The Nation Newspaper

Category: Life – The Midweek Magazine

  • MTNF-MUSON Alumni hold concert

    It was a night filled with soulful ballads and scintillating dance performances, when the alumni of the MTN Foundation MUSON Scholarship programme enacted A celebration of love at the Shell Recital Hall of MUSON Centre in Lagos.

    With performances as diverse as Nigeria’s cultural heritage, the musical scholars showed uncommon dexterity switching effortlessly from one musical genre to another.

    From haunting renditions of Yanni’s Nightingale and a Disney Moments’ medley performed by Irede Adegoke and Salome Nmesoma, to sing along inspiring performances of Cobhams Asuquo’s hit song Empty, and Bobby Benson’s classic Taxi Driver, by Osewa David Olawale and Imoleayo Balogun. The evening delivered a plethora of enthralling sensory experiences.

    The MUSON School of Music Director, Mrs. Marion Akpata, praised the performance saying, “We are very proud of our alumni for putting up such a beautiful show. Their achievements and creativity consistently exceed our expectations. We look forward to watching them conquer the world and perhaps return to us to help others achieve the same dream here at the MUSON School of Music. We are grateful to the MTN Foundation for making this possible.”

    The MTN Foundation has partnered with MUSON since 2006 to assist brilliant talents fulfil their dreams of pursuing a career in music, it was said. Over 300 scholars have obtained a MUSON Diploma in Music through the MTNF-MUSON Music Scholarship programme, and have gone on to become masters in their chosen careers.

    For the Chairman, MTN Foundation, Prince Julius Adelusi-Adeluyi, it was a partnership worth the while. “It gives us great pride to partner with MUSON School of Music in the pursuit of excellence. The alumni has delivered another astounding performance, with each one exceeding the previous,” he said.

     

     

  • ‘I was abused by people I trusted’

    In line with the theme of this year’s International Women’s Day, PressforProgress, Amede Ajie Women of All Ages Foundation (AAWOAAF) founder Princess Calista Ezinwa has raised her voice against sexual harassment, sexual abuse and called for women empowerment.

    She urged women to speak out and take action to improve gender equality, self-reliance and self-confidence.

    Princess Ezinwa, who lives in Canada, recalled that as a child, she was sexually, emotionally and physically abused by her relatives and people she trusted would protect her. She noted that for a long time, her concept of love was shattered and that as a teenager growing up in Oguta in Imo State, she couldn’t understand what love was and how she was supposed to respond to it.

    “As a survivor of past abuse, I experienced difficulties falling in love, trusting men and relationships with others.These difficulties influenced badly my relationships with partners, friends, family members and it extended to my children at a time.

    “I have never fallen in love before so I don’t notice when someone loves me naturally because people I believed would protect me as a girl-child failed me.  And this attributed to the reason why I dated married older men for some kind of security.”said the 47 year old Behavioural Therapist who wrote via email.

    Feeling unloved and not being protected by her own family made her withdrawn without anyone to mentor her as she made mistakes. She said not being loved and protected by ‘your own family can be hugely destructive to anyone’s sense of security and short-circuits all the positive messages and skills parents are supposed to be instilling in their children.’

    “I was self-reliant from a very young age and most of what I know about life I taught myself. I didn’t have mentors and no one to rely on. Most of the mistakes people make in life can be generated from lack of good parenting and supportive environment,” she added.

    Six months after Princess Ezinwa wrote her West Africa School Certicate (WASC) exam at Oguta Girls High School, Oguta, Imo State, she became a mother at 17. She was ostracised by her family and friends and had no means of income.

    She described handling the ups and downs of life as a teenage parent as difficult.

    “Many challenges I faced were people’s judgmental attitudes and continuing my education. I needed family support and planning so I can overcome these challenges but it wasn’t there. I did not get any counselling or financial support as it’s applicable here in Toronto, Canada. I struggled to give my child enough attention. I was worried about getting a job so I can feed and provide for her and finding a job in my town was hard as well as finding affordable child care or nanny.

    “I was so lonely and I completely forgot about my friends because I felt none of them loved me. As a teenage mother, I didn’t have much of a social life. I couldn’t relate to my old friends anymore and the things they talked about me were horrible. I was always with my daughter, going to bed at 8:30 pm and getting up at 6am to do house chores and be with her,” she said.

    When her daughter turned two years, Princess Ezinwa was recruited into the Nigerian Custom Services in 1991. She said working and raising her child as a teenager was her hardest challenge.

    “In truth, though, I think I was a great mom, and I know that my daughter is crazy in love with me. I don’t support teenage pregnancy because that is when a child should be learning and developing herself academically and mentally. But if it happens, parents should please learn to counsel and motivates that teenager. Because when a child is loved, educated and protected, he or she would make better choices and would face less negative challenges in life,” she noted.

    Princess Ezinwa, who holds a Diploma certificate in Developmental Service and a postgraduate certificate in Behavioural Science, is also optimistic about the development of girl-child. Having been a victim herself, she believes that creating awareness of the ills of abuse in the lives of Nigerian girls will go a long way in curbing it as well as making mothers pay more attention to their children.

    “Child abuse happens almost everywhere in our society and it is easily overlooked,” said Princess Ezinwa, who founded AAWOAAF in 2014. AAWOAAF educates and inspires mothers and girls via workshops to take leadership roles in gender equality at community level and beyond. It has empowered widows financially, supported less-privileged women and supported some girl children educationally in Oguta Imo state.

    Continuing, she said: “The girl- child abuse should be taken seriously because of its adverse effects to the girl and the society. I know the trauma of abuse will dramatically affect a child’s ability to learn and commonly presents itself as behavioural difficulties in the classroom. It breaks my heart to see misunderstood students disengaging from school and failing through cracks just because of their circumstances. Children only know what they see, so we need to show them that there are other paths to take in life. To break the cycle, I’m sensitising and inspiring many abused girls that they are not alone by empowering them to make positive choices and strive for a better future.”

  • I-Rep Festival opens March 22

    For four days (March 22 to 25), documentary filmmakers and enthusiasts from Africa and parts of Europe will converge on Lagos for this year’s I-Rep International Documentary Film Festival.

    Produced by Foundation for the Development of Documentary Film Festival in Africa, the festival will hold at Freedom Park on Broad Street, Lagos.

    The theme for this year’s edition isArchiving Africa ii: frontiers and new narratives. 

    Festival Special guest is a renowned documentarist of the  film industry, Prof. Jonathan Haynes of Long Island University, Brooklyn, New York City, United States, who will present his new book, Nollywood: The Making of Nigeria’s Film Genre; while Prof Paul Ugor from the Illinois State University will present a keynote as well as review Jonathan Haynes’ book.

    Chairman iREP Board, Prof Awam Amkpa,Tisch School of Arts, New York University, and Dr. Paul Nwulu,Programmes Manager, Ford Foundation West Africa will also be speakers.

    The festival will feature special artiste showcase that will reflect on the works of Prof. Niyi Coker,of University of Missouri, St. Louis.  Focussing on the multi-skilled artiste’s work in Theatre/Cinema/New media/academia, the showcase is essentially designed to present Prof. Coker to aspiring young filmmakers, to make a career in the arts, especially the Film and the new Media. Prof. Coker has directed over 50 major stage productions around the world.

    His films include The Black 14 (for FERPA PBS in 1995); Black Studies US, Pennies for the Boatman, etc. His latest documentary film “Ota Benga: Human at the Zoo” like his previous works, has won serial awards at international film gatherings.

    The festival will also feature the life and career of famous filmmaker, Tunde Kelani, who turned 70 on February 26.

    Founder Mainframe Opomulero, Kelani’s award winning works include Ti Olu Ni Ile; Ayo  Ni Mo Fe; Saworoide; Arugba; Thunderbolt; Abeni; Maami; and lately SidiIlujinle, devised from Wole Soyinka’s classic, The Lion & The Jewel.

    Apart from the celebration, a three-day training would precede the opening of the festival which starts next Monday, and it will focus on storytelling, and will be conducted by Mr Yinka Ogun, a well-known television/radio content provider/consultant and producer whose film credits include Abeni, directed by TundeKilani; Prince of the Savannah, directed by BayoAwala, and Maroko, directed by Femi Odugbemi.

    His selected TV credits include Doctor’s Quarters, and Edge of Paradise, both MNET productions. He is the creator of the award-winning MNET soap opera Tinsel, and the multiple awards winning Dear mother.

  • ‘Exploitation killing aerial photography’

    Bayo Akanbi is a visual artist redefining the digital switch of transactions at one of the booming online real estate companies, ToLet.com. In this interview, he tells TEMITAYO AYETOTO about his passion for street and aerial photography and the hurdles against his dreams.

     WHAT  is photography in real estate?

    In real estate, a lot of people want to sell their properties faster and the best way to present the value of your property is to get a professional picture. The way we take real estate picture is different from the way people take landscape, portraits or street photography.  The technique is very different. So, there are certain things you need to capture when shooting for real estate and there are things not needed. If I want to shoot a property, for instance, there are four things I need to shoot: the exterior, the interior, the living room, the master bedroom and the kitchen and maybe, the toilet. Those are the areas people want to see when they want to buy property. Unlike random photography, a novice could shoot different angles of the same object when all you need is a perfect shot. We edit and do finishing touches, but not extreme enough to make it unrealistic.

    Would you say professional photography has given real estate a mileage?

    Real estate in Nigeria is one of the fast-growing sectors as a lot of people are investing in it, especially in Lagos. Most of the people that are really interested in the industry are such that do not have the luxury to go around and check out properties. They usually rely on pictures and when the picture is very good, it helps the property sell faster than when such photography don’t exist.

    How is the drone technology impacting the sector?

    There is a law in Nigeria that before you can fly a drone, you have to have rights. You have to obtain a form before you can get the permission. And the fee is about N300,000 and a yearly renewal of N100,000. That fee alone is ridiculous. You can get a professional drone for about N200,000. So, why should I buy the permission for its use for about N400,000. This kind of law will prevent people from going into aerial photography.

    So, how do you fly your drone?

    I don’t have a right. The only thing I do is to ensure I don’t fly in certain areas where aircraft or helipads fly around.

    Thus the law is effective?

    It is not effective. I know a lot of people who are into aerial photography, but don’t have rights because they can’t afford it. The law appears to be killing the budding sector. It is still a new terrain, most times when I go out to fly some aerial shots, I see a lot of people come out looking amazed and they ask me questions on how I fly it. Someone even asked if it could take him out of Nigeria. So, I don’t know how they will fix a kind of law that will affect the industry.

     The Federal Government has been in active support of the expansion of the creative industry due to the huge potential it has to contribute to the Gross Domestic Product (GDP), what input does photography offer?

    It is still growing. To fly a drone in a day, averagely, you could be billed about N50,000 or N70,000. It’s a bit pricy. So, people are not really patronising it because it is expensive. For the exposure, we still need aerial photography. It might not be contributing much for now, but there are potential benefits in the long run. For instance, whenever there is traffic, GidiTraffick flies drone to see the situation of things and feed Lagosians back. The information helps people identify clear  routes and, consequently, spend less productive hours on the road.

    What challenges do you face taking aerial shots in Lagos?

    I have shot a lot of aerial shots on the Mainland and Island and my take is that there are more challenges shooting on the mainland. I think most people there have not yet realised how this technology can help their area because when I go out, a lot of people show up to extort me. They usually insist I drop something. When I went to Surulere, to fly drone at Shitta round-about, I didn’t know that I was in Shitta. I just got there, prepared my device and started flying it. One after the other people started coming, asking where I’m from, who gave me permission and all that. Then one of them insisted that I paid N50,000. Then another woman intervened, saying even if it is just N20,000 you have, just give them. I was shocked by their demands. And to think that I’m not making money from it, but to basically make pictorial documentation of the area. I realised they don’t care about that except the money. In fact, an educated man among came to me, telling me to give them the money, whereas I expected him to understand.

    But most times on the Island, people approach me for my contacts when they see me flying a drone. That’s the difference I experienced. It’s rare on the mainland. But, most importantly, it is about the people, not the area.

    What do people stand to gain?

    The aerial shot of an area will give you an idea of its layout. If they have beautiful infrastructure like a stadium, you will capture how wide it is and how it fits into other units. It gives a good overview of an area from afar.

    If you try to check aerial shots of Lagos, they are very limited. Why?

    I think it is because of the challenges people like me face taking aerial shots. If you need the aerial shot of Mushin, for instance, why would you need to go there when you can just download from the internet, but these pictures are not online because of people that are limiting the access of photographers?

    Weeks back, I was shooting on the third mainland bridge and some policemen challenged me, asking why I was shooting. I told them I wanted to take a view of third mainland bridge with Lagos Island for personal documentation. They said okay, but I have to drop something for no reason.

     How can this perception change towards photography in Nigeria?

    I think it is all about mentality. Some Nigerians are insecure and feel they are not too good to be captured. Most times when I’m doing street photography and I take candid pictures of maybe people in the market, immediately they see that camera, they just become aggressive. At times even my attempt to be friendly or explanatory does not work because they just don’t want their face taken.

    Why?

    Maybe some feel like they aren’t supposed to be in the market or that they are too good to be selling stuff in the market. It just shows they are not really happy with the situation they find themselves. Unlike in advanced countries, people don’t bother. They just mind their businesses.

    How should the government help?

    The police should be more supportive. In most of the challenges If I face problems during shooting in unfamiliar terrains, the only person I can run to is the police. If they are aware that the effort is to digitalise the geographic documentation of the country, then they can back us rather than contribute to the exploitation. As a photographer, I prefer street photography but the situation of things in the country is discouraging. Because of that, I prefer real estate since I shoot buildings and buildings don’t complain.

  • Lagos still interested in National Theatre

    Lagos State Commissioner for Tourism, Arts and Culture Mr. Steve Ayorinde has reiterated the government’s strong interest in having the National Theatre, Iganmu, ceded to Lagos by  the Federal Government.

    He said considering the state of the theatre, it required a strong, committed and competent  manager capable of restoring the various facilities originally provided by the 41-year-old edifice.

    Ayorinde, who spoke while hosting representatives of the Arts and Culture Writers Association of Nigeria (ACWAN) in his office in Lagos, disclosed that four of the six theatres being constructed by the state would be ready before the end of the year.

    The theatres, he said, are in Epe, Badagry, Igando and Opebi in Ikeja. He said Lagos was also regenerating the Glover Memorial Hall on Lagos Island, which hopefully would be completed by the first quarter of next year.

    “Four of the six theatres under construction will be ready later this year. The structures are almost done after which we will equip them. And part of what we are contemplating is should we have them function in dual capacity: theatre and as cinema. If we use theatre as venue for cinema, it will not be ideal.

    “But because of land constraint, which we have overcome, theatres in Yaba and Ikorodu will be ready next year. Also, we are regenerating the Glover Memorial Hall on Lagos Island. The design is ready and will soon be made public in the media. We hope to complete it by first quarter of next year. We are still very interested in having the National Theatre ceded to us,” he added.

    He also disclosed that the State Master Plan would be unveiled in May to guide the administration of tourism promotion for the next 15 to 20 years in the state. “In the first two years, the master plan will handle issues like number of hotels, regulation of beaches, cleaning of waterways, what level of investment is required, what kind of support services is required, security, liaison with the Federal Government on issuing visa on arrival to tourists among others,”he said.

    On the recent listing of events on the state’s tourism calendar, he said the calendar would be updated regularly but that the government was targeting a minimum of 100 events in one year, which he said, is not too much for a mega city like Lagos.

    “We have listed about 70 events, but the calendar is not cast in stone and not exhaustive. It shows key programmes,which government will either directly fund or part-fund and those that it endorses. As we move along, the calendar will be updated and the essence of the calendar is to change the narrative of how culture programmes are reported and appreciated. As from next year, the calendar will be released by the beginning of the year,’’ he said.

  • Remembering thunder king of theatre Duro Ladipo

    LAST Sunday made it exactly 40 years that  the iconic actor, playwright and musicologist, Duro Ladipo, MON, died in Ibadan, Oyo State. He was 45.

    Perhaps, “died” is a skinny adjective to describe the passage of the world-acclaimed thespian. ‘Ascension’, like the Yoruba firm belief of the departure of Alaafin Sango, whose alter ego, Ladipo was, is more appropriate.

    Sango, the fire-spitting King was the fourth Alaafin of the old Oyo Empire. He reigned for 60 years (1077-1137 AD). His mother was from the Nupe tribe of the present Niger State. Sango was a powerful and feared king who the Yoruba, and his devotees in the diaspora(Brazil, Cuba, United States, South America, West Africa etc.) believe ascended into heaven, as against Sango’s critics false claim that he hanged himself. (Oba Ko So – The King did not hang).

    In commemoration of Ladipo’s exit from this world on March 11, 1978, his family has put in place a week-long 40th anniversary programme, which started from Saturday,  March 10 to Sunday, March 18.

    Highlights of the remembrance programme include the launching of the Duro Ladipo Monument (the new Mbari in Osogbo, Osun State) arts exhibition, stage performance of “Ajagun Nla” and premiere of “Moremi Ajasoro”. It will be recalled that the new film, “Moremi Ajasoro” was shown in Chicago, US last summer. I was present as a Trustee of the Duro Ladipo Foundation and chairman of the US premiere of the new film, directed by Ladipo’s wife-actor, Chief (Mrs.) Abiodun Duro Ladipo, alias “Moremi”.

    The late Ladipo belonged to the talented group of pioneers/doyens of theatre, such as, Hubert Ogunde, OyinAdejobi, ‘Wole Soyinka, Ola Rotimi, Segun Olusola, Sam Akpabot, Sonnny Oti, Kola Ogunmola and Akin Euba.

    Let  me recall my article titled: “An Evening with Sango” published in some national weeklies 16 years ago. (Please see The Guardian on Sunday issue of March 21, 2002 for ease of reference.)

    “We have since that 2002 evening of tributes established the Duro Ladipo Foundation, with “Moremi” as the president and my humble self, her deputy. In celebrating the 30th anniversary of the passage Duro Ladipo in 2008, we published his biography co-authored by “Moremi”, and two of Nigeria’s star authors, academics, poets and playwrights, based at the University of Ibadan, Prof Remi Raji, President Association of Nigerian Authors (ANA) and Prof Dapo Olorunyomi. We also staged “Oba Koso” in Oyo and Osun states. Our intention to put three of Ladipo’s epic plays on celluloid is stalled by lack of funds/sponsorship. I pray this piece gingers philanthropists and endowed theatre lovers to rise up and lend helping hands.

    “True to predictions and expectations, it not only rained, but thundered as well, that Monday (March 11, 2002 to be precise) when relations, admirers, media and theatre arts practitioners gathered at Bode Wasinmi, Ibadan to celebate the 24th anniversary of the passage of Ladipo,  the world renowned actor, playwright and folkore exponent, who, in character and acts, proved that he was no fluke re-incarnation of Sango, the Yoruba god of thunder and the fourth Alaafin of the old Oyo Empire.

    “Sango was a very powerful king. He had an equally strong wife called Oya. She was a loyal ally of her husband. In the heat of a revolt by his subjects, due largely to Sango-induced duels between two of his generals, Timi and Gbonnka, Sango abdicated to his mother’s town in Nupelandfrom where he “ascended” to heaven. He became a deity and is worshipped as the god of thunder till today inYoruba land, Brazil, Cuba, US, South America and parts of Africa.

    “The Monday 11, 2002 rain and thunderstorms were repeats of the March 11, 1978 scenario, when an unusually heavy rain with equally heavy thunderstorms heralded the transition of Duro Ladipo, at 45, confirming Sango’s welcome of his ‘alter ego’ to heaven and before the owner of heaven and earth, Olodumare, God.

    “There were three ‘takes’ of rain on the evening of tributes, which failed to deter one’s resolve to attend the ceremony, moreso, as the matriarch of the Duro Ladipo Dynasty, Chief (Mrs.)Abiodun Duro-Ladipo, alias “Moremi”, had delivered the kind invitation to me and had admonished that the evening was going to be the forerunner to the silver jubilee celebration of her late husband’s  ascendancy to heaven, come March 11, 2003 .

    “Arriving at Duro Ladipo’s Bode Wasinmi Ibadan expansive, but modest home, the name which the well-populated area of Bashorun area in Ibadan now proudly bears, one transited into therustic, pure, cool, native and natural village atmosphere. What with theatre and broadcast media greats like Alagba Adebayo Faleti (Baruuwa to Duro Ladipo, his chum),” Moses Olaiya  alias Baba Sala, Tubosun Oladapo, (OdidereAyekooto), Dr. Larinde Akinleye, Moses Omilani, Olowomojuore, Ayobami Olabiyi, among others, in attendance. On hand to welcome guests, like a good hostess which she has always been, was “Moremi”. She seems to grow more radiant in beauty, sonorous in voice and glossy in skin, as seasons fall on themselves. Her constant pleas to us, her guests, to please pardon Bode Wasinmi’s simplicity were drowned by our choruses of  “We are not here to lap up gaudiness or stinking riches, but rather to pay homage to a true star actor and reformist”. I noticed that “Moremi” eventually relaxed when the genuineness of our feelings and expressions as sincere friends and admirers of her late husband sank home. That’s the beauty of life with ordinary folks and natural people. No pretentions, no fusses.

    “Perhaps, because of the rain and thunderstoms that evening, public power supply was cut off. As such, we had to watch a 1966 documentary on Duro Ladipo with power supply from a fairly-usedportable generator whose havoc (actually a blessing in disguise), I shall recall in a shortwhile in this piece.

    “The evening of tributes, organised by the elders of the Association of Nigerian Theatre Arts Practitioners (ANTAP) was the first public appreciation of Duro Ladipo’s immense contributions to theatre arts in Nigeria by fellow artistes, according to “Moremi”. From Alagba Adebayo Faleti, the Chairman, Oyo Sate Council of Arts and Culture to “Baba Sala” and Olufemi Dada, alias “Benja-Benja”, it was eulogies, songs, ewi (poems) and reminiscences galore in honour of the late son of a catechist who not only revolutionised church music with the introduction of native drums, but opened a fresh chapter in yuletide celebrations with the production of Christmas cantata at the National Museum, Onikan, Lagos State in 1963, for which he was presented a trophy by Nigeria’s first president, the late Dr. Nnamdi Azikiwe. Ladipo then went on full-time play writing and stage production in collaboration with a German and former lecturer at the University of Ibadan, Prof.Ulli Bierre, who converted Ladipo’s “Popular Bar” in Osogbo to the famous Mbari Club. The genius in Ladipo blossomed, in no time, resulting in his production of classical operas and plays, such as “Oba Moro”, “Oba Koso”, “Ajagun Nla”, and “Eda”.

    “In the documentary titled: “The Creative Man” by the American Educational Television, Ladipo talks about his life as a youth, who took early interest in drama while at school in OtanAyegbaju in present day Osun State. From there, he graduated to producing school plays when he became a pupil teacher. “I introduced native drums to church music to change the monotony. I shocked everybody,” he explains in the film.

    “According to Ladipo, his travelling theatre group made do with gas lamps and hurricane lanterns for stage effects. With vigorous rehearsals, attention to details, researches, guts, and sheer luck, he broke through the amateur ranks and emerged the notable dramatist whose group, the Duro Ladipo National Theatre, would win the first prize at the Berlin Arts Festival in Germany in 1964 and at the first- ever Commonwealth Arts Festival in London, United Kingdom, the followingyear, with his epic play, “Oba Koso”. With this play and “Oluweri”, Duro and his group stamped their authority across the globe with capacity-filled presentations in Scotland, France, Switzerland, Yugoslavia, Italy, Iran, US, Brazil, Belgium, Austria and Holland. To his credit, Ladipo wrote and produced 36 plays, published 10 plays, produced nine gramophone records, received two national and three international awards and acted in four films.

    “When, earlier in this article, I refered to the blessing in disguise by the flunking generator at the evening of tributes, what I meant was that on getting to the scene in the film, “The CreativeMan”where Sango threatened to hang himself, the generator spluttered to a stop! All efforts to restart it failed, thereby making it impossible for the audience, to see whether Sango carried out his threat to hang himself or not. Someone in the audience described the generator failure as confirmation of the long-held belief that Alaafin Sango did not commit suicide, but ascended to heaven (Oba Ko So).

    “Describing the evening of tributes as a prelude to the silver jubilee celebration of her husband’s passage, come March 11, 2003, Mrs. Duro-Ladipo, thanked the audience for its kind response to her invitation. She praised the organisers for their thoughtfulness and prayed for the chairman of the occasion (guess who? Me, now). Between now and March 2003, the onus is on all lovers of arts and admirers of “Sango” (Duro Ladipo) to gird our loins and actualise the dreams of “Moremi” to make the silver jubilee celebration a thunderous show”.

    This is 2018, the 40th year that Ladipo quit the stage and the world. It behoves on us, governments, corporate bodies, arts buffs, admirers etc to rekindle the sweet memory of the late thunderking of theatre, Ladipo, by supporting and attending the beautiful  anniversary celebration designed by his family.

     

    • Alabi is a Trustee of the Duro Ladipo Foundation

     

  • Tutu dominates forum’s celebration

    A 1974 Ben Enwonwu’’s painting, Tutu, a version of the controversial painting that sold for one million pounds (above estimated sale of less than 400,000 pounds) at Bonhams’ auction last month in London, was the toast of a gathering of artists and critics in Lagos.

    The 44-year-old painting was described as an all-time record sale that has added a fresh window of value to modern Nigerian art.

    It thus became a record sale, not just for Enwonwu but a West African auction record. Tutu is a painting by the artist of Princess Tutu Ademiluyi in 1973, when he was a professor of Fine Arts at the University of Ife, now Obafemi Awolowo University, Ile Ife, Osun State.

    Former Provost, Federal College of Education, Osiele, Abeokuta, Dr. Kunle Filani, said the record sale of Enwonwu’s Tutu had opened a fresh window of value for modern Nigerian art, noting that art scholars and critics must theorise, talk and postulate about the painting.

    According to him, the record sale has also added value and recognition to Nigerian arts, artists and modern African arts.

    He spoke at an evening of celebration, discussions and talks on arts and artists organised by Artists Social Forum at The Resource Place, Adeniyi Jones, Ikeja Lagos penultimate Sunday.

    It was also an evening to celebrate artists, such as Kolade Oshinowo, Bunmi Davies, Kelani Abass, Josy Ajiboye and Olu Amoda whose birth months are between February and March.

    Elder artist Chief Timothy Fasuyi said the real essence of the forum was to share ideas on art and artists, with the aim of promoting, projecting both old and young artists as well as to serve as a single voice in the creative sector. “It is to educate the public on the various aspects of art for better appreciation. Also, it provides a platform for the celebration of artists while alive,” he said, adding that issue of opening a secretariat for the Society of Nigerian Artists (SNA) should be considered.

    Publisher Agufon magazine Bunmi Davies, who chaired the evening, said she was highly honoured as a celebrator and chair person of the evening, adding that artists must put in enough to get enough returns that will be benficial to all. She said Oshinowo’s contributions to art were done not because he wanted to be rewarded by his old students.

    “However, his 70th birthday celebration was a testimony to how he touched his old students who celebrated him since he turned 70 early last month.

    To Oshinowo, the one-month celebration of his 70th birthday far exceeded his expectations, saying that whatever he might have done might not have been excellent but he had done his best. “I thank everyone who feels warmly of what I have done,” he added.

    On behalf of his father, Mrs. Yemisi Osundina praised the organisers of the evening for the honour done his father Ajiboye.

    The high point of the evening was paper presentation on Five things you can sell in art by Juliet Ezenwa Maja-Pearce. She identified the things as credibility, product, time, rights over your products and image. She said credibility involves credible relationship, character, competence, fame, referrals among others which every artist must have in order to succeed.

    She urged artists to be original and should not copy but can borrow ideas. “Be willing to sell your works. Be discipline and keep your works for maturity. Do not create emotional bond between you and your work, embrace experimentation because of competition and use quality materials,” she added.

    Oshinowo disagreed with issue of emotions saying: “I am very emotional to my works. For me, until you have done paintings that you do not want to sell, you have not started.”

     

     

    Present at the evening were Dr. Simon Ikpakronyi, Dr. Kunle Adeeyemi, Dr. Biodun Kafaru, Adeleye Makanju, Kelani Abass, Dr. Stella Awoh, and Wale Fasuyi.

     

     

  • Lack of security is endangering book, says PEN Nigeria

    The Nigerian Centre of PEN International (PEN Nigeria) has condemned the abduction of 110 students at the Government Girls Technical and Science College, Dapchi, Yobe State.

    According to the group, lack of security of lives and property, besides grinding poverty, is endangering the book in Nigeria.

    It made the observation in astatement entitled: The Book in Nigeria – an Endangered Species, to mark the United Nations World Book Day. “Schooling is a precarious venture in a terrain that is notorious for corruption, mass kidnapping and massacre of students in their schools, particularly in the north which is known to be educationally disadvantaged”, it noted.

    While decrying the state of the reading culture and the plights of the book industry players in the country, the group emphasised that the book and its industry are significant to a nation and humanity at large. It, therefore, called for the effective activation of the Nigerian book policy and support for the book industry to make book affordable and accessible to the general public.

    “Hardly has there been any genuine effort by past or present government towards taking care of the interest of authors, publishers, booksellers or other actors in the book industry. Despite the noise made by the successive federal and state governments about the need to bring back the book to the consciousness of our society, the book policy is yet to be effectively activated.

    “The industry, unregulated by government, is left to the whims and caprices of economic sharks and hawks. The cost of production of books and other socio-economic factors keep pushing the book out of the reach of the common man, a situation that has kept book pirates and other hawks in business in the country. These sinister characters swoop down on the market, scooping up the dividends of the hard labour, sleepless nights and capital invested by authors and publishers in the venture.”

    PEN Nigeria said the re-establishment of well-stocked libraries in schools and community, and employing librarians would go a long way to help boost reading culture in the country.

    What is designated “library” in most government-owned schools are empty rooms marked, in some cases, “Reading Rooms”, manned by English Language or other teachers, assisted by library prefects; or just one or two shelves housing a handful of tattered books kept in the head teacher’s office. Most — if not all — state governments in Nigeria have, since the ’80s, dispensed with the idea of employing librarians or officers so-designated to manage libraries at those critical levels of education, an idea they obviously consider a waste of scarce resources.

  • ‘I was a spoilt child of Daily Times’

    ‘I was a spoilt child of Daily Times’

    Former Managing Director of Daily Times Group, Akogun Tola Adeniyi (aka Aba Saheed) is unhappy about the state of the nation. He speaks with Assistant Editor (Arts) OZOLUA UHAKHEME on herdsmen/farmers crises, his exile in the United Kingdom, why he published his new book. In the belly of vultures, his desire to return to theatre, among other things.

    How timely is your new book titled: In the belly of vultures?

    It is very timely. When we talk of vultures, we are actually talking of those who have turned Nigeria’s commonwealth into carcasses and they are feeding on carcasses. The vultures are also growing into vampires feeding on peoples’ blood. So, Nigeria is in the belly of vampires. It is very timely. My second book In the belly of vampire, then Nigeria in the belly of military, which has been written long time ago. I shelved the publishing in 2009.

    Publishing the new book is as a result of pressure from friends, seniors, colleagues and younger generation Nigerians who want the opportunity to see all my articles in one volume. That is why I called it a legacy project, which I want to bequeathe to Nigerians. It contains 1238 pages of ledger size without illustration or pictures. It has few of my poems I wrote in the early 60s. But the poems are originally in Yoruba, but translated into English.

    What is the story behind your pen name Aba Sahed?

    Aba Saheed was a creation of Alhaji Babatunde Jose while at the Daily Times. In 1973, my columns at that time were extremely critical of Gen. Yakubu Gowon’s administration. There was a particular edition of my column published in Daily Times and was part of northern and eastern edition that had gone for distribution to states. One Mr. Nameh read through the column and said it was too hot. He drew Jose’s attention to it and all copies that had gone to the north and east were recalled. That day, 130,000 copies of Daily Times were recalled and burnt. So, on that day Daily Times was not sold in the north and east.

    Who bore the cost of the recall?

    The management did.

    And you were not sanctioned?

    No. I was a spoilt child of the paper then. Jose really loved me and took extreme care of me. He enjoyed my writings.

    Was that how Aba Saheed came to be?

    No. But when I was being hunted and harassed by security operatives, Jose called me and asked, ‘don’t you have a Muslim name?’ I said yes and that my Muslim name is Saheed. So, he said why not adopt the pen name Aba Saheed so that when I write they will think am a northerner. Again, that time each time I wrote, I quoted profusely from Quran. And after I adopted Aba Saheed for the satirical column, I was not invited by the police any more. For two to three years, they thought I was a northerner.

    That speaks volume of the leadership challenge in Nigeria. Recall that past head of states like Gowon, Babangida, Abacha to some extent were actually not accepted by the core northern establishment. We knew when Gowon was Head of State the power behind the throne was Murtala Muhammed. Several times, Murtala Muhammed would shout him down at the Federal Executive meeting. I know that Babangida to a large extent asserted himself as president. But when he appointed Maccido as Sultan of Sokoto, it was overturned after few weeks. Malami was not the candidate of Babangida. Aba Saheed gave me some anonymity for some time. In Evening Times alone, I was writing 12 columns in a week.

    How do you manage your time as columnist and features writer?

    When I was Ombudsman I was doing my beat of feature writing, my investigation and writing my columns too. Again, I was still the Literary Editor of Daily Times at that time reviewing books and music. That was what brought Fela and I close. When I launched my poetry books at Ibadan in 1974, Fela brought two large buses to the event. I was still reviewing plays, exhibition and music, which were not my normal schedule. I was also writing a column in Sunday Times too.

    My satire column was influenced by two key writers, Kafka and Sad Sam (Sam Amuka-Pemu).

    Can we say satire as a genre of literary work is an escapist approach or a cover?

    It is more of a cover than escapist approach. You make stronger effect when you lampooned people and don’t know until they read between the lines.

    Is your recently-launched book Inside the belly of Vultures your first to be published by Canada University Press?

    Aba Saheed and Theatre on wheels were republished by Canada University Press. I founded Canada-Nigerian Chamber of Commerce. I also founded Africa-Canada Chamber of Commerce to promote trade between Nigeria and Canada and between Africa and Canada.

    When I founded the Canada-Nigeria Chamber of Commerce, I was not the first chairman or president. I allowed members to run the association. Mine was to create the idea and allow members to run it.

    What’s your take on the herdsmen-farmers crises across the country?

    If the agenda of President Buhari is not checkmated from continuing the drive of Uthman Dan Fodio to recolonise Nigeria, a time will come when Nigerians will say enough is enough. People are being killed in Zamfara, Benue, Plateau, Enugu, Edo and Delta states. A time will come when Nigerians will see through the real intensions. We know that those killers are not the cow owners. They are mere messengers.

    There is no comparison between Boko Haram and herdsmen. Boko Haram was the fallout of almajiris and other jobless individuals in that part of the country who were used and dumped by politicians seeking power. If you recall, one or two commissioners under Shettima’s administration in Borno State were indicted then. In fact, Boko Haram was on a vengeance mission. This was to show their anger and attract Federal Government’s attention. At a later time, international interest came in, and Boko Haram became internationalised and that is where we are today. Some politicians took advantage of this and fed fat from the crisis. Like the late General Sani Abacha said, if insurgence lasted more than a year, it means the government was involved.

    The unending killing by herdsmen has shown why Muhammadu Buhari insisted on running for presidency for four times. He had an agenda and his interest was not to govern Nigeria but to execute that agenda.

    How do we avert this?

    I don’t know. I cannot sit down here and assume that I know all the answers to Nigeria’s problems. I think they should allow wisdom to prevail. If those who are bent on recolonising Nigeria apply common sense and wisdom to guide them, they will retrace their steps. Roman Empire consisted of many conquered lands and all the lands got their freedom. And Roman Empire disintegrated and collapsed. There was the British Commonwealth, Spanish and Portuguese, all these people conquered and that colonised people, but that is no more the case. No sensible group of human beings should be laying claim to occupation or domination by conquest. That era has gone. The Germans conquered Britain, but they are not ruling the Britons. So, you cannot say that because you conquered Ilorin at a time, therefore there should be an emir there, when Ilorin is more than 95 percent Yoruba.The same thing happened in Nasarawa, Bauchi and Plateau states. You cannot continue to put emir in every village. What will solve the problem of Nigeria is application of wisdom, knowledge and intellect.

    I believe that Nigeria as a hugely populated country is an asset to the people of brown skin all over the world. To that extent, I still believe in the largeness of Nigeria. I would rather stay in a big Nigeria than stay in Oduduwa Republic. But, heaven said that, I would rather prefer to stay in a free Oduduwa Republic or Biafra Republic than stay in a Nigeria that does not guarantee peace, equity and justice.

    You are wearing many caps as chief, yet you are not looking at the direction of politics. Why?

    In 1981, when I did the formal opening of my house at Ijebu, Baba Jose wrote me saying my son you are on your way to real big time politics. Brigadier Johnson, Gen Danjuma, Prof Ambrose Alli and other prominent Nigerians were all there. Alaafin of Oyo came to open the house. I was around 40 years then. To be honest with you, I have never been attracted to playing partisan politics. Since my Tribune days, I have always known that votes don’t count in anywhere in the world. It is the counter of votes that count. So, if I was raised in Canada or US, I probably would have gone into politics. Even now, I am a political consultant to politicians. I do more of strategic thinking for politicians.

    Politics is a no go area for me. I don’t think Nigeria because of its antecedent and the way it was born can really, truly and honestly practise democracy. I also believe democracy does not exist anywhere in the world. What exists in the world is either plutocracy or plutogachy.

    Plutocracy is a government run by rich people over the poor people. Plutogachy is a government of rich people using oligarchy (using money to buy thugs). It becomes so pronounced in Nigeria because of low level of education and serious poverty where someone’s vote can be bought with Trebor peppermint or N500. Unfortunately, decent men in Nigeria shy away from partisan politics and allowed the country to be ruled by those who have no business in governance.

    For how long are we going to remain in the mess?

    We have to allow the passage of the military and its offshoot that have tasted power. I presented a paper at Otta in April 1964 and predicted that the military and its offshoot will rule Nigeria for 20 years. Military was the only group that has money and coercion. And money will continue to play a major role in determining politics. Until that generation passes away, we are not likely to have true politics in Nigeria because those who have money belong to that class. To be a candidate for a local chairman, you need N1 billion. It is so expensive. I cannot imagine a professor or a lecturer going into that. So, those who are likely going to venture into politics are those that have come by money other than open.

    Those who will venture into politics and make it are those who have cornered big cash.

     How worried are you of the Nigeria we are handing over to our children?

    I think we have been very unfair to the younger generation. Again, Yoruba would say Eshin iwaju ni tehin wo sare (the horse in the front is what those behind take queue from). I don’t think my generation and those after me laid good examples for the younger ones to follow. Also, the youth have been pauperised and impoverished that they can hardly survive. Many cannot even buy soap to wash their clothes. Even though they are adult biological, they are still children. We had selfish rulers and we never had leaders except in the days of Awolowo and Azikiwe. Today, governors are semi-god in their states. The youth do not have role model to inspire them in a way. And we are handing over to them, a building that has cracks and almost collapsing. I don’t know how they will patch it and make it stand. I am worried for them and Nigeria. If you meet anybody of my age 73 to 75, and he said he is at peace with himself, it is a lie. Most of us don’t have sound sleep and never happy even if we have children in oversees that are doing well. The realisation that bulk of Nigerians are entrapped in the about to collapse building should worry you. And it worries quite a number of Nigerians.

    You worked in leading newspapers in Southwest, UK and Canada as writer. What happened to the theatre in you?

    If I say am fulfilled as a writer, that will not be telling the whole story. Truly, and honestly, I don’t think I am totally fulfilled. When I was growing up, my fortress was the theatre and many thought I was going to major in theatre and raise a theatre group. At the University of Ibadan, I was the president of Dramatic Society and Africulture Society.

    When I enrolled at the university, there was no degree course in drama at UI. So, I settled for English language. But when the opportunity came for me to do a Masters 10 years later, I opted for theatre. It was on the scholarship of Daily Times at Lancaster University, UK.

    I would have loved to be in theatre. That is why in 2010, I founded the Tola Adeniyi Theatre Art Foundation. Unfortunately, it has not been functional. If I come by big fortune, I will revive my love for theatre. I consider myself as a writer in journalism.

    What is your take on the Lagos State’s recent law on preservation of Yoruba language?

    It is long overdue. Every part of ethnic nationality in Nigeria should follow suit. I will be glad to see every state conduct its assembly matters in their language.

    Which of the newspapers you worked do you relish the most?

    It is a dicey question, but it will be between Daily Times and Tribune.

    What is the story behind your exile?

    I left Nigeria in 1993 during the Abacha’s administration after I was detained. I later went on exile and while there my late friend Dr. Chuba Okadigbo suggested we took up teaching at Lancaster University, UK for two years before relocating to Canada with my wife and children.

  • Using culture to foster unity

    Using culture to foster unity

    To foster unity and integration, children have been charged to appreciate individuals’ differences and peculiarities and condemn cultural discrimination.

    This, according to former Executive Secretary National Institute for Cultural Orientation (NICO Mrs Victoria Agodo will children understand and embrace individuals’ behaviours irrespective of tribe, traditions, attitudes and beliefs.

    Agodo who spoke on Culture: a Strategic Tools for Peace, Unity and National Integration at this year’s edition of Children Extravaganza in Lagos identified parents and teachers as major key players needed to train and expose the children to see value in life and people as every tribe has its different norms and traditions.

    “Your parents teach you how to greet and the actions that accompany greetings. We were taught to respect parents and elders within and outside the family and given the guidance as to relationship within the family.

    “The other values are honesty, sincerity, being our brothers and neighbours’ keepers. We were also taught to care for strangers and acceptable peer group relationship and taboos,” she said, charging the children to be tolerant and appreciate others culture.

    Director Training School, (NICO) Lagos, Mrs Brigitte Yerima who represented Acting Executive Secretary Mr Louis Eriomala said that the purpose of the yearly gathering to sensitize and educate the youths to understand the nexus between peace, unity and nation development for better future.

    She noted that the forum will provide a credible platform to correct the current trends of total negligence of our culture by younger generation who has wholeheartedly assimilated foreign culture, which has resulted to an upsurge of behaviours that are inimical to peoples’ existence.

    “Our youth need to be enlightened. This is why children’s cultural extravaganza is annually organized to demonstrate our appreciation of the strategic importance of children in the promotion and preservation of our cultural heritage.

    “The programme is designed to inculcate our cherished cultural value of honesty, hardworking, tolerance, patriotism among others whereby students from different schools are invited to display the beauty of our culture through fashion parade, dance, drama among others,” she added.

    Some of the schools that participated were God’s Own School, Ijesha, Police Children School II, Obalende, Biolak Children School, Abule-Okedan Isashi, His Goodness Private School, Orile, Tommy Hills Nursery and Primary School, Egbeda, Tender Grape Model College, Oworo, Bedrock College, Surulere, Kosofe Junior College, Ketu, Orire College, Orile and Araromi Junior Secondary School, Sari- Iganmu Orile

    Head NICO Liaison Office, Lagos Mrs Victoria Oparavera said the programme is a success and another stepping stone towards the achievement of the programme purpose of inculcating culture in the children. “Today, they have learnt something about our culture and what differentiate one culture from another,” she said.