Like literature, history, medicine and the arts, the field of education, also has its unique icons—intellectuals, practitioners and theorists—who translated theories and practices into a passionate agitation for the transformation of education as a driver of change in Nigeria. Several names come straight to mind—Babatunde Fafunwa, Alvan Ikoku, Samuel Bajah, and of course, Ayotunde Yoloye.
The recent demise of Emeritus Prof. Emmanuel Ayotunde Yoloye is an occasion, both for celebration and for reflection. It calls for celebration because we have an opportunity to reminisce on the life and time of a teacher of teachers, whose entire life, private and professional, tells a story of passion and commitment. His professorial status was really a trajectory of a lifelong dedication to a cause. Indeed, Professor Yoloye represented a trajectory of accomplishments that is worth celebrating.
Professor Emmanuel Ayotunde Yoloye—father, husband, teacher, science educator, evaluator extraordinaire, educational psychologist, professor of professors and “the Bloom of Africa”—lived a very good life that was attested to by all. But that is not the reason I want to celebrate him. Rather, I find in Prof. Yoloye a solid template that combined theory and practice, and research and policy in a dynamic framework that enabled education to speak directly to developmental issues in Nigeria. This is significant for me as a researcher, political scientist, policy worker, and public administration reformer, who has been walking the tight rope between theory and practice for a long time. Bridging the gap between research and policy is a delicate endeavour. It requires a sensibility that is neither too academic nor too professional, yet a smooth blend of the two that makes one a genuine member of both worlds. That is one of the uniqueness of Prof. Yoloye’s life. I enjoyed the privilege of inviting him as a significant member of the Technical Advisory Team, which supported an endeavour that I co-ordinated between 1999 and 2002; the Education Sector Analysis (ESA) project. The study backstopped education strategy development and policy work in the Federal Ministry of Education at the time. His wisdom, erudition, expertise and time were crucial items that I drew on in the landmark project which attempted to bridge the data gap in the education sector as well as create a baseline statistics upon which many policy designs affecting pre-primary, basic and upper secondary schools, vocational/technical, and higher education, cross-cutting reform issues, etc. were fashioned.
However, more than the celebration that attended Professor Yoloye’s exit was the need to reflect on his legacy and what that translated to in terms of larger concerns surrounding Nigeria’s development. As an educationist, Yoloye occupied a field, unlike literature and medicine, which speaks directly to the development of Nigeria, especially in terms of human capital development and learning achievement.
Take a famous example. Prof. Babatunde Fafunwa is renowned today because of his bold attempt at relating education to national development through the mother tongue experiment. The critical issue he confronted was that of how to create a critical mass of human capital that would take on the burden of national development in all spheres of human endeavour, and the role of mother tongue in such a project. What role, in other words, does culture play in manufacturing a vibrant and knowledgeable workforce that could relate her peculiar cultural undercurrent intimately with Nigeria’s development challenges? Prof. Yoloye was doubly relevant because he dedicated his professional academic life to another significant dimension of this project.
He was effectively a part of the long lineage of Nigerian educationists, including Prof. Chike Obi, who were convinced of the relevance of science education to a profound transformation of Nigeria’s development profile in the twenty first century. Yoloye and others should be seen as the lone voices in the wilderness calling on the nation to engage its own reluctance and take the bull by the horn. They are right, and STEM (science, technology, engineering and mathematics) education now makes the case that these foresighted precursors have been making for years. STEM signals the triumph of an educational and curriculum policy that attempts to generate competitiveness in school with regards to the study of science and technology and the implication of such a curriculum for national development.
This makes it doubly tragic that a country like Nigeria that urgently needs to upgrade its development profile has not deemed it fit to engage the policy end of the STEM challenge nor seek to unpack the relevance of Yoloye’s science education research as basis for deep-seated reform. This research is all the more requisite because it advocates the teaching of science from the primary school level within the frame of integrated science, which was one of his inventions, and wherein the scientific spirit could first be firmly ingrained in the educational quest of the children.
His involvement in science education at the primary school level was indeed, revolutionary since it led to the transformation of the lukewarm attitude to science education. Through the African Primary Science Programme (APSP) and then later, the Science Education Programme for Africa (SEPA), Prof. Yoloye and others breathed proactive life into curriculum, teaching methods, teacher trainings, enrichment of science education and the development of publishing initiatives for science education project.
From a pan-African perspective, Yoloye’s original research passion, intelligence testing, allowed him to unravel the fallacy behind Eurocentric biases, which undermines the African’s capacity for abstract and scientific thinking. Science, indeed, is a universal endeavour and Nigerian children have a right to its promises as a prelude to Nigeria’s human capital flowering.
Prof. Ayotunde Yoloye had more in terms of educational legacy that speaks to Nigeria’s human capital impasse. It is as if he had been telling us all along that if Nigeria is to transform her development fortunes and achieve the capacity to make her educational dynamics the hotbed of human capital development, the best place to commence is not only the active cultivation of science education, but also the active measurement and evaluation of educational processes, institutions and programmes.
Educational evaluation is a gatekeeping mechanism in education that allows for adequate quality control of educational programmes and the evaluation of student learning dynamics. If education must become a fulcrum for development advancement in Nigeria, then educational evaluation becomes a crucial ingredient in the reform of Nigeria’s educational sector. Innovative progress in education requires a rigorous evaluation framework that balances new ideas with environmental imperatives. And Yoloye saw this necessity and dedicated his entire career to pushing the boundary of theories and practices in this regard.
It should be straightforward, for instance, to connect Yoloye’s research outputs in educational evaluation, his promotion of science education and his advocacy of mastery learning into a firm and robust educational philosophy around which a STEM framework for curriculum transformation in Nigeria could be grounded. Mastery learning foregrounds a pedagogical strategy that inculcates a mental and practical reassessment of learning. At a primary school level, mastery learning provides sufficient motivation that allows young minds to achieve the mastery of scientific attitudes and challenges. If science itself is considered broadly as the mastery of the universe and its physical laws, then a pedagogy premised on mastery learning as the foundation of science education promises a lot for the reassessment of Nigeria’s educational policies and philosophy.
Ayotunde Yoloye had many policy initiatives, especially with regard to the evaluation of educational programmes and curriculum development. But the large and damning question is whether we have integrated his ideas on curriculum development, measurement and evaluation and science education while he was still alive to pragmatically refine, redefine and reassess them. Now, Professor Emmanuel Ayotunde Yoloye is gone. And he left a body of insightful and revolutionary ideas and practices around which a solid educational practice in Nigeria could be built. Alongside other education icons in Nigeria, there really is no need to reinvent the wheel of educational advancement beyond the pragmatic frameworks which these patriotic educationists have provided. Yoloye did not stand alone; he was one great name in a firmament of other great names who have invested a lifetime in education reform in other to excavate a rich package of ideas and ideals around which Nigeria can overcome its development lethargy. If we must develop, we must rigorously guide the content of our educational programmes. This is one of the significant lessons Yoloye was asking us to learn as a nation. Emeritus Professor Emmanuel Ayotunde Yoloye has truly gone, and we mourn and celebrate his passing; but it is not too late in time to put his legacies and ideas to good use to salvage our educational predicament.
•Dr Olaopa is the Executive Vice-Chairman, Ibadan School of Government and Public Policy (ISGPP).
Category: Life – The Midweek Magazine
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Ayotunde Yoloye and the future of education
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25 years of promoting Nigerian arts
The Experience Nigeria Art Show has marked its 25th anniversary, with over 100 works of various media at the National Museum, Lagos. EVELYN OSAGIE reports.
Prof Bruce Onobrakpeya was staring at the wall inside the exhibition hall of the National Museum, Onikan, Lagos, with a smile on his face. The acclaimed artist is a sight to behold at art events. His black Awo cap and his grey Niger Delta outfit were perfect accompaniment to his grey hair. But it was not just his looks or the twinkle in his eyes that captivated guests at the 2016 Experience Nigeria Art Show, organised by African Art Resource Centre (AARC), it was the plastograph print, which he was looking at.
The guests followed his gaze. They saw, a metal foil deep etching artwork that had imprints similar to that of the acclaimed artist. But as they took a closer look at the work titled: Hunters…traditional hunters in the forest, they saw that it belonged to a young artist, Rabiu Adeleke.
“It is a very good work. I got attracted to it the moment I saw it. The plastograph print is an art form that is very dear to my heart. Although I established the plastograph print, a deep etching technique in which aluminium foil is used to draw the engraved images, it is exciting to know that the young ones are keeping alive that art legacy. I am going to buy it and have it in my collection. This is indeed, good to see,” Onobrakpeya said.
Adeleke’s work, which was sold for N150000, was one of the over 100 artworks exhibited at the 2016 Experience Nigeria Art Show. Adeleke belonged to AARC’s Experience Nigeria Art Show “Class of 1996”. But he was not the only one whose works drew attention.
To mark its silver jubilee, the organisers held the 2016 edition with over 100 works of various media, including those of established artists, such as former Ondo State Commissioner for Culture and Tourism, Mr Tola Wewe, Ato Arinze and Adeola Balogun. For 25 years, the art expo has featured and created opportunities for hundreds of established and emerging Nigerian artists. This year’s edition was unique.
With Fresh Forward: Refreshing for the future, forming the theme of the exhibition, rich a heritage of the show were highlighted by bringing together past participants from the previous years, and showcasing their recent works.The journey so far
Over the years, the show has brought gains to artists and encouraged them to use their talents to influence social change. Despite last year’s economic downturn The Chairman, AARC Board of Trustees, Dele Olaopa said the organisation was more determined to ensure that the vision behind the art showcase did not die. But the 25-year journey has not been an easy one, according to him.
He said: “Running Experience Nigeria Art Show consistently for the past 25 years has been a challenging, yet fulfilling voyage. With a mind of celebrating and promoting Nigerian art, the show has been supporting and nurturing the creative development of emerging artists in Nigeria. During that time, hundreds of artists have benefitted from its programmes, including Mr Wewe. Lagos State Commissioner for Information and Strategy, Mr Steve Ayorinde, wrote about the show in the ‘90s while he was a reporter with The Guardian newspaper
“But despite the difficulties, especially the economic downturn in the country, we are glad that we have been able to sustain the vision of creating opportunities for emerging artists, which is the essence of the show. This year, we invite past participants from previous years: it is great to be able to showcase their works; including those that have passed away and some of them that are abroad now.”
Award galore
The event also featured awards ceremony, and later a Children’s Creative Camp. Olaopa said the awards have made immense contribution to the development of the arts, adding that the recipients were also contributors in their own rights. For instance, the Gani Odutokun Award For Excellence in Art, he said, was in honour of the late art master, Odutokun, who passed away recently.
Prof Onobrakpeya led the list of recipients. He was given the Lifetime Achievement Award. “I commend the organisers for the initiative. We all know how challenging it is economically, but they have continued to encourage artists for 25 years. It is indeed, commendable,” he said.
Clara Aden could not hold back tears when her work, Hopephobia, out of 100 works by 50 shortlisted artists, won the N100, 000 award category.
“I was shocked when I heard my name. It is one thing for you to have the talent, it’s another for you to be nurtured and rewarded for your efforts. And Mr. Olaopa has always been there for younger artists, even if you have not sold any of your work, he will tell you, to keep on doing what you know how to do best.
“I remember my first exhibition was 2003. I remember him saying my work as a female pencilist. Today, I have won several awards. This is due to the legacy of AARC. I, not only participate, but they also nurture us to greatness,” she said.
On the final day, 150 children (aged five to 12) were hosted at this year’s edition of the Children’s Creative Camp. They were treated to a day of art and crafts activities designed to nurture their creativity.
Mr Dotun Alabi of Federal College of Education bagged the 2016 Art Teacher of the Year award, while the Sammy Olagbaju Award for Sponsor of the Year, went to Mr Ranti Omole of the Radial Circle Group.
“Art is abstract; it’s never respected. But we have our young ones day-in day-out, who are interested in becoming artists. So, that means we also have to find a future for them. Just like selling any other thing, there has to be ready-made customers for it to build the industry. And the customers will not come from the moon, but from amongst us. It is high time we began to pick interest in supporting the arts and artists among us,” Mr Omole, an engineer, urged. -
Mare Festival ‘has come to stay’
In February 2017, he will be bowing out as governor of Ondo State. Last Wednesday Governor Olusegun Mimiko hosted his last Mare Festival, a mountain climbing cum cultural event, which he initiated eight years ago. He took stock of the programme, saying it has come to stay, irrespective of who governs the state. Assistant Editor (Arts) OZOLUA UHAKHEME reports.
winners
Marathon race (Men)
Osuolale Taiwo (first)
Fatoyinbo Gbenga (second)
Olayinka Peters (third)Marathon (Women)
Olamide Oluwaseun (first)
Ogunyemi Omoyemi (second)
Balogun Elizabeth (third)Mountain climbing (Junior category)
Akinde Olanrewaju (first)
Adeboye Clinton (second)
Owolabi Odunayo (third)
Mountain climbing (Senior female)
Ayodeji Folasade (first)
Akirolayo Aina (second)Mountain climbing (Senior male)
Adekunle Adedoyin Sunday (first)
Abudu Abiodun (second)Beauty pageant contest
Contestant Number 1 (Overall winner) N150,000
Contestant Number 3 (1st runner-up) N100,000
Contestant Number 7 (2nd runner-up) N50,000The air was full of excitment. Children and young adults that thronged the Olofin Grammar School Playground at Idanre in Ondo State defied the dusty cold weather as they gathered in the vast open field.
Many of them arrived four hours before the start of the concert. All through the night till the early hours of Thursday, the fun-seeking crowd danced to the music of no fewer than 10 musicians including the 74-year-old Baba Francis Akintade and Orente crooner Adekunle Gold. Governor Mimiko and some members of his executive council were not left out in the grove. It was the grand finale of Mare Festival 2016, a mountain-climbing cum cultural festival. Other musicians and comedians that performed were Lexi J, Kunle Orlando Owoh, female talking drummer ARA, Blackman and Adeola the rapper.
The concert was not entirely for the youth alone. For the first time, it attracted the attendance of a top traditional ruler in Idanre, Oba Fredrick Aroloye, the Owa of Idanre Kingdom and his wife who at different times took to the dance floor. It got to its crescendo when Pa Francis Akintade was on stage reeling out some of his evergreen numbers. This became a ‘naira rain’ of sorts for the 74-year-old musician.
But, the concert was more than entertainment for Mimiko. Symbolically, it was like a valedictory session as he spoke with deep reflection on his eight-year tenure as governor especially his dream for Mare Festival and the development of a tourism corridor in the state.
“The 8th edition of Mare Festival is incidentally the last of my tenure as governor. However, it is one of the best organised festivals. Mare Festival has come to stay and I have no doubt in my mind that the incoming government will do all to sustain it. God has endowed Idanre with natural resources and there are no two towns like Idanre. I can see a new tourism corridor in Akure/Idanre and this we have been developing since 2009,” he said.
Mimiko, who was at the all-night concert without his wife, Olukemi, reiterated that his administration impacted the Idanre people tremendously even though some of the projects have not been completed. He pledged that the road between Technical Junction and Yaba would be rehabilitated before February 2017. “It is my parting gift to Idanre people that gave me incredible support in my eight years as governor of the state,” he added.
Earlier at the presentation of gifts and prizes-standing fans, deep freezers, generators, pressing irons and GOTv decoder- to winners of the raffle draws and marathon race, Mimiko, represented by the Commissioner for Information, Mr. Kayode Akinmade recalled that in 2009, his administration promised to turn Idanre hills into tourism site as Mare Festival brings different people from across the state to Idanre every year. “We hope incoming years will be more rewarding and successful. I assure you that in and outside government, we will always partner you to make Mare great,” he said.
Ondo State Commissioner for Culture, Tourism and Special Duties, Mr. Femi Adekanmbi said Mimiko has projected Idanre to the globe through Mare Festival, adding that the people of the state and Idanre people in particular cannot forget the contributions of Mimiko to the development of tourism in the state. “With the attention paid to the festival, we are hopeful that the next administration will not abandon it because the advantages of Mare are much,” Adekanmbi said.
Since it made its debut eight years ago, the annual Mare Festival in Idanre featured mountain climbing and marathon race and beauty pageant. Out of the 18 local government councils in the state, only eight councils participated in the festival’s cultural parade held on the final day. They were Owo, Akoko North East, Ilaje Ese Odo, Akoko South West, Ondo West, Akure South and Idanre. Other groups that featured included Isese Organisation (Ondo chapter), and Isua group. Ondo West won the first position followed by Owo and Akoko South West in second and third positions respectively. The highpoint of the night was the presentation of award by Governor Mimiko to Oba Aroloye for his steadfastness and support for the state.
In attendance at the festival were Oba Aroloye, Secretary to State Government Aderotimi Adelola, Toyosi Adesanya, Onileola Bukola and Kemi Adesanya among others.Dark spot
Tourism stakeholders are however worried by the poor state of the multi million naira leisure facilities constructed few years ago at the foot of the Idanre Hill site. Facilities such as Water Fountains, Thatch huts and wooden rails linking one spot to the other are in a state of decay and no longer fit for human use. These facilities were exclusives to special guests to relax in during previous editions of the festival. Today, they are left to kids. If the dream of getting UNESCO to enlist the site on world heritage list will be realised, the site must be maintained and made functional by restoring these facilities among others.
Like the facilities, the numbers of food vendors, arts and crafts sellers and participants at this year’s festival were a far cry from the boom recorded at previous editions no thanks to the recession. Unlike past editions, only one motorised float designed as a giant canoe featured in the street carnival accompanied by some dancers and singers. Guest artists at the musical concert also dropped considerably. -
Traditionalists crave public holiday at Ifa festival
The rich cultural heritage of the Yoruba was on display at this year’s Ifa Festival held in Sango Ota, Ogun State, report ADEGUNLE OLUGBAMILA AND IBRAHIM YUSUFF.
For Ifa worshippers, it was an opportunity to show the stuff they are made of and also make a case for a public holiday. Dressed in colourful traditional attires, they performed all kinds of stunts and rituals to add colour to their 17th Ifa Festival held in Sango-Ota, Ogun State in the country.
President of Ifa Olokun Foundation Dr Ifakayode Faluade and Alaafin of Oyo, Oba Lamidi Adeyemi led the campaign for public holiday.
They also appealed to all tiers of government to preserve the nation’s cultural deposits and suggested that traditional religion be accorded equal status with Christianity and Islam.
Other eminent, including the Osolo of Isolo, Oba Kabiru Agbabiaka; a lecturer at the Obafemi Awolowo University (OAU) Ile-Ife, Dr Fafolarin Agboola, and German tourist, Michael Ehrenberg, among others supported them.
Oba Adeyemi said Ifa culture does not only exist in Nigeria but also in other parts of the world. “Ifa has been globalised. There is no place you will go to in the world that you will not meet Ifa. Therefore, we could go back and retrace our steps to our cultural heritage as Africans, I believe everything will be fine for us,” he insisted.
Faluade condemned the neglect of traditional religious practices and inadequate promotion of the nation’s culture by the governments, while linking most of the socio-cultural problems to the neglect of cultural values.
“Governments need to play active role in promoting the elevation of our culture, especially traditional religion. They have neglected it in preference for Christianity and Islam and this does not amount to equality. I’m calling on them to also give public holidays to traditional worshippers to celebrate our culture like other religions”, Faluade.
Faluade, however, debunked certain misconceptions about Ifa alongside some other deities in the Yoruba culture. He noted that the traditional religion, Islam and Christianity share some similarities.
He said: “Ifa does not go against any religion. We the Ifa preachers are ready to relate and work with members of any religion or groups. There are many similarities between Ifa and Islam and Christianity. Both Muslim and Christians make sacrifices to God. The issue of ebo (sacrifice) is not peculiar to traditional worshippers alone. The ebo we make in the traditional religion also exists in Islam and Christianity. For instance, the killing of goats during Muslim festivals is also a way of sacrifice to God.”
The paramount ruler, who was represented by his daughter Princess Folashade Adeyeye, also sought a rebranding of traditional culture to entice more people, particularly the educated.
“We need to encourage our youths to embrace their cultural heritage. One of the reasons why many people are not attracted to traditional culture has been the manner it was presented in the past. But now, we need to represent and repackaged to make it more appealing to people. Organising lectures, seminars exhibitions, and cultural awareness such as this will go a long way in addressing the cultural gaps,” he advised.
Oba Agbabiaka frowned that traditional religion is being abandoned by the authorities with preference for ‘imported’ religions.
The monarch described Ifa as a ‘source of knowledge’ and a deity with which ‘mankind can ascertain his or her source of problems’ and how to find permanent solutions to them.
Ehrenberg, a German tourist, noted that the infiltration of the Western culture caused the erosion of African culture. Ehrenberg, who said he was in Nigeria to acquaint himself with the culture of the southwest, urged governments to support campaign by individual and groups such as Ifa Olokun Foundation at promoting the culture of every tribe nationwide.
In his word, Agboola urged the entire black race to imbibe the “Ifa” deity, saying it is the pathway to success and progress of the black continent.
He blamed most parents for their inability to communicate with their children in local dialect, saying this has also led to decline and gradual extinction of the nation’s values.
Agboola, who is the chairman of African Cultural Heritage Group, recommended that universities nationwide should run a programme in ‘African Cultural Studies’ in order to promote re-establish a sense of belonging among Africans and others.
“Let me also correct the misconception about Ifa deity, it is not against any other religion or politics. Just as politicians consult Islamic and Christian clerics before elections, so does the Ifa priest. There is nothing evil about Ifa. It is the local type of science, used for knowledge and does the same job as the computer.
“If our leaders have been honest and listen to predictions from Ifa, this country would have been greater. So I’m urging our youths to disregard insinuations and embrace our culture so that it does not perish.”
Earlier in his welcome address, Dr Faluade praised Osun State Governor Rauf Aregbesola for supporting traditional religion worshippers and granting them public holiday during their festive period. -
Lai Mohammed unveils information app
Minister of Information and Culture Alhaji Lai Mohammed has unveiled the Federal Government of Nigeria Information App (FGN IAPP) in Abuja. He said the government would not allow the media space to be dominated by those working to discredit it.
“We realised that in order to get undiluted and factual information directly to the people, we will have to do things differently. This is because those who are opposed to this administration’s change agenda, including the corrupt elements in our society who have chosen to fight the government with their ill-gotten wealth, have taken it upon themselves to distort our messages and obfuscate our activities to give the impression that the government is not doing anything.”
In addition to using the conventional and the social media, he said, the government has introduced town hall meeting where ministers interact directly with a cross-section of Nigerians in a no-holds-barred session. He noted that the app would ensure that authentic and real-time information is delivered directly to them, irrespective of their location.
Mohammed said: “Our latest effort in the quest to provide authentic and timely information to Nigerians is the App we are launching today. Irrespective of where you are in the world, from today all you need to do is to download the FGN IAPP, and you will have access to factual and real time information on the activities of the Federal Government of Nigeria.”
The services contained in the app include the Tender Journal that is published twice a month to announce available government contracts, the ‘’BE INSPIRED’’ section which makes it possible for any Nigerian, irrespective of his status, age or academic background, to meet top political, business, religious and other leaders and the access to genuine government job vacancies. The minister added that the app also has a feedback section that allows anyone so interested to make his or her feelings known about any government policy or programmes.
“It is our sincere hope that Nigerians at home and in the Diaspora, and indeed all those who are interested in authentic news about the activities of FGN, will take advantage of the app. We will be fine-tuning it as we progress in order to make it more responsive and to better serve the people. The government will never succumb to the antics of Internet trolls, hack writers and pseudo analysts/experts who work daily to fool unsuspecting Nigerians,’’ he said.
The App Developer, Mr Olawale Wale-Falope, said the App is a one-stop shop where Nigerians can get authentic information on all the three arms of government in real-time. He said there is too much falsehood about Nigeria and that it’s time for the country to speak out so that the world does not judge it based on a one-sided story.
Other dignitaries at the unveiling are the Minister of Niger Delta, Pastor Usani Uguru; Minister of State for Environment, Malam Ibrahim Usman Jibril, and his counterpart in the Health Ministry, Osagie Ehanire. -
When Good News translates to art on Owoyemi’s mind
The Artist is the opposite of the politically minded individual, the opposite of the reformer, the opposite of the idealist. The artist does not tinker with the universe, he creates it out of his own experience and understanding of life. In life when all else is lost, art holds fast, and that is the good news about art. Good news is the desire of every lover of good things. In these days of depressing headlines, uncertainty and odd occurrences all around us, good news is very welcome.
What good news could there be at a period when the year 2016 is close to an end and everyone looks ahead with hope into the coming year 2017? The good news is that art is life, and this is the reason for the Good News exhibition. The exhibition brings to our visuality, with palpable imagery and in an innocuous manner, the catharsis of the artist – Owoyemi’s -own good news. The efforts in this exhibition in uncanny manner attempt to define the artist’s personality-artistic, religious and sociable.
With dream of stardom, Owoyemi’s resilience and search for new grounds to launch his artistic leap is set in this Good News Exhibition. Taiwo Owoyemi is a committed artist and a believer in virtuous proclivity. The titles of his works on exhibit here, easily give him out. “Still Patriotic” is a mixed media, 2by4ft, featuring a damsel, sleek and stylised figure with two hands spread out. The figure with braided hair, held in seven places is symbolic. In African and Christian spiritual teaching, the head is significant in the destiny of an individual and seven is the number of perfection in Christian religious understanding. Besides, the eyeballs of the figure are patterned into the overtly depressed but laterally elongated face, enlivened by two dramatically formed eyes. The two bright eyes of the female figure, with dropping eyelids, stare at the audience. The blouse and pant of this feminine figure are adorned with signs and symbols ingeniously inlaid to create artistic points of tension and rest, for the eyes and emotion. Many of Taiwo’s works in this exhibition are in this mould.
In all the works featured in this exhibition, there is a pervading evocation of the elements of tension and calm in subtle manner. This is used in the patterns, signs and symbols as superficial character or clothing for the figures or forms that Taiwo has created. More so, Taiwo Owoyemi uses these elements as artistic strategy to find answers to the problem of light and shade in the three dimensional ambiance that he works. For example in another work titled, “My Choice”, Aluminum on Board medium, Owoyemi gets colourful with aluminum sheets sourced from discarded cans from industrial products. The audacity of usage of the elements of art as well as the unity and balance of structure and pigmentation is statesmentous of Taiwo development. He is no longer in the category of the juveniles, professionally. Taiwo has drawn the boundary in his practice, showing the difference between the charlatan and champion in Art.
Taiwo’s works in this exhibition betray him! They reveal the aspect of him (Taiwo) that he probably would not speak about openly – his family, religious commitment and ideological learning. A soft spoken, jovial, adorable, shy and determined personality who carries himself about quietly; Taiwo has been given out in the full glare of the public, by his artworks.
The images in his artworks, of elegant women, idealised female forms, and jubilant female figures are Taiwo’s discrete homage to Bimpe, his wife who is also a committed and prolific painting artist. They are both blessed with children. In the same vein, the benign wordings of the titles of works on exhibit are another manner in which Taiwo unknowingly let out himself in this exhibition. The artist is an ebullient spiritual individual in the Christian group and the nomenclature that he brings to bear on his art works are insignia of his ideological and spiritual positioning. The interesting aspect of this exhibition is the manner the artworks excite the vision and emotion of the audience.•Prof Odiboh, Art Critic, works at the Department of Fine and Applied Arts, University of Benin (UNIBEN), Edo State.
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Museum galleries are centres for research
A museum is a “permanent institution in the service of society and of its development, open to the public which acquires conserves, researches communicates and exhibits for the purposes of study, education, enjoyment, the tangible and intangible evidence of people and their environment”.
This definition speaks volumes. Besides conservation, communication, exhibition and acquisition, the definition talks about researching, which of course, is the trademark of the topic of discussion.
This brings us to the definition of Gallery. According to the Oxford Advance Learners Dictionary 6th edition a “gallery is a room or building for showing works of art, especially to the public; it can also be a small private shop/where you can see and buy works of art; a long narrow room, especially one used for a particular purpose and a level passage under the ground in a mine or cave. In all of the above definitions, one phenomenon is common and that is the presence of the public in each of the settings”.
Museums collect and care for objects of scientific, artistic or historical importance and make them available for public viewing through exhibits that may be permanent or temporary. Most large museums are located in major cities, towns and even the country side. Galleries do not exist independent of the name of the museum. Coming down to the museum gallery in particular, one cannot approach research in the museum gallery without first of all briefly talking about the types of museum exhibitions that can be found in museum galleries. These galleries basically derive their names from the types of exhibitions they showcase. For instance:
Archaeological museums
These Museums specialise in the display of archaeological artifacts or artifacts found in archaeological sites for instance the Nok Museum in Nigeria houses Nok figures which are archaeological. Another is the Igboukwu Museum in Anambra State which displays Archaeological bronze objects.
Maritime museum
In maritime museum; found on display in their galleries are objects relating to ships and travels on seas and lakes, they may include a historic ship replica made accessible as a museum ship. An instance is the dufuna canoe of Yobe State which replica which in Abuja.
Military/ war museums
Military Museums: specialize in military histories. They are often organized from a national point of view; with displays organized around conflicts in which that country has taken part. They are typically wartime propaganda and exhibits on civilian life during wartime and decorations among others.
A military museum may be dedicated to a particular service or area like the war museum Umuahia dedicated to the Nigeria Civil War which houses the machine guns, dane guns, Ojukwu bunker and local missiles to mention but a few.
Natural history museum
This type of museum typically exhibits works of the natural world. The focus lies on nature and culture. The exhibitions may educate the masses about dinosaurs, ancient history and anthropology. Evolution, environmental issues and bio-diversity i.e. (the existence of a large number of different kinds of animals and plants which make a balanced environment).
Science museums
This kind of museum revolves around scientific achievements and marvels and their history. They can have on display in their galleries exhibits on topics such as computer, aviation, railway, physics and astronomy etc. like some of the seven wonders of the old world, which includes aviation and bell system.
Specialised museums
Such Museums can be indifferent forms like music gallery which celebrates the life and works of composers or musician such as the rock and roll hall of fame in Cleveland, Ohio music museum/galleries which includes live music recitals such as the handle house museum in London. Another specialized museum is the bead museum, one of such is found in Glendale, Arizona and it fosters the appreciation and understanding of the global, historical, cultural and artistic significance of beads and related artifacts. The permanent collection includes beads from around the globe including a 15,000 year old.
Museum targeted at the youths
Is also a specialized museum; such as the children’s museum or toy museums in many parts of the world. The galleries exhibits often include educational materials on a wide array of topics for example the museum of toys and automota in Spain (Automotai.e use of computer and machine instead of people to do job or task).
The National baseball hall of fame in an institution of sports category; the corning museum of glass which gallery is divided into art, history and science of glass. The National Museum of crime and punishment whichgallery is dedicated to the exploration, punishment and solving of crime. The great American Doll house museum which depicts American social history in miniature in its gallery.
All of above galleries play vital roles as research centers.
Conclusion
The museum’s gallery houses incredible and unimaginable wealth of knowledge cutting across all works of life, universally. The knowledge of the existence of a museum and what is contained in museum galleries will and can never be disadvantaged information to anyone who has it; adult or children. The limited knowledge and publicity given to the museum as was said earlier, which has caused the museum gallery to be referred to as “Gidan Juju” “UloAgbara” or “Ulondimmuo” in some parts of the country as a result of ignorance does not make the gallery a less important place to visit. Like the Igbos will call the university “mahadum” meaning “know it all”, the museum gallery in it real sense is the “mahadum” of the world because it houses all the philosophy and knowledge of the world. Visit a museum gallery today and get wiser!
They are as follows: information about the lifestyle of the people who existed in the area as at the time of the objects inception; the texture of the soil that has housed this object which has prevented it from decay; what the object has been used for or purpose for which it was made. For instance whether it was a domestic object or a ritual or a religious object, or even an object used for farming; the reason for migration of the people of such area i.e. In case of objects discovered in an uninhabited area, i.e. whether it was a war prone zone or an area suspected to be a disappeared river like the case of Igboukwu bronze objects; the material used in manufacturing the object i.e. whether it is made of wood, stone, bronze, clay e.t.c; the last but not the least, its age which can be discovered by thermolinescent means.
Having put all of these together, the museum researcher now certifies an object fit for exhibition. At this point, one calls to mind part of the ICOM definition of the museum which says that it is a permanent Institution in the service of the society and its development; open to the public. “Then one will ask “why is it open to the public” for the purpose of this paper the question can be narrowed down to research as it is carried out in the museum Gallery.
Day after day, thousands of /people from all works of life throng the museum all over the world seeking information, amongst whom are Historians, Anthropologists, Archeologists, Lecturers, education officers like I and YOU, science e.t.c. What do they seek? “Knowledge”
Discoveries, clues to remodeling etc. Why do they seek these in the fore-walls of a gallery exhibition? As the one time Director-General of the National Commission for Museum and Monuments would say, “Museum is the Cultural Central Bank” what does the Central Bank represent? It is the head of all other banks and co-ordinates their affairs and is like the coach, drawing the rest of the banks. Likewise, the museum represents man’s existence from his origin, lifestyle, culture, religion, profession, dressing, food, recreation e.t.c. all of these and more are found in the compressed fore walls of the museum gallery, making it a completeness in its totality. If the museum gallery houses everything about man and his existence, little wonder an archeologist would visit it to study the culture of the past and of periods of history by examining the remains of buildings and projects found in the ground.THE ANTHROPOLOGISTvisits the gallery to study the human race especially of its origins, development, customs and beliefs as in the movement from one age to another i.e. From the Stone Age to the era of ion and wood etc.
The Historian visits the gallery to study all the events that happened in the past, from migration of people, to war, turning point in human existence etc.THE CULTURAL RESEARCHERvisits the gallery to know about both the tangible and intangible culture of man as regards the past; He looks at religion as it appears in the religious figures found in the gallery, profession obvious in the fishing and farming implements. Home furnishing glaring in the stools, mats, wooden beds e.t.c. All of these are contained in the fore walls of a gallery and this interests him to further research into the mode of manufacturing and the ingenuity of the technology of old.
A POET visits the gallery and can see through his minds eyes the peaceful innocence and sincerity of our past which was devoid of so much mistrust in the openness of co-existence especially in Africa. For instance in the 1st and 2nd lines of J.P Clark “Africa, Africa of proud warriors in the ancestral savannah. Africa of whom my grandmother sings on the bank of the river”.
THE DRIVER visits the gallery and can research on the former mode of transportation used by or fore fathers he discovers that before now people could move from place to place using animals and other means other than motor.
THE TEACHERcomes to the gallery and finds out that our intangible heritage of dances, moonlight gamers fattening rooms as for the adolescent age and even the 3rd century B.C mood of teaching of king Ptolemy 1 existed before now.
THE POP SINGER visits the gallery and to his amusement discovers the musical instruments of ancient times and tries to find out more about it as its affects his now.
THE WRITERvisits the gallery and is surprised at the stock discovery he make at the volumes of what the public will be fearing to know more about. Goes deeper and find out that volume big enough to be carried by a hundred trailers can emanate from one gallery alone.
THE ARCHITECTvisits the museum; surprised his discoverers that his latest drawing of the most modern of buildings is actually only a remodeling of what had existed centuries before. Interestingly he begins to peer into the technology of building in the past and how it has come to bear on our today. Take (MONTNA) Museum of Traditional Nigeria Architecture) Jos as an instance. These are to mention but a few. There is no profession in the world that does not have something to research on in the museum gallery. Regrettably in this part of the world especially in our Country Nigeria, little publicity and attention is given to the culture industry; the museum not being and exception leaving the wealthiest of knowledge lying in the galleries scattered all over the country in the land of the privileged few who by accident or design, commission or omission got the knowledge of the Museum and decided to use it.
CONCLUSION
The museum gallery houses incredible and unimaginable wealth of knowledge cutting across all works of life, universally. The knowledge of the existence of a museum and what is contained in museum galleries will and can never be disadvantaged information to anyone who has it; adult or children. The limited knowledge and publicity given to the museum as was said earlier, which has caused the museum gallery to be referred to as “Gidan Juju” “UloAgbara” or “Ulondimmuo” in some parts of the country as a result of ignorance does not make the gallery a less important place to visit. Like the Igbos will call the university “mahadum” meaning “know it all”, the museum gallery in it real sense is the “mahadum” of the world because it houses all the philosophy and knowledge of the world. Visit a museum gallery today and get wiser! -
A peep into tradition from modernity
This play showcases various problems plaguing our country. It highlights the problems, including the wholesome adaptation of foreign ways of life, that have affected our moral and cultural values.
Though a play of four Acts and 15 Scenes, which is set in the Southeast, it captures the whole country as its focus at the end. The author also succeeds in injecting into the play the current political occurrences, and the injection is brazenly done that the reader needs no interpreter before he can match the characters in the play with our current political leaders.
The play showcases the author as a very deeply rooted person in Igbo culture and traditions. It is weaved around a particular cultural festival – Aji Ndugwu, showing how its abandonment brings premature deaths to the imaginary ancient Kingdom of Mbaukwu in Ebonyi State. The author, however, ‘moves’ around a lot before he gets to his destination which in no small way enriches the play.
The lessons loaded in Act 1, Scene 2 cannot be overemphasised. For instance, the emphasis being placed on soccer as reflected in the attitude of a very small ‘Ugonshi’, a boy of about six years who is not fascinated about being a doctor or a lawyer, but to be a footballer, is worthy of mention. The passion for soccer is also exhibited by the same boy on page 26, when he insists that the money that is supposed to be used to buy akumba, coconut, and anuegu, lump of dry meat, to perform the cleansing rite he must undergo as a result of his fall into cesspit, should be given to him to buy a type of ‘Man U ball’. No doubt, virtually all the sports, not even soccer alone so to say are money spinning ventures, but they should not take the place of education in the life of a child. The lives of Barr. Adokiye Amesimaka and Olusegun Odegbami, both nicknamed ‘Justice’ and ‘Mathematical’ by the late ace broadcaster and football commentator, Ernest Okonkwo, because of their combination of education (law and engineering) with football talent, should be a lesson to all aspiring sporting stars. Till date, the duo still maintain their relevance in the society, whereas, a lot of their colleagues have gone into oblivion.
The emphasis on the need for the young ones to know the National Anthem by ‘Ojemba’ on page 13 is a good display of patriotism, though, the same character on page 14 reads a poem well loaded with meaning when viewed from the current agitation for Biafra by Indigenous People of Biafra (IPOB). Whatever the aim and purpose of the contradiction should be left to conjecture by the readers. The consciousness of the people on the need to separate physical problems from the spiritual ones, what man can do from that which should be left for God is reawakened by the author in page 16.
Imagine the calamity that befalls Alegu and his family because of his using Christianity to cover up his evil deed of the past. Total abandonment of herbs in the name of Christianity is dangerous to our well-being, health-wise. Nworie Ede is said to be reputed in using certain herbs preparation (agashi) to cure a particular ailment which he is said to have abandoned, because, “he says his church is against it”, (pg19). To underscore the importance of the particular herbs and the danger inherent in its abandonment, ‘Ichie Ugo’ on the same page 19 lamentably says, “my son, we are finished. Church has killed us completely. When ‘Oketa Mkpuma’, my friend contracted manuenwu, terrible species of ring-worm, it was Nworie Ede’s herbs that cured the ailment. That was after Dr. Douglas had tried all he could with no improvement. Now, tell me, if we have such a case again, where do we go? One by one, everything is going”. It is an open secret that the Nigeria Police don’t walk their talk when they say, “police is your friend”, because, hardly will an average policeman do anything for anybody free of charge. This is reflected on page 21 where Ojemba says, “as if God is a policeman that eats bribe before doing his work…” The loss of man’s dignity through corporate begging (page 21 and 22) as well as the beauty of being well versed in one’s native language (pg 23) are parts of issues to ponder on in the present society. To say that the economic recession is creating a lot of havoc, including home breakage is stating the obvious. Due to bad economic situation, a lot of people are being forced to relocate from cities to the villages. In the case of Nwawhor, who has been living in Lagos together with his nuclear family, he has to dump his wife and only child (Mauslina and Ugonshii) in his village when the situation becomes unbearable in the city while he stays away in another city. But, for the maturity of Mauslina’s father, the marriage almost breaks due to the untold suffering the mother and son (Mauslina and Ugonshii) are subjected to-pg.33. The overzealousness of our so-called born-again Christians cannot be glossed over. On page 43, Bro. Christians claims that “I am a Christian, can’t bow to anyone except God” when asked why he “refused to do obeisance like others” before the traditional head of the community-Eze. Ogenyi. Yet, this is like turning upside down the Bible which prescribes respect for the leaders in the society. All through the play, there is a high degree of discipline through demonstration of respect for time by the traditional ruler, Eze Ogenyi, who ensures prompt arrival at every meeting organised by the palace. There’s a great lesson for our leaders to learn in this act of punctuality, especially our states’ governors, who come to functions well behind schedule, offering various types of excuses, despite the fact that some of such events are organised by the states and within their domains.
Being educated does not amount to neglect of culture and tradition, which is what Ojemba (a lawyer), Douglas (medical doctor) and Mr. James showcase by their keen interest and passion in the affairs of their kingdom. Beyond, the face value of their submission to culture and tradition of participating in ‘Aji Ndugwu’ cultural festival to cleanse the land of evil occurrences as dictated by ‘Akpuru’ oracle, the ancient god of the kingdom, it is a clarion call on our youths to be concerned about their immediate community. Left to the trio of Ojemba, Douglas and James, they can afford to abandon the village and the villagers to their fate by living in the cities, afterall, they are educated and can afford it. Virtually in all African societies, there are such festivals that are observed in one way or the other, mainly for the preservation of our moral values, but which have been eroded today by education, religion and civilisation and which the societies are paying dearly for in terms of moral decadence and degradation.
Comic Relief : Though, the situation is very ‘tense’ in Mbaukwu Kingdom, when one considers the circumstances on which the play revolves, the author shows his literary ingenuity by his use of comic relief, not to just to amuse the readers, but to further drive home his message. At every point, the author brings in the characters to relieve the reader, it is always with clear messages on the need to do things right. When the two mad men, by the names ‘Londoner’ and ‘Americana’ come to the palace of Eze, there is a message that depicts America as a country where anything is possible. When one views the passion with which the so-called God’s own country embraces same sex marriage, the claim by ‘Mad man 2’ on page 47 that “I’m a Londoner, Americana’s wife. But, wait! Am I the wife or husband? I have to be careful; you can’t trust these Americans” is very instructive. Equally, the introduction of ‘Janta One Life’, (pg 61) who is said to be living a fake live brings another relief, yet, with a clear message on the need to discourage street hawking, a common phenomenon among the people of the Eastern part of the country wherever they may find themselves across the country.
The bad influence people of such character wield on the society is reflected on page 85, when a promising school boy with available opportunity to pursue education to appreciable level decides to follow the footsteps of Janta One Life with an illusion of making quick and dubious money. Then comes the most notorious of the comedians, Sergeant Dagama, a sacked police officer, who has become an albatross on the kingdom because of his condition. Because of his faith, the genuineness of which is very much in doubt, he faults the recourse to gods through the culture and tradition of the Kingdom. He asks some logical questions to back up his argument against the gods and tradition, but, due to what I, in my own opinion see as the bias of the author against him, he pays dearly for his antagonism as bees emerge from nowhere and sting him out of the arena on pg 81. The same Dagama on pg 66 points out the danger of indecent dressing, commonly among which is rape and which cannot be faulted.
Ordinarily, the work of this nature is left for reader to interpret which is why the use of metaphor makes such interesting. The author, however for whatever reason throws away his literary ingenuity at a point and import wholesale and direct, the current situation in the country into the play. It must be said that this importation in no small way diminishes the quality of the play. If a play is about what is already known, what’s the point of watching such a play? This is exactly what the author does, telling the reader an over beaten story without any colouration whatsoever. Among the issues the author addresses are the old age of PMB (pg78), the fight against corruption, the looting of the treasury by the immediate past administration(pg71), the war against insurgency in the North-East (pg73), the drastic reduction of the price of crude oil in international market (pg71), the diversification of the economy from oil to agriculture (pg72), loot recovery (pg71), corruption fight-back (pg75), non-purchase of arms and ammunition for the soldiers, leading to the insurgents having upper hand during the previous administrations (pg73) e.t.c.
In fact there’s no ill being observed in the present government of the day at the centre that is not reflected.
The author must be commended for his painstakingness which makes the work a near-perfect one as the identified errors are very minimal. Among the few errors noticed are the one on page 18 where the author mistakenly says ‘a prayers’ instead of ‘a prayer’ý. On page 20, the author omits the word ‘us’ when he says, “all of us cannot be pastors and reverend fathers and popes. But, all of (us) can and do serve Him with our skills and talents”. On pg 38, the word ‘please’ is written as ‘ple’and on pg 19, the word ‘of’ is omitted in the statement “a man his age’. On pg 27, ‘school fees’ is written as ‘school fee’. Prior to the narration of Ojemba’s arrival at the village, there has never been anywhere the author makes reference to where the character stays and this puts a question mark of which ‘city’ on the statement that “Ojemba has just returned from the city late last night” on pg 8. Of the trio of Ojemba, Douglas and James, who participate in Aji Ndugwu cultural festival, the author fails to reflect the profession of James as he does of Ojemba (lawyer) and Douglas (medical doctor).
The play is rich in Igbo language and teaches a lot of lessons. It has a wide appeal across the various strata of the society, and morally beneficial to one thing or the other from the play. -
Don presents second novel
A teacher in the Department of English of the University of Lagos (UNILAG), Dr Lola Akande, has released a new novel. The novel titled: What It Takes, exposes the intrigues and politics that characterise degree-awarding processes in Nigeria’s ivory towers.
The novel shows what it calls the unfortunate entrenchment of cyclical wickedness in Nigerian universities, where anyone who acquires a PhD and becomes a university lecturer believes he must punish students because he has gone through a similar experience. The central character’s ivory tower experiences mimic the larger Nigerian experience, where excellence is killed and mediocrity is celebrated under the guise of tribalism, entitlement mentality, unbridled sexual demands, greed, avarice and sheer wickedness.
Realising that intelligence, diligence, hard work and commitment are not necessarily What It Takes to earn a PhD in a Nigerian university, the novel’s heroine seeks the intervention of marabouts in a desperate attempt to achieve her goal. It, thereby, underscores the potential danger some varsity teachers unwittingly expose their lives to through acts of wickedness.
Akande was born on October 3, 1965, in Kwara State. She holds a doctorate degree in English Literature from the University of Ibadan. She teaches African Literature in the Department of English, University of Lagos. Her first novel, In Our Place, was published by Macmillan Nigeria Publishers Limited (2012). Her short story, “Camouflage,” was published in the anthology, Dream Chasers (Nelson Publishers Limited, 2013). What It Takes is her second novel. -
Feast of music, dance
Since it started in 2011, the Musical Youth Fiesta Initiative (MYFI) has been bringing together youths across Lagos to worship God. This year’s edition held at Eko Hotel and Suites on Victoria Island was a thrilling festival of music, songs and drama. EVELYN OSAGIE reports.
It was a colourful event that drew thousands of people to the Expo Centre of Eko Hotel and Suites, Victoria Island, Lagos.
Children and young adults were dressed in rainbow colours. They came for a Christian musical concert, the Musical Youth Fiesta Initiative (MYFI).
The yearly fiesta, initiated by Senator Oluremi Tinubu, brings together children and young adults from across the state. It is an occasion for revelry, thanksgiving and reminiscences. At every edition, churches do their best to worship God. This year was no different.
“It is with great delight that I welcome everyone to the sixth edition of our yearly musical event. It was only yesterday when we began in 2011, and we thought it would be a one-time event. But here we are today celebrating the sixth edition. Truly, God’s hand is in this project and we give him all the glory,” said Senator Tinubu.
There were several highpoints at this year’s fiesta. Besides the energetic songs, musical and dramatic performances, many will not forget in a hurry, the classic performance of five-year-old Monachi Nwankpa of Mountain of Fire and Miracles (MFM). Like a young prophet, she chose her words carefully while taking the opening prayer. She prayed for Nigeria with so much understanding as she brought the children, the organisers and the success of the event before God.
The performances of saxophonists, Adebayo Kunle Ajayi and Peter Enoch, were electrifying.
Guests were treated to exciting performances by the churches. Each group gave their best on stage. The participating churches included the Redeemed Christian Church of God (RCCG), MFM, The Redeemed Evangelical Mission (TREM), Christian Pentecostal Mission (CPM), Apostolic Faith Church and Ayo Ni O.
This year’s event was attended by dignitaries, such as wives of Lagos and Osun governors, Mrs Bolanle Ambode and Mrs Sherifat Aregbesola; Lagos State Commissioner for Women Affairs and Poverty Alleviation Mrs Lola Akande; Hajia Abba Folawiyo; members of MYFI’s board and organising committee.
“Truth” was the theme of the event. Nigerians were urged to embrace truth as they prepare for the Yuletide. Mrs Ambode linked many of the country’s problems to the “absence of truth” in national affairs. She urged Nigerians not to relent in their quest for “truth”, explaining that truth can be found in the word of God.
She said: “Truth, an absolute term, breaks the shackles of disease, ignorance, superstition and poverty. Absolute honesty would guarantee your success and make you stand before kings and not mean men.
“Great Nigerian youths, as you savour the joy of this moment, I enjoin us to note that there is only one way in your quest for greatness – there is only one Truth, only one Way – the man Jesus. That is the “Incontrovertible Truth.”
She praised the efforts of the organisers, saying: “This initiative is no doubt a unique platform for talent discovery and the medium of self-actualisation for teeming Nigerian youths, many of whose talent would have remained undiscovered and unexplored for personal and vital development if not for initiatives like this. I salute the organisers (Senator Oluremi Tinubu and her board of directors) for their steadfastness over the period of six years. And we say more grease to their elbow. I wish you a fun filled and spiritually rewarding musical festival,” she added.
For Senator Tinubu the theme, Truth, is peculiar, especially at a time when our youths are confronted with so many challenges due to advancement in technology”. The best way to typify truth is through a child’s analogy, she said, adding: “Our Lord Jesus affirmed this in Matthew 18:3 that if we can become little, we can gain access to the Kingdom of Heaven. The Bible says that perfect praise and strength of God is from the mouth of babies and sucklings. The battle is no longer the fight between ‘good and evil’ but ‘the truth and the lie’,” she said.
MYFI Organising Committee Chairman Jide Sanwo-Olu said the concert encourages young talents.
”I believe that life and success of nations and their bright future lies in the hands of the generation of today. If youths of today have strong values, the best education, good health, right priorities and full sincerity, then we can say that the future is bright. It was an initiative that Senator Tinubu had then and some of us supported the idea, thinking it was a one-off event, but see how it has grown. We levy ourselves yearly and get partners.
“It is not a competition or talent hunt show. The vision is for children and young adults can come together around the festive season to hear good music, be inspired, thankful to God and dream, because not many have the opportunity of coming to an environment like this. In terms of spread, the 57 local government are represented. We are grateful for the support of all the board members and sponsors, such as Eko Hotel, MTN, Honeywell Noodles, TVC, LTV, etc. ,” he said.MYFI Leadership
academy graduate new set
The music fiesta was a two-pronged event. It also saw the graduation of 18 teenagers from the MYFI Leadership Academy.
According to Mr Sanwo-Olu, the MYFI gave birth to the Leadership Academy. “Two years ago, Senator Tinubu also thought beyond giving back that girls need to be mentored to greatness to believe they can be whatever they want to be.
“Hence, the academy targets girls between the age of 13 and 18, with a mind of moulding them as leaders and focus-driven women. Along with other mentors, she invites people to school to teach them in various areas – the word of God, ethos, ethics and etiquette.”
Adelabu Esther, 16, an SS3 of Our Lady of Apostles Secondary School, was one of the graduands. According to her, meeting Senator Tinubu and shaking hands with the governor’s wife were unforgettable moments for her. Being in the academy, she said, has taught her many things she did not know, observing: “It has really impacted on my life. I have learnt what it takes, especially as a girl-child, to be a leader.”
For Ayoku Somachi, it was wonderful experience that brought her in contact with influencial persons, adding that the trainings helped her refocused on what course to take. She said: “It is something I never imagined and I am really grateful that I was part of the students who were able to get the certificate. I feel blessed to know this great woman and part of this programme. The classes have been really inspiring. I don’t see why I would not do very well when I get out there in the world. In the next few years, I see myself being a very successful business manager because I intend to study business management.”