Category: Life – The Midweek Magazine

Mothers have been urged to culturally educate their children as this would aid the mental development of their children. This was unveiled by Mrs. Níkèé Adésànyà, a YoruÌbaì writer at the just concluded edition of YoruÌbaì Laìko)Ìtun, the quarterly cultural renaissance programme, held at Ethnic Heritage Centre, Ikoyi, Lagos.

According to the author of Òdún Á Yako, Àbèké Òréke, Kókó-omi and other books said cultural education is a fundamental part of learning as many foreign cultures have negatively impacted on our culture.  In her words, “we have the opportunity to correctly educate our children from childhood so that they can challenge discussions that are not in tune with our culture. The uniqueness of each language is in their words as such it should not be assumed that languages can find their direct transliteration.”

The Yoruba Cultural and Language Advocate equally stressed that the mother tongue plays a very important role in stimulating the mental development of children because thinking is easier in one’s mother tongue than in any foreign language.

“Children should also be allowed to relate with their peers by engaging in cultural activities like “Ere Osupa” literary translated into Tales by Moonlight because it encourages children to learn role playing and other valuable lessons that portrays the virtues of Omoluabi which is renowned among the YoruÌbaìs,” she added

While collaborating the author, Mr. Segun Adebayo, the Senior Special Assistant to the Governor of Ogun State on Facility Management, added that the understanding of YoruÌbaì language has opened many opportunities to YoruÌbaìs in the diaspora. He appealed to people in the Six Western YoruÌbaì states to promote the language from their households and project it to the world as a treasured heritage.

This edition of YoruÌbaì Laìko)Ìtun was dedicated to Ms. Iyabode Aboaba, the Matron of the show who recently clocked 70 and all hardworking women who have carved a niche for themselves in the promotion of YoruÌbaì culture, craft and have been able to support their families and the society at large through it. Other highlights of the programme include singing folksongs about motherhood.

Participants at the show were drawn from corporate and social Nigeria.

 

 

Ibogun Balogun in Ogun State was agog as a new king was installed for the ancient community. Many believed the monarch’s installation  would open the ancient town to investments and facilitate job opportunities for the army of youths in the community. ADEGUNLE OLUGBAMILA reports

Ogun State government has said the state is still battling to resolve the over 250 obaship requests across its several domains.

The more reason the few lucky ones appointed should see the opportunity as means to serve his people, the state and work towards the development of his domains.

Ogun State governor, Senator Ibikunle Amosun, who  spoke at the official coronation and presentation of staff office to the new Olu of IbogunBalogun land Oba Fakayode Faluade Adeshina, said:”Let me reiterate that the appointment of an oba has fulfilled the Biblical injunction: ‘Many are called but few are chosen!’. This is because there are too many requests for upgrading from the position of Baales to the status oba from almost all settlements in our dear state, which are yet to be granted.”

Addressing the large crowd comprising government functionaries, traditional rulers and Ifa priests, among other dignitaries, Amosun who was represented by the Commissioner for Local Government and Chieftaincy Affairs, JideOjuko, also said: “I am, therefore, imploring our new kabiyesi, to see your appointment as a call to service. You should also ensure that you mobilise your subjects for the execution of worthwhile self-help projects, in a bid to complement government’s efforts towards socio-economic development of the state.”

Amosun enjoined Fakayode to continue to champion efforts that will further enhance peaceful co-existence with other royal fathers within Ifo Local Government Area, where the new monarch domain is situated.

He equally encouraged Fakayode’s subjects to work with him in building Ibogun-Balogun, which the governor described as a developing community.

“On the part of our administration, we owe the people of IbogunBalogun and the entire people of Ogun State the benefits of dividends of democracy which are already evident across the state. We remain unwaveringly committed to implementing religiously he ‘5-cardinal programme’ as enshrined in our ‘mission to rebuild’ our state. To this end, I urge Oba    to continue to mobilize your people to support our administration through prompt payment of taxes, rates and levies on which the government heavily relies to being the dividends of democracy to our people.

The executive chairman Ibogun-Coker Local Government JuwonGbadebo, and chairman of the coronation planning committee LukmonAdeolaKiadese, noted that Faluade’s emergence was quite deserving, considering his generosity to his Ibogun-Balogun homeland.”

“Unequivocally, the people of IbogunBalogun have made the right choice. Faluade’s qualities include integrity, honesty, steadfastness, and trustworthiness have given him the edge over other contenders to the throne. It is my prayers that our de4ar king lives in sound health and divine wisdom to rule and reign on this exalted throne.”

“His (Faluade) passion for community development is second to none,” noted Kiadese, adding, ” “Having done so much as a private citizen, it is no doubt that his appointment will bring to bear his wealth of experience by attracting investment and providing jobs for youths in the land.”

In his acceptance speech, the new monarch thanked Governor Amosunm, former president Olusegun Obasanjo, and the  Olowu of Owu kingdom Oba Adegboyega Olusanya Dosunmu, other monarchs in the  state, as well as his wife Olori Anifat.

Faluade noted that two key issues have been the major challenges of the Ibogun-Balogun. According to him, they are lack of industrialisation and unemployment among youths. He noted that they are the reason for his ascending the throne of his forebears. “We need not sleep on our oars,” Faluade said.

He added:”There is so much work to do, especially among the army of unemployed youths in our community. This community also suffers poor road network, which if not addressed, might discourage potential investors from settling down here. All these we shall address among other challenges.

“I do appreciate the people of Ibogun for choosing me as your new monarch. You are indeed, my beloved family. As the saying goes a tree cannot make a forest. I am, therefore, soliciting your maximum support, advice and cooperation to steer the wheel of prosperity of Ibogun Balogun.”

Nigeria contemporary visual artist, BukiAnimashaun has explored thoroughly her life story through her visual artistic works, titled”Becoming  Mariam” which was exhibited at the Omenka Gallery, Ikoyi Lagos         . The art work topically delved into her personal life routine from time immemorial.

Thematically,Animashaunhas craftily painted her art works to capture self-realisation, the turning point of her career and her vision and mission.

“The exhibition is calledBecoming Mariam and, it documents my personal journey to self-actualisation, it is finding who I am, what I do and my place in the world. It features 3 series of works, one of the series depicts the different personalities and characteristics that I feel I have developed over time and have perfected, another series is showing how I come in contact with people and stimuli that inspires me, which I take in and infuse it into who I am. Then,I used it in my art to also further explore my success in life,” she said.

While demystifying some symbolisms in her artistic paintings, Animashaun said: “Art works like ‘Be Bold’ is called a time plot, which from the statistic point of view, we have the X and the Y axis. For me, it is not necessary whether I fail or succeed in doing something. Success is whether or not I was bold enough to try, which motivates me to take bolder steps. This art work falls under how I measure how successful I am as a person.”

According to her, Be Love was meant to symbolise ‘being the most loving person that you can be, whatever your understanding of love is, love tends to be an understanding of compassion, empathy and kindness.’ Other art works of hers areBe kind, Be hope, Be soft, Be inspirational andothers.

Animashaun also mentioned how far and good she has gone in the world of Art. She noted as the owner of a brand management agency, how she had infused her artistic ability and creativity to help people build their visual language for small and big business brands.

“I used to sew on canvas like Ankara fabrics, gum to canvas and then paint on it which is more of a mixed media. All the art works exhibited are acrylic on canvas and are 20 in number,” she added.

Interestingly, Animashaun chose Omenka Gallery for her first solo exhibition because it has a strong legacy in Nigeria arts community. Exhibiting her worksat the galleryprovides her the opportunity to interact with the Enwonwu family and for them to share their views on her work which is the most important thing because she wanted the expertise that came with it which is an added bonus.

 

She concluded by saying, “I will like to encourage people to reevaluate their labours and become the self they already are.”

Director of Omenka Gallery Oliver Enwonwu explained the aim of the gallery “OmenkaGalllery is trying not just to push the career of established artist but to look for emerging artist like Buki and make sure their career is on the right tract, well represented and their works are uniquely interesting. For us in Omenka Gallery, we try to show what is different from the norm, showing an artist that has a deep philosophy which I think Buki’s work embodies.

Considering his diminutive stature and simplicity, Prof Alex Chinwuba Asigbo can be easily missed even in a small crowd of people. But, when it comes to listing giants in Theatre scholarship and training in Nigeria, it is not difficult to find his name among the front liners. Just recently in Port Harcourt, Rivers State capital, Prof Asigbo took over the leadership of Society of Nigerian Theatre Artistes (SONTA), the apex body of theatre scholars and teachers in the country. He succeeded Prof Sonnie  Ododo as president of the society in a landslide election conducted during the society’s 2017 International Conference at the University of Port Harcourt.

The erudite scholar and professor of Theatre and Performance Studies told The Nation shortly after his election that his first priority would be to strengthen SONTA’s organs and make his fellow executive congress members work assiduously for the growth of the society. Although, he is the man on the driver’s seat of the great body, Asigbo said he could not work and succeed without the support and cooperation of both the executives and the congress. He said: “My immediate task is to strengthen SONTA and make both the EXCO and congress functional and critical, make every office fully functional so that we can relate as an association of peers where collective decisions are taken and implemented.”

While promising to expand publishing outlets for members, the new SONTA president said his team would first ensure that the Nigerian Theatre Journal is indexed and that in the process, he would reach out to colleagues, who have not been attending SONTA conferences to start doing so. According to him, every member of  SONTA is vital and critical hence, his interest would be for members to take decisions collectively and pursue common goals.

When asked how he intends to reconcile with his opponents before election, Asigbo reasoned that there was no rift within the society, but mere diverse perspectives about leadership and governance. He disclosed that his main opponent- Dr Barclays Ayakoroma, who was once his lecturer during his undergraduate days, was equally elected as SONTA Editor. This means that both Asigbo and Ayakoroma would work in the same executive for the growth and development of the society. His words: “In my acceptance speech, I told our members that SONTA would be getting two presidents for the price of one because Dr Ayakoroma and I are already working together and SONTA will be better for it.”

On Theatre scholarship and pedagogy, Asigbo who has supervised many candidates at undergraduate and postgraduate levels across the country, recalled how he created a whatsapp platform for these purposes. He noted that the interview series on the same platform is meant to promote theatre education in all ramifications.

He said: “We’ll be opening up new publication platforms even as we’ll re-gig our conferences for maximum quality and inclusiveness. We will also, at the level of Professors’ meeting, talk to ourselves on how best to drive the different postgraduate programmes in Theatre departments across the country so that junior colleagues can acquire their higher degrees as fast as possible without compromising standards. Even the issue of promotions will receive our attention as we’ll compile and send to schools, a list of SONTA rated journals.”

On how to make SONTA’s conferences attain international standard, Asigbo disclosed that the society would soon introduce ‘Round table discussions into its conferences such that different areas of disciplines can be interrogated more critically. He added that in the past, emphasis had been placed on paper presentation without adequate time being devoted to the interrogation of the papers.

When asked how his executive will relate with public institutions to gain visibility and support, Prof Asigbo promised to liaise properly with sister organisations/associations as well as government parastatals to solicit their continued support and collaboration at different levels. “We will explore all avenues to increase our visibility and relevance…we’ll also commence advocacy visits to relevant agencies of government…SONTA under my watch, will make mentorship pivotal to our activities. We shall encourage joint authorship and strengthen other SONTA platforms for mentoring,” he said.

While acknowledging the need to improve on the quality of Theatre training in the country, Asigbo hinted that Theatre professors have set up a committee on the harmonisation of curricula across institutions. Moreover, as a regular consultant to the National Universities Commission (NUC) on theatre programmes, Asigbo said he is committed to quality assurance.

While reacting to the allegation of marginalising SONTA members’ contributions to the Nigerian Theatre Journal, Prof Asigbo noted that roundtables and workshops shall be incorporated into the yearly conferences while new avenues shall be opened to sharpen curriculum delivery.

“Our strategy will be to expand our publication platforms by having in addition to our journals, a properly edited SONTA book out of every SONTA conference. By so doing, we’ll be accommodating more people. We shall also carry out an audit of theatre journals in Nigeria and make such information available…I appeal to all SONTA members to always feel free to approach any member of my executive council or myself with any suggestion that is geared towards uplifting our noble society. I assure all that this is an approachable executive council. We see ourselves as servant leaders and would pay advocacy visits to any institution that is yet to fully understand the unique nature of our discipline through reflecting such in their Appraisal Manuals,”he said.

Prof Alex Chinwuba Asigbo studied at the Universities of Port Harcourt and Ibadan. He obtained his doctorate in Theatre and Performance Studies and has served variously as Head, Department of Theatre Arts, Nnamdi Azikiwe University, Awka, Anambra State; Head, Department of Theatre and Culture Studies, Nasarawa State University, Keffi and Dean, Faculty of Arts, Nnamdi Azikiwe University, Awka. He was also the immediate past vice president of the Society of Nigeria Theatre Artistes (SONTA).

 

• Balogun is a lecturer at Federal University, Oye-Ekiti

Despite the recession, which Nigeria exited last September, the creative sector broke new grounds. In the last quarter, the sector notched up, recording a huge harvest of activities, Assistant Editor (Arts) OZOLUA UHAKHEME reports. 

Unlike other sectors, the creative industry was undaunted in 2017 in spite of the recession. From visual art to performing, literary and motion picture, the beat was on. But, the visual artists got the nod early in the year with successful participation in the first Lagos Art Expo that ran for one week.

It was part of Lagos State’s activities to honour renowned art collector and author Chief Rasheed Gbadamosi, who died in November 2016. Also, in January, a travelling exhibition celebrating the famous Osogbo Art was  held in Osogbo and Abuja to mark 50 years of the pioneer artists who championed the movement.

Exhibiting artists were products of the 1964 workshop organised by the late German linguist and teacher, Ulli Beiere and his wife, Georgina. They were Muraina Oyelami, Jimoh Buraimoh, Taiwo Olaniyi (Twins Seven seven), Adebisi Fabunmi, Rufus Ogundele, and Jacob Afolabi. Chairman Centre for Black Culture and International Understanding (CBCIU), Prince Olagunsoye Oyinlola described the anniversary as a significant achievement by the movement, recalling that what started as an innocuous experiment on the elasticity of the creative mind and its innate ability to adapt to the vicissitudes of the environment has become a global phenomenon.

Midway into the year, Sandra Mbanefo-Obiago organised a group art exhibition featuring 35 paintings of six seasoned Nigerian artists with strong root in Germany. Titled Wanderlust, it was held at Wheat baker Hotel, Ikoyi Lagos featuring Chid Kwubiri, Emeka Udemba, Dilomprizulike aka Junkman of Africa, Jimmy Nwanne, Yetunde Ayeni-Babaeko and Numero Unoma. The show was a platform to interrogate the many issues associated with people moving from one point to the other including seeking knowledge and spiritual transformation. The exhibition also brings to the fore the refugee crisis in Europe and the increasing rate of African immigrants going through desert and Mediterranean into Europe.

Development of infrastructure

To preserve cultural and historical sites, Lagos State Government took a bold step to restore one of the city’s monuments, the famous Tinubu Square into a tourist-friendly site. It has been lifted from squalor to grace with a 24-hour power supply, security and functioning conveniences as well as fountains. The development was a fall out of the state’s decision to embark on strategic investment by building more iconic monuments and renovating historical sites across the state.

Also, to resuscitate art and theatre as well as create jobs for youths, Mrs Bolanle Austen-Peters opened a multi-million naira theatre, Terra Arena on Victoria Island in Lagos in March. The 400-seater Terra Arena has not only provided fresh platform for theatre promotion, it has also become the first private modern theatre with state-of-the-art equipment.

According to Mrs Austen-Peters, whoi is the theatre’s CEO, the project is designed to bring art and theatre back to life and creating jobs, which is the most important thing.

Facility development did not stop in performing art. Jeff Ajueshi, an Abuja based gallery owner opened a new multi-million naira Thought Pyramid Gallery on Norman Williams, Ikoyi Lagos to expand the visual art market for both artists and collectors.

Lagos Project THEASE

For the first time in the history of Lagos, art forms a critical part of the strategies to drive the state’s economy. Project THEASE (Tourism, Hospitality, Entertainment, Art and Sports to the Commissioner for Information and Strategy Mr. Steve Ayorinde, is Governor Akinwunmi Ambode’s idea to drive the image and economy of the state.

“He has always been interested in harnessing the opportunities we have in these sectors. He realised that the city could be a lot more beautiful, particularly if we have the desire to move from just being a mega city to a smart city,” he said.

Last year, two major art projects were pursued by the state. They were the 19 public art installations located across the state and the building of five modern theatres in the five divisions of the state. The public sculptures included Fela’s Liberation, Awolowo and Community.

Honour for the masters

On April 26, in Port Harcourt, the Rivers State capital, the literati converged on the Garden City for a special literary festival in honour of a nonagenarian poet Gabriel Okara. It was organised by the Institute of Arts and Culture of the University of Port Harcourt. Okara turned 96 on April 26. The vision of the festival is to become one of the most popular literary festivals in the country and to be a common meeting ground for creative writers, literary critics, lovers of literary works and publishers.

From Port Harcourt, the drumbeat headed for Abeokuta, the Ogun state capital where the African Drums Festival was held. It featured no fewer than 54 troupes from 18 states, five African countries, Haiti, and US. Theme of the festival was Reviving our culture in drums.

Former Arts Adviser to federal government and founder TAFAS Legacy Gallery, Chief Timothy Banjo Fasuyi was honoured with a colloquium and a solo exhibition organised by the Society of Nigerian Artists and National Gallery of Art at TAFAS Legacy Gallery, Badagry Street, Ikeja Lagos. It was part of activities marking Fasuyi’s 82nd birthday. Though attended by mainly Lagos-based artists and art teachers, the colloquium was a huge success considering the issues discussed and caliber of discussants as well as guests present at the event.

Also, founder Bruce Onobrapkeya Foundation Prof Bruce Onobrakpeya was honoured as recipient of the Nigerian National Order of Merit award at the Presidential Villa Abuja on December 7. The award was also celebrated with a group art exhibition titled Celebration organised by the Visual Printmakers Association of Nigeria at Ikeja Lagos on December 9 and ran till December 23.

In November, one of the nation’s flagship art events, Lagos Book and Art Festival (LABAF), organised by Committee for Relevant Arts flagged off at the British Council Nigeria with a literary and human capacity resources promotion campaign. Tagged CORA Book Trek, the event moved to Freedom Park Lagos where other feasts held for a week. Expectedly, the festival drew attention to book, art, theatre, literacy and human capacity development. It was dedicated to celebrating the 70th birthday of eminent poet Niyi Osundare

Accessing short and long term financing

Absence of plan, government support and structures has been a recurring setback for the creative industry. This, the present administration considered very crucial in charting a new path for the growth of the creative industry. Consequently, in July, Acting President, Prof Yemi Osinbajo opened a Creative Industry Financing Conference at Eko Hotels and Suites, Lagos with the theme Financing the Film, Television and Music Industries. The conference organised by the Federal Ministry of Information and Culture, in conjunction with Think Tank Media and Advertising headed by Dr. Muyiwa Gbadegesin, was to take the industry into a golden era of smooth access to short and long term financing, world class management as well as local and international distribution.

The conference according to the organisers grew from the understanding that Nigeria, as the third largest film industry in the world, the most successful music industry on the continent, and the second largest television household market in Africa, evolved without a plan, without government effort and without well-structured financing.

Harvest of art shows

The last quarter of the year under review witnessed lots of art activities ranging from solo to group exhibitions, art fairs, art auctions, art biennale, musical, book reading, art festivals, carnivals and book and literary presentations among others. The boom recorded during the quarter was synonymous with what the sector witnessed in the 80s when finance houses led the blaze in art patronage. Two leading art event centres in Lagos, Terra Kulture and Freedom Park, were  booked all year round.

Leading the pack was Art X Lagos, the rapidly emerging annual art fair concentrating on the West African region held at the Civic Center in Victoria Island, Lagos. It was packed full with some of the best contemporary art in West Africa  featuring 14 selected galleries drawn from Nigeria, South Africa, Senegal, Ghana, Ivory Coast, Mali, and the United Kingdom.  The first edition of Art X Lagos held in 2016 attracted 5,000 visitors and works of 65 artists. Designed as an initiative to foster a vibrant visibility of African artists, Art X founding principle is hinged on an interest to reinforce visual arts as an important component of Africa’s creative industry.

Making its debuts, Lagos Biennale spiced up the sector with fresh works by young artists drawn from across the globe. The biennale themed Living on the edge, ran from October 14 to November 22 at Lagos Railway Compound in Lagos and featured about 45 artists from 15 countries. According to the artistic director, Mr. Folakunle Oshun one of the aims of the biennale is to capture the individual and collective efforts of art practitioners in and around the continent while also harnessing the creative ambitions of artists from across the world in this dynamic space. Primarily, it is designed to open Lagos to the world as an art destination. Fela and The Kalakuta Queens, a musical produced and directed by Mrs Bolanle Austen-Peters was on stage at Terra Arena from mid of December to early January.

But for Lagos state’s unprecedented promotion of arts, tourism and entertainment activities during the year, the private operators would have been the sole promoters of the sector. From Lagos Art Expo to public sculptures, Lagos street carnival and One Lagos concert, the state keeps the creative forge alive. Little wonder Lagos state declared that the revenue it generated from tourism in the first three weeks of December alone has reached the fifty billion naira mark.

Sustaining national festivals

The culture ministry’s prime festivals National Festival for Arts and Culture (NAFEST), and African Arts and Culture Expo (AFAC), were held at Kaduna and Abuja respectively not without some hitches of funding. However, organisers of the events, National Council for Arts and Culture (NCAC) headed by Otunba Segun Runsewe lived up to the challenges and took some bold steps at repositioning the events. He introduced skill acquisition featuring about 349 participants as a major event at NAFEST for the first time. Also, in the history of NAFEST, it is the first time the next hosting state Rivers state was announced at the closing ceremony. Again, for the first time, the opening and closing ceremony of NAFEST were broadcast live.

“If NAFEST is doing well, I can tell you today nobody will talk of any carnival. You can do Calabar

Artists’ community mourns

The artists’ community was however not spared of some losses during the year. From the academic scholars to the studio artists, the sector missed some of their best brains. They included Pa Alagba Adebayo Faleti, Prof Abiola Francis Irele, Ben Osaghae, Buchi Emecheta  and Bisi Fakeye.

Benin princess and matriarch of the arts Prof Peju Layiwola is 50. To celebrate the milestone and the 13th  anniversary of her charity, WYArt, the professor of Art History and an established artist held a workshop and exhibition to empower women. She also organised a feast, which drew notable personalities in the arts, including the Cultural Attaché United States Consulate, Kelvin Krapt, reports EVELYN OSAGIE.

Like an old wine getting stronger with age, Adepeju Layiwola is 50. The creative community came out in their numbers to celebrate the woman, who apart from being an art scholar for over two decades, has helped to take the “gown to town” through her art charity, WYArt, and vocational training DVDs that have empowered  hundreds, especially women, including the youth and children.

Layiwola is a professor of Art History, Head of Department of Creative Arts at the University of Lagos (UNILAG) and an established artist with over two decades of experience and practice. From rich lineage of art, Layiwola, who is married to former Director, Institute of Cultural Studies,  University of Ibadan, Prof Dele Layiwola, is the daughter of business mogul Babatunde Olowu and Princess Elizabeth (daughter of Oba Akenzua II, and the first female bronze caster in Nigeria).

At 50, the spotlight was on her contributions to the development of the arts being an art teacher/scholar and her involvement with her art empowerment through her charity. To commemorate her 50th birthday and the 13th anniversary of her charity, she held bash, which was attended by notable personalities in Nigeria’s art scene, past and present participants of her art workshops, friends, family and the media.

Some described her as “wonderful” and “fantastic”. Others called her an incredible woman. But to her hubby, Dele, “she is an excellent partner and philanthropist extraordinaire”. Her 50th celebration, he noted, was notable because it was marked with “giving back to the society and fulfilling their destinies here”.

Her joy, he said, is for the community, the greatest beneficiary of her gesture, especially the secondary school pupils. “I have followed them to those secondary schools, I saw the way the children’s eyes lit up each time they are to unveil the artworks done. Ours is a sacred calling that look after truth and honest work. It is a good thing to partner people who aspire and I like her aspirations. I am extremely happy and proud of her. I will continue to support her to work and improve on these initiatives so that it will impact not only her own colleagues and society, but other young people so they can also do the same when their turn comes,”he said.

With the Cultural Attaché of the United States Consulate, Kelvin Krapt as special guest, the art fete began with speeches and ended with an exhibition, featuring works of participants at the just-concluded WYArt workshop to mark its anniversary. The event, which took place at the centre, was chaired by Prof Bruce Onobrakpeya, who just received a National Merit Award from the Federal Republic of Nigeria.

To Prof Onobrakpeya, Nigeria is going through a kind of renaissance with women like Layiwola on the top of it. He said they are instrumental to the development of Nigeria’s arts education and culture, urging scholars and the government not to leave art education to the universities alone, but reach out to the grassroots just as Layiwola had done. He noted that there are lots of talents that  are unable to go to secondary school or university, but who through workshops are able to learn and get empowered for life”.

While recounting Layiwola’s contribution to his Hamattan workshop, he said: “Going back 20 years, when we were about to start I was very nervous. I drove to a garden and asked her to come help me start the workshop and she did not refuse. The workshop, which will be 30 years next month, has since grown, and we are very grateful for her support. It is praiseworthy that she combines teaching in the academic with that of the informal educational sector; and has even brought experts to this country to educate them. It is sad that universities and colleges don’t have enough experts to go round. But because of her passion for the arts and knowledge, she has brought people from outside and inside to help the training in the university,”Prof Onobrakpeya said.

In attendance were former Deputy Vice Chancellor of UNILAG, Prof Duro Oni; the Dean Faculty of Arts, UNILAG, Prof Falani; Dean, of YABATECH School of Arts, Dr Kunle Adeyemi; Head of Olowu family clan, Adedapo Tunde Olowu, a lawyer; former Central Bank of Nigeria (CBN) Deputy Governor, Victor Odozi and his wife, who is an artist and founder GreenHouse Art Empowerment Centre (GHAEC), Princess Tessy; former president, Society of Nigerian Artists (SNA), Kolade Oshinowo; Director  Hamattan Workshop, Sam Ovraiti and Otunba Tunde Sotimirin (who compèred at the event).

While commending her contributions in the coaching of hundreds of young and old, who are now professional artists and business men and women, guests also dubbed her “a matriarch of the arts”.

Fifty-eight-year-old Mrs Victoria Oluwaseun Aina, a retiree, was one of the beneficiaries. After working for 35 years and retiring at the Centre for Black Art and African Arts Civilisation (CBAAC) as Assistant Director, Mrs Aina said: “It’s never too late to learn,” lamenting that her pension is usually not  enough to meet her needs. “Though, I retired as a qualified Libarian, I don’t want to be idle. Now with this training, I can do some work on tie and dye, make ends meet financially after retirement and not just rely only on my pension. Although I have an idea of it, because my late mum did the eleko, needle work and fancy designs on bed sheets and pillows, I could not continue due to insufficient knowledge. The workshop put me through, along with paintings. And the interesting thing is that the courses were for free,” she said. Forty-nine others were trained with Mrs Aina at the workshop.

“Art empowerment such as what WYArt is doing holds the solution for poverty and unemployment,” observed Mr Krapt. Although, he said has not been in Nigeria for long and has just met the founder, whose cause he described as worthy, which the US Consulate is proud to be involved in. “The fact that she can meet, bring together, train and empower people in her community economically is the kind of thing we support and are proud to be supporting. Personally, it is a kind of project that I like: one that makes use of the arts and resources available for economic and human developments. I appreciate you, Peju,” he said.

Dr Adeyemi desacribed her as “an enigma in visual arts”, observing that academics and artists should borrow a leaf from her ability to bring her expertise to the grassroots, including the schools, training the untrained and the professionals. “After 13 years and attaining 50 years with her professorship and practice, she is actually not a fluke. I congratulate her,” she said.

While stating that his sister’s voyage into the arts started from their childhood, her brother, Olowu, recounted: “Peju is my father’s eldest daughter of eight children and we are just two years apart. One spectacular thging is that right from primary school she has shown a very keen interest in the arts that she carried from primary school up to university. In fact, we used to call her the intelligent one, what she is doing today is not something we didn’t expect.

“Our mother, Mama Ayo, taught arts all her life: and all of us in different forms are into the arts. We are eight children in the family: I paint, but Peju was the one who followed it through, she spent time learning the piano right from when we were small, even when she was in the college.

“Renowned artist, the late Prof Wangboje used one of her paintings for the cover of his text book, so you can see she has this in her for a long time. We are very happy as a family that she became a professor and that she also clocked 50. We pray WYArt foundation will celebrate many more years and Peju will make an impact in this community and after today I have made up my mind to play an active role.”

Other guests included cartoonist and visual lecturer at the Department of Creative Arts, Dr Jimga Ganiyu; visual  art lecturer and artist, Pastor Bolaji Ogunwo; Secretary, Female Artist Association of Nigeria (FEAAN), Southwest Zone, Clara Aden (who is also a participant); the immediate past Chairman of Lagos National Association of Nigerian Theatre Arts Practitioners (NANTAP), Mrs Ehi; lecturer in the Department of Creative Arts, Mrs Adebayo Titilayo; artist Mr. Tunde Olanipekun; Layiwola’s classmate at Federal Government Girls College (FGGC Benin), Mrs Alaka; former HOD Dept. of History and Strategic Studies, UNILAG, Prof Bola Lawal, and Mr. Ben Obute.

Sam Ebohon has been elected as the new president of Guild of Professional Fine Artists (GFA). Ebohon emerged the fourth president during the guild’s sixth convention held at GFA Secretariat, NCAC Annex, National Arts Theatre, Iganmu, Lagos.

Other elected members of the executive include Vice President, Juliet EzenwaMaja-Pearse; General Secretary, NobertOkpu; Financial Secretary,  OsagieAimufia; and Social Director, Bimbo Adenugba.

In his acceptance speech, Ebohon traced his membership to the early years of GFA and requested supports of the general members. “I joined this association at inception and over the years it has survived through our dedication and passion.

“The election this year has given a pointer to the fire that burns inside us and it is very encouraging,” he said.

Despite what he described as the gains of GFA, he cautioned that ‘we all agree there is much more we can do and achieve.

“I offer my sincere gratitude to all who believed in my ability to lead. Without you this experience wouldn’t have been possible.As much as I appreciate this opportunity before me, the greatest reward is that we can all work together to achieve the sole aim of rekindling our fellowship for the good of the association.As we leave here today. I’d like to ask every member of the association to think about the importance of repositioning ourselves in the thick of creative excellence of the nation. We must critically consider the trends to follow today and work hard to create trends that others can follow tomorrow,” he added.