Category: Life – The Midweek Magazine

Sam Omatseye’s new narrative poem Scented Offal is a 48-page piece that touches on the many-sided grind of Nigerian history dating back to its pre-independence era.
In five sub-heads: The big three, Independence, The West Burns, Military coup and Civil war, Omatseye captures in poetry format some significant historical facts about Nigeria since the 19th century through to the attendant military coups and civil war of 1967.
In a chronology, the author narrates the Nigerian history, its dreams and realities that shaped the people’s faith in the entity called Nigeria. But from the start of the poem, he acknowledges that the ‘century was of tribes and fights, and of harmonies unrealised in a rage of battles among brothers who could not confess to any sort of kinship.’ He addresses each of the issues in order of occurrence.
Like a series, Scented Offal published by Topseal Communications Limited is an offshoot of the author’s latest fictional work, My Name Is Okoro, a novel that deals with the Civil War and its devastating effects on minorities and non-Igbo in the Southsouth geopolitical zone during the 1967-1970 war.
He states that Nigerians wrestled into one and duelled into brotherhood in battles, such as Kiriji, Ekitiparapo, Latosa and Kurunmi wars while the Bini ‘bowed’ to the superior power of the foreign invader-British army in the 1897 infamous expedition.
“We wrestled into one, even the Yoruba in the 19th century dueled into brotherhood, Kiriji, Latosa, Ekitiparapo, Kurunmi, made myth out of spears and fears, the Bini never bowed to a foreign invader. But drew majesty out of a travesty to mark their place in the pantheon. Historians call it massacre, but indigenes who fell because they marched rename it resistance though futile they wove pride out of their pyre,” he states.
In his response to the recurring politics of ethnicity that has continued to … Nigeria’s political growth, Omatseye highlights the contributions of key players such as Obafemi Awolowo, Herbert Macaulay and Nnamdi Azikiwe in the struggle for independence from British.
He cites the election into the Western House as one of the early incidences where the arrangement played out. He said against Zik of Africa’s seeming success in the West, ‘Awolowo rallied his tribesmen the Yoruba under an umbrella whose weight was part albatross, part banner for the rest of his life. For Zik’s tribesmen cried and called him the John the Baptist of tribal hate. He robbed their icon the right to stand as premier of the Western Region.’
In Independence, the author recalls the unpreparedness of the political leaders to take charge of the leadership vacuum created by the British administration after independence.
“So a feigned bliss was the glitz/Of our October din/With flags and songs and the parades/And the humble exit of the Union Jack/Not faraway beckoned babel prides/With tribes and fear of tribes tying/Us to the unseen prophesies of our accidental/Being/Peoples penned together in forced destinies/By outsiders who knew little about us but knew enough/To profit and prop an empire/On our backs.”
This, according to him, manifested in the popular Wetie (The West Burns) in the Western Region that signalled the end of independence euphoria occasioned by the political manoeuverings between Obafemi Awolowo and Ladoke Akintola, who later pitched tent with Tafawa Balewa to rock the western boat. What followed remain evergreen in memories of politicians and historians of then.
The author simply did not ignore the accusation and counter-accusation that trailed the first military coup and the consequences of that on the Nigerian state till date.
“To this day the debate still singes/With Nzeogwu’s kinsmen denying any sin, adding that the cup of hate hung on the lips of the foes up north/Though Ironsi the army head /And first soldier of the realm/Did not breathe his last in the coup/Because his kinsmen spared him, another Igbo man.’’
Omatseye’s account on the civil war highlights how the avoidable war witnessed many battlefields that turned into a curse of cousins, ‘though Biafra war lord Emeka Odumegu Ojukwu ‘lost the battle not the rattle of his heart.’ Yet, the Igbo, according to him, though prostrate in ruins stood like a leopard.
“Fighting still in the glory of a proud people, its inventions, its starvations, its abysses/All footnotes/Where the heart of the men/Brilliant like the yellow sun/Swaggered either to the death or to the fall,” he says.
Scented Offal is, indeed, the author’s own way of coming to terms with the history of Nigeria since the nineteenth century. But, the lessons and significance of the poem to every Nigerian, especially students and politicians is unquantifiable. And at a time the nation is going through more ethnic-influenced protests and crises, the book becomes handy and instructive in resolving some of these distrust.

The fourth edition of Art of Friendship exhibition organised by the National Gallery of Art, Abuja, in collaboration with some embassies, has been held at the FCT Exhibition Pavilion, Garki, Abuja.
It featured diverse and interesting collections of artworks from China, Czech Republic, France and Nigeria. “As the name, Art of Friendship implies, it is an exhibition set up to foster friendship among different countries,” the curator of the exhibition, Ngozi John Uyah, said.
There was an uncommon display of art from the Czech Republic, that are ‘dry point’ pieces. They are from a collection titled, Excerpts from a Pilgrim’s diary by a young Czech artist, Jakub Solin. Apparently the artist got his inspiration from the Bohemian forest and, as he put it, the collection best conveys his experience ‘as a pilgrim through life.’ The images were quite detailed and engaging not just because of their small sizes but also due to their subtle reflection of nature. The Czech Ambassador, Mr. Pavel Mikes who expressed his delight over the participation of Czechia in the exhibition, said though the pieces on display were quite enjoyable to look at, what was more important was ‘the meeting and discovering of each other.’
China showed off – yes, showed off – a beautiful collection of pictures of the mountainous region of Jiangxi. The originator of the pictures is unknown but that did not detract from the beauty of misty mountains, lush green land, colourful operas and more. It seemed China intentionally put those pictures on display to tempt world travelers to board the next plane headed east into China!
According to the Chinese ambassador, Mr Zhou Pingjian, 2017 marks the 45th anniversary of the establishment of diplomatic relations between Nigeria and China. He added: “China looks forward to further strengthening and enhancing its cooperation with Nigeria in the future.”  On the Jiangxi Province on display, he said ‘it enchants people with its picturesque scene of misty mountains and fresh water lakes.’
Strangely, France chose a Nigerian artist to represent it at the exhibition- Ugwu Bede Ifeanyi, the first winner of the Institut Francais’ Young Talent Award, 2016. Ugwu contributed five interesting installation pieces which were produced in Styrofoam, wood and calabash. The piece that seemed to catch the most attention was “Nursery” which was indicative of a bird’s nest with its chicks nursing in it.
Speaking, the French ambassador, Denys Gauer, stated that France “aims to boost young artists and foster their professionalism” by showing off their works to important stakeholders in the art world.
The ambassador announced that a major art exhibition Metropolis Afrique Capitales scheduled to hold in France later in the year will showcase two Nigerian artists, Ugwu Bede Ifeanyi and Modeopula Fadugba.
Nigeria featured a collection of works from a number of different artists. The works included ceramics, terracotta, paintings, mixed media, photography and metal sculpture. The works varied from abstract works of art to reflections of humans in their real environment showing everyday behaviour. One of the works that captivate the audience is a painting by Clement Nwafor titled, Unity, which depicts a handful of children joyfully washing a large Nigerian flag together. The image is so emotional it made you want to hug your neighbour beside you irrespective of which ethnic group he or she came from.
Minister of Information and Culture,Alhaji Lai Mohammed represented by the Permanent Secretary, Mrs Ayotunde Adesugba commended NGA for the initiative. He expressed his delight at having the four countries participate at the event and called on other countries to join in future editions pointing out the importance of art as a tool to ‘bringing countries together and in so doing engendering world peace.’ Chairman of the occasion, former Governor Abia State, Dr Uzor Orji Kalu, who has been an avid supporter of the Art of Friendship, expressed his delight at the continuous mounting of the exhibition series restating his commitment to the noble cause.
Director-General, NGA, Mr Abdullahi Muku said the programme provides a ‘single platform for collaborating countries to showcase their unique artistic heritages as a basis for cross fertilization of ideas and cultures. He stressed that with the pains it takes an artist to produce an art piece, even though bought and sold, it is actually priceless.

Poetry performances and reflections by some past winners of the yearly Vision of The Child arts festival formed part of the opening ceremony of an exhibition: Sisi Eko @ 50 held at Diamond Bank Headquarters in Lekki, Lagos, Assistant Editor (Arts) OZOLUA UHAKHEME reports.

An exhibition, Sisi Eko @ 50, has been held at the Diamond Bank Headquarters in Lekki, Lagos. A prelude to this year’s yearly Vision of The Child (VoTC) arts festival, its opening ceremony featured poetry performances and reflections by some past winners of VoTC. The festival, sponsored by Diamond Bank, will run till May has taken a new dimension. It was designed to showcase Lagos@50, a celebration that was flagged off by Governor Akinwunmi Ambode last year May. Apart from that, the festival would feature international participation of US-based world-class brand, Goodwill Ambassadors and Champion.
About 50 past winners of the competition since 2012 till date are expected to produce literary works such as essay, story and poem on a chosen feature that best illustrates the festival motto: Enhance the heritage, advance the future. These may include architectural (building or landscaping), street décor, transportation, motor park, leisure park, public or private institutions, public facilities, government policies, performances, innovations, educational models, films, campaigns, market and factory in Lagos.
Project Director, VoTC, Foluke Michael, said this year’s edition of the festival would not involve call for entries but carry along past winners since 2012 under the theme Past winners’ choice. She stated that participants are expected to provide an exposition on their choice via painting or drawing to illustrate aspects of such composition (perhaps its origin or social history).
Michael, who spoke at the opening of the exhibition, said participants would also undergo series of training, networking and group pairing in the form of a reality show before their final presentation before a live audience.
“Participants as usual, will be drawn from schools in Lagos and are expected to make their creative presentation before a live audience by April 2017. They will go through series of training, networking and group pairing in the form of a reality show before their final presentation before a live audience.
“The participants are expected to begin their project work from the 21st of February by registering online (www.visionofthechild.com.ng) through their customised page. Submission will be opened till March 31st. Workshop begins from March 10th where participants will have opportunities to discuss their project work with art tutors, literature teachers, poets and educationist that will guide them throughout their adventure.
“On Saturday May 3, the 50 Past Winners of Vision of the Child (VoTC), will participate in a live painting and literary arts competition at the Federal Palace Hotel, Victoria Island, Lagos.
The VoTC exhibition will be opened formally later in the month of May; followed by an Award Dinner on the May 27,” she added.
Diamond Bank Executive director Mrs Chizoma Okoli described the festival as one of the programs Diamond Bank is firmly in support of, adding that ‘we are happy to be part of it as it aligns with our going beyond banking to impact the people.
Head of jurists, former Ondo State Commissioner for Culture and Tourism, Tola Wewe, disclosed that participants’ projects would be scored based on their creativity, proficiency and imagination among others. The overall winners of this year’s edition will have direct engagement with the Atlanta based global brand.
The day’s event got to a climax when a 10-year-old girl Miss Sophie Okonkwo of Sureville Montessori School, Ikota, Lagos recalled how she was forced to participate in the competition. “My cash prize is still in the bank. My mother said until I turn 18 years before I can collect the money. I never wanted to participate but my teacher and art teacher forced me to take part. They insisted I must participate so that I can win a prize to decorate the house. However, my parents are punishing me now for spending too much time drawing and painting,” she recalled.

The Memphis Brooks Museum of Art will host Victor Ekpuk, a Nigerian-born, Washington D.C.-based artist, from March 6 to 17. He will be painting Drawing Memory, a 58-foot long mural for the new African art galleries.
His art is inspired by Nsibidi, a sacred means of communication among male secret societies in Southeastern Nigeria. Evolving out of the graphic and writing systems of Nsibidi, Ekpuk’s art embraces a wider spectrum of meaning to communicate universal themes.
“The subject matter of my work deals with the human condition explained through themes that are both universal and specific: family, gender, politics, culture and identity,” explains Ekpuk.
He re-imagines graphic symbols from diverse cultures to form a personal style of mark making that results in the interplay of art and writing.
“Our centennial year continues with the reimagining of our African Gallery. Victor’s art will set the stage for the Brooks’ collection of the Art of Africa in a dynamic, thought-provoking way,” said Executive Director Emily Ballew Neff.
Museum visitors are invited to watch him create the mural that will be on the third floor of the museum across from the hands-on family art gallery-Inside Art. Visitors are also invited to a gallery talk featuring Ekpuk on Saturday, March 11 at 1 p.m., which is during the museum’s annual ChalkFest.
This mural begins the renovation of the African Gallery, which will culminate in Fall 2017 with a reinstallation organised by Dr. Christa Clarke, Senior African Curator at the Newark Museum.
“We are thrilled to be reinstalling the African Gallery with Drawing Memory as the centerpiece. Victor has been an artist in residence at museums across the country and visitors have been inspired and deeply moved by watching him work,” said Chief Curator Marina Pacini. “Memphians too will enjoy the experience of seeing a work of art being made, especially one that is designed specifically for the Brooks and the city. The process is fascinating, which is why we will post time-lapse footage of his progress daily.”
Ekpuk’s artworks are in such collections as the Smithsonian Institution National Museum of African Art, Newark Museum, The World Bank, Hood Museum, Krannert Art Museum, United States Art in Embassies Art Collection and Fidelity Investment Art Collection.

Almost 400 books of African prose fiction have been published in the German-speaking countries of Austria, Germany and Switzerland in the last five years. Indra Wussow is in the heart of an advocacy for re-visitation and reinvestigation of the “fractured” relationship between Africa and Europe through the lens of the arts.  Wussow, who lives in Johannesburg, South Africa, is the editor of AfrikAWunderhorn, a series of contemporary African fiction in German. She is also a curator, literary translator, journalist and director of the Sylt Foundation. Evelyn Osagie spoke with her when she visited Nigeria. 

How do you marry the many parts of yourself?
All the different parts actually work together because you would write first and you’d read. So you can easily become an editor. And then when you travel, you’d meet with writers, and conduct interviews that you sell as a journalist. You’d also translate, so, you can write literary reviews. As a curator, you’d know people, visit places, so that all your parts fit into these different capabilities. And that, I guess, is how we all work nowadays. We don’t only have one job. I know a lot of people that have had to do three or four jobs.
What do you think of African literature?
Africa has young nations, who had their Independence mostly in the 1960s and later, and out of these are very interesting generations of literature. Both the old and the new are capturing the past and finding a new way to deal with who they are. And it is a very interesting environment because it deals with various literary groups and traditions, like the oral traditions birthing the spoken words. The many talents that you find in African countries are amazingly huge. A French-speaking country would offer another form of literature than the English-speaking one, but it is a wonderful mix of very new voices which should all be heard.
Are there similarities between South African and Nigerian literature vis-à-vis German literature?
They are different literatures. There are lots of oral traditions in those literatures that we in Europe forgot. And it is also what unites them. It is like a political urge to address issues that in Germany are usually not. I think it would change now with the right wing people because we have to become political again to fight that system. I guess the urge to write to make social changes is something that is more African. And to tell the stories out of that perspective makes them extremely realistic and down-to-earth which I very much like. In Germany, a lot of literature – not all of course but if there is a tendency that is what we talk about – is art for the arts sake. You’d flavour language and experiment with language. They are often not very interesting stories you’d tell because you’d feel your life is rather boring which would change now. These stories become very important so you’d deal with your past.
In the last five years almost 400 books of African fiction have been published in German. Does that mean there is a market for African literatures and writers in the German speaking countries of Austria, Germany and Switzerland?
Definitely. Just the sheer number of titles is incredible. And of course, there are readers who are really interested in a diverse idea of African countries and African identities that is different from the perception before which was rather “Oh that is the third world”. And now it is very interesting to see that a lot of Nigerian writer, books are translated. For example, “Lagos” is a literary topic and a city, which many people know from books even though they’ve never really travelled here. And isn’t it amazing that you have a Nigeria whose landscape is so different from the German one?
Is there room for new African writers to have their works translated for the German market?
There is always space for new ones. Although I think you can’t publish much more as before. However, you can change the older ones whom you have published but don’t publish anymore for new ones coming up.
So how does a new African voice find space in the German market; how easy is it?
That is very difficult, because you have to have a publisher before; otherwise, you are not even sure of somebody recognising your work. So most of the people that are translated into German are actually well-known – they have won awards and prizes. The Caine Prize, for example, influences publishers worldwide to focus on works in Africa. So if you are not published at home it would be very hard.
So if a writer is not well known or wins an international prize, it would be difficult for that writer to get published in Germany?
Definitely, because how do you find them? I live in South Africa and still have the possibility of finding writers that haven’t been published in South Africa that I might consider, because I know they would be. But you can’t be that knowledgeable in other literary scenes. So, it would be mere coincidence if you find one, but it would be very difficult. And one has to also say that those writers published in German-speaking countries are very good writers and you already have a big choice of those who are published to choose from.
What is your take on prizes and their effect on the development of literature globally?
I do believe awards are not only important for those who win them to get contract or are translated, it is good for literature itself. With the emerging of a Chimamanda Adichie, there is suddenly a boom in Nigerian literature. And now there are so many others coming; and because the perception that “there is an interesting literature out there”; it also affects the growth of literature, and not only those winning awards but others as well.
When a book wins a prize, it becomes the next best book. Some critics believe that it doesn’t quite represent the literary space because the continent has lots of great writers, whose works are worthy of being promoted.
I am not so sure. For example, Etisalat Prize for Literature has wonderful winners. Fiston Mwanza Mujila’s book, Tram 83 is originally written in French. Winning the prize in 2015, I am sure he would have now found an English translation so that more African people would have access. And this is amazing; and would not have happened without these awards. I find them, the awards, extremely important. It should be a mix out of different things, but awards means there is money that is brought into the literary scene, and this improves it.
Besides awards, writers’ residency has also helped the development of literature and writers. You established the Sylt Foundation African Writer’s Residency in your hometown. Could you tell us more about it?
One of my projects is the Sylt Foundation. And we have a residency space on the Island of Sylt off the coast of Hamburg, which is the North of Germany. And there, we host writers and artists to stay for a month or two to focus on their works, and sometimes to work on projects that we curate as well. It has been on for 15 years now and we have hosted more than a hundred writers.
What inspired the move?
It came out of the idea that I always feel we limit ourselves constantly when we deal with our groups by saying: “this is my culture, this is my people and this is my country”. I never liked that. I always felt that we are so much more. We are where we are because we are born there. And so I felt it is very important we marry the idea that our differences are things to explore and cherish. And the success of the programme teaches me that it is the right thing to do. People are constantly building walls, trying to separate people; but I feel it is very important to unite. Different as we are, in the end, we are all human beings. And I think we want the same out of life. So it is important to build bridges.
What is your experience bringing writers and artists to the residency yearly?
It has gone very well. The good thing is these people are grownups so they know best what they want and actually utilise the opportunity because they have quality time to focus on their works. And out of it comes friendships that last longer than the residency which is lovely because we like the idea that a network have arisen out of it over the years.
How do you choose the residents?
Some win awards, others work together with us on projects. And we work with institutions. For example, we have partnership with a bank, which now belong to the Barclay Bank. And they have a competition and they book for the space for one of their winners as is part of their prize which is lovely. And this year out of a competition, there is a Ugandan visual artist coming. He would actually be with Abubakar Ibrahim, winner of the NLNG Nigeria Prize for Literature at the same time. So it is very funny that on this little Island in the North of Europe, two African brilliant creative minds, who have never met, will come together. And I am sure there would be an interesting conversation.
Besides Abubakar Ibrahim, winner of the NLNG Nigeria Prize for Literature who will be in the residency this year, which other Nigerian writer has your residency hosted?
Chika Unigwe was there and Helon Habila was also there.
What do you have to say about Goethe-Institu’s Literary Crossroads and its importance in building bridges?
It is very important. It is incredible that we are having these conversations across cultures. I was born into a horrible village in Germany where I mean I could have become a bank clerk. But it is amazing sitting with you here, talking about literature, your photography.
Is this your first time in Nigeria?
It is unfortunately my first time and only short because I would like to investigate more of this country. And because I read so many Nigerian writers, it would be wonderful to further go down and explore things. I would definitely come another time.
What did you fantasise about Nigeria and what were you warned about it?
First of all, it was Lagos. You’ve read a lot that that city is very chaotic. And you want to see for yourself. In Goethe, you are constantly being sent to differently posts across the world. And it is often said that Lagos is one of the few posts you can’t be sent to; you have to want to go there because it is apparently so difficult. You’d hear it so awful and difficult, but the interesting thing is that when you travel enough, you’d find the chaotic is the ones that are most creative. And you see it in Nigerian literature. Everybody does warn you, but it is a shame I leave in Johannesburg. And everybody talks about how difficult it is as well but I don’t find it so.

Radio Sunrise, by Nigerian writer Anietie Isong, has been shortlisted for the Kingston University Big Read project. The novel is one of the six shortlisted titles to be considered for staff and students to read before the 2017 academic year begins.
Radio Sunrise, published last month by Jacaranda Books, is a hilarious, yet sobering take on the foibles of Nigerian life and politics from the perspective of a young journalist. Anietie recently read from the novel in London.
Since 2015, Kingston University in London has sent a book to every undergraduate and postgraduate student about to join the institution as part of the Big Read campaign, which promotes student involvement and ensures new arrivals feel welcome before they arrive. The final shortlist, narrowed down from 140 suggested titles, includes authors from Scotland, Nigeria and Kenya:
•My Name is Leon – Kit de Waal
•The Brilliant and the Forever – Kevin MacNeil
•Radio Sunrise – AnietieIsong
•The Power – Naomi Alderman
• The Elephant and the Bee – Jess de Boer
•The Penguin Lessons
•Tom Mitchell
A selection panel comprising staff and students from all faculties and departments of Kingston University will set about reading the six shortlisted titles, before choosing the official Big Read in April. The book will then be sent out to students getting set to join Kingston University for the start of the 2017/18 academic year, with a number of events scheduled throughout term to celebrate the project. Free copies of the book are also made available on campuses for all staff to join the conversation with students when they arrive.
Big Read Director, Alison Baverstock, an Associate Professor, said the shortlisted novels are a reflection of the university’s values. “This is a really exciting list of six different titles from a range of authors who reflect the breadth and diversity of the university and our wider community,” she said.
“The aim of the scheme is to bring people together through shared reading and we’re looking forward to exploring the shortlist to find our next Big Read.”
Students and staff are encouraged to join in judging the shortlisted titles through discussion posts on Facebook, with the winning choice announced on Friday, April 13.