise, if you have attempted any goal and failed, it is an indication that you need to know more. If you would climb high enough, the obstacles above you will soon be beneath you.
    • Things are not always as they appear: the clouds looked thick and impenetrable from below. From above, however, they are misty. The challenge you have been avoiding may not be as tough or complex as you think. Why not take a closer look? Running away never solves any problem. Confront the cloud and you will sail right through it.
    • The takeoff may be uncomfortable but the cruise is ahead: a little pressure on the way up is not worth your discouragement; it is momentary. If only you can focus on the joy ahead, you will receive the strength to endure the discomfort. The difficult part is the lower altitude while the simple part is the cruise; but you must thrust with an energy-bust to break free from all the circumstances pulling your or keeping you down.

    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 currently nothing compared to what you can become. This can be your year if you want it to be!

  • 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.

     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.

     

  • LIMCAF final events get new dates

    By Ozolua Uhakheme

     

    The Board of Trustees of Life In My City Art Festival (LIMCAF) has announced new dates for the festival’s grand finale exhibition and gala/award night.

    They are November 11 for the grand finale exhibition and November 16 for the gala/award night.

    Executive Director of the festival, Mr. Kevin Ejiofor, said in a statement that the Chairman, Board of Trustees (BoT) Elder K. U. Kalu, and former Chairman of Union Bank, broke the news when the board visited the Enugu State Governor, Chief Ifeanyi Ugwuanyi.

    He said Kalu told Ugwuanyi that the Board took the the decisions as a result of the inconveniences in travel and other plans, which had to be re-ordered for special and invited guests, no thanks to the sudden closure of the Akanu Ibiam International Airport, Enugu, among other unforeseen exigencies, affecting the organisers and their sponsors.

    He said Kalu congratulated the governor on his re-election and thanked him for his support for the arts and LIMCAF, a private sector initiative in youth empowerment, which, among other interventions, as evidenced by Ugwuanyi’s interest in the empowerment of the youth.

    He told the governor that Life In My City began to receive higher corporate support from the moment the governor first shew interest in the Festival, citing MTN and First Bank Holdings.

    Ugwuanyi, who congratulated the Board and the Organising Committee on sustaining the festival over the years, despite the challenges, gave approval for the committee’s plan to use specified wall partitions of Okpara Square for the Students Art Stampede and Workshop, a prominent event during the Festival Week.

    Art Director, Dr. Ayo Adewunmi stated that despite the challenges, the Organising Committee had set a new record when it announced that for the first time, 100 finalists from across Nigeria would be sponsored by LIMCAF to attend the Gala and Award Night in Enugu.

    “By this LIMCAF sets another record in the history of contemporary art development in Nigeria adding to the existing record of being the first private sector initiative to empower young artists beyond prize money through sponsorship to the Dak’Art Biennale in Senegal,” he added.

    According to Adewunmi, among top new works, which will feature at the grand finale, include outstanding works from Lagos and Enugu exhibition centres with the highest number of selected entries of 23 and 22, nine each from Ibadan and Ondo, 10 from the Abuja exhibition centre, 11 from Benin, seven from the Port Harcourt centre, six from Zaria and five from the Uyo.

    He added that 12 young winners, including six winners from last year and six winners to emerge at the Award Night (selected on merit) will be at Dak’art Senegal in 2020 sponsored by LIMCAF’s Patron, the Ghana-born Emeritus Prof. El Anatsui, formerly of the University of Nigeria, Nsukka.

    Adewunmi directed artist-participants and other interested persons to visit the festival’s website www.lifeinmycityartsfestival.org for details which are also available on all social media platforms.

    He stressed that the order of appearance of names and the centres on the list therein (they appear in alphabetical order), have no bearing on the eventual decisions of the National Jury Panel led by Nsikak Essien, which will again review the works and select the winning entries according to the Organising Committee’s guidelines.

  • ‘Why Nkrumah married an Egyptian’

    Samia Yaba Christina Nkrumah is the only daughter of Ghana’s first President, the late legendary Dr. Osagyefo Kwame Nkrumah, who led Ghana to independence from Britain in 1957. In 2008 parliamentary election, she won the Jomoro Constituency seat at her first attempt. In 2011, she was elected to lead the Convention People’s Party – the first woman to lead a political party. She has since retired from active politics, but is now heading the Kwame Nkrumah Pan-African Centre – on a mission to revive her father’s ideas of Pan-Africanism and African unity. Samia, who was at the Kaduna Book and Arts Festival in Kaduna (KABAFEST), spoke on the essence of her father’s Pan-Africanism, her resolve to revive the movement and why Africans must hold their leaders accountable, among other issues. Assistant Editor (Arts) OZOLUA UHAKHEME reports

    YOUR father’s image loomed larger than life as Ghana’s first political leader at independence. How much of his ideas do you imbibe?

    For me, Osagyefo Kwame Nkrumah is not a father as much as he was a mentor and teacher. I am so honoured to have anything to do with him, including being his humble daughter. I am ‘Nkrumahist’ by conviction more than by birth. I am happy with this setting where we are talking about books and literature in Africa. What made me an ‘Nkrumahist’ is reading Kwame Nkrumah’s books, and he wrote no fewer than 40 books. Some of his books are still very relevant till today. For about three decades, I worked outside my country Ghana. But reading Nkrumah’s Africa Must Unite made me to decide to return home, because the ideas in the books must be demonstrated and lived. So, I believe in the power of words. Nkrumah, was a writer and maker of history. He wrote from a position of experience of knowledge. He was an organiser, an intellectual as well as a thinker.  He is not my father but my leader.

     Nkrumah’s brand of Pan-Africanism is idealistic. Are you promoting the same brand or there are critical areas you adjusted?

    Let me explain this with an anecdote and the story of my family. My mother is not a Ghanaian but an Egyptian. The circumstances of my birth made me understand how and why we should unite as a people. Nkrumah who was Ghana’s Prime Minister some decades ago, decided to marry a woman from North Africa to promote Pan-Africvanism. His friendship with Egypt’s President Gamel Abdel Nasser then inspired him to choose a wife from that region of Africa, especially Egypt. He sent some emissaries to Egypt to look for a suitable wife. After a long search, they settled for my mother’s family. And my mother agreed to meet my father in Ghana through the support of the Egyptian President Abdel Nasser, who convinced my mother’s family.

    To assure the family of his seriousness and commitment to the relationship, Nkrumah opened a Ghana Embassy in Egypt. My mother said when she saw my father while waiting at the Accra Airport, he was the most charming man she had ever met. Interestingly, the two had never met. Again, the two did not understand each other. But, with the aid of dictionary, they both discussed for two hours and decided they would get married. And they did. My mother never returned to Egypt.

     What is the link between this story and Pan-Africanism?

    The lesson from this story apart from the power of love and destiny is that when we make up our mind to do something, nothing can stop us. The differences in languages, religion, culture and our continent are so diverse. Looking at your great country Nigeria you can see so many different ethnic groups, but you chose to come together to accept it. You made the decision to be politically united. The key word here is to be politically united, because many of our problems are political.

    Back to your question, Pan-Africanism as Kwame Nkrumah defined it was total liberation and unification of Africa and he defined it as an objective that we seek to meet. Now, I don’t think if Kwame Nkrumah had not done and worked with the Pan-African intellectuals in the United States of America, Ghana’s independence would have materialised fast. He fought for segregation and discrimination. He met with the people and organised with them. So, Pan-Africanism as an idea was born outside Africa, and that is why Nkrumah always says: ‘I’m not an African because I was born in Africa, but, I’m an African because Africa was born in me’. That is where the origin of that story came from, which is that we can make up our minds that we want to unite for a passion. We didn’t decide to unite because we look alike or because we speak the same language or do things the same way. I grew up in Egypt and Ghana and the two countries are different, yet similar in terms of challenges. One of our biggest problems is that the model of economic development we have is not working for the majority. What I’m saying is that we are not productive enough. And I want to give you one example. We Ghanaians are great cocoa producers. The value of cocoa beans yearly is about ten billion dollars. The added values of cocoa products such as chocolates and beverages among others amount to $100billion. It is obvious that we the producers, if we focus on adding values as nations to our raw materials, look at how much we will be making. So, our economic model must change. But it can’t change if we don’t unite politically and economically.

    One of the huge developmental projects we need to undertake is the Nga Dam in Congo, one of the biggest and richest countries on the continent. About 50 years ago, Kwame Nkrumah first talked about it in his book African Must Unite, we need to construct the Nga dam in Congo. But, you know what, not a single country can construct the dam on its own because of its cost.

    So, the only way to do such huge developmental project is for us to integrate our economies. The Sahara desert is a beautiful land in the midst of our continent that can produce renewable energies. It can become green with vegetation, but none of our countries can tackle it on its own. For us to eradicate poverty, get control of our resources, we have to find a way of becoming productive.  The only and easiest way is for us to integrate our economies. But, a decision as having a common currency; don’t you think that is ultimately a political decision? Can you have a common currency without decision makers sitting together and agreeing to do it? Can we do away with our borders without decision makers agreeing to do it and how to do it? So, all this serious economic decision, the impact on our economies are political decisions.

    So, back to Kwame Nkrumah’s call for unity he said we must have political and economic integration. I want to be honest with myself we haven’t come out with a better proposal. So, why do we seek change or reform and amend a proposal that we have not yet tried to implement?  Pan-Africanism of 50 years ago is the Pan-Africanism of today. And the greatest thing that happened to us in the last years as Africans was for us to gain our independence so that we can start making decisions that will be in the interest of our people. The best thing that has happened to us was to gain independence. Now in the century, the biggest thing that can happen to us Africa is for us to gain control of our economy, our resources and our land because if you don’t full control of your land and if you can’t feed yourself, where is your dignity? Where is our dignity if we cannot feed ourselves? Frantz Fanon said it that every generation has its own mission to accomplish. The biggest thing that can happen to us is for us to gain full control of our resources and our land. That cannot happen if we work separately and individually as small states. That is why our politicians start struggling, and our decision makers are struggling because we have the best intentions that we simply cannot deliver.

    Small Ghana with a yearly GDP of $50billion cannot negotiate fairly with countries whose annual GDPs are in trillions, such as Japan, USA and China. So, how can you negotiate fairly? It is simply unrealistic. The only way for is unity. We will go round and round in circles until we come to that conclusion. It is your popular determination and it is a big decision. You can push and compel your leaders to go in certain direction. That is what happened during independence. The people embraced it and our leaders took it up. So, it can be done again.

    Do you see any time soon our political leaders getting the political will to go this route, especially the technical capabilities?

    The problem with European unity is that it started with economic unity focusing on how to integrate their economies.  It is a very complicated route and it will be difficult for us because we are poorer and struggling. It is easy for those big industrialised countries.  We are saying you cannot start discussing the economy, you will not ever agree.

    Our economies are so different. There should be first a common purpose, a common planning which can only begin if we agree to unite politically. And it is not so impossible because if you look at a country like Ghana, before our independence, we were not this one nation. We were four different territories. We have the central region, the Ashanti region, the British-Togoland and the eastern part of the country. We were not one nation but, we made a decision that we are going to be one nation and we are going to call it Ghana. That is a political decision by the people. The people of Africa must decide and I think that we are in the company of thinkers, writers, intellectuals. Everything happens on that level in the first stage.

    As a people, are we ready to accept the idea considering what is happening in South Africa now?

    We obviously do not have it. Again, unfortunately, Pan-Africanism is not in our discourse and we don’t talk about it. We don’t even have university degrees programmes in pan-Africanism. We are really not paying attention to that. And in doing so, we are failing to understand that most of our countries gained independence including South Africa because many African countries decided to help and support liberation movements.

    What I am saying is that the reason most of our countries became independent is because we adopted a Pan-African approach. And this is what we need to consider today.

    Our generations, are we thinking with the Pan-Africa perspective? I don’t think we are. But that is the missing piece in our puzzle and I want us to re-introduce Pan-Africanism in our discourse and our politics. We need to bring it to the table, embrace it and understand it. The people who are going to take this decision are our leaders.

    Do you think we should be aiming for Africa while talking about Pan-Africanism or it is all inclusive of diaspora and the North Africans?

    I don’t want to lose an inch of our continent.  Pan-Africanism concept includes Africans outside the continent in North America, Australia and Brazil who have gone out in search of greener pastures. So, the diaspora is every single African outside the continent. Marcus Garvey said “Africans abroad, Africans at home”.

    So, now if you add all this you are talking about 1.5billion people. Imagine if we are planning together, who is going to undermine us? What is it that we would not be able to do? And we are not talking about losing our sovereignty. I understand the problem of federalism.

    Your nation understands it than many of us. But, one of the best ways of having this union is under a federation. So, we are not going to lose the sovereignty completely.

    In certain aspect, the economy, big industrial project, foreign affairs and defence having a common Pan-African military command. We need to have a collective decision, but in so many things, every country has this independent authority to decide what to do. So, we are not losing our sovereignty. In fact, we are only losing our sovereignty to the collective African nations and in that way, I think we don’t have sovereignty. Can any African nation defend itself if attacked militarily? No. Now are we in full control of our economies?

    The present borders in the continent were decided by others not Africans. And for the explicit and implicit purposes of subjugating your economies to others, it is much easier to control many little states whose economies are not really viable. Now, have we reversed the true consequences of colonialism? We have not.

  • Invisible Borders launches iVisible Project

    Artists-led initiative, the Invisible Borders Trans-African Photography Organisation, has launched its iVisible Project with a call for submission of images and text from professionals and non-professionals, artists and non-artists who are telling stories within the context of Africa.

    Taken from its flagship Trans-African Road Trip Project, the iVisible Project’s vision is to encourage Africans and non-Africans to rethink their stereotypes about the continent and to share new lessons through art forms.

    A statement from the organisation said the project is to share such experiences that challenged artist’s preconceived ideas or stereotypes of the African reality.

    “Can you capture an image that reflects your relearning and tell a 500-word story around it? Then the iVisible Project welcomes your submissions,” the statement added.

    The vision of the project is to fill in the numerous gaps and misconceptions posed by frontiers within the 54 countries of Africa and to continue to broaden the narratives about the continent through lived and shared experiences of individuals anywhere in the world within the African context.

    It seeks to build a strong, rich community of mindful individuals interested in challenging the singular narratives that abound about the continent by curating a repository of lived experiences.

    Submissions have since opened and guidelines can be found on the iVisible Project website: http://ivisible.org/submissions/

    There will be a grand-prize winner at the end of 12 months, who will be offered incentives to encourage them to continue to share their stories.

  • MUSON Festival celebrates excellence in arts

    By Ozolua Uhakheme

    Vice Chairman, Musical Society of Nigeria, (MUSON) Mr. Louis Mbanefo (SAN) has said the yearly MUSON Festival may become a centre for arts in West Africa.

    Mbanefo spoke at the unveiling of this year’s festival activities in Lagos.

    He said: ‘’From our aspiration some 14 years earlier to set up a modest society to organise concerts, it has grown into a centre of musical excellence, a rallying point for the realisation of artistic dreams and a socio-cultural venue.’’

    He noted that a major development since the first festival was the establishment of the MUSON Diploma School, pioneered by the late Mr. James Adekunle.

    “It was nurtured and placed on a high trajectory by director, Mrs Marion Akpata and her deputy Mrs Edna Soyanwo. Both retired last year and have been succeeded by Princess Banke Ademola and her deputy Mr. Emeka Nwokedi. The school has produced over 300 alumni who are musicians of high calibre, a testimony to the outstanding leadership and teaching staff of the school,” he added.

    Mbanefo disclosed that two visiting international artistes, renowned conductor Walter Michael Vollhardt and pianist Rebecca Omordia, will be featuring at the festival, which opens from today till October 27.

    For the second year, the MUSON Festival has set aside a day to celebrate Nigeria’s rich culture with those of four countries in an international night of culture featuring special presentations from China, Azerbaijan, Brazil and Columbia. The festival, which has as theme, Celebrating excellence in the arts, will open today with a Youth Concert,  Music Meets Art, featuring free Master Class conducted by Edosa Ogiugo with Yinka Davies as model, and exhibition organised in partnership with Society of Nigerian Artists.  The festival will also feature Nigerian troupes, such as Footprints of David and joint dance performances from foreign troupes.

    Chairman, Festival Organising Committee Mr. Kitoye Ibare-Akinsan said the recently-inaugurated Muson Marketing and Fund Raising Committee had enhanced sponsorship of the festival.

    He noted that through the committee’s activities ‘’we have been able to obtain sponsorship in cash and kind from many organisations’’. According to him, the festival, which has been held in the past 23 years, is an initiative for expanding the cultural base and scope of MUSON to involve all-performing arts with the fine art.

    To spice the festival with satirical performance, a fast-pace comedy play, Wat’s Dis All About, an adaptation of Woza Albert, a South African play created by Mbogeni Ngema, Percy Mtwa and Barney Simon, under the siege of apartheid. It is being directed by renowned actor Toyin Oshinaike, produced by African Radio Drama Association (ARDA) and will be performed by OneSix Productions.

    The Artistic Director, Toyin Oshinaike said: “The adaptation to the Nigerian socio-political situation is a satirical commentary based on the hilarious idea of the coming of a messiah to Nigeria and the bizarre expectations of the common man for a better life.”

    Among the events lined up for the festival are My kind of music, Chevron festival drama, Danjuma festival opera,  Alumni concert (Igbe yawo), Piano master class by Rebecca Omordia, Muson Day, Jazz party, Festival gala night, Muson festival choir, Muson festival orchestra and Piano concerto.

     

  • 300 artists eye Impart Artists Fair

    By Ozolua Uhakheme

    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.

     

  • Unveiling Akande’s phenomenon (iii)

    The construction of the secretariat made it possible for the state workforce to have of-fices they could call their own and also helped in saving for the government about N400million, which it yearly expended on rent paid by government agencies.

    To curb the usual sharp practices in contract awards, Chief Akande ensured that contracts were awarded to contractors without paying them any mobilisation fees. This unique form of executing contracts enabled government to pay only for jobs that had been satisfactorily done.

    Amidu T. Raheem in Chapter Six titled: “Bisi Akande and the Limits of Ethical Governance” X-rays one of the legacies of Chief Akande, which is the Civil Service Reform.  It was a conscious attempt to rebrand the Osun State Civil Service by creating new value system and work ethics, improve the efficiency and effectiveness of the civil servants in service delivery and reduce corruption by blocking all sources through which such sharp practices occur. (p. 134). Chief Akande himself diagnosed the afflictions of the civil service that he inherited as follows:

    “Instead of the traditional commitment to hard work and dedication to duty, civil servants have become desperate favour seekers, unrepentant petition writers and blackmailers.The oath of secrecy is thrown to the winds and photocopies of sensitive, classified documents can be seen in the hands of groundnut sellers. (p. 137)”

    Consequently, Chief Akande decided to right-size the workforce and restructure the Civil Service.  In all, over 3,000 workers lost their jobs in a gale of retrenchment that earned Chief Akande more enemies than friends.

    Although the book provides justification for this step in the light of the state’s dwindling resources and the bloated workforce, the jury is still out on whether the step taken was the best option available in the circumstance.

    Clearly, this shows that Chief Akande in spite of his phenomenal achievements, legendary courage, simplicity, asceticism, frugality and transparency is human after all and is therefore not infallible.

    Chapter seven written by Aituaje I. Pogoson and Moses U. Saleh discusses Gender Issues and Governance in Osun State, 1999 – 2003.  It raises theoretical posers about gender issues and democratic governance.  It states that democracy that fails to address gender concerns is but an empty shell.

    The authors insist that women representation in the Akande-led administration was grossly inadequate, with only one female commissioner in a cabinet of 10 members.  They also linked the non-recognition of the office of the first lady to lack of sufficient gender sensitivity.  However, the authors hold the view that government policies and programmes were non-discriminatory and benefited all citizens regardless of gender.

    Chapter Eight presents Chief Akande as “a rebel in Government House”.  It situates its analysis within the context of politics characterised by what Peter Ekeh describes as the “two publics” as well as Richard Joseph’s “Prebendalism”.

    The authors, Azeez Olaniyan and Akeem Bello, see Chief Akande as a politician of with a difference.  He is presented as a man who did not play politics of expediency (even when second term election loomed).They identify what characterises him as a rebel, to be: personal simplicity, straight talk and bluntness, abolition of the office of the first lady, rightsizing and downsizing of workforce, direct labour system, confrontation with the labour unions and traditional rulers and insistence on accountability and due process, refusal to favour his kinsmen and religious groups and insistence on party supremacy. (p. 181).

    Chapters Nine and 10 written by the co-editors represent a befitting conclusion to this very seminal and highly readable book.  The chapters reveal that Chief Akande is a man more sinned against than a sinner.  They revealed that his loyalty to his party and his belief in party supremacy was what made the composition of his cabinet so lopsided in terms of women representation.

    The authors of the chapters reiterate Chief Akande’s glowing qualities – his humane and courteous disposition, his zero tolerance for opaqueness, his humility and personal distaste for abuse of trust.  However, in chapter 10, the authors raised concerns about Chief Akande’s neutrality in the intra-party crisis that preceded the governorship election in Osun in the year, his unexplained silence on the crisis that trailed the July 2017 senatorial election within his party in the state, as well as his seeming “sommersault” on the vexed-issue of restructuring about which he had even written a book in the past.

    As earlier stated in the foreword by Aina, the story in this book is not about a man who is infallible.  It is about a man “who was willing to take responsibility for what he believed in and who worked hard to lead the kind of life that would make Osun State a better state than he met it” (p. x).  Chief Akande may not be a perfect man, but he has emerged from this book as someone who having no need to fear man, has through an unflinching devotion to duty and translucent love of country, fostered happiness and the good life among his people.

    The lesson for us all as the book clearly depicts, lies in the memorable words of Henry Longfellow who wrote in “The Reaper and the Flowers” that: ‘Lives of great men remind us all we can make our lives sublime, And, departing, leave behind us footprints on the sands of time.’

    This book of 10 well-written chapters is a must-read for all those interested in the study of Nigeria’s history, politics and governance especially in the Fourth republic. It should be a companion for our politicians who will need to emulate Chief Akande’s modesty both in and out of office. They must strive to learn lessons about loyalty to party, loyalty to ideology and loyalty to the people.

    Governors in particular, must learn from his belief in party supremacy as the best way to guarantee political stability.  If the appropriate lessons are learnt, our politicians of the moment, cutting across political parties, must begin to revive the party system such that every individual, from the President to the Governor, would be subordinated to the authority of the party.

    The structure for administering the political parties, such as the National Executive Committees, National Working Committees and the Boards of Trustees must be given a kiss of life.  It is only in this context that our democracy can survive.

    Finally, I wish to propose that some of the chapters in the book should be merged to make the book more compact and avoid overlap.  A situation where more than three chapters reproduce basically the same data on Chief Akande’s achievements, as presented on pages 90-92 and pages108-113, should be avoided.

    There is no doubt that this is a well-researched and well-written book that showcases a Nigerian with a difference, a phenomenal politician, a man of ebullient and impeccable character, a man of modesty, a man whose word is his honour, Chief Akande.

    It is my hope that scholars, politicians, administrators and journalists would ultimately find this book to be a useful companion in their search for the Nigerian of our dream.

  • Total, museum promote cultural dialogue

    By Ozolua Uhakheme

    Intercultural dialogue is key to the implementation of the 2030 agenda for sustainable development, the Managing Director, Total E and P Nigeria Limited, Mr. Mike Sangster, has said.

    He stated that Total’s Corporate Social Responsibility (CSR) means not just partnership, but also commitment, sustainability and an enduring culture of responsiveness to the needs of its stakeholders.

    Sangster, who was represented by Total’s CSR Adviser Dr. Charles Ngeribara, spoke at the maiden edition of a two-day art painting competition titled: Palettes and Strokes 2019 at the National Museum, Onikan Lagos last week.

    He said: “We partner government and other special agencies in the realisation of our CSR objectives. In this instance, we collaborated with the National Museum to implement an art competition for secondary schools in Lagos with the theme Social Media: My perspective.

    “Today, we are really proud to see 40 talented secondary school pupils participate in this competition. The programme was divided into two stages. In the first stage, the students were tasked to express their understanding of the competition’s theme in their paintings. The second stage was the selection of the best paintings after an exhibition of all participants.”

    Curator National Museum, Onikan, Lagos, Mrs.Omotayo Adeboye said the competition, which would be a yearly event, was organised to see how young people with their creative minds could put on canvass or cardboards through their brushes and paints the positive values that should be projected through social media. She noted that the choice of the competition exemplifies the power of artist to correct or influence his environment and the world through the art of painting.

    No fewer than 40 pupils from 20 secondary schools in Lagos State freely expressed their minds on Social Media; My Perspective at the two-day painting competition titled Palettes and Strokes 2019 held at the National Museum, Onikan, Lagos.

    The maiden contest organised by National Museum, in collaboration with Total E and P Nigeria Limited, saw Miss Olatokunbo Eniola of Queens College Lagos, emerged winner of first position in the senior category.

    Emerald High School came second while Igbobi College, Fadeyi, Lagos came third. Chrisland College, Ejigbo, Idimu, Lagos and Honeyland School, Baruwa, Ipaja, Lagos emerged fourth and fifth position winners.

    For the junior category, first position went to Igbogbi College, Morocco Road, Fadeyi, Yaba, Lagos, while Methodist Boys’ High School, Victoria Island, Lagos came second.

    St. Joseph Secondary School, Agege, Lagos emerged third followed by Phiidel College, Isheri, Lagos and Queens College, Sabo, Yaba, Lagos as fourth and fifth position winners.