The Nation Newspaper

Category: Life – The Midweek Magazine

  • Runsewe repackages AFAC

    Runsewe repackages AFAC

    Director-General National Council for Arts and Culture (NCAC), Otunba Segun Runsewe has reiterated his pledge to unbundle the huge potential in culture sector to strategically drive the process of economic diversification in line with the government policy thrust.

    Speaking in Abuja on the update for this year’s edition of African Arts and Crafts Expo, Runsewe recalled that on assumption of office some months ago,  he made commitment to all Nigerians to reposition the Arts and Culture sector as a key player in the nation’s economy with the capacity to generate wealth and employment as well as contribute significantly to the nation’s Gross Domestic Product (GDP).

    According to him, this informed the theme of this year’s edition of the expo; Our Culture: The Untapped Treasure, which he noted was carefully selected to draw attention to the vast opportunities in the sector, and mobilize Nigerians to take advantage of the opportunities therein for personal empowerment and the economic development of Nigeria. This year’s African Arts and Craft Expo, which promises to be the largest of its kind in Africa, holds between August 27th and September 17th at Abuja.

    Runsewe disclosed that the council has embarked on wide and extensive consultations with stakeholders and key players in the industry, with a view to aggregating, harmonizing and mainstreaming all shades of opinions aimed at rebranding the Expo while also carrying out aggressive communication and marketing campaigns to raise national and international awareness for the event.

    He noted that the responses so far were quite overwhelming saying, “this has greatly encouraged us and further fueled our determination to expand the scope of the event and make the edition truly the best amongst its peers in Africa, in line with our leadership role in the continent.”

    “On my assumption of office about three months ago, I made a firm commitment to all Nigerians to reposition the Arts and Culture sector as a key player in the nation’s economy with the capacity to generate wealth and employment as well as contribute significantly to the nation’s Gross Domestic Product (GDP). Accordingly, the new vision of the Council under my leadership is encapsulated in the statement culture: the new revenue base for Nigeria.”

    “This vision statement is far from being a mere slogan. It is borne out of our firm conviction that there are abounding opportunities in the Arts and Culture Sector that could be harnessed and channeled towards reinventing our economy.”

    He assured that he alongside his management was leaving no stone unturned in making this year’s exposition a unique one featuring unprecedented and memorable events especially in packaging and delivery.

    He stated that the massive construction and renovation works ongoing at the site affirming the essence was to give practical expression to the determination of elevating the exposition to an international standard that Nigeria and the whole of Africa would be proud of.

    In his words, “before this time, the expo had been held here on a bare, dusty and uneven ground. We have now graded and tarred the main bowl of the exhibition arena, measuring about 1.5 hectares. We plan to also do landscaping and beautification.”

    On issues of security, he said that “we now have a police post within the premises of the village for 24-hour security cover. For the first time, we have illuminated the entire village with flood lights. We are also constructing and renovating environment-friendly public utilities to make the arena a conducive social environment for our exhibitors, delegates and clients.”

    Innovations expected at AFAC 2017 include, skill acquisition programme in order to build or enhance the capacity of our creative artists in various areas, Chefs will be invited to teach Nigerians and non-Nigerians alike the rudiments of Nigerian cuisines, experts would also be available to teach interested participants the simple ways of communicating in our major indigenous languages, there will be hosting of Cultural Attaches in Nigeria to a Pre-AFAC Dinner including an Investment Round-Table during the main event amongst others.

     

  • Etisalat Prize for Literature now 9mobile Prize for Literature

    Etisalat Prize for Literature now 9mobile Prize for Literature

    Following the successful launch of its new brand identity, Nigeria’s most innovative telecommunications company, 9mobile, has equally changed the name of its pan-African literary prize to 9mobile Prize for Literature.

    The management of the company affirms that the Prize will continue to underscore the unwavering commitment of the brand to the discovery and nurturing of talent.

    According to the Chief Executive Officer, 9mobile, Boye Olusanya, “9mobile, is proud to be at the forefront of promoting creativity and innovation among Nigerians and will continue to support the discovery and growth of home grown talents by creating platforms that help African writers to tell authentic African stories”,

    The company revealed that the call for entries for the 2018 edition of the Prize which was announced on July 3, 2017 remains open till September 18, 2017, after which the Judging Panel will screen the submitted entries to select the books that will make the longlist. The entries on the long list will go through a second round of screening in the selection process, and then the judges will announce a shortlist of three finalists ahead of the grand finale/award ceremony in 2018.

    The judges for the 2018 edition are Harry Garuba (Chair), Doreen Baingana and Siphiwo Mahala.

    To meet the entry criteria, books submitted must have been published 24 months prior to the date of the call for entries. Such books should contain no fewer than 30,000 words and must be the author’s first published fiction book. The author must be an African citizen, but may reside anywhere in the world.

    Also, all entries must be submitted by incorporated publishing houses that have existed for three years or more, with registered ISBN or the equivalent, and the publishers must have published a minimum of three authors. A publisher may enter a maximum of three titles. Seven copies of each title entered must accompany the application form, along with an acceptance of the publicity terms of the Prize.

    For more information, interested parties can visit the website literature.9mobile.com.ng or @9mobilereads on Twitter and Facebook.

    9mobile Prize for Literature is the first pan-African literary prize that celebrates debut African writers of published fiction. The winner receives £15,000, an engraved Montblanc Meisterstück pen, and a 9mobile-sponsored fellowship at the University of East Anglia, where he or she will be mentored by Professor Giles Foden, author of The Last King of Scotland‘.

    The winner and the two runners-up also participate in a multi-city book tour sponsored by 9mobile. 9mobile purchases 1,000 copies of each of the shortlisted titles for distribution to schools, libraries and book clubs across the African continent.

    Alongside the 9mobile Prize for Literature is the Flash Fiction Award, an online-based competition open to all African writers of unpublished short stories of no more than 300 words. The winner of the Flash Fiction Award receives £1,000 and a high-end device, while the two runners-up for the Flash Fiction Award receive £500 each in addition to high-end devices.

    The 2017 edition of the prestigious literary prize concluded on May 20, 2017 with an award ceremony in Lagos, where Nigerian writer, Jowhor Ile, emerged winner for his debut novel, And After Many Days. Ile is the first Nigerian to win the Prize which was launched in 2013.

  • Nigerian artist wins US-organised African crafts competition

    Nigerian artist wins US-organised African crafts competition

    Monsuru Alashe has emerged as first prize winner of this year’s annual African crafts competition organised in Lagos by Cultural Arts of Waco, Texas, USA. The second place went to Enitan Raji whose mixed media works were especially captivating, while the third position was won by Ibrahim Afegbua, a sculptor who specialises in wrought wire. One of his works is used as the visual for the exhibition poster.

    Alashe beat other competitors because of added criteria such as originality and resourcefulness in the employment of innovative media. ‘He used weaver’s threads to produce paintings that really appealed to the jury,’ according to the judges.

    The Cultural Arts of Waco in Texas, USA, decided late in 2016 to hold an annual competition of African crafts in Nigeria to benefit Nigerian artists. The competition would be an annual event in which the top three winners would be issued with certificates. Artists who make the shortlist are also to receive certificates of participation. The artist who wins the overall first position gets an all-expenses-paid ticket to participate in the main cultural festival in Waco, a major event which holds annually and enjoys a mass regional appeal.

    Exhibition of works by artists on the shortlist for the first edition of the programme was opened last Tuesday at the Yusuf Grillo Gallery, Yaba College of Technology, Nigeria’s oldest tertiary institution, attended by a large enthusiastic audience that comprises of some major Nigerian artists and staff and students of the School of Art, Design and Printing of the college.

    Artists on the shortlist whose works are being exhibited include Akinrinola Hamed Abiodun, Djaku Kassi Nathalie (Lagos-based, Cameroon-born ceramist), Sotonye Jombo, Kessa Babatunde and Eni Bassey. The show is expected to run till August 15.

    Alashe who leaves for Waco in October will be a guest artist at the Waco Cultural Festival where he will show his works, hold workshops and interact with audiences from all over Texas.

    Annual theme and the emphasis for the competition is Telling African Stories. Waco Cultural Arts, in a statement, explained that it desires African artists to tell Africa’s own stories because news reports in international streams about Africa are mostly negative and uninspiring. “It is time to hear African narratives from African perspectives,” it added.

    One of the objectives of the exercise is to provide a platform especially for, but not exclusive to, younger studio artists, the venue for the exhibition could not have been more appropriate. Major artists in attendance included Adeola Balogun, Hamidu Ibrahim, Kehinde Sanwo and Sam Ovraiti (who also served as judges) with Ato Arinze, Aderinsoye Aladegbohungbe, Festus Akindolie and Tony Emodi.

    The show was opened by the Dean School of Art, Design and Printing, Yaba College of Technology, Dr. Kunle Adeyemi, who thanked the main sponsors of the programme, Cultural Arts Waco, and their president Doreen Ravenscoft as well as the national organisers of the competition, Back Page Productions, a multimedia (publishing and film making) company based in Ikeja, Lagos. He expressed the hope that the cooperation with Waco will grow and that many more artists would participate in the competition next year.

    Managing Director Back Page Productions Dapo Adeniyi said that one of his missions is to capture space and opportunities for workers in arts and culture. He said the programme stemmed from a long abiding belief in Africa by the main organisers in Texas and the possibilities that the continent embodies. He also thanked the artists for their enthusiastic response and the hard work that went into preparing the works submitted for the competition. He also thanked Doreen Ravenscroft and other team members back in Texas that includes Sandi Horton and Vivian van Gorder. The original plan was for the leadership of the cultural centre in Waco to be present but other competing engagements made it impossible at the last moments. They however regretted not being able to attend this inaugural edition. Hopefully they will be present in 2018.

    Adeola Balogun who spoke on behalf of the judges said it was a very tasking duty to arise at the top winner. The quality of the submissions was so high and so intense.

  • NGO lifts 30 women

    NGO lifts 30 women

    A non-govern-mental Organisation (NGO), Independent Woman Initiative (IWI), has given 30 women start-up funds and incentives to ensure more women are financially independent, through innovations that could boost the economy.

    Uts President, Mrs. Monique Ededuan, said the initiative was aimed at taking women through the journey from dependence to independence.

    “The Independent Woman Initiative is all about stirring women up and teaching them from experiences and personal stories of other women to encourage their ideas. It was established out of the desire to address the challenges that women currently face and the set back they have to deal with due to lack of funds. Today, close to 300 women are in attendance at this conference and 30 women will be supported with startup funds, “she said.

    According to her, the 30 recipients of the funds shared their business ideas with the NGO, while registering for the conference, “The board put them into categories that qualified them for the fund. We also have more programmes currently running, which is called ‘She Learns’ and it is in two categories. The first one is for single ladies who want to further their education but lack funding and the other one is Scholarship Acquisition Programme for skill empowerment,” she said.

    Ededuan, however, urged women to step up and become  agents of change in the country by putting their ideas into practice. “There is no excuse to be idle, start with something little and with dedication, that business might become a global reference point. An empowered woman becomes a positive tool and an inspiration to others,” Ededuan said.

    She added: “The NGO is a business and entrepreneurship network for women and was established in 2016. Its vision is to support women financially with start up business fund and business ideas, so they can contribute financially to their homes and country.”

    Mrs Nneka Elege, a Board Member, said woman empowerment was an important tool that could be used to build a nation’s economy. “When you empower a woman, you have simply empowered a nation and even a generation because everything given to a woman is turned around and well utilised. So this programme is to empower women to use what they have, such as, knowledge, skills and talent and also put them to best use,” she said.

    Mrs Teju Abisoye, the Programme Coordinator, Lagos State Employment Trust Fund said it was necessary for women to know the importance of access to finance in building a business.

    “The Lagos State Employment Trust Fund is here to support every small business with finance, training and support services that can help the business grow to the next level. Because we are keen to see businesses grow in this economy, so basically any business that is existing and also must be Lagos State residents. We want people who have tax payers identity because we are giving people tax payers money. We want to ensure that they have contributed at one point or will be contributing to the tax payment, this is the criteria for accessing the loan,” She said.

    Abisoye said that this would go a long way in ensuring women to be economically independent.

  • Discordant tunes over digitalisation worry stakeholders

    • CCNL reiterates role in DSO process

    Nigeria’s digital transition has made appreciable progress. But, discordant tunes from operators in the broadcast industry indicate that more needs to be done to arrive at the destination.

    At the 67th General Assembly and 16th Annual General Meeting of the Broadcasting Organisation of Nigeria (BON) held in Owerri, Imo State, Chairman of BON, Mr. John Momoh alleged that the licensing of the third parties such as Cable Channels Nigeria Limited (CCNL), manufacturers of Set Top Boxes (STB) and Inview Technology had created a clog in the actualisation of the digital switch over.

    Momoh, who is also the chairman, Channels Media Group, said it was illogical to have a middleman between a content producer and the signal distributor. Thus, he urged the National Broadcasting Commission (NBC) to ensure that all technical and coordination activities of the existing DTT pay source are resolved, otherwise, the digital switch over will not be actualised.

    But Director, Corporate Communication and Government Affairs of CCNL, Mr. Kalada Wilson, faulted Momoh’s position, insisting that CCNL remains a critical stakeholder in the digitalisation process. “Cable Channels Nigeria Limited (CCNL) is the licensed content aggregator and platform managers of FreeTV. The group is a consortium of Cable/MMDS operators and aggregators who have been in the business of aggregation and distribution for over 30 years.

    “CCNL plays an important and vital role in the Nigeria’s DSO process which provides operational support for the platform, including management of the FreeTV Electronic Programme Guide, leads on developing DTT strategy, and working with its broadcast signal distribution partners and industry to provide viewers with information and advice about terrestrial TV channels, services and reception available.”

    Wilson clarified that “content aggregation is and has been a global practice in all the countries where Digital Switch Over has been completed successfully.” Reference is made to Freeview/Freesat in UK; Freenet in Germany; and FreeView in Australia. Momoh is, therefore, urged to take some time out to study these successful models.

    According to Wilson, the STB manufacturers also play a very vital role in the Nigerian DSO ecosystem. “It is especially very important to content and channel owners as the FreeTV STB gives the content/channels owners security of their content with the help of the encryption system on the FreeTV boxes. For every successful digital switch over, you need Set-top-box suppliers with Encryption and the Middleware to manage the services on the box.”

    Acknowledging the fact that the role of the broadcasters, post-digital era, will be significant, Wilson stressed the importance of content creation and tasked broadcasters, especially BON members to brace up for this challenge by focusing on the following:

    • Creating good content on their channels, building great channels covering every genre and engaging the creative/production companies in co-production that will make Nigeria Number one in Africa.
    • The BON members should immediately engage the NBC and advertising industry in executing a reliable audience measurement regime that will guarantee commensurate revenues for channel owners and production companies post DSO. Without this, the whole DSO will not be sustainable.
    • The current situation where owing a channel has become a business of selling airtime is very analogue which is what we are transitioning from and unsustainable. Furthermore, the DSO structure will allow the TV channels return to the basics of creating content, as done in UK where Arqiva is the Signal Distributor, Freeview does the aggregation which thereby freed-up BBC, ITV, Channel 4 to become Content Power Houses.

    “It is pertinent to bring Mr. Momoh’s and BON members’ attention to the fact that Nigeria’s DSO process has become the most-talked about in Africa; it was designed by Nigerians, other countries including Ethiopia, Niger and Sierra Leone are keen on copying Nigeria’s DSO framework. Television is about great channels and content and it’s time Nigerian Content owners focus on creating exciting and new content and not on transmission, aggregation, encryption and/or STBs,” Wilson said.

     

  • Saro The Musical hits London’s West End

    Saro The Musical hits London’s West End

    After a successful outing in London last year with Waka The Musical, Bolanle Austen-Peters Production will again take its Saro The Musical to the Shaw Theatre in London’s West End. This time, the production will run for six days, with nine shows. beginning from August 24 to 29.

    Saro The Musical is mixed with colours of hope, self will, love and determination which results into a moving artistic portrait of ‘The African Dream.’ In Saro The Musical, the production explores the journey of four young courageous village men who step out of their comfort zone to the city life of Lagos, the land of opportunities, in search of success.

    Executive Producer Bolanle Austen-Peters (BOP), Mrs Bolanle Austen-Peters, said BOP will continue to export Nigeria’s cultural products, noting that for a long time the Nigerian narrative has been told by foreigners. She recalled that when Terra Kulture started fifteen years ago, nobody gave it the chance to survive.

    “Though it is tougher this year than last year, we will not give up. We have committed sponsors and already we have got flight tickets and accommodation paid for… We are doing fine and we will get there. We are building a generation of new talents in theatre,” she added.

    Continuing, she said: “The musical is a proudly Nigerian cultural export that has the potential to boost cultural diplomacy and promote our cultural heritage abroad. It will provide the highly talented and creative youths involved in the production also the opportunities to experience the UK creative space and technology driving the UK creative industry.”

    She disclosed last year’s London performance was interesting as tickets were sold out from the first day of the show. According to her, this year, the show will feature 70 cast and crew members including top notch actors such as Bimbo Emmanuel and Kunle Afolayan.

    Saro The Musical paints an honest picture of life in the city, the ups and downs, the smiles and the tears. It also takes viewers on a rollercoaster of emotions through stellar acting, rich costumes, vibrant dancing and music. Saro as a play speaks the universal language of music. The type of music that not only satisfies beyond the African audience, but also satisfies those who crave music that feeds the soul. Saro is a realistic exposure of characters that are reliable with warmth to them that make one feel one is welcomed into their world no matter who you are or where you are from.

    The directing style of the musical opens up viewers’ imagination to the characters and their world making it a recipe that a family craves with ingredients of joy mixed with heavy laughter, sprinkled with empathy and a dose of heartfelt love. This results into a delicious final product of worthy entertainment.

    One of the sponsors MTN Foundation represented by Nonny Ugboma said MTN is committed in promoting art and culture citing Nigerian cultural products such as Kakadu, Waka, and Saro as some of the products that received its support.

    Saro The Musical is supported by MTN, Bank of Industry, Dormanlong, Lagos State Government, Nigerian Export Promotion Council, Federal Ministry of Culture and Information, Africa Magic, Beats FM, Ebonylife among others.

     

  • Ipele holds Ero Festival

    Ipele holds Ero Festival

    Ipele Community in Owo Local Government Area of Ondo State was agog at the weekend, no thanks to the Ero Festival held once in six years.

    It is the most-recognised festival in the  community, and segmented into age groups. But Ero is dedicated to persons who are 70 and above across the various homes and families in the town.

    The festival, according to the elders in the town, marks the induction of those above 70 into the group of elders in the community.

    As part of the celebration, the religious leaders, under the auspices of Christian Association of Nigeria (CAN), and their counterpart, the League of Imams, offered prayers for participants at the festival, the community and everyone.

    The Chiefs-in-Council were also not left out, as they took turns to pray for the participants and the progress of the community.

    They described the festival as one every person from the community should be proud of and participate in because of its significance  to the community.

    Prof. Dayo Adeyeri praised the Organising Committee for putting together this year’s edition, despite the challenges. He urged all sons and daughters of the town to work together, noting that the festival is for the development and peace of the community.

    For a more robust group geared towards the development of the town, he announced the change of name of the  umbrella body of the community.

    Formerly known as Ipele Development Association, Adeyeri said it would now be called Ipele United Development Association (IUDA)

    Chief Lawrence Olusemi said the festival is for various age groups who are being celebrated at the stage of Ero, which signified, the elders’ group. Olusemi, who is the acting Olupele of Ipele community, said after the festival, the participants would be regarded  as elders in the community.

    He said: “The festival is for various groups and it will end at the stage of Ero which means the person has become an elder in the community. It is significant because it is for the development of our town.

    “One of the celebrants, Philips Oluwatoba, expressed gratitude to God for attaining the age of 70 in good health. He promised to continue for the development of the community.

    Also, a participant Muyiwa Dairo, said the festival marked a period of self-sufficiency for participants, saying the community always celebrate the categories of people who have attained Ero age.

    He said: “Ero is for those that have passed the normal aspect of life schools, raised his or family and is self sufficient and the community will celebrate such individuals with this kind of festival. It is a form of retirement.”

    Preparing to be part of the festival in the next edition in 2023, the former lawmaker representing Owo Constituency 11 in the Ondo State House of Assemnly, Hon. Olatunji Dairo, said the festival is the most important in the community, adding that it marked the end of one’s service to the community.

    His words: “No doubt, Ero festival is the most important festival in this town held every six years because you might have been serving the community for 35 years and we believe we step aside for our children to continue the service to the community.”

    Dairo, a former Chief Whip of the state Assembly, said he would be looking forward to the next edition of the festival in 2023, when he would have attained  70 and thus be among the celebrators.

    The next edition will take place in 2023 and the community has already begun preparations ahead of the festival.

  • ‘Urge to look good pushed me into fashion business’

    ‘Urge to look good pushed me into fashion business’

    Managing Director of Lagos-based Addas Fashion Store Omolara Adebiyi is making waves in the industry.  The Pure Chemistry graduate from the Ogun State University, now Olabisi Onabanjo University (OOU), shares her passion for fashion with KEHINDE OLULEYE. 

    How long have you been in   business?

    Addas has been in business for eight years

    What were you doing before going into fashion?

    Before then, I had actually studied Pure Chemistry at the then Ogun State University now Olabisi Onabanjo University (OOU). I did my NYSC with Guinness Nigeria PLC. Then I started working as a chemist in the laboratory at Berger Paint. I worked there for two years.

    While working at Berger Paints, I got married. With that I needed more time to take care of my children. My husband and I were both working, hence I felt should take some time out so that I would be able to take proper care of the children.

    What inspired you to go into the business?

    I have always had passion for fashion. It’s has always been in me. I remember when I was young, I would be at home yet, I will dress up stylishly but decently without going for a party. And my dad will be like, ‘where are you going?’.

    I derive pleasure from looking good. While in the university, though I was born again I still dressed well and in moderation. I have always been a simple person. I don’t do fashion that exposes body parts. Though I ‘m not here to judge anybody.

    Because it’s not in me, when I go shopping I am not comfortable buying things like that. I am not saying that I am holier than those that wear fashion that exposes body parts. Some of those that wear such their hearts are even better than those that claim to be holier.

    With my little experience, I have mixed with people with different kinds of religion and backgrounds. My mummy was into sewing, so all her children virtually knew how to sew. We always put things together. I think it started from there. The same thing applied to my school uniforms.

    A friend with whom I went to the same secondary school came around sometimes ago and she said to my daughter “So, your mummy is still like this?’ When we were in secondary school, she will iron her clothes over and over again. So, I have always loved to be in the fashion line.

    Though I studied Chemistry, in those days, you didn’t really have counseling or say over the course you wanted to study. My father actually wanted me to study Medicine because he believed that I am good with sciences. Most of my science subjects I had A’s in them.

    So, I was pursing that. But you know jamb. At the end of the day, I went in for Chemistry but they told me to change to medicine but I said no. Let me just continue with this because I don’t really have passion for it.

    What was your dad’s reaction when you dumped your certificate for fashion business?

    In the beginning, my dad wasn’t happy about it. It is only these days that fashion business has really gone to another level. In those days, fashion business was looked upon as a career for school drop-outs.

    As time went by, he saw the passion and the success by God’s grace, and he just allowed me to be. More so, I was married by then, so there was little he could say. He just advised and moved on.

    Who are your target audience?

    Every woman who wants to look good

    How affordable are your things?

    Addas products are very affordable. Moreover we always have sales going on. If it’s not 20 or 30 percent off sales, there will be buy and get one free. We always have something going on at Addas.

    There are lots of fashion stores here in Agidingbi/Ikeja axis, what stands Addas out?

    It is the affordability and durability of our goods. You can’t get that in most stores. With as little as N5,000 you can get something reasonable and nice because we are always doing sales and our products are very affordable.

    Where do you source for goods?

    We source most of our goods abroad. We go as far as Senegal to get some of our ankara fabrics. And at times, I sketch patterns for my designers for the ankara products. We get women dresses from United States, United Kingdom, Italy and others. We stock wedding dresses, dinner wears and others.

    Do you think Ankara will go-off the fashion radar anytime soon?

    As we all know, fashion trends come and go quicker than you can say ‘Hey” but come rain or sunshine, ankara will always be there in all forms of fashion accessories. Ankara has come to stay. No matter the changes in style, taste or pattern, Ankara fabrics have maintained their space despite fierce competition from other fabrics.

    Do you see any future for the local beads like that of Ankara …?

    Beaded neck accessory is going off.  Some people still use it but it is not the in-thing now.

    What would you like fashion designers to improve on?

    The quality of finishing matters. Their finishing must be neat and perfect. In other words, the finished products depend on the designers. In fact, it is the designer that determines whether your outfit would look cheap or out of this world.

    Where do you get the inspiration from?

    I get inspirations for styles during my quiet time and sometimes during my leisure time. I brainstorm with my children. I actually relax with my children; my husband is a busy man. So I relax with my children since I am not a party person.

    What are the challenges faced in the course of doing your business?

    Exchange rate is the major challenge for this kind of business, followed by electricity. Customers do not want to pay more for goods despite the fact that dollar rate increases most of the time. Even when you buy goods when the dollar was up, they still want to buy at the current exchange rate.

    What advice would you give to someone wanting to start a career in this kind of business?

    I believe whatever you want to do put God first. And then one needs to be hard working. And there should be a balance between working and the home, especially when you are married.

    That is because the home must not suffer. Anytime my children close I closed for the day. No matter what I am doing, once it is closing time, I pick them and we go home. That is the end of work for day. They are my primary assignments.

    Describe your style

    My style is simple but stylish.

    On label

    I am not a label freak. I go around a lot to buy thing and people that are very close to me will be like you are selling clothes and you still buy this?

    I can be going on the roadside and I see people selling things that I like and I will buy. It’s not all about label. Anything nice I see, I buy.

  • Reporting public affairs: The missing link

    Reporting public affairs: The missing link

    Just as you don’t become a lawyer (a practising one) only upon studying law in the university or a teacher after graduating from a college of education, you don’t also answer to a journalist merely because you have undertaken journalism studies. You’d need to have been a practitioner of the profession and a subscriber to its lifetime discipline of keeping abreast of developments in the field through training, retraining and massive reading of literature churned out to update you.

    This vision has led to the observation that practitioners of most of the professions in Nigeria are not growing. We’ve been rooted to the same spot for ages while the rest of the world has moved on. The nation as the end-user of the dissemination of information has suffered where others in this global village have flourished. This isn’t a floored position on account of the empirical evidence attesting to the substandard and unethical values in the institutions manned by our bureaucrats and professionals.

    Therefore the sum of the argument in one of Jackson Akpasubi’s latest booksPractical Guide to Public Affairs for Journalists is that these professionals would be better suited to contribute qualitatively to both the society and the vocation if they were exposed to new grounds in the field through books. It does not suffice, he insists, to flaunt a surfeit of academic suffixes. But really what is the point if you have all these good degrees and diplomas and they are of no functional application?

    So in his 11-chapter 217-page book, Akpasubi establishes the view that the media being the fourth estate of the realm, its members can only justify that role if they are able to handle their reportage of public affairs (i.e public policy) tactically and admirably. They must be exposed to specialised books like Akpasubi’s work under review. The author is able to draw on his own vast experience that has seen him operate in some of the country’s revered media houses (The Guardian, Concord Newspaper group, Sentinel etc climaxing as the Director of News,TVC) to pontificate on a number of grundnorms.

    The newsroom is the link between the people and public policy making, a relationship which is pivotal to healthy growth and development of society. Another: the place of public policy in journalism practice today is becoming extremely complex in our globally interconnected world. Still more: social policy news stories have more human interest perspectives and must not be played down. Akpasubi adds that as a result of the expansion of public services and the rise in political importance and their statutory objectives as stated in chapter 2 of the Nigerian constitution, it is binding on journalists to monitor the government on its discharge of its responsibility to the people. The Constitution says the newsman must play the watchdog role. These newsmen then must be doubly kitted to perform that function if society is to exist organically.

    Akpasubi reaches out to a host of classical definitions of public policy. But, my pick is this: “Public policy is the process by which governments translate their political vision into realities (programmes) and actions to deliver “outcomes” (or) the desired changes in the real world. Examples of desired outcomes include clean air, clean water, good and affordable healthcare, high employment, decent and affordable housing, minimal levels of poverty, improved literacy, law, (low) crime rate, socially cohesive society, and of course high and qualitative educational system among others.”

    This sets the stage for the author to identify and zero in on areas constituting public policy. The checklist enumerated by the author includes almost everything under the sun.

    They are to be handled by those the author calls “specialist reporters” not “general beat reporters” who “in the past” made “ministers and parastatal heads … frequently get away with not knowing very much.” To assist society understand issues and formulate helpful public policy, the reporter must “acquire the virtue of patience… It requires attendance at long often boring public meetings (especially when they are political) and court of public hearings. It requires poring over lengthy often confusing public documents … careful research … and of course, the ability to organise and compile information and to write precisely and accurately.”

    But some observers would not allow a couple of Akpasubi’s postulations to go unchallenged. His tree of the different levels of Public Policy Process is one such bone of contention. The author presents Genesis as the first; the second is the Development stage; the third is Implementation; and lastly Feedback which the journalist does through reports and analysis. Critics of the radical Hegelian school would swiftly take Akpasubi to task. Why is he stopping at Stage 4? They would counter that there is more activity after that level. They would move on to proffer the famous dialectical argument: thesis, anti-thesis and synthesis. Feedback stage would be overthrown to give way to a new Genesis that would also lead to new levels in an endless cycle of policies and further displacements.

    These are the dynamics of social growth and development.

    Practical Guide to Public Affairs for Journalists has a word on reporting local governments. Correctly considered by many to be the key to reform and restructuring Nigeria, the book laments that the reporter has been sucked in by the jinx of viewing council administration as the home of “levy and tax collection.” If we have this attitude to the local government system in Nigeria, the nation and its democratic structure cannot ably evolve a progressive policy that serves the interest of the masses. But a relentless media scrutiny and reportage of council affairs can redress the situation. Just as there is too much power at the centre in Abuja, the nation’s capital, resulting in little development and empowerment of the people in the states there is also sadly scant attention and resources in the local governments. This is responsible for the poverty of Nigeria despite our gargantuan potential.

    Akpasubi’s second book is the 104 page Dictionary of Media Terms. The idea for the project came when the author made his acclaimed transition from print to electronic (TV) journalism. He encountered a completely new world where he discovered that like the boy in an African adage you must not boast too much about the size of your father’s farm until you’ve visited that of your friend’s father. But given Akpasubi’s humble tradition and a habitual determination to always learn new things, he stooped to conquer and gobbled up all that was on offer on this new turf. This book is the outcome of his experience.

    It is one of the few available for the public to learn about the shibboleth that those in the radio, TV, web, PR, adverts etc use in their day-to-day enterprise.

    The book’s beauty lies in its simplicity, one-liner definitions, and brief historical forays. Its resort to arcane technical explanations is unavoidable in some respects. But it is adroitly handled.

    Now, although Jackson Akpasubi had his way in the two books with thoroughly researched presentation, he never could stop the printer’s devil from having its say many times over. The photographs could have been reproduced in their original colour format. In the case of the Dictionary of Media Terms, there is no photograph at all. What saved the day are the colourful cover and the depth of discourse between the covers.

     

     

    • Ojewale is a writer in Ota, Ogun State

     

  • ‘Etisalat Prize for Literature must live’

    ‘Etisalat Prize for Literature must live’

     Etisalat Nigeria  was not about telecoms alone. It was into many other things. Literature was one of those things. Will the change in its name to 9mobile sound the death of the Etisalat Prize for Literature? The firm’s Vice President (Regulatory & Corporate Affairs), Ibrahim Dikko, has assured the artistes’ community that it will remain faithful to its corporate social responsibility (CSR), Assistant Editor Arts OZOLUA UHAKHEME reports.

    Early this month, a Port Harcourt-based Nigerian writer, Jowhor Ile’s And After Many Days won the £150,000 2016 Etisalat Prize for Literature. The presentation ceremony was held at the Federal Palace Hotel, Victoria Island, Lagos. He also got an engraved Montblanc Meisterstuck pen. It was the fourth edition of the prestigious Pan-African literary prize that celebrates African writers of a debut published book of fiction. Ile was born in Obagi and raised in Port Harcourt, the Rivers State capital. His fiction has appeared in McSweeney’s Quarterly, Lit Hub, and Litro Magazine. His debut novel And After Many Days was published in Nigeria in November 2016 by Kachifo. He is currently a Teaching Fellow and Scholar at the MFA Creative Writing programme at Boston University, United States.

    The erstwhile Chief Executive Officer, Etisalat Nigeria, Matthew Willsher, said at the event that the company was delighted to flag off the fifth year of the Etisalat Prize for Literature, which has become a leading platform for the discovery and promotion of African literary talent. He disclosed that the new panel of judges will comprise Harry Garuba (chair), Doreen Baingana and Siphiwo Mahala.

    Willsher added that ‘’over the years, we have seen the Etisalat Prize for Literature impact on the African literary space by encouraging creative writers and publishers to help tell compelling stories about the African continent, and it is our conviction that the judging panel made up of very experienced writers, academics, literary critics and editors will be devoted to upholding the legacy and reputation of the Prize.’’

    Alongside the Prize for Literature is the Flash Fiction Award, an online-based competition open to African writers of unpublished short stories of no more than 300 words. The winner of the Flash Fiction Award receives £1,000 and a high-end device, while the two runners-up receive £500 each in addition to high-end devices.

    Willsher stated that from the outset “our vision at Etisalat has been to support innovation, creativity and talent development. This is why we have stayed focused on creating platforms that enable people, not only to communicate and stay in touch with one another, but also to express their individual creative abilities in all forms of science and arts. Etisalat will purchase 1,000 copies of their books for distribution to schools, libraries and book clubs across Africa.”

    All these lofty packages, which young African writers look forward to, may become a mirage as expressed by literary scholars. Similarly, the brand name of the prize may be the first casualty as the network provider has changed name.

    Etisalat Prize for Literature is the most prestigious prize for African writers. Others such as the Nigerian Prize for Literature (100,000 dollars) and Caine Prize for African Writing (10,000 pounds) offer less cash prize compared to Etisalat’s 150,000 pounds.

    But the telecom firm’s Vice President (Regulatory & Corporate Affairs), Ibrahim Dikko, reassured writers that while ‘’we go through this phase, we plan to remain true to those two pillars: continued excellent quality service on the network and our support on the Corporate Social Responsibility side. As you may have seen, we have indeed advertised for entries for the 2018 prize for literature.’’

    The fears of writers stem from the current financial crisis rocking the teleco-mmunication firm and the consequences of a possible shift in policies that will affect the corporate social responsibility of the company, especially the literature prize. The writers blamed this on the uncertainty nature of Nigerian business environment and the disregard often shown by governments and business organisations towards artistic endeavours. To them, the Etisalat Literature Prize should be sustained, come what may, as it is too early in the day to suffer a reversal after the impacts the prize has made on African writings.

    Former Artistic Director, National Troupe of Nigeria and Dean School of Humanities, Redeemer University, Prof Ahmed Yerima, said it would be unfortunate if, at the end of the day, the Etisalat Prize for Literature is affected by the development. “Again, it all shows the uncertainty of Nigerian environment. However, the prize has been a source of encouragement to writers especially the youths,” he noted.

    Dean, Faculty of Arts, Obafemi Awolowo University, Ile Ife, Prof Gbemisola Adeoti, said if push comes to shove, Etisalat as a brand will not be the only victim or loser at the end of the day. “I will not be surprised. Nothing good lasts for long in the promotion of arts in Nigeria. Remember the NIB sponsorship of theatre in the 90s? What of the CHAMS theatre series of 2008 and 2009? The series meant to be a yearly event died two years later. It’s unfortunate that our clime is terrible for business and the effects will definitely reverberate in the household of arts, especially literature and its luxurious prizes. Etisalat will not be the only victim or loser in this regard,” he said.

    Also, former President of the Association of Nigerian Authors (ANA) and former Dean of Faculty of Arts, University of Ibadan, Prof. Remi Raji,  expressed the hope that the Etisalat Prize for Literature and its spirit will be sustained because it is too early for closure or termination.

    But, current President, Association of Nigerian Authors, Mr. Denja Abdullahi, said Etisalat challenges are not new because it is common knowledge that big corporations are kept afloat by heavy buy-ins by commercial banks. “We all know these big corporations are being kept afloat by heavy buy-ins by banks. We do not expect Etisalat to go under because of this problem. The Etisalat Literature Prize should be sustained come what may. It is too early in the day to suffer a reversal in that regard after the impacts the prize has made on African writings,” he added.

     

    Past winners of the Etisalat Prize for Literature are:

     

    NoViolet Bulawayo (Zimbabwe) 2013 maiden edition

     

    Bulawayo was born and raised in Zimbabwe and attended Njube High School and later Mzilikazi High School for her A levels. She completed her college education in the US, studying at Kalamazoo Valley Community College, and earning Bachelor’s and Master’s degrees in English from Texas A&M University and Commerce and Southern Methodist University.

    Last week, Governor of Central Bank of Nigeria (CBN) Mr. Godwin Emefiele said new investors in the newly unveiled 9mobile would emerge by December. According to him, the current board of the telecom company is interim and not supposed to last beyond 90 to 180 days from inception.

    Emefiele’s position is giving credit to the rumours that many telecom companies, including Bharti Airtel of India, Vodafone of United Kingdom, and France’s Orange mobile, are jostling to grab the 65 per cent shareholding open to new investors from the exit of Mubadala and Emirates Telecom Services of United Arab Emirates.

    Emefiele gave the reassurance on why the CBN intervened in the bank loan that led to management change in the telecom company. He said: “We expect that businesses should operate profitably, but we also expect that whatever decision they take should not hurt other important stakeholders in that industry. Etisalat, now 9mobile is one of the four biggest companies in the telecommunications industry in Nigeria with subscriber base of over 20 million. Of course, we also know that the revenue base of the company is very robust. “Etisalat employs over 4000 people and if you understand the likely impact of an adverse consequence of losing the company on the lives of these 4000 people directly and indirectly, it is important that we do not allow any creditor that feels disadvantaged to take a decision that negatively affects other stakeholders.”

     

    Songeziwe Mahlangu (South Africa) 2014

     

    Songeziwe Mahlangu was born in Alice in 1985. He matriculated from Dale College, in King William’s Town, and went on to do a business science degree at the University of Cape Town. He returned to university to do a Masters degree in Creative Writing at Rhodes, Grahamstown, in 2011. Penumbra is the end result of that degree and his first novel. Songeziwe currently lives in East London and works at a large accountancy firm.

     

    Fiston Mwanza Mujila (Congo) 2015

     

    Born in Lubumbashi (Democratic Republic of Congo) in 1981, Fiston Mwanza Mujila lives in Graz (Austria). He writes his short stories, novels, poems and essays in French, his mother tongue, and in German, his adopted language. As a child, he dreamed of becoming a saxophonist playing jazz. “But there was no saxophone, so the jazz rhythm is now added to my poems. I write like a jazz musician.” He writes about the chaos, the civil wars, the 32 year dictatorship of Mobutu, which undermined his home country since its independence in 1960 from Belgium. His debut novel TRAM 83 is described in the back cover of Éditions Métailié’s edition as “highly poetic and nervous, an incredible plunge into the language and energy of a reinvented country, a hallucinogenic and hilarious tsunami in which each sentence screams a ferocious will to live.” It took the French rentrée littéraire of 2014 by storm and has gained Fiston, at the age of 33, an unprecedented success both in France and among foreign publishers. In 2015, TRAM 83 was longlisted for the Man Booker International Prize and was declared winner of the Etisalat Prize for Literature. It also won the Grand Prix du Premier Roman de la Société des gens de Lettres, the French Voices Award from the Cultural Services of the French Embassy in the US and the PEN Translates award from the English PEN, and was shortlisted for the Prix du Monde (Le Monde des Livres). Fiston’s style has also been compared to a Coltrane improvisation and a Hieronymus Bosch painting. He is currently promoting the foreign editions of his debut and working on his second novel.

     

    Jowhor Ile (Nigeria) 2016

    “Jowhor Ile was born in Obagi and raised in Port Harcourt, both in Rivers State, Nigeria. His fiction has appeared in McSweeney’s Quarterly, Lit Hub, and Litro Magazine. His debut novel And After Many Days was published in Nigeria in November 2016 by Kachifo. He is currently a Teaching Fellow and Scholar at the MFA Creative Writing programme at Boston University.”

     

    About the Prize

     

    The Etisalat Prize for Literature celebrates new writers of African citizenship whose first fiction book (over 30,000 words) has been published in the last 24 months. For the purposes of this definition, first book means first printed production in book form.

    Authors and their publishers can be based anywhere in the world. The winner of the Etisalat Prize for Literature receives £150,000, and a high end device. ‘’In line with our vision of promoting upcoming writers, Etisalat will sponsor a book tour to three African cities.

    The winning writer will also embark on the Etisalat Fellowship at the University of East Anglia mentored by Prof Giles Foden (author of The Last King of Scotland) which will include significant opportunities to meet other writers, publishers and most importantly work on their second book.