Category: Life – The Midweek Magazine

  • Bountiful harvest holds at National Museum

    Bountiful harvest holds at National Museum

    A solo art exhibition of paintings Ikore (Harvest) by Dr. Aderinsoye Aladegbongbe will open on Saturday September 21 at the National Museum, Onikan, Lagos. The exhibition is expected to feature works in plastopaint rendered in oil and painting paste, mixed media, acrylic and poster colours, printing ink and gouache, acrylic on paper and acrylic on canvas.

    The opening ceremony of the exhibition will be chaired by Otunba Akinbowale Akin-Olugbade while Moses Ohiomokhare is curator.

    According to Dr. Aladegbongbe, art teacher at the School of Arts, Design and Printing, Yaba College of Technology Lagos, the exhibition is a fall-out of a research he carried out on Ijesu Festival at Ilara Mokin, in Ondo state during his post graduate programme. 

    The works on display are Excitement and anticipation towards harvest, Peace and joy of harvest, Dance of the high command, Colourful performance during Ijesu festival, Tribute to the God of harvest, Culture and nature in essence, Workshop of harvest, Dialogue of the duo adherent, Symphony of forms, Sight of land, Bond in harvest and Bountiful harvest among others. Many of the works are in series.

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    He said he was fascinated by the paraphernalia of the festival’s initiates and the different arms of the festival celebration, which he said, has the rites before the rites, during the festival and the rites after.

    “And those rites involve different groups and people. So, I tried to investigate the paraphernalia, what they were, their object of sacrifice and things like that.  I felt that I should push it further.

    Having the knowledge of plastography, looking at Baba Bruce’s works and also the works that Dr. Kunle Adeyemi did, have been to Agbarha-Otor  workshop twice, that gave me the lead way to investigate the paraphernalia further with the use of plastography. 

    But then I looked it further to achieve plastopaint, a process whereby you get your images, which is now the paraphernalia of embellishment for those various rites and the topography of the community,” he said at a preview of the exhibition.

    In the foreword to the exhibition brochure, Dr. Kunle Adeyemi said of the exhibition: “Ikore” (Harvest) by Dr. Aladegbongbe in the annals of documented solo exhibitions will be difficult to be ignored particularly his research, technical maneuvers from his Ph.D studies in the use of lines, forms, symbols and colours. The dynamics of his pictorial compositions are filled with actions and non-static gestures signaling a newness of creative consciousness, of action packed real live theatre of a film show. Undeniably, his works take their— roots from the seamless local stories, dialogues and other range of compositional phrasings, as well as the razzmatazz of liquidized dripping colours under the tendering effects ennobling brush work he  christened plastopaint

    Aladegbongbe’s collection on show is provoking the visual sensibilities of art enthusiasts and collectors alike to appreciate the cumulating quality of this life-sustaining process that nature has endowed mankind. Naturally, Ìkórè (harvest) is the time for the congregation of the people to celebrate the long season of toiling that preceded the harvest. It is a time of rewards and a time to appreciate God for all He provides the world.  Ikore will run till September 28.

  • Eda Aye, The strange encounter for unveiling

    Eda Aye, The strange encounter for unveiling

    A United Kingdom-based Nigerian cleric, Reverend Wisdom Akinpelu has announced plans to release two Christian drama series in Nigeria by October 2024. The series, titled Eda Aye (The Mankind) and The Strange Encounter, aim to educate viewers on the importance of purposeful living and a Christ-centred life.

    According to Akinpelu, the 13-episode series will explore themes such as sexual immorality, ethics, guilt, reconciliation, and redemption, while maintaining African culture and showcasing Bible solutions to complex human problems.

    “Eda-Aye” follows the lives of five individuals as they strive for success and peace, only to face overwhelming challenges that push them to the brink.  Their relentless pursuit of solutions leads to the uncovering of hidden secrets that ultimately provide them with the relief they desperately seek.

    “The Strange Encounter,” on the other hand, revolves around counseling sessions where characters grapple with their choices, exploring themes of temptation, guilt, and the struggle for redemption.

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    One of the issues addressed in this movie is the negative influence of pornography on the lives of many youths and adults alike.

    Akinpelu, a graduate of the University of Cumbria and a current law student at the BPP University Law School, stated that the films aim to beam a spotlight on the destructive effects of pornography and encourage viewers to seek the right way out of addiction.

    He noted that the release of these drama series is expected to make a significant impact on Nigerian audiences, providing a unique blend of entertainment and spiritual guidance.

    “Maintaining and showcasing African culture and in the process using drama to declare the bible solutions to complex human problems thereby creating a peaceful and prosperous society where everyone lives a fulfilled life is paramount.

    “Eda-Aye is a gripping narrative that explores the complex interplay of ambition, morality, and the supernatural, set against the backdrop of personal and spiritual battles.

    “The film follows the lives of five individuals as they strive for success and peace, only to face overwhelming challenges that push them to the brink. Their relentless pursuit of solutions leads to the uncovering of hidden secrets that ultimately provide them with the relief they desperately seek.

    “The Strange Encounter also revolves around counselling sessions, where the characters grapple with their choices, exploring themes of temptation, guilt, and the struggle for redemption.

    “One of the issues addressed in this movie is the negative influence that pornography plays in the lives of many youths and adults alike and we plan to let these films speak to these social issues.

    “Whether we like to admit it or not, many in the church and outside it struggle with addiction to pornography and we want to shine a spotlight on this so they can see how it is destroying lives and seek the right way out of it,” Akinpelu was quoted as saying.

  • Retirement as boost to creativity

    Retirement as boost to creativity

    On August 13, Dr. Kunle Adeyemi, 65, former Dean School of Arts, Design and Printing, Yaba College of Technology, Lagos formally retired from the services of the College. But, his retirement was marked with two solo exhibitions that ran back-to-back at two venues in Lagos as well as a conference on the artist, his art and messages. Assistant Editor (Arts) OZOLUA UHAKHEME reports.

    In a rare fashion, the former Dean School of Arts, Design and Printing, Yaba College of Technology, Lagos, Dr. Kunle Adeyemi transited from being an art teacher to full time studio artist with unprecedented two solo art exhibitions held simultaneously in two venues in Lagos. First was his last solo before retirement from service on August 13 at the Grillo Gallery, Yabatech, followed by a post-retirement exhibition tagged Resounding Echoes: Memories, Retrospect and Vision at the National Museum, Onikan Lagos on September 8. Dr Adedayo Benjamin Laniyi was chair person of the occasion while Dr. Bukola Bello Jaiyesimi was curator of the exhibition.

    In fact, there was no better way to round off a prosperous career as a committed art teacher and studio artist than such solo exhibition that was followed by a committee of friends-organised conference celebrating the ‘man, his art and messages’ on August 29.  

    Penultimate Sunday, Adeyemi offered no fewer than 68 artworks of various media-a unique style of art that focuses on the synthesis of printmaking and painting techniques described as ‘paintographs and paintocasts.’

    The bulk of the artworks at the on-going exhibition, Resounding Echoes: Memories, Retrospect and Vision which runs till tomorrow features works that reflect Adeyemi’s encounters with masters such as Yusuf Grillo, Solomon Wangboje, Kolade Oshinowo and Bruce Onobrakpeya. His participation in local and international art residencies and workshops has also enriched his skill and capacity as an artist.

    Of the artworks on display are Symbols and motifs (Omo lere aiye), Flow of wealth (aje), The king’s crown (ade oba), The bountiful harvest, Japa syndrome series, Forest cape in the tropic, Talking drummer, In the name of God and The wheel of fortune.

    A common thread that also runs through the collection is the artist’s bold and continuous experiment with varied media, thus breaking new grounds in the application of different art materials. Literarily speaking, Adeyemi is a complete artist with a strong touch of creativity in every medium he engages. You cann’t box him to a particular medium as he continues to explore and exploit all the various media to enrich his repertoire. With a sound knowledge of graphic design at the onset, he embraced painting, mixed media, print making and emerging as a master of them.      

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    The collection also includes some contemporary mixed media works, paintings, and prints that capture mythical and poetical scenes of Nigeria’s rich biodiversity. From traditional setting to landscape, spirituality, vegetation, semi abstract forms and human figures, the artist demonstrates his competence in handling diverse subjects irrespective of medium and theme.

    Instructively, Adeyemi’s persona reflects in his treatment of colours in most of his paintings. He is not on the loud side of colour pigments, yet his messages are never lost to such colour scheme. 

    Without doubt, Resounding Echoes: Memories, Retrospect and Vision is a holistic package that addresses the sublime as well as serious issues in the society, ranging from religion to social, political and economic commentaries using various media. 

    But more importantly, Adeyemi continues to drink from the rich Yoruba culture, which forms the core elements of his motifs. Artworks such as Symbols and motifs (Omo lere aiye), Flow of wealth (aje), The king’s crown (ade oba), and The bountiful harvest are testaments to his connectivity to his roots.

    However, he is not oblivious of happenings around him hence some of his works serve as record of major events for posterity. His Japa syndrome series are good examples of his reactions to developments around him.

    Adeyemi’s thematic renditions are in four classifications:  (a) Naturalistic cum semi-abstraction where religious, mythological, historical, literary and everyday life is expressed. (b) abstract expressionism with much of visual impact than storytelling: (c) the third is the Iconic cum expressiveness which displays distorted prompt imageries and colour; (d) the fourth category is geared to create subtle poetry specifically for contemporary enlightenment rather than relating them to meanings. Yet, there are three giant size portraits of two men and a woman that spice up the collection.

    Adeyemi who has held over 26 solo exhibitions and more than 120 group exhibitions locally and internationally said of his artworks: “My subject matter, composition, forms, colors and context are derived from the immediate environment of the Yoruba in Southwestern Nigeria. Most of my themes and titles reflect indigenous African concepts, and modern ideas expressed in modern contemporary language.

      “My explorations in paintograph and paintocast brought about innovations into art practices and art vocabularies which is a significant development and contribution to Nigerian contemporary painting and printmaking. Paintocasts is a synergy forming the synthesis of painting and printmaking traditions, a combination of the required technique, skills, methods and materials from the two artistic genres.

    “In the words of Egonwa, ‘paintograph and paintocast are a procedural transliteration of techniques of one into another… a sort of collaborative possibilities between the visual art, science and technological discipline hitherto thought to be impossible”.

    Adeyemi may have stepped aside from classroom officially, but his studio in Mushin will continue to serve as an alternative and credible creative forge for many including interns and youths in the neighbourhood who have passion for art. 

    According to report, ‘Adeyemi shoulders the burdens of some of these youngsters by providing free training and material supplies. His philanthropic activities cover donations of cash and gift items to the

    church and communities. He also has donated some of his artworks to orphanages and homes where they continue to serve as succour for the depressed.’

    A forth night ago, Adeyemi was also celebrated by his colleagues and friends in the art. Tagged Kunle Adeyemi @65 retirement celebration, the conference/exhibition was held at the Yusuf Grillo auditorium of the College featuring a lecture by Dr. Kunle Filani and performances by Ondo-based cultural troupe, Tijo-Tayo Group.   

    In his remark, Rector Yaba College of Technology, Engineer Ibrahim Adedotun said despite Adeyemis’s formal disengagement from the services of the College, he still remains with the College in body and spirit. “We so much enjoyed his service and we find it reluctantly to allow him go. It is very rare to find ne who combines academic with professional practice. If you ask me to nominate a name for the next Minister of Arts and Culture, I won’t hesitate to mention his name,” he added.

    Former Deputy Rector of the College, Kolade Oshinowo who was Adeyemi’s art teacher at the College, said Adeyemi has been very close to him even as a student adding that he was the only student that drove his car then. “He is an Omoluabi, but all that is being threatened. He is hardworking, humble and you feel his presence anywhere he is. He is an epitome of excellence,” Oshinowo noted.

    In his keynote paper titled Kunle Adeyemi: The Man, His Art and His Message, Dr. Kunle Fiani described Adeyemni as a humanist, astute administrator, diligent scholar and impressive artist adding that his scholarship is also rooted in critical artistic expositions. “With a deep sense of art historical knowledge and a comprehensive understanding of art criticism, there is no iota of doubt that when Kunle Adeyemi’s artistic oeuvre is subjected to the rigours of critical analysis and compartmentalization, he qualifies to be described as a Yoruba Artist more than any other artificial sobriquets.

    “Adeyemi’s artistic thrust rests on a delicate balance of a creative tripod namely that of (a) iconic materials and methods, (b) Yoruba subject matter as content and (c) Yoruba images as art forms. Aside the painting pigments that are fabricated from modern industries, the Printmaking materials used. Some of the listed scholars of Yoruba aesthetics further explored the Iwa-lewa philosophy to situate creativity as an embodiment of aesthetic completeness. This is similar to the biblical concept that says whatever is created by God is good,” he said.

    According to Filani, Adeyemi imbibed the prevalent moral values of the time, which were largely embedded in the Omoluabi principles. Ondo town was a land of culture and tradition. He stated that s a culture-specific artist, Adeyemi’s thematic explorations are often rooted in Yoruba subject matter. The themes, he said, could be royalty, merry-making, fashion, religious worship, masks, festivals, and daily activities. “Adeyemi, as a naturalist painter, will depict the images as representative of cultural settings. He enhances the Yoruba identity through the infusion of related forms, and motifs. Adeyemi is an adherent of cultural aesthetics. He believes that an artist who lives in cultural settings must, of necessity, be an advocate of the environment that shaped his intellectual and creative views,” Filani added.

  • Africa Art Fund, NESG to boost Nigeria’s creative economy

    Africa Art Fund, NESG to boost Nigeria’s creative economy

    The Africa Art Fund and the Nigeria Economic Summit Group (NESG) are collaborating to create a new opportunity for young Nigerian artists under the age of 35. To commemorate NESG’s three decades of operation, the partners have launched a national art competition exclusively for developing talent in this age group.

    The competition, which has a September 14 deadline for entries, is significant because it provides young artists with a rare opportunity to get financial support and recognition. Additionally, this programme has the potential to significantly contribute to the development of Nigeria’s next generation of artists by utilising the nation’s growing international prominence for its vibrant art scene to boost the country’s creative economy.

    The organisers have announced that artists should submit their work via the Africa Art Fund or NESG websites by September 14. From a shortlist of 20, a panel of judges will choose the top three winners. Prizes of ₦3 million, ₦2 million, and ₦1 million will be given out at the NESG conference in Abuja this October.

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    The works of the finalists will be exhibited exclusively at the forthcoming summit, and the winners will receive rewards. A thorough two-month workshop and leadership development programme will also be available to participants, giving pupils the tools they need to thrive in the cutthroat world of the arts. This programme supports the objective of NESG, which is to encourage a private sector-driven economy in Nigeria. NESG works with the Africa Art Fund to harness the potential of art as an engine for economic progress. The president and CEO of Africa Art Fund, Ifesinachi Nwanyanwu, believes that this collaboration presents a special opportunity to emphasise the role that art plays in stimulating the economy.

    Nwanyanwu, a renowned environmental artist and curator, explains that the Africa Art Fund concept was methodically designed to complement this purpose and empower artists to contribute to Nigeria’s economic progress. Drawing on his personal experiences as a self-taught visual artist who struggled financially early in his career, Nwanyanwu, a crop production graduate from the University of Nigeria, Nsukka, realised the importance of support structures for artists and creatives to thrive. “I’ve always explored ways to support fellow creatives,” he discloses.

    Nwanyanwu’s personal artistic experiences have provided him with a thorough awareness of the difficulties that creatives confront while seeking assistance. Having suffered with financial restraints and limited resources early in his career, he is motivated to discover ways to inspire and empower other artists. Nwanyanwu has worked to build a supportive environment for artistic growth through his work at a gallery, which he co-curates alongside Uzodinma Iweala.

    However, it was his participation in the prestigious International Visitors Leadership Programme (IVLP) in 2023 that solidified his concept for the Africa Art Fund. Recognised by the US State Department for his community service, he embarked on a three-week travel around the United States, which helped define his concept.

    Nwanyanwu’s participation in the International Visitor Leadership Programme (IVLP) enhanced his understanding of the art and cultural ecosystem, emphasising the importance of philanthropy contributions in driving growth. This experience led him to start the Africa Art Fund, which aims to adopt effective models and create a comprehensive support structure for Africa’s creative community. He hopes to raise more than $100 million in funding for innovative art initiatives across Africa during the current fiscal year.

    In order to do this, he highlights the value of grassroots involvement and exhorts people to give to the cause. Nwanyanwu emphasises the importance of community ownership and participation for sustainability, pointing out that businesses and individuals in Africa and the diaspora are prepared to donate large sums of money because they understand the positive effects of art on community cohesiveness and economic development. Through advocacy, grantmaking, and leadership, the Africa Art Fund aims to close the gap in philanthropy and charity in the fields of art and culture, ultimately enabling communities to take charge of the discourse and effect good change.

    The purpose of the Africa Art Fund is to offer financial assistance to a wide range of artistic disciplines, such as literature, visual arts, performing arts, and more. The fund’s grant distribution procedure is rigorous and open, with a committed committee supervising the distribution of grants according to specified standards. In order to guarantee a fair and impartial selection process and allow the fund to promote creative and significant projects, each proposal is thoroughly reviewed. According to Nwanyanwu, there is a thriving new generation of artists in the area who are pushing limits and showing off their skills.

    However, the business suffers finance difficulties, a scarcity of dedicated venues, and insufficient government assistance. Despite these challenges, Nwanyanwu feels the scene has room for expansion with government and private sector participation. Recognising the power of art and creativity to drive economic development and social cohesion, the Africa Art Fund intends to address these challenges over the next five years through strategic leadership, grantmaking, and advocacy, with the ultimate goal of fostering a thriving and sustainable creative ecosystem.

  • NAL inducts Ayakoroma, others

    NAL inducts Ayakoroma, others

    The Nigerian Academy of Letters (NAL), a foremost body in the arts and humanities in Nigeria has inducted the Deputy Vice-Chancellor (Academics), University of Africa, Toru-Orua, Bayelsa State, Prof Barclays Foubiri Ayakoroma among 25 scholars into the Academy. Prof Ayakoroma is an accomplished film scholar, playwright and theatre, cultural and broadcast administrator. 

    The induction was held during the 26th NAL convocation and investiture ceremony of new fellows and members as well as awards of excellence in humanistic practice, with the theme, Demagoguery and Democracy. The event, held recently at the J.F. Ade-Ajayi Auditorium, University of Lagos, Akoka, Yaba, Lagos State, witnessed the bestowal of fellowships to 14 distinguished individuals. This occasion also included the presentation of awards recognising excellence in humanistic practice.

    The distinguished scholars honoured with the Regular Fellows and Awards of Excellence and Humanistic Practice are Prof. Asabe Kabir Usman, Prof. Florence Orabueze, Prof. Olukoya Ogen, Prof. Olatunji Oyeshile, Prof. Olusanjo Daramola, Prof. Emmanuel Emasealu, Prof. Cecilia Eme, Prof. Lendzemo Yuka, Prof. Abiodun Salawu, Prof. Anthony Afejuku, Prof. Hakeem Tijani, and Prof. Afis Oladosu. The Overseas Honorary Fellowships and Awards of Excellence in Humanistic Practice were conferred upon Prof. Abiodun Salawu, Prof. Emerita Omofolabo A. Ajayi-Soyinka, and Prof. Hakeem Ibikunle Tijani.

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    Prof Ayakoroma expressed delight at his induction as a member of the esteemed Nigerian Academy of Letters (NAL) and commended the Academy for its significant transformation and influence over the past few decades, acknowledging its substantial contributions to the development of the arts and humanity narratives in the Nigerian nation.

    President of the Nigerian Academy of Letters (NAL), Prof Sola Akinrinade, stated that high-level corruption is obstructing the nation’s growth and development, adding that the nation has had a chequered history with democratic practice. The Fourth Republic, he said, has witnessed 25 years of continuous experience with civilian governance. “However, it is difficult to assert that the nation has successfully built democratic resilience given the constant manifestation of anti-democratic practices and lack of respect for the rule of law by various administrations since 1999,’ he stated.

    He described democracy as fair representation, rule of law and accountability, contrasting this with demagoguery, a manipulative approach to politics based on emotions and prejudices, and adding that the academy has a vital role in critical sectors of the country’s national life.

    “Our interventions during the year have revolved around the theme of democratic development in the country and the role of the humanities in the process. A principal question we have asked ourselves is this: Has democracy, as practiced in this country during the past 25 years, benefited the lives of Nigerians,?”  he wondered.

    In the convocation lecture, titled “The Challenge of Nigerian Democracy: Problem of the System or Its Managers,” Prof Alkasum Abba, underscored the necessity for Nigerians to hold their leaders accountable, decrying the pervasive corruption within various sectors of the nation since 1999 and provided valuable insights to foster robust thoughts on the government’s capital and recurrent expenditure, budgetary allocations, infrastructure, and investments.

    Prof Abba expressed dismay at the way successive governments cover up for their predecessors, leading to a dead end: no fuel, no power, no jobs, no security and no food. He therefore enjoined Nigerians to focus on the failures of the elected officials running our governments.

    “We need to demand accountability from them and stop diverting our attention on this crucial issue. Those people have denied our country electricity, good roads, and a vibrant economy, which are the essential ingredients for economic development, by betraying our trust. They must be made to refund all monies stolen over the past 23 years.”

      The Academy also bestowed its highest honour, the Honorary Fellowship Award, on non-members who have made substantial national contributions to the advancement of the arts and humanities in the country.

    Founder Dr. Bukar Usman Foundation and President of the Nigerian Folklore Society, Dr. Bukar Usman and Secretary-General of the Pan African Writers Association (PAWA), Dr. Wale Okediran were recipients of the Honorary Fellow awards, while the esteemed Nollywood filmmaker, Chief Zeb Ejiro, was honoured with the NAL Award of Excellence in Humanistic Practice.

  • Celebrating poetry as vibrant advocacy tool

    Celebrating poetry as vibrant advocacy tool

    Lagos arts community, especially poets and literati, rose to the occasion recently when the duo of Salome Agbaroji, the 7th U.S. National Youth Poet Laureate, and Deborah Johnson, Nigeria’s representative at 2023 African Cup of Slam Poetry were hosted to an evening of Poetic Conversations at the U.S. Consul General’s residence in Ikoyi, Lagos.

    The all-white cozy venue provided ideal setting for guests that included diplomats, artistes, poets, journalists and art enthusiasts as the two amazons – Salome and Deborah – took turns to perform their poems, followed by other young poets such as Ruth Mahogany, Aremo Gemini, Marvel Iyare, Tobi Abiodun and Kamenelechukwu Susan.

    But Aremo Gemini took the less-fancied route by performing his poem, Odun in Yoruba language, which got a rousing applause from the audience. Odun is a critique of the unforeseen consequences of japa syndrome that has become an attraction among Nigerian youths seeking greener pastures outside the shores of the country, even at any cost or risk.

    The session, which lasted over two hours, was moderated by poet, lawyer and winner of Nigeria Prize for Literature 2013, Tade Ipadeola.

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    U.S. Consulate Public Affairs Officer Julie McKay stressed the importance of cultural exchanges like Agbaroji’s visit to Nigeria and their ability to bring Americans and Nigerians together to share ideas and expertise, promote mutual understanding and freedom of expression. “One of the most empowering opportunities we can offer young people is a platform where their voices can be heard Poetry is an inspiring platform for youth to express their creativity and sense of self,” McKay said.   

    For Salome Agbaroji who performed few of her poems such as Insomnia, the theme and focus of her poems are intentional and inevitable, because she writes about her identity from the perspective that she sees the world.

    She stated that in America, race is a huge defining factor of how one experiences the world. “So, I do take a lot of time to advocate for the black identity intentionally. But, it is also something that just comes naturally to me,” she added with a broad smile.

    Poetry, she said, as an art means a lot to her, ‘but it does mean also a lot to see that there’s a tribe, a community of people that do take interest in the things that I write in my bedroom while I should be doing my homework’

    According to her, poetry goes beyond scribbling some lines or reciting of words to everyday life experiences such as songs and fairy tales.  She noted that when poetry is properly defined and made more inclusive, many more people will be interested in it.

    “I flew from Enugu after poetry workshops to inspire young writers there. Earlier in the week, I did the same thing in Lagos. Michael Cirelli and I are doing the legal form project for poets between ages 16 to 25 and get a platform for their poetry that I have benefited from as well. This isn’t going to be my last time in Nigeria on poetry work. I intend to keep building.

    “I think people care about poetry. They just don’t realise that it is poetry. They don’t realise that their favorite song that they have that got them through that breakup was poetry. They don’t realise that breakup was poetry. They don’t realize that, the fairy tales that their parents would say to them when they were younger as sleeping tales are poetry. And I think when we get better at defining what poetry is, we have the more inclusive genres that more people can be interested in it,” she said.

    Agbaroji who described the conversation as a very blessed realization, recalled that she grew up in an immigrant Nigerian household in the U.S. where the desire to be lawyer, or engineer was uppermost among youths.  

    “I grew up in an immigrant Nigerian household. You either aspire to be a lawyer or an engineer. It was when I found out that when I put a lot of efforts into my poetry, and I shared it, that was when people started to take notice.

    It started from little free gigs that I would do in my little community, to getting flown from the West Coast to New York to perform at a huge gala,” she recalled. 

    Founder and Executive Director, National Youth Poet Laureate Programme, USA, Michael Cirelli has said he could not imagine any other form of diplomacy than poetry programme, which he said, is capable of changing the world. 

    “I cannot think of any other form of diplomacy than poetry. That is going to, like, help change our world and we need it desperately right now. So, it is a beautiful way to kind of build connections and show that we all are connected and we are all human,” he added.

    He noted that the programme is aimed at celebrating the most talented poets in the United States connecting them with large scale opportunities.

    “So as part of the programme, we honour hundreds of poets a year all across the United States, finding ways to connect many young poets in our programmes that have ancestral roots in different countries around the world,” Cirelli said.

  • ‘At 58, God has given me a second chance’

    ‘At 58, God has given me a second chance’

    Perhaps I should not be alive. But I am. Despite the odds, I turn 58 today. I am still frail and fragile. But now, I can stand on my feet again, bearing testimony to those sacred words of the Almighty Allah himself that, “No soul can ever die except by Allah’s leave and at a time appointed (Quran 3: 145),” YUSUPH OLANIYONU, communication strategist, journalist, lawyer and public affairs analyst, recounts his recent health challenges.

    • Continued from last week

    In no time, I began to depend on my wife to brush my teeth, clean myself in the bathroom, put food in my mouth, perform ablution, and do any chore that involved the use of my right hand. Then my right leg soon followed. It was like something was switching off my limbs one by one. Then at night, the pains descended on my neck and shoulder like a boulder. Sleep became impossible. Turning became a torture. To find a position of relief, that small posture that would grant me a respite from this oppressive pain, no matter how fleeting, became impossible. All through this ordeal, I had tried to be brave. Now, I could no longer hold back. I cried. The pain was just too much. And it came in the night. Therefore each night approached with terror because I knew what laid in wait for me in the dark. Maybe if I stayed up. I told my wife that perhaps, I should try to sleep in a sitting position. But nothing I tried helped. The name given to this one, this latest harbinger of pains, is cervical spondylosis. But little did we know that it was much worse than that. One Saturday, we decided to go to a private hospital that specialised in orthopaedics. We were told to come back the following week’s Wednesday. But the pain would not relent. Whatever I did, wherever I turned, it flogged me like an errant child. The hospital later called to make a change from Wednesday to Friday. But by then, we had already sought a more urgent alternative. At 9 p.m. that same night, we met the orthopaedic surgeon. He recommended some drugs and a neck collar, which I must now wear on like a shackle. That night, after a long time, I had a strange sleep without pains. But it was like shooing off a wild dog with a stick. It may back off for the moment, but it would come back. By the next day, the pain returned, ferocious, as if angry to be disrupted for one night.

    Before our next appointment with the orthopaedic surgeon, we took the initiative to do an MRI test. But by then, my case had become a desperate emergency. All my limbs have packed up. Throughout these ordeals, I had never missed my prayers and supplications to Allah. But that morning, I could not move even one finger to press the electronic counter or hold the tasbih.

    “Is this illness also going to separate me from my God in my last days?” I lamented to my wife. She said it was only temporary and everything would be fine. But I learnt she later went into the bathroom to cry. She is a brave woman. But I am sure by this time, even she would also have started to contemplate the worst.

    When the orthopaedic surgeon saw the result of the MRI test, he took us to see a neurologist in a private hospital as well. The neurologist explained that some bones had ruptured in my neck, which had disorganised the nerve supply system from the brain down to the limbs. Again, I had to go in for a surgery to restore the functioning of the nerves. The operation was to be carried out on 13 May. 

While waiting for the appointed date, my colleague, Akintoba Fatigun came to see me. He thought I was getting better. Many of my friends who were speaking to me on the phone thought the same, because despite all that I had suffered, my voice had remained strong and clear. I told Akintoba that in fact, the situation had gotten worse since the last time he visited and that I was actually waiting for another surgery.

    When Akintoba left the house, he went straight to Dr Saraki’s residence and told him of my situation. The former Senate President immediately started to make calls to different hospitals in Saudi Arabia, the UK, and the US. I did not have a valid US visa and we had no time to apply for one. The Saudi hospital, after studying the MRI, later replied that they could not deal with the situation. Then, someone suggested Egypt. Contacts and appointments were made. To enter Egypt, one only needed a valid UK visa to obtain the Egyptian visa at the point of entry.

 By Monday, 13th May, I was set to travel. Dr Saraki had purchased business class tickets for my wife and I. He also provided money to pay for the surgery and living expenses for a month. A day before my departure, the house was full with several family friends, despite our best efforts to keep the trip as confidential as possible. They were people from different parts of the country and people of different religious persuasions. At that point, I was not Yoruba or Muslim to them. I was just another human being. Even as I lay helplessly in bed, contemplating the motley crowd that had gathered in my room, I wondered if they thought they were saying a final goodbye to me.

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    It was time to go. My wife and second son, Oladipo, had already packed the bags. Then we realised that there was yet another important challenge. My room was on the second floor. How do I get down and into the car? We could only think of two options. Oladipo would have to carry me on his back and take me downstairs or I would have to crawl down the staircase. But even these two options were fraught with risks. Yes, I had lost so much weight and Dipo is a burly young man, but he is only 23. The thought of having my son carry me on his back because I could not walk was a distinct trauma on its own. But what if he slipped, and we both crashed to the ground? There could only be one outcome. How would the young man forgive himself? But none of these happened. Dipo successfully carried me downstairs and got me safely into the car.

    On the way to the airport, I told my wife what my Plan B was, if Oladipo had been unable to carry me, to crawl downstairs. “That would have broken me,” she said. I responded with a joke that I needed her to remain unbroken because a broken man could not depend on a broken woman. In the last five months, she had become my in-house nurse, minder, and caregiver.

    Five hours later, we landed in Cairo. My hospital, Neuro Espitalia, is located in a city called 6th of October, which is about an hour’s drive from the Cairo International Airport. I learnt that the city got its name in commemoration of the day one of the Arab-Israeli wars broke out. We were joined at the airport by my third son, Oladepo, who had arranged a two-week leave from his London office and another two weeks to work from the Cairo office of his company. He was to provide an additional hand to me in Egypt for the next one month. Our guide was a Nigerian gentleman called Rabiu Hamza, a PhD student in one of the Egyptian universities.

 We arrived at the Neuro Espitalia at about midnight on that Monday. For the second time in almost a month, I had another sound sleep. Tuesday was devoted to various laboratory tests and to getting my medical history. On Wednesday morning, I had the surgery, which, as they explained, was to “clean an abscess in the cervical vertebrae, stabilise the cervical vertebrae and expand the neural canal.” I didn’t understand everything, but I just wanted to get well. The surgical operation was led by Professor Ibrahim Lotfy, an elderly but friendly surgeon, and Professor Dalia Rushdi.

    After the successful operation, the surgical team decided to culture fragments of bones and tissues extracted from my back to determine what went wrong in the first place. It was an investigation that took days and a lot of blood tests. What they found was, to say the least, shocking. It was described in medical terms as “necrotizing Granulomatous Inflammation Compatible With Tuberculosis of the Vertebrae. No malignancy.” In short, it is called tuberculosis of the vertebrae. This was the stealthy thief that had been stealing my limbs, one by one. But even the surgery could not return everything this disease had stolen from me. I had to recover them myself by re-learning the use of my legs and hands again.

    This was when I realised how much grateful humans should be to their creator for even the most simple things we take for granted everyday. I realised that even the mere ability to scratch one’s face when it itches, what we do countless times everyday without even thinking about it, is indeed a big deal. When my face itched, I would need my son or my wife to scratch it. To change my sleeping posture, I would need them. To change the position of my hands, or clean the sputum that come sometimes when I coughed, I needed them to do these and everything else for me.

    At a point I could no longer fold my fingers to form a fist in order to allow nurses take blood samples or fix the cannula for intravenous infusion. Over the past five months, my arms had been covered in needle marks like a dedicated drug user; to administer some injections, to take blood or to fix the cannula for intravenous medication.

    A few days after the surgery, I began physiotherapy sessions in the hospital. Several physiotherapists came to work on me. But a particular one stood out for me. His name is Ahmed El-Sanadidy, the man from Alexandria. Even after I left the hospital for a rented apartment close by, we contracted El Sanadidy to continue my rehabilitation therapy. He got paid per session. He was such an effective, devoted, passionate, friendly, hardworking, and creative professional. He was also in hot demand in his hometown, Alexandria, and in the city of the 6th of October. In the early part of our sessions, he would form a protective ring around me with his arms to guard me from falling. He taught me to walk all over again, to climb the stairs, to use my arms, to strengthen my fingers, and to regain some level of physical fitness. I called him ‘my boss’. He was the reason I extended my stay in Egypt to two months. He was making some very good progress with my rehabilitation and I did not want to terminate it abruptly.

    But there was yet another challenge. The hospital had tried in vain to get me to go to the toilet. For almost two weeks, even after two sessions of enema, nothing came out. After we moved to the apartment, I thought the privacy of a home would help, but nothing. I would feel pressed to use the toilet and spend time siting and groaning in pain, but nothing would come out. It was later realised that the muscles around my waist had become so weak they could not exert sufficient pressure to push out the waste. This became another source of agonising pain. My stomach felt as solid as if I had been fed concrete cement. This became another major prayer point for me.

    “You should be saying ‘Alhamdulilahi Rabbil alaamin’ because we should let our gratitude to God be more than our requests to Him,” my wife said one day as I was petitioning God over the agony of my plumbing problem. It was a test of faith. But it was also a lesson never to forget. One morning, the plumbing problem resolved itself, not in the most dignifying manner. Since then, it has been easier than ever doing my ‘toileting business’. For more than four months, I was carrying a catheter around. At a point, they became two. But now, I am free of both of them.

    Now, I am a bit stable. I can walk unaided. At a time I could not even move a finger, but now I can sit down and type this piece on my iPad. I can perform my salat, the ablution, ruku (bowing), and the sujud (prostration), all on my own. There was a time in the past when I had to rely on people to do ablution for me and I had to pray lying down. I could not even turn my head to the left or right. I stared at the ceiling all the time and developed a system that enable me use marks on the POP on the ceiling as counter for my supplications. I have learnt not to take anything for granted and to thank my maker for enabling any physical move that I am able to make.

    I have written this piece to celebrate the fact that I am alive, despite my ordeal in the past five months. But I have also written it to share my experience of the Nigerian medical system. Even before I traveled to Egypt, I realised that so much is wrong with our medical system, for which I nearly paid with my life. But my experience in Egyptian hospitals and with Egyptian doctors made me realise this even more. Why do our doctors behave as if they are being forced to be doctors; as if there is no minimum standard to which they must comply; as if they can do anything and get away with it; as if it was enough for them to just claim that they tried their best? The Egyptian hospital was replete with stories of Nigerians who come there to correct surgical operations that had been performed in Nigeria, some from glamorous hospitals in Abuja where they charge exorbitantly.

    At the government hospital in which I was almost killed, a night’s stay in the ICU costs N150,000. I doubt that many hotels charge that much for a standard room. Yet, patients are still made to pay what they call “utility fees,” calculated by the number of days a patient has spent in the hospital. We are not even talking about the cost of medication and drugs. The same hospital sold Tavanic 500mg, an antibiotic used for the treatment of infections for N42,000, while a pharmacy located only a few metres away from the hospital sold the same drug for N20,000. In Egypt, we bought the drug for 124 Egyptian Pounds which is about N4,092, at the exchange rate of N33 to one. How did we find ourselves in a situation where government hospitals have become the most expensive and the most inefficient in Nigeria? Health workers, doctors, nurses, etc., in the private hospitals may not be any better, but at least they appear committed to their jobs. Public health workers in Nigeria behave as if they would rather be somewhere else, as if they are actually doing the patients a favour. The painful truth is that they don’t care whether you live or die. There is work here for everyone – the government, professional bodies and training institutions.

    I was lucky to have powerful people who could muscle them. What about the millions of Nigerians who don’t know anybody? If I were in their situation, I would have long been forgotten. Why would a Nigerian need tonnes of money and powerful friends to stand a chance of surviving a medical challenge in our country?

    My last words are for those of us whose work demands long sitting hours. We need to be mindful of our sitting postures and be sure to get up intermittently. Please don’t ignore any pain. Regular check up can make a difference between life and death. Today I am alive. I give thanks to the Almighty Allah who has given me a second lease of life out of his infinite mercy, not necessarily because I deserve it. All glory be to Him.

  • Strengthening Nigeria-Grenada relations

    Strengthening Nigeria-Grenada relations

    The Consul of the Honorary Consulate of Grenada in Nigeria, Abidemi Oluwagbenga Sonoiki, represents a fascinating blend of banking expertise and international diplomacy. With a distinguished career in banking and finance spanning over 25 years, Sonoiki has made significant contributions to the industry. However, his trajectory took a remarkable turn after a chance encounter at Buckingham Palace, setting him on a new mission to strengthen the ties between Nigeria and Grenada.

    In a recent interview in his Lagos office, Sonoiki shared insights into his journey, his role, and the initiatives aimed at fostering stronger bilateral relations between Nigeria and Grenada, His journey to becoming the Honorary Consul of Grenada began with a visit to Grenada, where he submitted his resume and personal profile for consideration. The process included comprehensive paperwork, interviews and international security checks. Following the election of a new government in Grenada, Sonoiki was invited for further evaluation by the Permanent Secretary of the Ministry of Foreign Affairs for Trade and Investment. His appointment was confirmed by the new Prime Minister, marking the start of his diplomatic mission.

    Sonoiki said that his primary responsibility is to serve as the intermediary between Grenada and Nigeria. “My mission is to harness the talents and skills of people from both nations to promote investment and trade, and to foster collaboration in various sectors such as education, health, tourism, culture, and waste management,” he added. 

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    He noted that the consulate will also provide consular services, offering essential information and support to Nigerians traveling for business, education, and leisure, as well as those seeking citizenship pathways.

    Sonoiki’s major initiatives is the establishment of the Nigeria-Grenada Chamber of Commerce, designed to bring together business people from both countries, said ‘This initiative has already seen progress, with the hosting of Grenadian investors in Nigeria and plans for a business exhibition in October 2024 to showcase Nigerian small and medium enterprises’.

    Sonoiki envisions a successful partnership between Nigeria and Grenada that will enable Nigerians to consider Grenada their second home and vice versa. He highlights the potential for increased foreign exchange earnings through various ventures, including medical education, real estate investment, and renewable energy projects. Sonoiki is optimistic about the possibility of direct flights between Nigeria and Grenada, which would significantly reduce travel time and enhance bilateral exchanges.

    “We plan to intensify the synergy between both countries. You know, to ensure the growth of both economy (Nigeria and Grenada) Nigeria and Nigerians need to rise to the occasion where Nigeria plays big brother to Grenada and the entire Caribbean. I desire to see Grenada and the Caribbean to be the first-choice trade partner of Nigeria in the world. If we can have a good handshake we could take both countries to greater heights, I have no doubt”, he said.

    The consulate said that Sonoiki is currently in discussions with a Finnish firm to provide capital for Nigerians and Grenadians to make investments. He emphasizes the myriad opportunities for small and medium-sized businesses, ranging from service delivery to franchising global fast-food outlets. Such ventures could foster a symbiotic relationship between enterprising Nigerians and Grenadians, leading to substantial economic benefits.

    Grenada, Sonoiki noted, is strategically positioned as a gateway to North and South America, with direct access to the United Kingdom. As an active member of the Caribbean Community (CARICOM), Grenada plays a vital role in regional economic and security initiatives. The country has established strong diplomatic and trade partnerships globally, contributing to its growing influence on the international stage.

    Tourism is a significant area of potential growth, and Sonoiki sees immense opportunities for Nigerians to invest in Grenada’s real estate and medical tourism sectors. “By developing short-term rentals and other accommodations, Nigerians can tap into the lucrative tourism market while simultaneously expanding their business interests.”

    Obtaining Grenadian citizenship offers numerous advantages, including visa-free access to about 150 destinations and the possibility of securing long-term visas for the USA and Canada. Sonoiki encourages Nigerian youths to consider Grenada as a viable alternative to more traditional destinations like the UK and Canada, offering a more streamlined path to global citizenship.

    The St. George’s University in Grenada stands out as a premier institution, particularly in medical education. Sonoiki highlighted the opportunity for Nigerian students to pursue medical degrees and potentially transition to careers in Canada or the USA, thereby contributing to a global exchange of medical expertise.

    Sonoiki, restated his commitment to enhancing trade relations between Nigeria and Grenada, focusing on increasing export volumes and creating opportunities for Nigerian exporters to access markets in North America and Europe through Grenadian partnerships. “He envisions a robust Nigeria-Grenada Chamber of Commerce that will serve as a cornerstone for future economic collaborations”.

    Sonoiki’s vision for the future is one of intensified synergy between Nigeria and Grenada, with Nigeria playing a pivotal role in fostering development across the Caribbean. He aspires to see the bilateral relationship flourish, with both nations benefiting from a dynamic and mutually beneficial partnership

  • ‘Naming National Theatre after Soyinka a step in right direction’

    ‘Naming National Theatre after Soyinka a step in right direction’

    Some call him, “Editor Emeritus”. Others know him as a lecturer, lawyer, and politician. But McNezer Fasehun is also a diehard fan of Prof. Wole Soyinka. From literature to music, to journalism, to law, medicine, maritime, and now poetry, Fasehun is a man of many parts. In this interview with EVELYN OSAGIE, he speaks about his love for the Nobel laureate, navigating career paths and more

    My career trajectory

    My career path traverses law, literature, philosophy, politics, mass communication and media practice. I’d taught all these at various educational levels. So, I’m as much an academic as a practitioner. I started journalism right from my 100 level as I was admitted to study English and Literary Studies at the University of Calabar, Nigeria in 1981. I received the Vice Chancellor’s Certificate of Honour in 200 Level having risen to the rank of Senior Editor II. Some of my colleagues/cartoonists included Prof. Charles Ogbulogor, at the moment the vice chancellor of Maduka University.

    The title of my first GNS Term Paper was The Weaponry of Poetry and Fiction in War Against Apartheid. At the University of Calabar, in conjunction with some law students, I founded the Bob Marley Club. So, subsumed in African Literature, precisely Protest Literature, the title of my graduation essay was George Lamming, Roger Mais and the Dream of Freedom and Salvation in the Caribbean, a study of ‘In the Castle of My Skin and Brother Man’.

    But before gaining admission into the university, I had taught literature, English and Fine Art at Ore Community High School, Ore, Ondo State. Some of the students I taught then now include a professor of Mass Communication and a Senior Advocate of Nigeria.

    With regards to journalism, I rose to the apogee of my media career having been appointed as editor of Prime People magazine at the age of 34. I rose fast from being a cub reporter to coordinating editor of a centre spread in TopNews magazine to being Editor of Prime People magazine. From covering arts pages of various publications, I was canonised as a major contributor to Anglophone African Literature in Bernth Lindfors’ Black African Literature in English, 1992 to 1996.

    I went back to the classroom to teach after my Master’s Degree in Literature, then went to study Law. I later studied Literature  and Medicine. For the Law degree, I specialised in maritime jurisdictions.

     Growing up that influenced the man I have become

    Growing up in a big but not “polygamous” house with one father and many mothers was a unique African experience for me. The term “polygamy” was an unknown vocabulary to me. My mother was my father’s sixteenth wife and I was the 39th child. The mother of Prof. Tolu Odugbemi, former vice chancellor of the University of Lagos (UNILAG), Mama Ileola Odugbemi was the fourth child.

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    The founder of the Oodua People’s Congress, OPC, the late Dr. Frederick Fasehun, was the 18th one; Ambassador Orobola Fasehun was the 30th, and so on. Each person was an asset to another. Our father Columbus Akindojutimi Fasehun was a well-liked Ondo chief. My mother was from the Ogunfiditimi Awosika stock.

    Growing up in Ondo is very similar to what you’d read in Ake, the Years of Childhood by Wole Soyinka but I’m better explained in my memoir In My Father’s House.

     My journey as a writer

    I would say I began at my 100 level in the university. By the end of that year, I had published lighter mood poems like Journey into Yesterday, The Dysentery of My Mistress, and for a creative writing project, I’d published A Lamenting Seed and Other Poems.

    I published a number of poems at Kraft Books, including Ever Had a Dear Sister, Homage to Dawn, Kongimania – Temple of Familiar Mythologies, Letter to Forehead, The Hairs are Singing, One Day When I Lost a Wing, and others.

    An audience might wonder if the title Kongimania is not on a negative axis of literary criticism. The title of the poem is Kongimania – Temple of Familiar Mythologies.

    It talks about the penchant for using celebrity faces in advertisement, especially by roadside artists. And Soyinka’s portrait seems to be the most common.

    Two of my manuscripts have been assessed and adjudged publishable by Spectrum Publishers. They’re Thunder Wire – The Literature of Music in King Sunny Ade, and Designed Destiny – Authorised Biography. I taught at the Lagos State University External Systems across five campuses. I was also on the editorial board of Daily Independent and the defunct National Compass.

    My greatest influence as a writer

    My readers say I have taken a lot of Wole Soyinka but I don’t think it’s funny to stand on that scale at all. I’d better be rated and left alone in my little corner. I would say my works are as didactic as they are entertaining.

    On my latest work in honour of Soyinka

    My latest work is titled Collected Poems. It centres on celebrating Wole Soyinka, my major influence in literature, especially since he clocked 70. I noticed that he and I share a lot of things in common. He was born July 13, and I on July 14. Shortly after my graduation and NYSC in 1986, I was in England with an entry visa that lapsed on September 30, while he was awarded the Nobel Prize for Literature that October.

    My latest work is part of my contribution to what in my own coinage is “Nine Decades with The Forest Father”. “Forest Father” being the role Soyinka played in his Nigeria’s independence play A Dance of the Forests.

    My collection is a multidimensional celebration of Prof. Soyinka at 90. Each of the poems has something to do with what we share in common, his art and how I relate to it and sundry extrapolations.

    Other than being almost birthday mates, he and I had our first sons about the same age; both of them are medical doctors and formerly W.H.O interns. So, the poem ‘Sages and Syringes’ are dedicated to them together with Matthew Arnold who, in one of his essays, adumbrated on the relationship between literature and science, a conical drive in my research works.

    Wole Soyinka@90: His significance to Nigerian literature

    Soyinka contributions to the development of literature, not just in Nigeria but African, cannot be overstated. Teaching the writing of Soyinka means dividing his works into plays, novels, poems, autobiographies/memoirs, etc., each of which would have gotten him the Nobel Prize in its own right. For us the unabashedly devotees of the Writings of Wole Soyinka, it’s been “Nine Good Decades with the Forest Father of Letters”.

    Winning the Nobel Prize for Literature at the record age of 52 has brought a lot of prominence and positive publicity to Nigeria as one of the greatest countries in the world.

    I believe the worthy honour of naming a national monument after Prof. Soyinka is a step in the right direction. Both the portraits of William Shakespeare and Benjamin Franklin adorn the Pound Sterling and the Hundred Dollar bills respectively. It says so much about national literacy consciousness. We salute and congratulate the President Bola Ahmed Tinubu administration for being so lucky to have it done in his regime

    Lessons to learn from the Nobel laureate

    Plato says for there to be a good polity, the political leader must become a philosopher otherwise the philosopher must become the political leader. Destut de Tracy, the French philosopher, has defined ideology as the science of ideas. He said for there to be an ideology there must be the preponderance of faculty. Great nations of the world like the United States have been ideologically developed on the strength of their literary icons.

    Thomas Jefferson, a major writer of the Declaration of Independence has contributed immensely to the American Romantic tradition. Benjamin Franklin the mathematician and physicist who discovered the thunder catcher was signatory to the three documents that made the United States, namely: the Declaration of Independence, the treaty of America with France and the American Constitution. Africa is not left out in this.

    Julius Nyerere the late Tanzanian President, otherwise known as Nwalimu, the teacher it was who translated Shakespeare’s ‘Julius Caesar ‘ and ‘Macbeth’ to Swahili.

    Teaching LIT 511: The Writing of Wole Soyinka in the university has shown to me that with such a light bearer like the ‘Soyinkas’ traversing the 20th and the 21st centuries, Nigeria is long overdue to have evolved a national literature culture. In my opinion, we would have a saner society if no one would be given the license to register and lead any place of worship. They have been taught some Nigerian literature by Soyinka, such as “The Trials of Brother Jero”, etc. Also, no one should go into any political office unless they have been taught in Soyinka’s works, such as “Kongi’s Harvest” and “A Dance of the Forests”, and several other literary works of great national importance. All these should be promoted through ministries of education, information, culture, tourism as the basis of national ideology. These should include also great works of African Literature like Chinua Achebe’s “Things Fall Apart”; D.O.Fagunwa’s “Ogboju Ode Ninu Igbo Irumole” has been translated into English by Soyinka as “Forest of Ten Thousand Daemons”; Akinwumi Ishola translated Soyinka’s “Death and the King’s Horseman” into “Iku Olokun Esin”, etc.

    Also, preventing local languages from going into extinction by translation of literatures from English into them are areas in which Prof. Soyinka has blazed the trail.

    My voyage into politics

    I contested election into the National Assembly in 2007 in the same Surulere Constituency I as Governor Babatunde Raji Fashola and Hon. Femi Gbajabiamila. The media had asked me what I was going to push for at the legislature and I’d mentioned “… cultural revolution…” My ambition was to legislate a national literacy campaign through a virile and vigorous push for literature as canonical for national development away from colonial or neocolonial bequest. I still look forward to being in the executive or legislative or even judicial position to tinker with our national curriculum through education, information, culture, entertainment and so on. 

  • Aza Roy Begood releases HBD

    Aza Roy Begood releases HBD

    By Janefrances Chibuzor

    Afro beat musician Aza Roy Okonkwo, popularly known as Aza Roy Begood has released a single titled HBD (Happy Birthday).

    Aza Roy Begood, a Nigerian residing in Italy, said the genre infuses the music with a unique admixture of cultural influences.

    According to a statement it is an admixture of traditional African rhythms with contemporary beats, creating a captivating and infectious style that resonates with listeners across the globe.

    He said he was inspired by activities derived from his background and heritage.  “Aza Roy Begood’s lyrics are both thought-provoking and relatable, touching in terms of identity, love, as well as social issues.”

    With his soulful voice and dynamic stage presence, “Aza Roy Begood delivers powerful performances that leave audiences aspiring for more.”

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    Embracing his roots while pushing boundaries, “Aza Roy Begood is a rising star in the music scene, poised to make a lasting impact with his innovative sound.”

    He said the track was produced by acclaimed Nigerian record producer Mr. Jackson  Ogala, fondly called Jakabit Blessed Finga.

    The song aims to make every birthday celebration special by sharing love and happiness with each other.

    Spread the joy by streaming and downloading the song using the link below. Let’s make every birthday special by sharing love and happiness with each other. According to him, all over the world, people celebrate birthdays. It is given to you by God. In a couple of weeks, the video will hit the stage.