The Nation Newspaper

Category: Life – The Midweek Magazine

  • Story Theatre with Grandma Wura goes on stage

    All is set for the Story-Theatre with Grandma Wura, a musical theatrical experience that showcases the rich culture of Nigeria in dance, music, drama and mime, complemented by spectacular lighting and colourful costumes.

    This year’s edition “Story Theatre with Grandma Wura” features the story of “AdioThe Musical”, a rich theatrical piece written, directed and produced by Bola Edwards, and songs written by Patrick Edwards. The four-day performances will open on Friday May 24, and end with a special performance on Monday May 27, Children’s Day.

    “This year we worked with physically challenged children from PacelliSchool of the Blind in Lagos just to emphasise the importance of gifts and talents despite any challenges we face. It is a family show as well as schools, corporate organisations and the entire society,” said Patrick.

    “We intend to tour with this story to begin to engage society about leadership issues by starting a conversation that a great leader starts with the heart.”

    Mrs. Edward explained that Grandma Wura is a character that Proud African Root created to push the Back2MyRoot project. “Story Theatre with Grandma Wura” combines all elements of Grandma Wura’s mission of raising a new generation of leaders through her school tours, contents, events and other activities into a single unforgettable theatrical experience.

    “An audience of over 2000 in total is expected to be in attendance which includes schools, families, religious worship groups and government officials as well as celebrities from various works of life,” she said.

    She added that ‘Story Theatre with Grandma Wura’ brings together seasoned professionals in acting and theatrical production as well as discover and develop child actors.

  • ‘How I bagged PhD despite disability’

    Dr. Tony Emodi, an art teacher at the Yaba College of Technology, Lagos, is a classic example of how not to give up in the face of adversity. In this chat with Assistant Editor (Arts) OZOLUA UHAKHEME, he recalls his battle with spinal cord injury for 17 years, what kept him going, the challenges in the health sector and what inspired him to enrol for his PhD, among others.

    In the last 17 years, fate has been cruel to Mr Tony Izuchukwu Emodi, a chief lecturer at the School of Art, Design and Printing, Yaba College of Technology, Lagos. His dream of becoming a renowned sculptor with a strong interest in reclining forms in public space embellishment seems to have been dashed – no thanks to a road accident he had in January 2002 that turned him to a quadriplegic and confined him to a wheelchair.

    After undergoing treatment including surgery for about 18 months at the National Orthopaedic Hospital, Igbobi, Lagos and Afrox, a specialist hospital in Johannesburg in South Africa, Emodi never gave up despite being in the wheelchair.

    He said: “If Nigeria’s most popular UK-based artist Yinka Shonibare can work and exhibit, why can’t I do same. My condition is not as constraining as his. Shonibare has always been my inspiration over the years.”

    The Ahmadu Bello University, Zaria (ABU)-trained artist remained undaunted by the challenge as he set his eyes on the big picture. Strong willed and determined to turn his adversity into advantage, Emodi, who holds a Master’s Degree in Fine Art and Sculpting, refused to be depressed. After a while, his teaching job at the Yaba College of Technology was becoming less interesting to him because he couldn’t handle practical sculpture works. He needed to be challenged. That feeling of redundancy fired his desire to go for his PhD, possession of a doctorate degree by lecturers in tertiary institutions has become mandatory. At ABU’s 41st convocation on April 27, Emodi was among the 204 students that got a PhD.

    Amid all the challenges, Emodi has enabled two housemaids (who were assisting him in domestic work) to go back to school. They are Gabriel Sunday, who had HND and later got his BA, and Paul Ayuba, who studied for his NCE. Also, a beneficiary of Emodi’s generosity is his cousin, Afamefuna Junior Chidi, who was living with him and was in the same car that crashed in 2002. Despite his challenges, Emodi has been responsible for Chidi’s education and today, he is a Captain in the Nigerian Army. His story:

     

    One year at National Orthopaedic

    Hospital, Igbobi, Lagos

     

    I had the auto crash in January 2002 and immediately I was referred to Igbobi for treatment. For the one year I spent at Igbobi, nothing much was recorded as far as my recovery was concerned. If Nigeria’s medical services were up-to-date and functioning, the story would have been different. As at that time, threre was no functioning MRI laboratory in the country apart from the one provided by Philip Consulting at the National Hospital, Abuja.

    Unfortunately for me, Savannah Bank, which was my parents’ banker, went distressed and all their funds got trapped. So, my family started all over to raise new funds for my treatment. This prolonged my bed-ridden period at Igbobi.

    This was done in collaboration with the Society of Nigerian Artists, YABATECH and MTN.

    When I got to Igbobi, my mother who was a retired nurse of about 10 years, was worried about the state of facility at the hospital. She had to resume work at the hospital in order to support my recovery and ensure I remained alive. Special facilities for handling spinal cord patients were not really there then. I don’t know of now. Development in health sector was not at the point it should be then.

     

    My stay in South African hospital for correctional surgery and rehabilitation

     

    After about one year at Igbobi, my family in collaboration with my employer, SNA, the late Angela Onyeador and other well-meaning Nigerians facilitated my trip to Afrox Hospital  in Jo’ Burg, South Africa. I was in South Africa between February 2003 and October 2003. During this period, I also had treatment at Kensington Clinic and Glenwood Hospital. I got to South Africa and saw a totally different ball game at their hospitals. From cleanliness to cordial staff, prompt attention and modern facilities, Nigerian hospitals were no match. When I got to South Africa, I noticed that nurses come to collect my blood sample every Monday morning. After a month, I asked why the collection of my blood sample every morning.  She replied that the nutritionist needed it to guide him in compounding my diet to ascertain the quantity and quality of protein that I need in order to regain my weight. For one year I was in Igbobi, I never heard anything as such. By the time I left Igbobi after one year, my body frame was mere flesh over bones. That alone gave me reassurance of getting better.

    To a large extent, South African hospital facilities were encouraging. Before I left South Africa, I had regained all the weight I lost in Nigeria. I had my surgery at Glenwood Hospital, Benoni and rehabilitation at Afrox Hospital. However, the medical trip cost about N6 million. Remember MTN paid part of it. I was paying 1000 Rand per day at the hospital for bed and feeding. My sister was with me, so also Miss Ijeoma Okeke who stayed in the hospital guest house. Unfortunately, Charles Okara who was on board the flight to South Africa is in trouble with government now. I guess he is into medical evacuation.

    I must salute the support of my professional colleagues in the Society of Nigerian Artists. They held a group exhibition tagged: Save a life in Lagos to raise funds for my treatment. Again, it was through SNA that I had contact with the late Angela Onyeador who played  active role in my going to South Africa. Interestingly, the surgeon that did my surgery also did Angela’s spinal cord surgery much earlier as a young lady.

     

    On return to classroom at YABATECH

     

    The school provided all I needed to fit into the environment. I never for one felt remorseful about my challenges. The school system and my family have been very supportive. I have always believed that if I started feeling remorseful, it could result to depression. I have been free-minded and I always express joy inside of me. In fact, I am happy with everything around me.

    But, I am still struggling with students to understand my new concepts. Again, much of my social life has taken back seat since 2002.

    Right now, most group exhibitions are held in Lagos without my participation. For me it is okay, it is part of the challenge. But, I tried to be there to feed my eyes. I am still struggling getting students to understand my new concepts.On the home front, I have hired care givers to do most of the domestic chores. They were Paul Ayuba and Gabriel Sunday. Interestingly, they are graduates today.

     

    Reactions to his PhD

     

    Lots of people from across the globe sent me basketful  of congratulations. The congratulation messages I have received can fill a luxury bus if not a trailer. From artists to students, friends, family relations and well-wishers, the messages kept flooding my Facebook page. They actually shared in my joy which gives me encouragement. I am very happy with myself. I thank God, I have gone and come, but it took a little extra time. The PhD was to run for three years but because of other issues, it took me six years. These issues included funding, psychological frame of mind and safety in Zaria. There was a morning I was having breakfast when Boko Haram bombed three churches in Zaria in 2013. I stayed off campus. That was my closest shave with insurgency.

     

    My dream

     

    My dream is to get better, stand up and explore new horizons. Even if I cannot do competitive art, I should be able to come up with ideas for new sculptures. Again, often times when I give my ideas to people to interpret, there is always a missing gap. The forms I exhibited in my PhD programme were mainly academic forms using geometric shapes, which not many Nigerian collectors will collect. I want to reproduce them in a more marketable material and hold the exhibition of what I have been able to do under this condition. The 10 works comprise of site specific and proto-type sculptures.

    If Yinka Shonibare in the UK is working and exhibiting, I feel my condition is not as constraining as his, so I should do something. As I am an inspiration to people, so he has been an inspiration to me over the years. On the frequently asked question about marriage, I am yet to discuss that with any lady.

  • Redefining Nigeria’s stories through photography

    Photography enthusiasts will not forget in a hurry this year’s edition of the Business of Photography.

    In search of more defining conversations meant to aid collaboration, growth, structure and investments, photographers sought to re-shape the country’s narrative to the world through their craft.

    The event, which had as theme “Shaping the narrative”, held at the Landmark Event Centre, Victoria Island, Lagos.

    Expectedly, the convener, Kola Oshalusi gave the opening speech.

    According to Oshalusi, who is the lead photographer at Insigna Media Limited, this is the best time for the photo industry to shape the view and make money while doing its photography.

    He said in a world where there’s an unprecedented quest for visual stories, “the focus is on Africa and majorly Nigeria”, adding: “A lot more brands are coming on board the market place as vendors”.

    “If we fail to tell our story, someone else will. The conference sought to proffer solutions to the problems that photographers face in the course of carrying out their various activities. The idea is to give photographers more interactive opportunities with investors and policy makers.

    “Aside helping photographers get better at their craft, it is also aimed at converging, photographers, photography manufacturing and servicing companies and photography retailers together under one roof to discuss, learn, exhibit, sell and buy everything photography.

    ‘’This year’s edition focused on “Shaping the narrative”, had more activities, master classes and panel sessions manned by leading lights in the industry,” he added.

    Panelists took participants into the various aspects of photography, focusing on the business. The first session had Jite Ovuraye, (Associate Producer, Accelerate TV) as the moderator Reze Bonna (international fashion photographer). He was suportd by Bayo Omoboriowo (personal photographer to President Muhammadu Buhari) and Shola Animashaun, an award-winning wedding, fashion, travel and sport photographer.

    The session highlighted the impact of positive story telling on a brand or project.

    “Sellability of an image,” according to Bonna, “is beyond context and emotion reaction, time is your greatest asset”.

    Read also: Photography academy gets Oyo State’s nod

    Omoboriowo said: “In the Business of photography, beyond country or ones brief, integrity of one’s work should count more to a photographer. Keep shooting and saving, your work today is your pension tomorrow. Your art/passion is keeping money in the bag.’’

    The second session, moderated by Tewa Onasanya, founder, Exquisite magazine, had TY Bello, creative director, TY Bello Photography, Ijeoma Balogun, founder of Redrick PR,  Chris Omojiade, life coach, Ayona Aguele Trimnell, CEO, Bantu Photos represented by Mr. Chima,  and Colette Otusheso (Head Accelerate TV) as panelists.

    It focused on branding and the role of Public Relations/marketing strategy in photography.

    The third session, moderated by Lehle Balde, Senior Associate, Business Day,  saw Charles Anyawu, Head, SME Enterprise, LSETF, representing Akintunde Oyebode, the CEO, LSETF), Chris Ifeanyi Oput, CEO Studio 24, Uzoma Dozie Group Managing Director(MD/CEO) Diamond Bank, discussing the financing of the industry as well as the role of the government in the subsector.

    Toyosi Etim- Effiong, TV Producer Arise TV,  the moderated the fourth session, which had Georgette Monnou , media and entertainment lawyer, Kelechi Amadi Obi, lawyer/international photographer, and Lucky Idike, CEO LOI Partners, Dr Jumoke Oduwole, SSA to the Vice President on Industry, Trade and Investment and George Okoro renowned wedding photographer/publisher, as panelists. Their discourse was on intellectual property and legislature in shaping the visual narrative.

    The final session moderated by Edwin Okolo, Head of Content, Red Africa, featured documentary photographers whose works redefined the industry. They were Adekanye Olusegun, Tolani Alli, Bernard Kalu, Tobi Balogun, commercial photographer and Obi Somto.

    There were also master classes on some aspects of photography manned by experts. These are architecture (Obi), Products (Rotilu), (Odukoya) and You tube (Keli Abel). Fade Ogunro, an On Air Personality, presented her brand.

    The event ended with networking as well as a private and public photography viewing by The White Space.

  • Soyinka compares Leah with Mandela

    •Leah Sharibu, one of the school girls still held by Boko Haram insurgents, turned 16 yesterday. It was her 449th day in captivity. As a tribute on her birthday commenmoration, Prof. Wole Soyinka read an ode saluting her resilience at the GeorgeTown Univeristy, United States, Emmanuel Ogebe reports.

    Nobel Laureate Wole Soyinka has paid tribute to abducted schoolgirl Leah Sharibu in an ode to her and Chibok, a community in Borno State where some schoolgirls were abducted five years ago.

    Likening Leah to iconic human rights champion the late Nelson Mandela of South Africa, Soyinka said we must “celebrate the exception who said “no” ” as it reminded him of Mandela who refused conditional release.

    Reciting the ode titled: Mandela comes to Leah at Georgetown University in Washington DC, United States, Soyinka said: “No”, she said, “Faith is not of compulsion”… her torch undimmed in the den of zealots.”

    Soyinka said he could only recite excerpts from the ode because he broke down the last time he had tried to read it.

    He also did an epic takedown of a Georgetown professor’s claim that poverty and desperation was behind Boko Haram terrorism.

    He said that it was ideological bordering on the metaphysical and we should not underestimate it. “We’re dealing with something much deeper,” he said. He recalled that the son of a former Chief Justice of Nigeria, who is in the upper middle class, joined ISIS abroad.

    Read also: Emotions as activists, others celebrate Leah Sharibu’s 16th birthday

    “There’s a will to deny the possibility of horror and evil. We have reached a point where we have to go beyond the material analysis of this phenomenon. It goes beyond poverty and marginalisation. The ideology of sheer morbidity,” he added.

    Soyinka deplored the 20 American intellectuals who wrote protesting the proposal to designate Boko Haram as a Foreign Terrorist Organisation (FTO, because, according to them, it would interfere with their “scholarly research”. He said: “It took my breath away”.

    The retired professor said: “Some were my friends (but) they, in all seriousness, had a wrong analytical approach to the problem. We must simply jettison the language of political correctness. Political correctness is turning Africa continent into the graveyard of freedom and liberty if we don’t call things by their proper names…

    “We’re dealing now with the toxin of power which barely manifests itself under the cloak of religion.”

    Also on the panel with Soyinka was the ambassador who belatedly announced Obama’s decision to designate Boko Haram as an FTO as then top US diplomat for Africa Assistant Secretary of State Linda Thomas Greenfield.

    Greenfield pleaded impotence in responding to the Chibok abductions due to denials by many as to what happened, which she said, was her biggest challenge. “I had this feeling of impotency – a superpower who couldn’t do anything…I still feel it…there’s no more frustration to be in and I felt frustrated.” She also mentioned a recent attack in Nigeria where some girls were taken away.

    Greenfield also paid tribute to some of the girls whom she had met as being strong, saying she was traumatised after watching the drama “Chibok: Our Story” which preceded the panel discussion.

    International human rights lawyer Emmanuel Ogebe, who led the advocacy  to designate Boko Haram as a FTO, thanked the cast and producer/playwright of “Chibok:Our Story” Wole Oguntokun for giving voice to the Chibok situation, despite the government’s effort to silence the campaign.

    He mentioned the sad news that Leah’s 16th birthday would come up in captivity  and the good news that one of the escaped Chibok girls he brought to attend school in the US was graduating with an associate degree in science this same week.

    Stating that he forgave Greenfield for the Obama administration’s delay in designating Boko Haram as a FTO because she delivered the good news, Ogebe noted that the Chibok girl graduated from college without one dime of US government support in the past five years. “We can’t bring back the girls, but we can all do something,” he added.

    Ogebe and Greenfield had testified together before the US Congress on the day the FTO designation was announced. She represented the Obama administration; Ogebe and a Boko Haram victim represented civil society.

    The panel event was part of the Currents Festival at Georgetown University where the Chibok play, performed in Nigeria and Rwanda, made its US debut to rave reviews.

    Oguntokun, the acclaimed producer/playwright, is a protégée of Soyinka.

  • Time to give up?

    Last week, we shared the story of 33 miners who were trapped underground in the Copiapó mining accident. For the first 17 days, it was impossible to know if attempts were being made to rescue them until the first drill broke through. Despite that surge of hope that they had been discovered, they still spent another 52/53 days before being rescued. We examined two of the virtues of the miners that ensured that all 33 of them survived until their rescue and they are Courage and Hope. Today, we shall examine a few other virtues that can be valuable to us:

    • Sacrifice: if you don’t like where you find yourself, you must be willing to pay the necessary price to get out of there. You can’t claim to be sick and tired of a situation unless you take the necessary action to change it. The 33 miners knew they were trapped and they wanted to survive. It was clear that the food they had would not sustain them for too long so they had a choice to make- eat to satisfaction and die later of starvation or ration the food and live long enough to eat in future. They were smart enough to take the latter choice. That was not an easy choice as the men conditioned themselves to take a meal a day of two cookies and one spoon of tuna fish. Their condition was so delicate that when the government was finally able to reach them with food, the next dilemma was the kind of food that won’t kill them, considering how little they had eaten before. The choice to ration the food was not easy but it guaranteed their survival.
    • Fellowship: to my mind, if only one miner had been trapped instead of 33, the chances of survival would have been slim. videos recorded of the miners while they were still underground showed that they assisted one another to stay strong. They took turns to engage and encourage one another. They weren’talways strong; in fact, one or two of them described their trauma. Nevertheless, they motivated one another. One of the greatest errors humans make is to push everyone away when theygo through tough times. While it is not advisable to share your issues with just anybody, there should a few trusted persons you can rely on for support.
    • Responsibility:when you find yourself in helpless situations, there is the tendency to sit and wait for someone to come to the rescue. For instance, what can you expect the trapped miners to do than to wait helplessly? But that was not the case; they ensured they were constantly engaged so that there was less time to become hopeless.First, they worked together to maintain the mine, then they took turn to explore escape routes and keep up the morale of the others. The miners were also actively involved in their rescue by providinguseful information to the rescue team.
    • Humour:it is important not to take life too seriously. No matter the challenge you face, don’t forget to have a good laugh. No, you are not crazy! It just lightens your mood and lifts the weight of you. The trapped miners demonstrated a commendable level of humour despite their precarious situation. Some footages that were recorded of them while they were still underground showed them making jokes and laughing.

    They never saw the sun for 69 days, yet they found reasons to laugh. When you are gloomy, not only do you bear the full burden of your problems, you also scare away those who may want to assist you. Imagine if the miners were in a foulmood and they cursed the rescuers for not moving fast enough. How motivated would the rescuers be to keep going? When you have a positive disposition to your challenges, you help people to help you.

    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!

     

  • ‘My vision for National Gallery’

    Since 1993 when the National Gallery of Art (NGA) was established as a parastatal in the Ministry of Information and Culture, Dr. Simon Ikpakronyi has been a founding staff member. Today, he is the Acting Director-General, having served at various management levels. In this interview with Assistant Editor (Arts) OZOLUA UHAKHEME, he speaks on the need to improve the artists-gallery relations, revive some of the flagship programmes, plans to build a befitting gallery edifice and how to reposition the gallery, among other issues.

    You served three Directors-General (DGs) of National Gallery of Art at management level. With these experiences, what are you doing  to reposition NGA?

    Since 1993, National Gallery of Art has passed through three DGs and each of them performed differently. Their performances were never the same. Each of them had different directions and we are in the era of next level. God has moved us successfully to the next level and we, me in particular, have served three Directors-General. I served the pioneer DG, Dr. Paul Dike; Joe Musa, the second DG that served two years plus, and Abdullahi Muku who served about decade. I worked with all of them closely. I think we tried our best to move the National Gallery of Art to an enviable position, both in Africa and the outside world.  But, we don’t have any gallery complex yet, we must own one.

    As I was telling the NGA board members, we need an edifice so that all that we’ve been doing over the years can be preserved and promoted. Without an edifice, nobody will know what the National Gallery of Art stands for.

    Perhaps many are not seeing what we are doing, but if you have a gallery of art with works of various artists, masters and younger ones displayed for people to go and view and even if it is a stipend that is generated, the government will give it attention.

    How will this be realised?

    In the past, various attempts were made to have a befitting gallery edifice. But today, all we need do is to intensify efforts on how we can make it realisable. It is one of the issues raised at one of the board meetings in Lagos. We had only two major agenda, which were the edifice and how we can reform the gallery and improving the budget.

    Also, the stakeholders’ think-tank that the former Director-General Joe Musa put in place must be revived. Though the think-tank was made up mostly of arts collectors, we are also going to sieve out the art collectors to tap from them on how we are

    going to achieve this dream of building a National Gallery of Art. We are also working on how to revive the Society of Nigerian Artists arts competition, which is held every year in October. I think they have had about four or five editions. If we can do that every year, it will bring all the artists from all over the country not only for the exhibitions. It will also afford artists and the gallery the opportunity to interact on how to move the art forward. As I said, because we don’t have what Nigerians can see and feel or identify with the art, that is why NGA is being treated with levity.

    Some of your flagship programmes have been off the scene. Are you reviving any?

    Yes, very much. In fact, I have discussed with my head of departments about these programames and

    how to revive them. For instance, the Arts Expo, which we left for AGAN to organise thinking they would be able to continue with it, we must bring it back either in a different form or in its original form.

    We also intend to take off with Nigeria Art Biennale, which logo was launched long ago to replace the African Regional Summit and Exhibition on Visual Arts (ARESUVA).

    We may not have to rely on the government for funding. Our plan is to seek alternative sources of sponsorship for most of the programmes. We will go to art collectors, good spirited individuals and organisations that support the arts. It’s not that we are going to have it big at once or at the beginning, we have to start somewhere with whatever resources we have even if we involve two to three African countries at first. The next year we can move ahead.  We may not take on many programmes at a time, but we have to do programmes that would attract people such that when we stage it, people will know that we stage a programme that involves all the artists.

    In all of these programmes, which one is dear to your heart?

    All NGA programmes are dear to me; it depends on how we handle it. All of them are dear because they all have to do with artists.

    What is the state of NGA”s national art collection that was under you?

    I have to be sincere, our artworks in our collection are not enjoying themselves because they are not where they are supposed to be. We collect to display for public to appreciate.

    Unfortunately, most of our collections are in the store. However, if some of the artists should have the opportunity to see our collection, it will not be a good story. That is why we need a place for these artworks.

    What is your take on the relationship between NGA and the artists?

    It has not been what it should be. When Dr. Dike came in, there was a problem with SNA and I was involved when the management of NGA wanted to resolve the issue at YABATECH. Since then, I don’t think the issue has been resolved. But, we are planning on how to meet with SNA to resolve it because if SNA had been strong, some of the problems NGA is experiencing would not have come to be. We must talk with one voice.

    What is the update on the pending NGA bill at the National Assembly?

    In all honesty, the bill is very important for the gallery and the artists. But, we do not have a befitting gallery in place to house our works. Let us have a gallery first, then we can pursue the bill. We are not throwing it out despite the experiences that trailed the last hearings.

     What is your message to the art community?

    Well, my message to them is that they should not get discouraged. There is hope that we are going to get there. With all the experiences, we should bring ourselves together and chart a new path.

  • Onobrakpeya’s works clock 60

    As part of exhibitions to commemorate 60 years of the artistic career of Prof Bruce Onobrakpeya, no fewer than 36 of his rare prints are on display at Wheat Baker Hotel, Ikoyi, Lagos.

    Curated by Sandra Mbanefo-Obiago of SMO Contemporary Art, the print exhibition titled: ‘Eni! You can always tell where the elephant has passed by’ opened on April 27 and will run till end of July.

    The rare prints, which provide highlights of not only his life,  works, but also as a historian who has chronicled the development of the nation from the colonial era to the post-independence era, expose his unique experimental artistry contributions in the development of the art community and also a  source of inspiration to younger artists.

    According him, the title of the print exhibition portrayed him as a leader who has paved the path for younger artists to walk on.

    “Eni is an Urhobo word for elephant. It is one of the biggest animals in the forest and when it passes through the wet land, its foot creates a kind of pool that gathers water and all other smaller animals come to drink from it. That is the name I am called. For a leader, I believe he should be able to create a pool from which a lot of people will drink from,” he said.

    The exhibition detailed a lot of aspects of his work, dating back to a piece from his very first show in 1959, “Hornbill”. The display also focuses on his works on culture of the Urhobo and other ethnic groups in Nigeria, Christianity, Chibok girls,  the cultural roles of women in the society and how they affected the protest movements in the Niger  Delta and other areas.

    Born in 1932, Onobrakpeya is one of Nigeria’s most important artistic pioneers.  He obtained a Diploma in Fine Art and a Teacher’s Certificate from the Nigerian College of Arts, Science and Technology (now Ahmadu Bello University), Zaria, in 1962. He is a member of the famous Zaria Art Society. He reminisces his days in the art school when art was not appreciated.

    “We were not regarded as real students as we were seen as though we have failed out. Even some of our parents were very reluctant to pay our fees, but we lived through it.

    “When I started the school, I didn’t think art had any future that can sustain someone, but I went in because God was on my side.  I always told people that if I had passed my Civil Service examination and I probably would have grown to be a permanent secretary, that wouldn’t have given me even half the joy I found in creating art works,” he noted.

    Onobrakpeya has received many awards and has had his works exhibited at the Venice Biennale in 1990, the Tate Modern in London,  the National Museum of African Arts of the Smithsonian Institution  in Washington, D. C,  the Malmo Konsthall in Malmo, Sweden and the National Gallery of Modern Art, Lagos, among others.  He has also received the UNESCO living Human Treasures Award in 2006.

    His artistic works cut across painting, sculpture and print.

    Part of the commemorative exhibition also featured his installations and sculptures at Freedom Park, Lagos, which ended last Friday.

    A third exhibition will hold at his Harmattan Workshop in Agbara-Otor in Ughelli North Local Government Area of Delta State in August.

     

  • Ekiti Art Council DG to youths: promote culture

    Youths in Ekiti State have been urged to be more involved in the promotion of the cultural heritage in the state.

    The state Council for Arts and Culture  Director-General, Ambassador Wale Ojo-Lanre, gave the advice at the grand finale of the Ladunwo Festival in Oke-Mesi Ekiti State, at the weekend.

    Ojo-Lanre observed that the involvement of youths in cultural activities was not encouraging. He promised to initiate programmes and ideas that would boost their morale in the creative industry and harness the economic potential.

    He noted that lack of interest in cultural activities was one of the side effects of globalisation.

    He said: ‘’We are going to change the narrative by engaging them in a way that will be more beneficial and encouraging.

    “One of the cardinal points of the Dr Kayode Fayemi administration in Ekiti State is restoring the value through promotion of traditional and cultural identity and great virtue of the state and that is why we are calling on everybody to be involved for a greater and better future.’’

    According to him, the state is ready to support youths in the creative industry  to discover more talents and create jobs.

    Speaking on the Ladunwo Festival organised by Okemesi Cultural Heritage Promotion, Ojo-Lanre said the event was one of the traditional events that attracts the government’s attention because of its relevance not only to Oke-Mesi history, but also to the Yoruba.

    “This is a well-packaged event. You can see hundreds of masqueraders and other cultural activities going on and there is no violence as everybody is in joyous mood. I am sure by next edition, there will be improvement and increase in the number of sponsors and participants as well as number of local and foreign tourists.This will boost the economy of the hosting communities and the state would be affected positively.

    The Organising Committee Chairman, Prince Kayode Oniin, said the triennial event is a celebration of an ancestral masquerader known to be an agent of peace and progress in the town.

    “We do have a masquerade festival annually, but Ladunwo is triennial because that is the tradition and we are happy with the development. We hope there would be improvement in the subsequent edition,” he added.

  • 250 Choir, 40 Orchestra perform at concert

    It was a display of skill and proficiency on various musical instruments, including drums, organ, trumpet, violins and flugelhorn by 40 Orchestra at the Easter concert organised by the Anglican Diocese of Lagos Mainland.

    The 250 mass choir also ensured there was no dull moment as they all held the audience thrilled for over three hours, rendering classical music.

    The concert with the theme, Easter Cantata Programme, held at The Cathedral of Saint Jude in Ebute Meta, Lagos State. It was conducted by Sir EmekaNwokedi.

    The mass choir were clad in red robes; the instrumentalists wore black trouser suits with white shirts.

    Among the songs rendered were, Christ the Lord is risen today, Jesus lives; thy terrors now, Alleluia, All creatures of our God and King, I know that my redeemer liveth and All for Jesus, All for Jesus.

    Several passages of the Holy Bible were read; each Bible passage introduced the songs.

    According to the Rt Revd Akinpelu Johnson, the concert was part of activities to celebrate Easter and their own way to preach the Easter story with music.

    “We have put into music the passion, suffering, death and the rescission of Jesus which is what we celebrate during Easter.

    “Songs rendered are appealing to the soul. Our aim is to enhance the spirituality of our members through music. Easter means there is hope for us all, and that there will be a better tomorrow in whatever circumstance we find ourselves. Jesus impacted positively in the lives of all, we as Christians and the leaders of this nation should emulate Jesus by imbibing the spirit of sacrifice. Our leaders should ensure sacrifice in the service of our country; as long as they continue to do their own first, we will remain where we are, but if they can sacrifice for Nigerians the country will be a biter place for us all.”

    He said the choir and Orchestra were from all over the Diocese, noting that their aim was to strengthen the faith of the people.

    “We will continue to worship God with music because I don’t know how you want to make it to Heaven without music.

    ‘’Music is important for us in this Diocese and we hope to have more opportunities to come together to have more of this,” he said.

    Nwokedi said the theme, Easter Cantata, means celebrating Easter with songs.

    “This mass choir is targeted at praising God. The music is highly selected beautiful classical music, which is well developed serious music with 40 Orchestra producing various sounds, shades and tones, playing in harmony with the 250 voices made it different from other music we listen to.

    “The collections of the songs are purely taken from the Bible passages and paraphrased into music; that is why you will notice that the Bible passage read corresponds with the music.

    “With this, we can develop church music and take it to the highest level it should reach in Nigeria. We will also be babble to empower the young people through music. Most great musicians all over the world started their musical journey from the church,” he said.

  • The difference between mentoring and coaching

    While ago I was privy to a conversation between an established coach and a senior human resource manager in a thriving bank in Nigeria. The coach asked the manager if her organisation had any internal coaches or gave room for external coaches to have sessions with staff.

    The human resource manager replied in the affirmative by stating that coaching was encouraged at her workplace, she went on to describe what happened at her organisation, myself and the coach came to the conclusion that the organisation was involved in mentoring and not coaching.

    That was when it hit me, there is a very blurred line between what coaching and mentoring. It is encouraging that many organisations now encourage peer to peer mentoring and supervisor to subordinate mentoring especially in cases of succession plans and promotions, but it is also important not to mistake coaching for mentoring or vice versa.

    This article will attempt to succinctly draw the line between coaching and mentoring, especially in the context of the workplace.

    The International Coaching Federation defines coaching as partnering with clients in a thought-provoking and creative process that inspires them to maximise their personal and professional potential.A mentor, is someone who offers their knowledge, expertise and advice to those with less experience. By leveraging their experience and skills, mentors guide mentees in the right direction.

    What does a workplace mentor do?

    As earlier mentioned a mentor helps mentees explore their career options, set development goals, develop new contacts and identify resources. In this way, a mentor serves as a professional advisor and role model for the mentees. The role of a mentor would usually change as the needs of the mentee changes. In most cases mentoring relationships are informal and the relationship between the mentor and the mentee forms the bedrock of the mentorship relationship. Good mentors are always willing to share their skills and knowledge with the mentees. Since they have faced the same challenges as their mentees, they are more empathetic towards their needs.

    To inspire and build trust and confidence, mentors possess a positive and can-do attitude. These qualities make it easier for the mentees to discuss their professional goals and concerns with them.

    From a business perspective, mentors help employees gain more confidence in their work and develop skills to add value.

    What does a workplace coach do?

    Coaching at work takes a fully different approach. In a business environment the key to a successful coaching relationship is structured collaboration. The coach does not direct or act in an authoritarian manner but collaborating with the employee or coachee to identify, target, and plan for performance improvement. In the workplace the coach acts as facilitator to help the employee achieve self-realisation around opportunities for improvement by asking probing, and often tough, questions and challenging the employee to think about their goals as well as how to achieve them. The goal of coaching is improved performance by self- realisation. Coaching promotes creativity, breakthrough performance and resilience, giving organisations a competitive edge and an effective way to flow and operate within an environment of continuous change. In the Nigerian workplace the term training is more popular, but it has been discovered that without coaching, training loses its effectiveness, training fails to achieve the lasting behavioural change that coaching brings about, this is because training is an event while coaching is a process. Coaching is the valuable next step to training to insure that the new knowledge imparted, actually becomes learned behavior.

    Coaching takes a holistic view of the individual: work, corporate values, personal needs and career development are made to work in synergy, not against one another.” – British Journal of Administrative Management

    In conclusion the following are a few points to note:

    Mentoring is a long-term process based on mutual trust and respect. Coaching, on the other hand, is for a short period of time.

    Mentoring is more focused on creating an informal association between the mentor and mentee, whereas coaching follows a more structured and formal approach.

    A workplace mentor has first-hand experience of the mentee’s line of work. A workplace coach, however, does not necessarily need to have a hands-on experience of the kind of work the coachee is engaged in.

    The topmost priority of a business mentor is to help develop skills that are just relevant for the mentees in their present job. For a business coach, the biggest priority is to improve performance that impacts the present joband the employee’s behaviour for other future endeavours.

    ‘Gbeminiyi Obadan – Life and Executive coach

    For more information on how to integrate coaching into the personal development of your organization you can email me at gbemieobadan@gmail.com.