Category: Life – The Midweek Magazine

  • National Gallery of Art gets new acting DG

    Dr. Simon Odey Ikpakronyi has assumed duty as Acting Director General, National Gallery of Art (NGA). He takes over from Abdullahi Muku whose second tenure as DG, NGA expired on March 16.

    Ikpakronyi holds a Master’s degree and Ph. D in Art History from the University of Nigeria, Nsukka. He equally has a Master of Philosophy (M.Phil.) and Master of Arts (M.A.) degrees in Visual Arts: Art History (African Studies) from University of Ibadan.

    Interestingly, he obtained his Bachelor’s (B.A.)  from Ahmadu Bello University, Zaria in the same discipline. And from the National Institute of Policy and Strategic Studies (NIPPS), Jos, he bagged a Certificate in Policy, Strategy and Leadership.

    He was before his elevation, the Director, Planning and Research, NGA. Earlier, he served as Director, Planning & Documentation and Director, Educational Services. A foundation staff of NGA, Ikpakronyi worked closely with three past DGs in the organization and has curated several art exhibitions. He has written extensively on modern African Art and that of Nigeria in particular.

    READ ALSO: GTBank opens virtual art gallery

    Some of his seminal publications are“Timothy Adebajo Fasuyi: The Doyen of  Zaria Art School”  in Timothy Adebanjo Fasuyi: A Renowned Artist and Educationist;” Ben Enwonwu: One of the Two Pillars of Nigerian Modern Art” in Ben Enwonwu: Life and Times; ”Yusuf Grillo and His Contemporaries in the Growth of Nigerian Art” in Yusuf Grillo: His Life and Works; ”Uche Okeke: Exponent of Drawing in Modern Nigerian Visual Art” in Nku Di Na Mba: Uche Okeke and Modern Nigerian Art; The Zaria Art Society: Insight in the Zaria Art Society: A New Consciousness; “Kolade Osinowo;s Biography and Interest in Painting” in Osinowo; “Modern Art of Benin KingdomTheir Classifications and Cultural Relevance” in The Coronation: Art of Benin Kingdom among others.

    Dr. Ikpakronyi is a member of such international associations as Art Council of African Studies Association (ACASA); International Committee of Museums and Collections of Modern Art (CIMAM) and International Council of Museums & Art Council or Movements and Sites (ICOM/ICOMS). He also belongs to Art Historical Association of Nigeria (AHAN); Nigerian Curators’ Guild (NCG); Nigerian Art Studies Association (NASA); Museum Association of Nigeria (MAN) and Pan African Circle of Artists (PACA).

    He is expected to bring his wealth of experience in art theory, practice and management to reposition the National Gallery of Art in line with the changing times.

  • Omordia returns to Muson stage

    The 2009 Delius Prize winner in international piano competition, Rebecca Omordia, was in Lagos  for the first time since her  career hit limelight.

    At the event held at the MUSON Centre, Onikan, she held a Masterclass with students of the MUSON School of Music, where she left indelible imprints.

    Omordia was due back in the country last weekend. She would shuttle between Abuja and Lagos, dazzling her audiences who, already in high expectations, were raring up for another round of terrific classical music performances.

    On March 16, she held a Masterclass in Lagos with the MUSON School of Music students.

    On March 21, Abuja would be Omordia’s next point of call where she will be performing in a recital organised by the Romanian Embassy (Ambassador Gheorghe Predescu) to celebrate Romanian’s presidency at the European Union.

    “It is very special to me performing in my fatherland,” the Nigerian-Romanian pianist said when asked about her expectations.

    “Last year, the Nigerian audience made me feel like I truly belong there.  I am honoured to perform at MUSON, the very centre of classical music in West Africa and happy to give a Masterclass to the talented piano students of MUSON School of Music. I was very much looking forward to performing for them again; and I’m glad she did,” she added.

    Omordia remains a trail blazer in her mission to prioritise the Nigerian classical music. Since last March, she has done so much in promoting the Nigerian and African classical music genre.

    Her CD EKELE released last year on Heritage Records, featuring works by three Nigerian composers (Ayo Bankole, Christian Onyeji and Fred Onovwerosuoke) was a huge success in the United Kingdom (UK) and Europe. It was also featured by a newspaper in Italy and was described as an “appealing album” by the BBC Music Magazine), “fascinating programme” by the Gramophone Magazine and “beautifully delivered recital”, according to The Sunday Times.

    Last month, she launched as an Artistic Director, the first-ever African Concert Series at the October Gallery in London, in partnership with the Institute of Music & Art AM15, series described by the BBC as the “African Art Music makes a comeback”.

    AMI5 appointed Omordia to curate a music programme that reflects the depth and diversity of African Art Music, the richly diverse genre of music that originated in Ghana and Nigeria, which forms a bridge between Western classical music and traditional African music.

  • IREP to honour Bolanle Austin-Peters

    Terra Kulture Cultural Centre, founder/CEO Mrs. Bolanle Austin-Peters will be honoured at this year’s iREPRESENT International Documentary Film Festival with the prestigious iREPHonours as a frontline promoter of arts and culture.

    The festival, which opens tomorrow, will run till Sunday at Freedom Park, Broad Street, Lagos, and the Nigerian Film Corporation, Ikoyi, Lagos.

    According to the iREP Directorate, Mrs. Austin-Peters is being honoured during her 50th birthday, because “essentially, she represents the spirit of progress and possibilities in our culture producing community; a major inspiration to many young people’’.

    “At the inception of the festival, Mrs. Austin-Peters was the first supporter we had. She gave us the Terra Kulture facilities free and  donated lunch to some of our guests. She repeated the feat on the second edition before the festival relocated to Freedom Park. That is an uncommon gesture of philanthropy, especially in our clime.

    ‘’For this kindness of spirit, iREP Directorate has decided to honour the one fondly called “Mama Terra,” a true Amazon of Art Promotion in Nigeria,” the directorate said.

    The honour will be presented to her at the festival opening cocktail today.

    Meanwhile, over 50 films will be screened during the festival;  curated from over 100 submissions by local and international filmmakers.  Films came in from nearly all parts of Africa and the Diaspora. Remarkably, more films were submitted this year by Nigerian producers than ever recorded in past nine years. This is a signification that the culture of documentary filmmaking is indeed growing in the home-front; one of the cardinal objectives of the iREP.

    Some of the filmmakers showcasing in iREP this year are: Tam Fiofori, the septuagenarian photographer and filmmaker, who has been very consistent in past few years in the festival list: His film is titled, Ogbu-OjaEze, reflects in the career of an Igbo flutist; Tunde Kelani, also another consistent contributors and supporters of the festival, is screening his latest work,  Yoruba Beyond Borders, which he directed and produced with long-time sideman and collaborator, Bola Bello.

    Afolabi Adesanya, filmmaker and former Nigeria Film Corporation (NFC) Director-General, is also presenting his bio-pic, Gbenga Sonuga: artist, activist, administrator; former director of Lagos State Council for Arts and Culture, and now traditional ruler, Fadeseewa of Simawa Autonomous kingdom, near Sagamu.

    Beverly Naya, the Nollywood actress, explores through identity the meaning of beauty in all the different shades of black. James Amuta will show Nightfall in Lagos, which explores the not-so-underground world of transactional sex in a country where prostitution is illegal.

    Aderonke Adeola will show Awani, which examines the evolution of the role of Nigerian women, starting from pre-colonial Nigeria to the present day. Adeola Osunkojo,will show76: Story Behind the Story on the experiences of the families of the military officers executed in the aftermath of the 1976 coup.

    From Tolulope Itegboje, it is AwonBoyz, which documents lives of street boys from three hoods telling stories about coming up, ambition and hope, while Ronke Macaulay, shows Green Passport at France 98 – The third in the Green Passport series by the filmmaker on experiences of Nigerians when they travel abroad. Toyin Ibrahim Adekeye willshow Bigger Than Africa,which follows the journey of hundreds of Africans (slaves) from the point of no returns in West Africa to the final destinations In the slave while Gbenga Salu, offers Little Heroes, on street kids and their soccer exploits.

  • Varsity creates endowment fund in Adesanmi’s honour

    The world has not stopped mourning since the death of renowned scholar Prof Pius Adebola Adesanmi in the Ethiopian Airlines Boeing 737 MAX 8 plane crash on March 10; 156 others died in the accident. The late Adesanmi’s friends and colleagues in Canada, where he worked, the United Kingdom (UK), the United States (US) and at home in Nigeria say in the intellectual world he will be greatly missed. Carleton varsity has set up a fund in his honour, writes EVELYN OSAGIE.

    It’s been 10 days since the world received the heart-breaking news of the death of one of Nigeria’s widely celebrated scholars based in Canada, Prof Pius Adebola Adesanmi.

    Adesanmi, 47, a Professor of Literary Arts in Carleton University, Ottawa, Canada, was a revered social critic and literary icon, who was hyper active on the social media.

    The late scholar and another Nigerian, Ambassador Abiodun Bashua, and 40 United Nations (UN) officials, were among the 157 victims of the ill-fated Ethiopian Airlines Boeing 737 MAX 8 flight.

    Adesanmi’s death shook the literati and intellectual world. It left his university, friends and colleagues in Canada and United Kingdom mourning.

     

    Carleton University establishes an endowment fund in honour of Adesanmi

    Subsequently, Carleton University has called for donations towards an endowment  fund to support students who aspire to follow in his footsteps and Adesanmi’s work.

    Encouraging the public to share their memo-ries of Adesanmi with them, the university wrote on its website: “Carleton University is devastated by the sudden death of Prof. Pius Adesanmi, director of our Institute of African Studies and a remarkable writer, poet and political commentator who was celebrated for his eloquence and fearlessness in speaking truth to power. Our thoughts are with his family at this difficult time.

    “His award-winning book – You’re Not a Country Africa: A Personal History of the African Present – was groundbreaking. One of the most important minds of the African Diaspora, he inspired his Carleton colleagues with his brilliance and cemented his close ties to faculty, staff and students with his kindness, thoughtfulness, enthusiasm and unforgettable laugh.

    “To honour his memory, a fund is being established which will support students and continue his life’s work.”

    The university is also collecting memories and tributes that they will be publishing on their website.

    The President and Vice-Chancellor, Carleton University, Benoit-Antoine Bacon, said: “Pius Adesanmi was a towering figure in African and post-colonial scholarship and his sudden loss is a tragedy. Our thoughts and prayers are with his family and all those who knew and loved him, and with everyone who suffered loss in the tragic crash in Ethiopia.

    “The contributions of Pius Adesanmi to Carleton are immeasurable,” said Pauline Rankin, dean of the Faculty of Arts and Social Sciences (FASS). She added: ‘’He worked tirelessly to build the Institute of African Studies, to share his boundless passion for African literature and to connect with and support students. He was a scholar and teacher of the highest calibre who leaves a deep imprint on Carleton.”

     

    ‘Each time I see his pictures on the TV I shudder in disbelief’

     

    His death is still being felt by his friends and colleagues as they remember him with fond memories. One of them is Assistant Professor of English at the University of Winnipeg, Canada, Chigbo Arthur Anyaduba. Still in shock and at a loss for words, Anyaduba wrote in his piece, entitled: “Pius Adesanmi: A Tribute”: “The first thing that came to my mind past midnight of Saturday when I initially saw a news headline about an Ethiopian Airline crash was: ‘I hope Oga isn’t in that plane. He travels a lot in that region.’ I wished the thought away and went to sleep only to wake up to the intimate reality of that horrifying tragedy. I still don’t know how to make sense of it. Each time I see his pictures on the TV, I shudder in disbelief. And there’s that sharp stab. That deep indescribable sadness. Pius, I never got my chance to “spoil” you in 2017 when you were meant to visit Winnipeg (at my invitation) to deliver a keynote lecture you “wickedly” titled: “You Can Love Drogba and Claim Gretzky: Negotiating the Hyphen between Africa and Canada.” You didn’t know this then: I had set you up for a combat. I was plotting to settle some intellectual scores with you.

    “It was my way of trying to “arrive,” to impress you, and to offer my mentee loyalties. But then… Yes, you were that kind of man who even when in the opposing end of a debate still managed to pave a path for others to walk. You were, to me, the man faraway, yet so present in my life and consciousness. Thank you for all your generosity and friendship and mentorship. The only consolation I can fathom from your tragic death requires me to brush aside, even if only temporarily, my acquired education in empirical thinking and agree with your paternal grandmother that you’re indeed an abiku. That way, I can live with the hope that in your characteristic spiritual trickiness you came, left, and indeed, you are coming again. Be ready because next time we will brand you with a bigger, deeper scar, if only to keep you much longer in this pain-sweet realm. Journey well, brother!”

     

    ‘Pius Adesanmi: A humane,

    rare breed scholar!’

    One of his mentees, Ademola Adesola, who is a PhD candidate at the Department of English, Theatre, Film and Media, University of Manitoba, and a research assistant at the Centre for Globalisation and Cultural Studies, University of Manitoba, describes  Adesanmi’s death a “disabling tragedy”.

    “His tragic death on the ill-fated Ethiopian plane that crashed penultimate Sunday six minutes after take-off concentrates the mind. Many precious souls met their untimely end in that disabling tragedy. My heart goes out to all the families of the deceased, who with Prof. Adesanmi took ‘the wings of the morning’.

    “The pitiless grim reaper has robbed us of a mind who truly cared for our humanity. Death knifed us brutally when it snatched Prof. Adesanmi from us. Prof. Adesanmi was one of the finest of us as humans. Doubtless, the world has lost a rounded and sound knowledge producer. His robust scholarship is of the excellent brand. He was a rare breed scholar. He was uncompromisingly given to the pursuit of excellence and unreservedly demanded same from all around him. Mediocrity depressed him. It was for that reason that he became the punishing nemesis of many African, nay Nigerian, rulers.”

    Adesola recounted further: ‘’The news of Adesanmi’s death is disconcerting. Wasn’t he just healing from his last close shave with death last year?” I asked myself as I began to process the excruciating pain of his sudden exit from this world. In that hour of incapacitating grief, one of my conversations with him popped up on the screen of my mind. I vividly remembered the ineradicable impression this eminent, humane, patriotic, and witty scholar made on my mind.

    “It was a day in January 2018. I had just started my PhD programme at the University of Manitoba (U of M) in Canada. Being a member of the African Doctoral Lounge (a Facebook meeting point for African scholars he created together with others), I had written to inform him of my programme at U of M. A few minutes after I pushed the send button, I received his response. His reply revealed to me his deep unaffected sense of altruism and irrevocable readiness to be instrumental to young scholar’s progress.

    “In that response, he provided the names of two people at the U of M that I should go and introduce myself to, noting to them that he asked me to see them. That meant those people should vouchsafe to me – within what was and would be humanly possible for them – whatever help I would require as I settled down for the programme given that I came from him. Only a person of solid reputation and productive connection could confidently make that kind of recommendation. Yet, I am talking of a man who I had no personal relationship with! As a matter of fact, that mail I sent to him was the first time I would write to him. And there he was; on being notified of my presence in a foreign land in pursuit of the proverbial golden academic fleece, he freely made available to me his network of contacts. In other words, my quest for progress immediately became his and he hanged no fire in walking me on a path that he considered vital for the actualisation of my dream. Those I shared my story with crooned similar ditty of his uncommon contribution to their academic wellbeing.

    “Prof. Adesanmi was irreversibly convinced that, in the wide, sometimes confounding labyrinth of  academic  forest, healthy  association is vitally important. He networked wisely and widely. He connected people to sources of beneficial ideas and inspiration. He spent and was spent for the causes of young scholars. He was a mentor to innumerable established and burgeoning scholars. He neither lacked nor withheld the right resources for the advancement of intellectuals. Whatever he didn’t have, he knew someone who possessed them.  He was an active port of grace and ideas that many easefully connected to for their career advancement.

    “His structured interventions and critical contributions to debates on issues of governance, human development, and knowledge production around the world, especially in Africa, energised my mind. I benefited richly from his deep insights, unafraid engagement of varied issues, and his unbending candour in the face of misdirected angst and bile.

    “Although his sudden departure is disheartening, one takes solace in the fact that he has made indelible marks. Anywhere and anytime people speak of exemplary, humane, and sound scholars, Pius Adesanmi’s name will stand out attractively. His works remain inexhaustible sources of useful inspiration. I am grateful I know and read him

     

    ‘Pius was a scholar per excellence and a humanist’

    Benjamin Maiangwa, who is completing a PhD in Peace and Conflict Studies at the University of Manitoba, Canada, says Adesanmi was “one of Nigeria’s contemporary leading public intellectuals and celebrated columnists; never afraid to say it as he saw it – tactfully and with grace who worked tirelessly for good governance and scholarship in Africa and beyond, where the array of people he has trained and groomed will no doubt continue his legacy”.

    He recounted: “My first encounter with the late Pius Adesanmi was at the University of Johannesburg in February 2014, where he gave the keynote at a Young Scholars and Graduate conference organised by the African Institute of South Africa. Pius’s passion for social justice and post-colonial issues rubbed off on all the participants at the conference. I know this for sure because our hearts and minds were greatly moved as we sat with rapt attention listening to him with open mouths.

    “It was expected then that, after his speech, all of us were struggling for selfies with him in the corridors of the University of Johannesburg. What could have been our second encounter never took place because of his very tight schedule. Pius was supposed to be the keynote speaker at an Africa-Canada Colloquium that Dr Chigbo Anyaduba organised at the University of Manitoba in 2017. I was supposed to welcome Pius at the event.

    He added: “Pius’s untimely death was shocking and painful, to say the least, and so was that of my former schoolmate from Kenya (Kageche Mukua) and the rest of the victims of the ill-fated Ethiopian flight. Pius was a scholar par excellence and a humanist at that.  As precious as he was in our eyes, I believe in the words of the psalmist that even ‘more precious in the eyes of the Lord is the death of his saints.’ May God grant consolation to all who mourn him and his dear family, and rest his soul!”

     

    ‘Pius taught us to think differently’

    Another PhD student with the University of Manitoba, Ifeoluwa Adeniyi,  said of the late Adesanmi: “Even now it still seems like a dream that Professor Pius Adesanmi is no more! His demise feels not like death in the sense we think of death. It feels as if he’s still there somewhere, except that he’s now not accessible to us. Like a flight away from all the decadence and rot he so unsparingly criticised. How do we mourn a man whose words had been and now will remain echoes of wisdom? It will always be said that he was one of us and all of us. Pious Pius, he taught us to see differently, think differently, just as he was – the uncommon academic superstar.”

     

    ‘Pius was a true African, passionately committed to its liberation

    and development’

    A Masters student in African Studies, Oxford, UK, Folabi Jimoh wrote: “As humans, it’s usually an invidious part this calculus of living to unconsciously regard death as closer to the ‘others’ than ourselves. But we’re often jolted into awareness of its callous nearness on encountering a near-death experience, or when death actually happens to someone close to us! Death’s occurrence has a canny way of unsettling our settled habit of living.

    “Pius Adesanmi’s death yet again affirms for me that, as a unifying human experience, there is no ‘us’ and ‘them’ in death! There’s no ‘distance’ or ‘nearness’ about it. Death is as distant as it is near! Adesanmi was neither my ‘close’ relative nor friend. Yet he was by no means a ‘distant other’ to me. I only came to know him through his writings and ideas –and through them he had become an intimate part of my life, my thought processes, and my outlook on life. Probably like everyone else in his orbit of life (both ‘distant’ and ‘close’) I had grown accustomed to seeing him trot around the African continent and return to his base in Canada. Africa is a continent he loved dearly, and a continent that paradoxically took his life!

    “He was a true African, passionately committed to its liberation and development. Pius Adesanmi’s death is another tragic revelation that dying is closely and inseparably woven into the ontology of living. And this should inform our apprehension of death and appreciation of life. His life was meaningfully impactful; and his death inspires grievability in every sense of the word.

    Rest in peace, professor!”

     

  • Benefits of IVF

    Dr Kenneth Egwuda is a Consultant, Gynaecologist and IVF Specialist with 12-year experience in assisted reproduction technology and minimal access surgery. He works at ALPS Hospital and Diagnostics, Rayfield in Jos, Plateau State. In his piece titled Ask Dr. Ken, he speaks on assisted reproduction technology, In-Vitro Fertilisation (IVF).

    IVF is the series of fertility treatment aimed at fertilising the woman’s egg outside the body.

    The conventional way that pregnancy occurs is when fertilisation takes place in the fallopian tube and then implantation in the uterine cavity.

    In IVF, the eggs are retrieved from the ovaries and the sperm of the spouse or partner is used in fertilising the eggs. I will explain the process of IVF in four to five basic steps.

    The first step in IVF is administration of a series of medication that tend to grow a certain number of eggs from the ovaries of a woman.

    This process is called super ovulation and the medications are usually injectable to a large extend. The essence of the injection is to make a woman grow between five and 10 eggs. These eggs are retrieved in the theater and fertilised.

    The second stage of IVF is egg retrieval. After monitoring the eggs and have gotten to the size of about 18-20 millimeters in diameter, the final injection human chorionic gonadotropin is administered 34-36 hours after the egg retrieval is done. The retrieval is usually a minor procedure carriedout in the theatre under mild sedation. The eggs are retrieved using the ultrasound guidance. The procedure will last five to 10 minutes, after which she will be taken to a recovery room where she will stay for a while before going home.

    The third phase of the IVF treatment procedure is the fertilisation itself. The prepared sperm from the partner is added directly to the eggs in a glass ware or injected directly into the eggs with the aid of aspecial microscope. The product of fertilisation is kept in a controlled environment called the incubator where further development occurs.

    The fourth phase is the culturing of the fertilised egg. The fertilised eggs are usually cultured in the incubator. The incubators are special devices that have been programmed to stimulate the conditions that are obtainable in the normal human body. The fertilised eggs are cultured for three to five days as the case may be after which the next process, the embryo transfer is done.

    Usually one, two or three embryos may be transferred into the uterine cavityof the woman. The number of embryos to be transfer depends on a lot of factors. The policy governing assisted production technology in the state, region or country, the wish of the woman, her state of health, age and the possible complication that may arise following transfer of multiple numbers of embryos.

  • Runsewe urges monarchs to preserve culture for unity

    National Council for Arts and Culture (NCAC) Director-General Otunba Segun Runsewe has urged monarchs to  support and preserve cultures across the country in a bid to promote national unity and development.

    He spoke in Abuja during the flag-off of the campaign for National Festival of Arts and Culture tagged EDO NAFEST 2019.

    He said this year’s festival holding in Benin, the Edo State capital  will be done in collaboration with the Oba of Benin’s palace.

    He noted that this is ‘’in furtherance of the centrality of Benin Monarchy to the socio-cultural activities of the state’’.

    He said: “As the custodians of our culture, the traditional institution has the responsibility to preserve our rich cultural heritage and propagate our cherished values, such as love, respect for elders, constituted authorities and for the sanity of the human life, honesty, discipline, work ethics, neighbourliness, community spirit among others. It is our conviction that the progressive deterioration of these values over the years is partly responsible for the crisis of national unity and the under-development our nation is currently facing.

    “It is in the light of the above that we have incorporated Royalty Day as one of the components of this year’s edition of the festival. Accordingly, representatives of the contingents from all the participating states shall be paying homage to His Royal Majesty in the course of the festival. In addition to this, a special royal exhibition depicting the grandeur of Benin Royalty will be mounted throughout the period of the festival to reflect the richness and glamour of the Benin traditional institution.”

    Runsewe said the mandate of NCAC is to preserve, promote and market the country’s arts and culture, stressing: “We cannot effectively do this without active and sustained engagement with our royal fathers who are the custodians of our culture. It stands to reason, therefore, that we must begin to work in close collaboration with the traditional institutions in Nigeria.’’

    He pleaded with monarchs to collaborate with the council in the task of “reviving the nation’s cherished cultural heritage and using our culture as a springboard for driving the process of national development. It was Marcus Garvey who once said that a people without the knowledge of their culture are like a tree without roots. Our culture is inevitably the building blocks for our national development”.

    Reviewing the success of past events, Runsewe said: “Since my assumption of office at the council, I have made concerted efforts in repositioning NAFEST, not only as a platform for propagating peace and national cohesion, but also as a means of impacting on the life of the people. This, I have done by expanding the scope, content and reach of the festival. For example, Free Skill Acquisition training, Waste to Wealth and Free Medical Screening are some of the new components I have introduced to the festival to add value to NAFEST and empower the people, while fulfilling our corporate social responsibility.

    “The popularity and patronage of the festival have also significantly improved. In the 2017 edition held in Kaduna, Kaduna State, a spectacular Durbar Show was staged at the instance of the Emir of Zauzzau, who was present at the opening ceremony along with a retinue of chiefs from the Zauzzau Emirate Council. Rivers 2018 NAFEST witnessed unprecedented participation of three sitting governors. These were the host governor, the governor of Abia State as well as the governor of Ebonyi State.”

    He expressed the confidence that Edo NAFEST 2019 won’t be an exception. “I am confident and happy to remark that we are determined to build on the gains of the last two years.

    Edo State Governor Mr. Godwin Obaseki has affirmed his commitment towards making EDO NAFEST 2019 a most historic moment.

    He said: “Indeed, Edo NAFEST 2019 promises to be unique in all respect. Edo State has a very rich and diverse cultural heritage dating back to several centuries. As one of the most celebrated destinations for arts and culture, Edo State is reputed to be the cultural hub of Nigeria and Africa at large. The ancient Benin kingdom, with its distinctive arts and crafts products, rich festivals rendered in songs, poetry, incantations, royal dances and so on, has remained a cultural base and reference point of culture all over the world.”

  • ‘Serving humanity gives me a fulfilment’

    In less than one year in office, Rotary Club of Lagos President, Mr. Ehi Braimah has executed projects in some  communities, which touched lives. These are critical to the implementation of his mandate as the 58th president of the club.

    In line with the club’s tradition, Braimah flagged off activities for his six-point agenda last July 18, with the donation of medical equipment worth over N700,000 to Onikan Health Centre and Maternity. That inaugural project falls under maternal and child health support, focused on saving mothers and children.

    Since then, the club has continued to reach out to various communities in peace and conflict prevention/resolution, disease prevention and treatment, water and sanitation, maternal and child health, basic education and literacy and economic, and community development.

    Braimah, who spoke in Lagos while reviewing the club’s activities, disclosed that with the support of the Chief Executive Officer Ideas House Marketing Communications, Mr. Kunle Salami, the club provided 500 mosquito nets worth N1million because part of his agenda is to provide 1,000 mosquito nets to fight malaria.

    “We have also given mosquito nets to primary health care centres in Lagos Island, Sura, Araromi, Kareena. Nigeria is one of the three countries, alongside Pakistan and Afghanistan, still having cases of polio, but Rotary is working so hard to lift Nigeria out of the list,” he said.

    Braimah, who is Managing Director and Chief Executive Officer Neo Media and Marketing, said his mandate is not all about project and club activities, but also membership engagement. “So, just like I’ve been doing, I will do more to raise the profile and the glory of the club. Giving my background too, I have been able to really increase the profile of the club because public image is also very critical in running Rotary. My plan is to build the brand of Rotary through creating and promoting what we do.”

    Interestingly, Rotary Club of Lagos has been proactive in the conception and execution of its intervention projects such that the peoples’needs are paramount. One of its projects was directed at empowering operators in the small scale sector, such as traders and market women. The club gave out interest-free micro credit loans in three markets, including Oniru Market. “We powered Ita Marun with solar power and provided them water and palm kernel crushing machine because they were only crushing their palm kernel manually. We gave the women micro credit loans of N20,000 each. Apart from giving them money, we also trained them on how to manage their businesses,” he said, noting that such seed money though little, would go a long way in stabilising such individual businesses.

    On how the club is intervening in  education especially, with the alarming rate of out of school children in the country, Braimah said there is little a club can do, but that Rotary Club Lagos was determined to make a big change through its intervention projects.

    “There’s little a club can do. We have 97 clubs in the district. Every club comes up with their plan in the six areas of focus.

    “We have supported library project at Ereko Methodist Primary School and we are still going to donate books to schools in Surulere and Mushin. We are looking at providing them with chairs; some of these schools have dilapidated furniture. One of the plans we have is to partner Dowen College to build a learning resort centre at ItaMarun. Like creating a place where you have volunteer teachers coming like thrice a week; we deal more with public schools,” he added.

    Asked how he prepared himself for this task of leading the club, he said: “In Rotary, we develop leadership skills. We have Rotaract clubs in secondary school, which are part of Rotary International. The idea is to help young people develop leadership skills from a young age. We also have Rotaract clubs at the university level and they can be chartered by Rotary clubs.

    “Our club was chartered on May 30, 1961, making me the 58th president of the Rotary Club of Lagos. One may ask why I was found worthy to be the president since I joined Rotary Club of Lagos in 2012. There’s a system of mentoring in Rotary; we go for training and we spot talents, mentor them. So, through that process, those we believe can lead the club to achieve a higher purpose, are elected. Rotary is all about service and that is why we say vocational service is the essence of Rotary. We undertake meaningful projects in communities, thereby touch  lives. So, don’t be surprised in future if I become District Governor of Rotary International.”

    According to Braimah, who was inducted President last July 6 last, serving humanity and giving selflessly are in his DNA, which he said, is more than fulfilling.

    “I’ve always believed in serving humanity, giving selflessly. I don’t only have enough, but I’m ready to do more. The hand of the giver is always on top. Generosity comes with its own blessing. It’s like a magnet attracting good things. Those who work for charity live longer; you feel fulfilled when you touch another person’s life. I’m fulfilled as a Rotarian and President of my club. I will continue to serve after my tenure because the reward for hard work is more work.”

    Braimah, a public relations, marketing and brand professional, attended Government College, Ughelli, before he proceeded to the University of Benin, Benin City, where he bagged a degree in Industrial Mathematics. He committed himself to a career in journalism and marketing communications and has acquired enormous experience in media relations, sports, entertainment and leisure marketing; event management and brand strategy.

    Over the years, Braimah has consulted for a many multinational organisations. They include Nigerian Breweries, Coca-Cola, Unilever, Cadbury, PZ, Promasidor and CardinalStone Partners. He started his career in 1988 with Complete Communications Group, a publishers of Complete Football, Complete Sports and Climax, a general interest magazine. He served as reporter, senior staff writer, general editor and editor until 1991.

    Later, he became Head of Media Relations and as General Manager of Ideas Communications Limited in 1991. He served until 1995, when he joined Whitewood Group where he was instrumental to the rapid growth and rising profile of the event marketing and management, media relations and brand development arm of the Group until he quit eight years later.

  • Sobayo’s Humanity explores uniqueness in human diversity

    Lagos artist Abolore Sobayo created the ‘headless Fela’ Liberation statue at Allen Roundabout, Ikeja, Lagos. He launched some works in Thailand, one of which is his latest piece, entitled Humanity. It is a 10ft by 25ft installation on which he worked with some students in Thailand as the Artist-in-Residence from Nigeria at the United World College (UWC). In this chat with EVELYN OSAGIE, Sobayo speaks on his residency and more.

    My thoughts on art in Asia, Nigeria

    It would not be fair to generalise Asia because it is a continent. But between Thailand and Nigeria, I would say the art in Nigeria has really attained an enviable standard. The art city is Bangkok and I was unable to visit it. So, I can’t state authoritatively that art in Nigeria has evolved better. But if I were to judge by what I saw, I would say art in Nigeria is ahead of that in Thailand.

     

    Students’ reception

    of my work

     

    It was very well received. It was a wonderful experience for me. I had a fantastic time talking to the students of the school because in the individual classes, you have a mix of about six to 10 nationalities, all with diverse backgrounds. We all came together and shared ideas. I like the fact that the school is very forward thinking; they are stationed in a community that is bright and sound, and the people are happy and extremely receptive of new things and people. It was a piece of art that speaks and symbolises what the school believes in, and is one of my ideals as an artist.

     

     Undertone of humanism

    in my works

    I know I am obviously a human being. And it is not about being a humanist or anything; it is about being an artist. My role as an artist is to educate people and add my voice to things I believe in. As an artist, I should contribute my own quota. I don’t believe in creating works that are just beautiful, works that are purely for aesthetic value without trying to strike a chord in my audience. I believe in communicating with people, I believe in talking about the social issues around us. I believe we need to be reminded about who we are and where we are from. At times, we forget because of the way we treat ourselves.

     

    Essence of combining races and cultures in Humanity

    The essence of the work is to talk about the injustice that is going on among humanity; the cruelty of one human being to another. ‘Humanity’ is a piece of art that was done during my residency programme at the United World College (UWC) Thailand. I was their artist-in-residence for this year. I worked on the piece of art using the world map. I cast the world map in wood. I did 10 different faces and I tried to explore five basic religions and five cultures around the world. I put everyone together on the same continent in all the continents of the world.

    As an artist, I believe that it is high time I added my voice to the fact that there is only one race, which is the human race. I believe that beyond our colour, beyond our religion and beyond our belief, we are first human beings and we should all be treated as one. I also believe in human equality, and this is why I created this work – added to the fact that UWC is a multi-cultural school that believes also in equality among all people. Humanity aligns my beliefs and what the school believes in, so it works together for me. That was why I created the piece. The inspiration comes from my desire to speak out loud on human equality, and campaign for peace and unity as the new world order.

     

    Other pieces I worked on as an artist-in-residence

     

    I had about 20 classes, and some of the classes were very memorable: like the class where I spoke about “Identity”. There was another class where we discussed “Slavery” and another on “Sustainability”. Also, using Lagos as a case study and how Lagos has been able to evolve and sustain the modern Lagos. There was a class where I discussed my art and the way people look at it. We X-rayed my work, the Liberation statue. We discussed it extensively, and I had the students air their opinions and share their interpretation of the work. I was able to do a bit of tie and dye too, which is a part of my culture as a Yoruba man. I think the kids would have held on to a lot of things from me as a Nigerian. It was an experience that I am happy with because I was able to impact, impart and also learn from the culture. It was my first time in Asia, so the idea I always had or held was different from the reality I met there. It was an interesting place for me.

  • On the world stage… Nigerian pop music culture

    Across the globe, Nigerian music, Naija music, has continued to create a new culture of entertainment and enjoyment as popular dance hall music, reports Ehi Braimah, public relations and marketing communications expert.

    ON election day for governors in 29 states and State Houses of Assembly seats on Saturday, March 9, 2019, my family and I were having a late breakfast at about noon and Trace Naija, the popular music channel on DSTV, was on and featuring songs by top Nigerian artistes. Then I popped this question to no one in particular: who is your favourite Nigerian music artiste and why? My daughter, a keen music follower with her eyes on media arts as a possible future vocation, answered me and announced Whizkid and Davido because of the lyrics, beat, tempo and rhythms of their songs. Wow, I exclaimed! She explained further that their songs are popular and relate well with a youthful audience.

    From Lagos to Accra, Nairobi, Dubai, Johannesburg, Cape Town, London, Toronto, Houston and Atlanta, just to name a few places, Nigerian music, sometimes branded as Naija music, has created a new culture of entertainment, excitement and enjoyment as popular dance hall music in those places. Be it a bar, nightclub, lounge or restaurant, music lovers gyrate to the beat coming out of the sound monitors that are recognised and celebrated as Nigerian music. Two years ago in Nairobi, my host Uche and I visited Club 40/40, Kiza Lounge andBlack Diamondwhere ‘Naija’ pop music is played steadily. I had the same experience in Atlanta, USA,last October when Ernest, Ralph and I visited Sage restaurant, Little Lagos restaurant, Buckhead Loft, Whiskey Mistress and Regent Lounge. I’m told that new lounges and restaurants such as Blue Lagoon and Ace also celebrate Nigerian music by Wizkid, Davido, Run Town, Olamide, Tekno, Burna Boy and so on.The effect is usually spontaneous – you just get up and begin to shake your body without any prompting to the unmistakable beats in the songs. The beats give the songs a unique Nigerian identity – a product exported from Nigeria.

    When Dr Reuben Abati interrogated this subject about 10 years ago in The Guardian as the newspaper’s Editorial Board chair and columnist, he wrote that the lyrics in the music by most Nigerian artistes were meaningless and disgusting. The reactions from different quarters, especially the music industry, were swift and defiant and the matter became highly controversial at the time. The artistes and their promoters fought back vehemently, challenging Dr Abati to a dwell in the court of public opinion and he had to publish countless rejoinders on the matter. Between then and now, the successes of our pop music stars have been remarkable and their achievements profound, thereby earning recognition globally. Even if you do not agree with content and messaging strategy of the lyrics, the fact remains that the music produced is very popular, enjoyable and hilarious to the music consumer, and very danceable, too. There was a gap our artistes identified which they filled and the result was the big bang effect – they suddenly became popular and began to make waves, and they have never looked back since then.

    Popularity and celebrity status varies among the music stars. Fame, which usually comes with a price, may come too early for some of our rising and well established stars, and when there is no consistency in their respective musical repertoire or when the successes achieved are not properly managed, it could spell trouble and declining fortunes may set in. Stardom means experiencing a new world of bling bling, living in luxurious homes, making significant fashion statements, driving exotic cars and hiring private jets. For the male folks, women are never in short supply;being super stars actually means living life to the fullest. As the discussions continued over the late breakfast, my daughter revealed a Vanguard story where Mark Dayton, governor of Minnesota in the United States of America, declared October 6 yearly as Wizkid Day. That’s truly a big deal. It is remarkable.

    According to the story, Whizkid (real name is Ibrahim Ayodeji Balogun) was honoured because of his musical achievements as a popular Nigerian pop music star and for his role as a culture influencer. Some of his achievements include recently becoming the first African artiste to sell out the Skyway Theatre in Minneapolis; making a Billboard number one hit ‘One Dance’ with Drake; selling out the O2 Arena in London; walking the runway as a model for Dolce & Gabbana, winning countless international awards amongst other notable achievements.

    Wizkid has become a global brand icon much to the delight of his fans and admirers because of the popularity of his kind of music. So, I was not surprised when my wife, another keen music follower, also mentioned Wizkid, Davido and Olamide as her favourite artistes. However, she specifically praised Olamide for his talent, creativity and lyrics composition. A close family friend named Burna Boy as her favourite music artiste because she likes the sound and beat of his music. All three respondents agreed that our artistes are very creative with the kind of energy in their music and amazing stage performances. For example, last December 30  during the closing music concert of the carnival in the pristine Ososo community in Akoko Edo Local Government Area of Edo State, Skales, the guest artiste, dazzled everyone with a top drawer performance that lasted 45 minutes. A selfie by Sakes with the audience while he was on stage was instantly shared on his Instagram page – and, as would be expected, the photograph went viral in a matter of minutes.

    I also chatted with my senior son on the same subject and he said the new wave of recognition accorded Nigerian music globally comes down to the ‘art and science’ of producing the music. “My favourite music artistes”, he revealed, “are Whizkid, Olamide, Davido and Burna Boy”. He also told me Nigerian music evolved and gained global recognition since the days of late Afrobeat King, Fela Anikulapo – whom he referred to as a music legend out of Africa – and that it is popular today because of its unique beat and sound. “The global recognition began with Fela but the secret of the success of trending Nigerian pop music culture today is the lyrical nature of the songs and the production that goes into the beats as well as how the artistes ride the beats”, my son further revealed.

    The twin brothers, P-Square (Peter and Paul) – when they were still together – dominated the music scene for so many years with lyrics so beautiful and voices so melodious you began to wonder where their gift and special talent came from. Burna Boy, who recently signed a mouth-watering endorsement deal with Star lager beer, has his own peculiar style and brand of music; Pantoranking also emerged on the pop music scene with an amazing delivery of his Jamaican and African flavoured songs making him the King of Reggae in Africa! The last time Tekno performed in Nairobi, the show sold out and he was practically mobbed in excitement by his fans – especially the women – during his virtuoso stage performance. Wizkid and Davido are just in a class of their own – they’re incredible talents and great music icons and ambassadors of Nigeria. When Whizkid is singing ‘Soco’ or Davido is singing ‘Assurance’ or ‘Banana follow you’, their fans go wild in excitement, jubilation and appreciation.We also have incredible artistes such as D’Banj, Falz, Ice prince, Phyno, Flavour, Reekado Banks, Maleek Berry and Small Doctor – they havealso made their marks in different ways. Wizkid’s ‘Sisi Caro’ and Davido’s ‘Skelewu’ were iconic and so popular that even five-year-olds could sing along and dance to the beats. New dance routines never seen before also became part of the pop culture, the latest one being ‘Shaku Shaku’. With every new song, a new and highly choreographed dance routine was likely to follow.

    The female singers are also making waves and receiving media attention. Tiwa Savage is a great singer in her own right but it is difficult to ignore her in the unforgettable raunchy ‘Soco’ music videowith Whizkid. According to my daughter, Yemi Alade, Niniola, Temi, Sheyi Shay and Simi have excellent music repertoire and great voices that will give you goose pimples – they’re very creative and original with their lyrics and performances.

    Having worked closely with some of these artistes – both old and new — over the last 25 years on various events, including music concerts, I know that the quality of productionis essential for the music to become popular and acceptable.”Olamide is very original and you can relate to his songs”, my wife explained. “Although Olamide may not have recorded the same success as Whizkid and Davido on the global stage, my view is that he’s an A-list star because of his nuanced approach to lyrics composition. TuFace – also called 2Baba — is a legend because he’s been around for a long time. His music is pure and clean; he’s intelligent and humble, and he produces mind-blowing lyrics, too,” my wife added. By the way, TuFace is celebrating 20 years as a performing musician this year. Congrats, 2Baba and may you continue to excel for good!

    Talking about TuFace, I recall working with him about 20 years ago when he belonged to the group called ‘Plantashun Boiz’ together with Black Face and Faze – three of them were the rave at the time. Edi Lawani, one of Africa’s foremost music promoters and event producers, was their manager. Our PR and event management company had hired the group to entertain our guests during the grand finale of the Lux beauty pageant at Eko Hotel and Suites, Victoria Island in Lagos. And boy, they brought the roof down with their exceptional talents!

    The renaissance and success storyof the Nigerian music industry, according to Edi Lawani, was like a tale foretold by a false prophet. “We were all hopeful but none believed it would come to pass,” Edi reflected. “African music had been in the fringes of a big blow-out outside Africa for long that it had become acceptable to let it be so. Many African artistes shunned music of Africa in its traditional grandeur and gravitated toward western music, especially the American variant,” Edi explained further.

    “The media in Nigeria gave more recognition to the foreign music than the local brew of Afro rhythms. ‘Americanese’ Nigerian music was, at best, a bad copy of the original and thus was stuck and going nowhere. The local audience was trapped between local traditional music and the American wannabe experiment of the reigning pop stars at the time – this was 25 years ago. Then, all of a sudden, like a bolt out of the blue, the big bang happened. A new army of local Nigerian artistes decided to look inward and get street smart by making music in ways that were strange and never before experienced. Street lingo became the lingua franca of the music flavour in Nigeria. A new era had begun,” Edi stated.

    The music recording industry which had been largely dominated by the foreign business interests began to divest as the Nigerian economy contracted. The gap created gave rise to nimble but efficient independent recording labels. It turned out to be the perfect time; an extra-ordinary explosion in the music industry was in the offing. The creative juices in the industry began to flow as Daddy Showkey, the Ajegunle music exponent, emerged with his very engaging type of music and pulsating stage performances. There was also Tony Tetuila, Ruggedman,Mike Okri, Tunde and Wunmi Obe, Edress Abdulkareem, Duncan Mighty, Paul Play Dairo, Daddy Fresh, Lt Shot Gun, Mighty Mouse, Baba Fryo, torchlight bearing Zaaky Azzayand so on.

    The phenomenal growth experienced in the music industry in the last 15 years was aided by new and prolific indigenous music producers such as Xtreme Music owned by the cerebral Steve Babaeko; Mo’Hits which later re-branded as Mavin Supreme Dynasty under the guidance of the highly creative  Don Jazzy and Kennis Music — championed by the creativity displayed by the inimitable music promoters of note and‘twin brothers’Kenny Ogungbe and Dayo Adeneye — and the time devoted by the emerging independent radio and television stations to promote Nigerian artistes and their music starting with Raypower 100.5 FM and AIT established by High Chief Raymond Dokpesi.Lately, additional music channels owned by Nigerians such Sound City on DSTV and 98.5 FM owned by Tajudeen Adepetu’s Consolidated Media and HipTV also on DSTV owned by showbiz impresario Ayo Animashaun have given expression and significant promotion to Nigerian pop music and the artistes. The biggest enabler turned out to be the internet as Edi noted. The internet deregulated the way music was traditionally promoted and consumed. New stars were born overnight and new audiences were created beyond the shores of Nigeria.

    It became evident that the growing popularity of the Nigerian pop music culture was an opportunity for big brands to engage the new audience that was emerging. Social media engagements became the icing on the cake – a music event sponsored by a brand attended by 1,000 persons goes viral through amplification on social media that could reach millions of music fans and consumers who, by the way, love to tell their own stories. Edi described the unfolding scenario as follows: “With the advent of the social media, the ritual of a star and hero worshipping kicked in. Facebook became the church for music devotees; Instagram became the canvass on which dreams were painted, following in the footsteps of those who wielded the magic wand to command attention. The influencer culture was born.”

    On Facebook, Twitter and Instagram, our music artistes command incredible following- theyare now culture influencers.It is also very easy to watch the highly creative musical videos of our stars on YouTube. The big brands such as Star lager beer, Glo, Coca-Cola, MTN, Pepsi and Airtel came up with different platforms to engage consumers using Nigerian artistes and their music as the emotional space. There was Star mega Jam, Star Trek, StarQuest, MTN Project Fame, Glo Naija Sings, Coke Music Studio and The Voice sponsored by Airtel as well as music concerts sponsored by Pepsi. Unfortunately, nearly all these music platforms have disappeared due toeither budget constraints or changing priorities, thereby denying our abundant aspiring music talents the opportunity to be discovered and celebrated. Usually, our celebrity music stars are handsomely rewarded whether it is when they sing at a wedding ceremony, product launch or a musical concert. For a 10 – 15 minutes performance for example, our top performing artistes earn between N5m andN8m or even more for each performance. They also receive mind-boggling endorsement deals when they are contracted as brand ambassadors.

    Nightclubs, such as Niteshift, owned by the irrepressible Guv’nor Ken Calebs-Olumese are great entertainment outlets that are also helpful in promoting and building the careers of Nigerian musicians. When the Coke studio double decker bus —equipped with a cutting-edge digital recording studio — toured the country on a road show from 2014 – 2018, the number of talented but unrecorded singers who surged forward each time to get the chance to record their songs in thestudio was overwhelming; it clearly shows we have an abundance of talents in Nigeria that must be harnessed on a yearly basis. Eight years ago, Entertainment Express, an entertainment newspaper, was established by some media entrepreneurs– I was one of them — out of a desire to promote the wave making Nigerian pop music industry: the opportunities, promoters, sponsors, artistes and other stakeholders, and tell their inspiring stories. The effort failed after three and half years because of the digital pattern ofnews consumption that had emerged and the publishers had to rest the paper.

    As the world continues to change aided by globalisation and rapidly changing technologies, Nigerian music will also continue to evolve. New stars will emerge on the scene with new variants of the current engaging pop music culture – and the value chain in the music industry will be enhanced for the overall benefit of all practitioners. The role of disc Jockeys and radio/television music presenters will become even more important as they play the rich variety of ‘Naija’ music to their diverse audience.

     

    • Braimah is a public relations and marketing strategist based in Lagos.

     

  • Foundation rates conservation awareness low

    The Nigerian Conservation Foundation (NCF) has described the level of awareness on natural resource conservation among Nigerians as very low.

    Its Programme Lead, Green Recovery Nigeria and Forest Programme, Mr. Adedayo Mahmud has, therefore, urged wildlife stakeholders to embark on grassroots advocacy to raise the level of awareness in nature conservation work.

    Mahmud who spoke with reporters  during the  commemoration of this year’s  International World Wildlife Day in Lagos, noted that most people were yet see cogent reasons for nature conservation which he attributed to  lack of proper knowledge and understanding.

    Mahmud stated that the Day is an advocacy opportunity for engaging local people and relevant stakeholders to support wildlife conservation efforts worldwide.

    He identified the Endangered Species Act, National Biodiversity Strategic Action Plan, the Convention on International Trade in Endangered Species as relevant laws governing wildlife conservation in the country.

    According to him, Nigeria is a signatory to many international treaties for wildlife conservation, such as the Convention on Biodiversity. He pointed out that one of the major challenges of wildlife is that most of the laws are obsolete and weak, stressing that the capacity for enforcement is weak as there is also lack of political will on the part of government.

    He tasked relevant institutions to ensure that wildlife resources are properly conserved so as to function effectively.

    He stated that the country has seven National Parks and numerous Game Reserves, such as Yankari Game Reserve, saying the government has the capacity to do more than it is doing.

    He said: “But the truth is nature conservation is big business and hugely capital-intensive venture. Therefore, government cannot do it alone and needs to encourage the private sectors to participate. We need public private partnership and collaborations to be able to effectively manage our national parks and the game reserves in the country as is being done in East and Central Africa.

    “It will be a shame and a great loss to humanity if Pangolins are allowed to go into extinction due to ignorance, greed among other issues. Pangolins are an integral component of the ecosystem, food chain and web of life where they play vital roles in evolution and ecological well-being of the planet earth. The delicate biological equilibrium will be distorted with grave consequences for human kind should Pangolins go extinct”.

    According to him, “Nigeria still has forest guards. The number of forest guards is grossly inadequate to effectively police our forest estates and the resources therein. We should also be talking about the effectiveness of the forest guards in terms of how well they are equipped to function as they should. The truth is that our forest guards are ill-equipped to deliver on the job mandates. They are also not well motivated as many of them don’t receive patrol and hazards allowances that they are statutorily entitled to. All of these rub off on their productivity. There are lots of risks and hazards associated with the job of a forest guard.”

    He advised the government and policy makers to ensure there were adequate pronouncements in support of wildlife conservation efforts.

    “Nigeria has never and is yet to take full advantage of the potentials of tourism resources as it should have done to enhance income generation abilities, potentials and opportunities that abound in the sector. Tourism can best be described as evolving. Government has established a coordinating Ministry and the Nigeria Tourism Development Corporation to coordinate tourism resources development. Government needs to invest more to develop the sector and encourage public private partnership as well as corporate sponsorship to develop the sector.

    “The advocacy on pangolin is to raise awareness and inspire positive action in aid of pangolin conservation wherever they still remain in the wild.

    “The World Conservation Union (International Union for Conservation of Nature) has developed a Red List of Threatened Species) to guide global conservation efforts. It is difficult to rate one animal over another on the list. We should step up our efforts to prevent further extinctions of species. There are structured already in place but there is no synergy cooperation to effectively address national cause,” he said.