The Nation Newspaper

Category: Life – The Midweek Magazine

  • ‘Anti-graft war must be fought by all’

    ‘Anti-graft war must be fought by all’

    Nigerian Tourism Development Corporation (NTDC) Director-General Mrs. Sally Uwechue-Mbanefo has urged lawyers to play their part in the on-going war against corruption by the Buhari administration.

    She said the battle to wrest the nation’s destiny from chaos and corruption should be fought collectively, since it is sacrifice that would make Nigeria better.

    According to her, it is incumbent on all to help make Nigeria great by “deploying our globally recognised creativity, intellectual prowess and entrepreneurship to solve our existential problems and create wealth for the benefit and happiness of all.”

    Mrs Uwechue-Mbanefo spoke on Growing Nigeria’s economy beyond oil and gas at the just-concluded Nigerian Bar Association (NBA) annual general conference in Port Harcourt, Rivers State.

    To her, change does not just happen as everyone must appreciate that “we all have our part to play if we want to bring change about.” She said Nigeria cannot build an economy where corruption thrives.

    “To this end, we cannot over emphasise the importance of our fight against corruption. It is felt in some quarters that we may be sacrificing the economy while the fight rages. This is most emphatically not so because the fulcra of our economic policy namely: privatisation and liberalisation; both would gain very little traction if the general socio-economic landscape is not de-corrupted or sanitised’’.

    “In effect, in an environment of unbridled corruption that Nigeria had become, all policy implementation in attempts at growth and expansion would be tantamount to swimming against a powerful tide that invariably pushes us backwards even as we tread water more energetically; a sanitised Nigeria will have a quickening impact on foreign direct investment consequent upon a boosted investor confidence,” she said.

    She described the economic situation as correctional interregnum owing to the monumental and far-reaching restructuring the  administration had embarked upon. She observed that even more monumental were the hearts and minds wars being waged against the background of the federal character of corruption.

    These, she said, are not times to discourage Nigerians and investors because these are interesting times, times of change and consequently the mother of all opportunities.

    The NTDC boss, who identified fiscal discipline, tight monetary controls, fiscal sustainability plan and improved internally generated revenue drive as ways out of the economic recession, said Diaspora funds – the Marlon Jackson Initiative in Badagry is a tourism initiative that must replicated and multiplied.

    According to her, Diaspora Nigerians should be tourism ambassadors who would be part of the efforts, noting that the $20 billion remitted by them represents only a tip of the iceberg of the investable fund.

    “Domestic tourism and the development of Nigeria tourist destinations – the Jackson Badagary Initiative remains a prime example and a template. NTDC has signed a number of MoUs that will impact directly on all sectors of the local economy,” she said.

    On community empowerment, she said: “The Calabar Carnival is among the most sought after in Africa and is yet another success story that yields gains for Calabar and environs and is another template that other states should emulate. Argungu Festival is another but also investor capital and ingenuity to increase enhanced revenue streams.

    ‘’Osun Osogbo, Sango, Eyo Festivals in the Southwest; Ofala, New Yam Festivals in the Southeast; all have potential  multiplier effects on the local, state, and national economies.”

    On insecurity, she said this has been a global challenge that has not hampered tourism, adding that Nigerians must resolve to be a forward-looking with a passion for conciliation, co-operation and co-habitation.

    She reiterated that NTDC would champion programmes that empower the youth, as this has proved to  be the ‘soundest investment any people  can make on behalf of their beloved nation and its progeny’.

    Continuing, she said: “Regardless of whether our exchange rate is $1 to N1 or $1 to N400, the ingredients of success remain timeless and changeless and applicable in Nigeria today as it was in the Nigeria of our founding fathers.

    The virtues of hardwork, discipline and diligence will always stand one in good stead. Exchange rate is neither a deterrent to success and growth, nor a hindrance to creativity, ingenuity and entrepreneurship. Interestingly every devaluation yields new and varied opportunities, hence the dictum “necessity is the mother of invention”.

    Meanwhile, the NTDC boss said the corporation’s special marshals would ensure safety of tourists and orderliness at tourism events.

    Mrs Uwechue-Mbanefo spoke at the screening of some staff members as Special Marshals of the corporation.

    She described tourism as a good sector to explore to ease the country of the economic crisis, create wealth, employment and reduce  criminality in the country. She commended the Federal Road Safety Commission (FRSC) for ensuring the good use of the roads, noting that this has reduced accidents.

    The Sector Head of Department Special Marshal and Partnership, Mrs. Ekpekpe Barbra, also  commended the DG for encouraging the corporation’s staff to become special marshals.

    The Department, according to Barbara, is all about service to humanity, “and we at both FRSC and Special Marshal unit appreciate the Director-General of NTDC for encouraging the staff of this corporation to be part of this service.”

    Barbara, and the Coordinator of the Federal Capital Territory Special Marshal, screened 21 members of the NTDC, disclosing that the successful members would be trained and inaugurated.

  • RCCG lifts police with N2.5m

    RCCG lifts police with N2.5m

    The Redeemed Christian Church of God, Lagos Province 23, Prince of Peace Area 25, has raised its Corporate Social Responsibility (CSR) initiative with a brand new block of offices, new concrete cell with detainees’ private toilet, a borehole and repainting of the Langbasa Police Station in Badore, Ajah, in Eti-Osa Local Government, Lagos.

    The renovation of the 57-year old Police Station, which cost over N2.5million, is a follow up to the church’s February, last year’s donation of  N2.2million storm-water drainage system in the area as a response to the outcry of the community, which had long suffered uncontrolled flooding with associated health and environmental consequences.

    Describing the police station project as another land mark CSR project of the church, the General Overseer, Pastor E. A. Adeboye, said the church will continue to use its CSR as a tool of helping mankind.

    Pastor Adeboye, represented by his Special Assistant (Missions), Pastor Brown Oyitso, at the opening of the new building, listed the CSR objectives of the church to include promotion of good corporate governance in the church’s neighbourhood, complementing government’s efforts on employment generation, evangelism, enhancing church growth, especially among the youth, promoting RCCG community relationship and development.

    The Pastor-in-Charge of Prince of Peace Area 25, Lagos Province 23, Folusho Koku, said the church’s efforts entailed the remodelling and reconstruction of the Langbasa Police Office Project that was initially designed for an office and car park to a modern block of three offices with conveniences in each office.

    He said: “We have helped to decongest the single detention cell by building an additional and extended concrete cell. The new cell has a toilet and the walls tiled. We have provided a new air conditioner for the DPO’s office in the new building and are providing five triple seater metal chairs taken from our inventor in the church. The church has also repainted the police station and cemented the floors of the internal frontage of the station. A professional organisation was engaged to avail the officers neat and fresh occupation of their new offices. Arrangement has also been made for tables and chairs to be delivered soon.”

    Expressing appreciation for the exemplary gesture, the Area Commander, Area ‘J’ Elemoro, ACP Kayode Samuel, who represented the Commissioner of Police and Divisional Police Officer, Langbasa Division, CSP Joy Agulanna, said the church’s gesture exemplified the Commissioner of Police’s insistence on very good community policing, which is germane to democratic policing strategy. ‘’This singular effort as expressed by the senior officers has spurred officers and men of the Division to be more proactive, effective and dedicated in the discharge of their duties, ‘’ he said.

     

  • ‘We must not forget our heritage’

    ‘We must not forget our heritage’

    THE Ooni of Ife, Oba Adeyeye Enitan Ogunwusi, Minister of Information and Culture, Lai Mohammed and former Cross River State Governor, Donald Duke, were among dignitaries at the Shell Hall of the Muson Centre, Onikan, Lagos Island recently. They came to promote the culture and history of Lagos in celebration of Eko @50.

    The event, the third colloquium of the anniversary, was to kick-start the Badagry Ibile division’s activities.

    Its theme was “Tourism potential in Yorubaland: Landmarks, culture & history”.

    Oba Ogunwusi said: “Our culture and traditions bind us together more powerfully than religion. So, it is pertinent that our culture be kept, and that our heritage should be preserved for our generations unborn.”

    He debunked claims that the Yoruba tradition is a golden calf, saying that it is a fallacy born out of misconstruction in many ways.

    “People think we are idol worshippers. But the true idol worshippers are those who challenge God and nature. Olodumare is the ultimate and supreme being. If you have a differing God, then you are the idol worshipper. However, we have lesser gods who are messengers of Olodumare,” he said.

    He assured guests that residents of Lagos had not yet witnessed the full potential of the state, adding that the founders of Lagos did so based on the ideals of truth and unity. He described that the story of Lagos as one of the greatest in the world because of its strong link to culture.

    Narrating how Lagos was founded, he recalled that a great prince from Ife, Olofin Ogunfunminire, son of Olofin Ajalaye, who was the son of Olofin Oduduwa, left Ile-Ife with his family, travelled along the river, following a ritual calabash, popularly called ise. They were to follow the calabash till it sank: this they did until it sank at the area called Isheri. The word ‘ri’, when translated to English, means ‘to sink’. However, the ritual calabash, which contained an offering of awo (glass), a technology, he explained, the Yoruba people were masters of, resurfaced  and finally sank at Iddo, where the Awori people then settled. Awori, of course, means “the glass sunk”.

    He noted that honouring the ancestors, who had laid foundations from which Lagosians are benefitting, “is part of our heritage that must not be thrown away. We are benefitting from their foundations, and I put this challenge to our leaders to make Lagos the greatest city in the world,” he said.

    He said Lagos was not only made great by the people of Lagos who were descendants of Olofin, it was the accommodating nature of the indigenes of Lagos, in accordance with Olofin’s blessing, that paved the way for people with ideas to come into Lagos and develop it. The need for a terminus to receive foreigners from all over the world led to the creation of Iddo Terminus.

    To affirm that there is, indeed, a blessing of prosperity attached to Lagos, he said: “If Lagos had not been accommodating, maybe I would not have gone back to Ife to be the Ooni. Lagos has been fruitful for me. I came to Lagos with virtually nothing, but I went back with my baskets full and running over.’’

    Meanwhile, Mohammed identified art and culture as viable sources of income. He said: “In this age of economic recession, Nigeria had to look for alternative sources of income. Culture and tourism have been identified as sources of income.”

    He noted that while Nigeria has many lucrative tourist sites, only two have been recognised by investors as profitable, and this was because of bad inventory and management.

    After the speeches came the premiere of the movie Eko: Iwure Olofin, produced by Fola Onifade, and directed by Femi Bright. It recieved the blessings of the Ooni and the nod of the Chairman of the day, Donald Duke. It featured popular Nollywood actors, such as Yemi Black, Bukky Wright, Orisabunmi, Kwam 1, and others.

    Oba Ogunwusi said despite the intense rivalry between the Benin and Yoruba peoples that the historical film portrayed, such has not  damned Eko, and that such had no place in contemporary existence. He noted that Lagos has been developed due to its accommodation of the Benin people.

    Duke praised the ingenuity of the film’s producers, claiming that they put in a lot of effort into the movie. He commended the picture quality and the sound, and gave a thumbs up to the story and plot.

    The National Troupe of Nigeria, Footprints of David, and Badagry Troupe entertained the audience, while a team of prospective record-setters, Team Nigeria, announced their intention to perform for 300 hours to set a new world record.

    Also at the event were Lagos State Commissioner for Tourism, Arts, and Culture Folarin Coker, Adebimpe Akinsola, and Co-chair Eko @ 50 Alhaji Rasheed Gbadamosi, among other dignitaries.

  • Crown Troupe’s Horseman: one hamlet, two princes

    Crown Troupe’s Horseman: one hamlet, two princes

    THOUGH it was meant to put the lid on the week-long celebration, Crown Troupe of Africa’s production of Death and the King’s Horseman was sadly underwhelming. But that does not put the troupe’s credibility as a top-performing theatre troupe in doubt; it simply highlights how a well-meant theatrical technique can hang, draw, and quarter a performance.

    While the performance was aesthetically fluorescent, it was technically flawed, giving room for mixed reviews. Written by Nigeria’s Nobel laureate, Prof Wole Soyinka, Death and the King’s Horseman depicts the story of Elesin, a Yoruba monarch’s horseman, who, by tradition, must commit ritual suicide after the king has died, and just before his burial.

    The Elesin of Soyinka’s play is a hedonist – a potently virile one – and decides to go to the market square to cavort among the women there on the evening he is to commit suicide. He is very popular among them, and Olohun Iyo, the village praise singer eulogises him accordingly in a dialogue-laden first act.

    Further in the poesy that constitutes the play, Elesin is destined by Prof Soyinka to set his roving eyes on a wench and immediately desire her for a bride. He blackmails Iyaloja to this end, and although the damsel in question is betrothed to her (Iyaloja‘s) son, his importunacy prevails on her.

    Meanwhile, Simon Pilkings, a white colonial officer, who has been charged with the security of the town, is having the time of his life cavorting with his wife, Jane Pilkings in masquerade habiliment. They are getting set for a ball, which a Prince of England is expected to attend.

    Simon gets wind that Elesin is soon to conduct himself as a felo-de-se, and that he is actively supported in this morbid cause by both the tradition and the people of the land. He interprets it as trouble and arrests the hedonistic Elesin who is found dallying prior to the suicide.

    Olunde, Elesin’s son, has arrived from England to bury his father, but sensing that his father has hidden under the white man’s umbrella to show the white feather, he goes ahead to kill himself and save the family name.

    Elesin, undone, and detained with his tail between his legs in the Pilkings’ residence, is expressly receiving mockery from Iyaloja. When he is made to know that his son has performed a sort of harikari to salvage the family name, he kills himself and brings the play to a close.

    The play, one of Prof Soyinka’s very best, is a tricky one to produce. In fact, it is renowned for faring better in print than on stage. As such, it provided a fitting challenge for Crown Troupe of Africa (henceforth referred to as CTA) to perform in commemoration of their 20th anniversary.

    Director Segun Adefila must be commended for his work. In fact, for a performance that was technically flawed, the production was a relative success. The audience seemed impressed by it, and that is the goal of theatre – to deliver a performance that will satisfy the audience.

    The use of dance to create emphasis on dialogues in the performance was a deft move. Where props could have been used, Adefila made do with players who would dance into position and conduct themselves as props. Suave is the word for such artistry.

    However, there was more to be desired from Adefila’s directorial approach. He used a scare-deployed technique, conscience alley, to incarnate a number of characters. Elesin, Olohun Iyo, and Iyalode all went under Adefila’s knife, and the result was a classic case of ‘one Hamlet and two princes’. Usually, a director uses this when the character is a major one, and such a character is saddled with an overwhelming quantity of dramatic monologues. The splitting of such a character would convert his monologues to dialogues.

    Elesin had quite a few of those, but there was really not any need for the character to be split. Adefila split the dialogues and actions of three main characters in the play to produce an aesthetic but visually confusing play on stage. CTA’s insignia choreography in the play was evident, but it became counter-productive in the long run, serving to extend the length of an already-long play. It was glute-numbing.

    In addition to the forgettable character-splitting technique, there was considerable oversight from whoever casted the performance. When splitting characters, the players to act the same character must bear striking semblance, but CTA’s character splitting was ill-executed.

    Forget that one of the Elesin performers would occasionally choke on his lines. Both players (Michael Okorie and Tobi Odunsi) looked unalike. One was conspicuously taller than the other. One had his hair braided, the other did not. One choked on his line, where the other was fluent, the other reciprocated. It was confusing. Ab initio, the audience was not even savvy to the character splitting that the director had implemented. They thought there were two characters, instead on the one character played by people. Many of the Elesin dialogues were conversational and should certainly not have been split.

    To give the players their dues, they tried to put on a worthy performance spirit. However, some of their constant forgetfulness to turn off their stage microphones rendered the audience privy to backstage conversation.

    While both Olohun Iyo(s) – Sunmisola Taiwo and Olajumoke Lawal – did a worthwhile job of singing placebo to Elesin’s person, both Iyaloja(s) – Gloria Oghenejakpo and Abiodun Adefila – could have been more full of regalness. They had overall good acting, but it was not rounded enough to satisfy one that they properly internalised their characters.

    The costumier deserves some stick for allowing anomalous hairstyles slip into the performance. The play was set in a time when weave-on was not in use. Yet, the audience found one weave-on adorned head conspicuously attacking vicissitude in the performance. Again, the costumier allowed Iyaloja to appear on stage in a less-than-befitting attire for someone of such an eminent station in the traditional Yoruba society.

    If the play had a dramaturge, then some explanation is demanded from said dramaturge for allowing the accents of they who played white folk sound as they did. The audience was confronted with an assortment of accents which tried to sound British, but was dogged turbulently by its domicile Nigerian idiolect.

    Adefila managed the crowd scenes as well as a true director would. Not once was there chaotic acting on stage. Aesthetics was achieved, but some niggling attention to detail was wanting.

    While the audience enjoyed the performance, the aforementioned observations and a few not worth mentioning should serve to  review CTA’s production of Soyinka’s Death and the King’s Horseman. It cannot be taken from the troupe that they worked hard on this production; but sometimes, hard work alone does not do the trick. A little bit of technical magic is needed to make the performance resonate.

     

  • Recession hits art sales

    Recession hits art sales

    In the last one year, the visual art sub-sector of the creative industry has been in a recession –no thanks to high cost of art materials, foreign exchange rate, dwindling sales of art works and drop in hosting of exhibitions and auctions, among others. Operators, however, see opportunities in the recession. Assistant Editor (Arts), OZOLUA UHAKHEME writes. 

    •Now ideal time to buy artworks, says Austen-Peters

    LAST March, according to the Diamond Bank-sponsored report, published by the Foundation for Contemporary and Modern Visual Arts, the value of artworks sold at auction in Nigeria declined for the second consecutive year from $1.77million in 2014 to $1.37million last year.

    The report says of the over 107 exhibitions – 69 solo and 38 group shows –  organised in Nigeria last year, 64 were held in galleries. This was before the economy went into recession. But the story seems to be different this year, given  the economic downturn. Eight months into the year, can the Nigerian art market hit the mark or surpass last year’s sales?

    Terra Kulture, a leading art, culture, lifestyle and educational centre in Lagos, is noted for its rich programmes. Its calendar is filled every year, leaving no room for impromptu events.

    But, this year has been tough as costs of overhead and maintenance of facility have gone up. In particular, sales of artworks have not only dropped considerably, it has become difficult for master artists to sell at its yearly art auction because of high prices.

    Terra Kulture Proprietor Mrs Bolanle Austen-Peters said the sale of artworks has dropped significantly to about 30 per cent since the recession, noting that hosting of exhibitions has not changed because the gallery calendar is filled up. Apart from that, she said, sale of works during such exhibitions has been affected.

    She said unlike before when works by art masters attracted good prices, selling such master pieces has become a big challenge at exhibitions and auctions. “Even auctions are suffering huge deficit in sales and there is less focus on sale of masters and expensive works,” she added.

    According to Austen-Peters, artists’reactions to the slump have been slow as most appear to be either unaware or have chosen to ignore the decrease in sales. She, however, assured that the prices would bounce back because, after every depression, things get turned around. “So, for collectors, this is the perfect climate to buy art,’’ he said.

    “Most artists shore up their loss of income by engaging in multiple sources of revenue generation,” she noted.

    To Quintessence Gallery Manager Moses Ohiomokhare, hosting of exhibitions and patronage of works have dropped by 50 percent, because of the recession. This, he said, has affected the supply chain, which could be depressing for the artists and other stakeholders.

    “The depressed economy has impacted negatively on art works. Purchase of artworks has dropped considerably, and this has also affected our supply chain. The artist is discouraged and has no incentive to drive his desire to work. Some have resorted to selling privately at far below their works’ worth. Our overhead has also gone higher– fuel, generator maintenance, transportation costs and other domestic costs. The artist needs support. There has to be a new public understanding that art is not for the wealthy. We must rescue our cultural institutions through funding, privately and publicly,” he said.

    He said artists needed to express themselves as custodians of our culture; and such social responsibility should be encouraged as they have always documented our folk tradition and civilisation.

    Artists, he said, are creative people and operate an exceptional economy, which needs to be encouraged through funding by governments.

    Ohiomokhare observed that as an alternative, some artists have taken up employment in communication agencies, schools, and other allied institutions to keep body and soul. “Some are still hanging there and are positive that depression could also yield something positive after a while,” he said.

    He urged artists to explore opportunities in the slump and be inspired to work for the future.

    “For example, murals should be funded by governments in public spaces – sculpture, murals and other art forms to keep the artists going and also generate public interest in art,” he noted.

    Continuing, he said: “All over the world, art enjoys support from government and private institutions. Nigeria cannot be an exception. Support must not be selective. Funding has to be dedicated by various governments to sustain our creativity. The future is bright because Europe, Asia and the Americas now see Africa as the new land to explore. Our art is vibrant, and institutions like Bonham have promoted our art through art auctions in the international market.”

    Founder/Chief Executive Officer (CEO), Green House Art Empowerment Centre, Olambe in Ogun State, Princess Theresa Iyase-Odozi, identified exchange rates, cost of art materials, scarcity of funds, flooding of local market by relatively-cheap foreign art prints (particularly from Asia) as some of the factors  aggravating the recession in the sector.

    “At present,” she said, “the state of the economy has affected not only the art sector but the entire nation. Nigeria has depended on crude oil for too long. The crude oil has been more of a curse than a blessing.”

    She said, hitherto, art had been perceived as luxury good only to be enjoyed by the rich, and that with any drop in the number of the rich, the art market would suffer.

    According to her, apart from the cash crunch being experienced by the artists, many have gone commercial, thus, affecting their creativity and the quality of artworks.

    On how her centre has been coping with the challenges of the recession, she said: “As a gallery and an NGO, we tend not to depend on the sales of art works to fulfill our mission. GreenHouse Art Empowerment Centre sets out to promote Nigerian art and artists. This is seen as the best avenue to support the government and help the society. Last year, we hosted 12 artists with Prof. Bruce Onobrakpeya as the lead artist and keynote speaker. GreenHouse exhibitions are organised to promote both the artists and art. We make statements with our exhibitions and are not profit-oriented.”

     She urged artists to diversify, improvise, create new initiatives and be occupied to overcome the challenges. She added that the artists can also consider paid jobs, such as art-teachers or  art facilitators, consultants to individuals, companies, stakeholders and the government.

    She described this period as one when artists should look inward and ask themselves some pertinent questions: What quality/type of works do I produce? Are my works of art for commercial, personal, providential, documentary or historical purposes? Who are my clients? How can my works impact the society positively?

    “If these questions are properly answered, then our works of arts would have achieved the optimal value that should be attached to them. Thus, this period of economic recession, should indeed be ‘reflection period’. This is a period when the nation needs their artists not the oil barons.

    During this recession, artists should be prepared to serve and help humanity with their talents/gifts. In times in which we are, some artists should get paid jobs while those with additional skills should go into production as the nation now looks inward for “Made in Nigeria” goods/products,” she said.

    One of Nigeria’s contemporary artists Duke Asidere noted that despite the recession, his art has received good patronage. He however noted that he had to sell some of his paintings at reduced prices. “I have had to give some reductions or reduced my prices once in a while … There are always layers of business relationship… I have clients who don’t have to buy art from me, to support ones effort… I also deal with art dealers and a gallery run by a very good friend.  He supports me. He buys outright … I also have clients I can call anytime I feel pressed for funding,” he said. According to him, his work is completely driven from within.

    “I have determined and defined what money is… Money does not attract me the way it does to a lot of people.. I do art every time I am inspired,” Asidere added.

  • ‘Africa has no reason to be poor’

    ‘Africa has no reason to be poor’

    Dr Brylyne Chitsunge is the Chief Executive Officer (CEO), Elpasso Farms, Pretoria, South Africa. A philanthropist and an advocate of sound education for women, Chitsunge, who was the guest speaker at the third convocation of the Landmark University (LMU), Omu-Aran, Kwara State, spoke with ADEGUNLE OLUGBAMILA on why Africa has no excuse to be hungry.  She urged governments to ensure that women are more educated to attain their full potential.

    Given her  expanse of land and  enormous deposits, do you think Africa has reasons to suffer hunger?

    There is no reason for Africa to suffer in the 21st century. We now have agricultural technologies that make operation much better than in the old days.  I’ve always believed that if you can’t engage in commercial farming, at least you can have a small garden at your backyard. It is about time we, as Africans, looked into our own resources and leverage in making agriculture a priority.

    You said Nigeria stands to gain a lot from South Africa in terms of the latter’s policies on agriculture. Can you shed more light on this?

    South Africa has got systems and policies in place, and we have gone a step ahead in agriculture in terms of process facilities, marketing, and all that. To start  with, infrastructure in Nigeria are not in very good condition. We need the right facilities to access the market, and get the project on time. The branding side of it is also important to get the product to its destination in a fresh manner. Nigeria and South Africa are two key players on the continent, and Nigeria, being the power house, there is no reason she cannot feed the world. We would like Nigerians to come to South Africa where they can learn more about our agricultural model and replicate that in their country.

    You are an advocate of equal right for the womenfolk. Unfortunately, in many African countries, women are still relegated to the background, with many still struggling to break the odds in a male-dominated society like ours.

    All that has to change now! Education for women is a priority. I love what Landmark (University) is doing in terms of revolutionising agriculture and also encouraging more females to go into it. Generally, the university is also incorporating the youth as tomorrow’s future in this campaign. This is quite commendable.

    With institutions like this (LMU), people are going to start looking at agriculture in a very different way and not as pure charity, or that the woman’s business is staying at home and looking after the children.  We need empowerment of more women in education. If you look around, most of the women are actually the ones on the field. Interestingly, it is the skills that they need for them to grow the food sustainably in and make their modest contributions in the added value chain.

    You contended that African countries should borrow a leaf from how some societies utilise grants  and aids given to them for certain purpose, especially agriculture.

    Truth is, when policies and agreement are being signed, people have to be mindful of what the money is coming in for. What happens is that most time when the donor countries come, they tell you the need for the assistance which may not tally with the specific needs of that country they are assisting, and this creates more problems. But let me put it this way, if the donor countries have an assistance, say agriculture for instance, and choose to involve the farmers, involve the hectors on ground, then we can all combat poverty on the continent which is very important. There has to be policies which can be looked at and best managed to benefit farmers.

    I have always said, ‘bring it (funding) to the farmers’ because they know what to do with it. If you take it to politicians. They will use it for political mileage. Take it to the institutions; they will use it as their bank balance. But take it to the farmer and he will grow food for everybody to eat and also feed a whole tomorrow.

    Despite the rate of unemployment, many youths still frown at the idea of returning to the farm despite the opportunities therein. What advice do you have for them?

    I am sorry I have to revisit Landmark University again. Every year, this university releases graduates in different areas of agriculture. What this university is saying is that be it on individual or corporate body, you can make food production a business.

    Beyond that, I also strongly feel we need to evolve educational policies for children less than five years because we are talking about 2050. Africa runs into this predicament today because the past had never prepared us; so why are we being selfish by not educating our five year olds? If there is a proper structure in place, I believe by 2050, the consciousness that they have to feed themselves would have been nurtured. There is need for better infrastructure and nutritional value. It is a whole process which encompasses a lot of things. People need to realise that it is not an easy sector; yet with education and determination, a lot can be learned from it.

    You are an advocate of equal opportunities for both men and women. But recently, the National Assembly in Nigeria struck out a bill that seeks equality status for women.

    Really, I think we are beginning to witness a shift. Today, UK is having her second female Prime Minister in the person of Theresa May. In the US, a female in the person of Mrs Hillary Clinton is gunning for American presidency. If she won, that simply means US will be having her first female President in its political history. Besides, we will have two countries that are world superpowers being led by women. So the world has been moving along greater female representation even in political circles.

    And what does this say about the perceptions of various authorities in Africa towards women emancipation?

    I am appealing to various governments across Africa to be careful when deliberating on any bill that borders on gender equality? We really need more powers for women.

    In almost all populations, if you look at the number of women that are actually on the farm, it is much more. Seventy per cent of women are actually on the field; so why not focus on them, and then we now discourage importation of food into African countries. So, it is very important that governments look upon and energise women to drive this sector. I can assure you that tomorrow, we will not have reasons to regret.

  • Efuru@ 50: Foundation calls for papers

    Efuru@ 50: Foundation calls for papers

    The Flora Nwapa Foundation has called for papers for a national conference to celebrate the 50th anniversary of the book, Efuru.

    Themed Efuru @50: A Celebration of Flora Nwapa the pioneer of African Women Literature, the conference, the organisers said, will hold in five cities: Lagos, Maiduguri, Abuja, Oguta and Enugu from November 29 to December 11. The national organising committee (NOC) of the conference across five cities is being headed by former member of House of Representatives and past president, Association of Nigerian Authors (ANA), Dr Wale Okediran.

    The conference, Okediran said, will be a platform for writers, scholars, literary critics and other interested parties to engage, rethink and propose possible new directions for African women literature, which has been defined (and undefined) by different agencies at different moments.

    According him, abstracts for 15 to 20-minute paper presentation can be submitted electronically to: info@efuru50.com till September 30, while full paper submitted till October 30.“Notification of abstract acceptance will be sent October 15, 2016,” he said.

    Abstracts of not more than 200 words can be on any of the following sub-themes:  The Dialectics and Symbolism of Efuru; Flora Nwapa and Feminism in Efuru; Efuru and the role of Women in National Discourse; Flora Nwapa and the role of Women in African Culture; African Literature and the role of Women Writers; Literature as a revolutionary tool for social justice, the example of Efuru; Literary criticism and contemporary African Literature; Women’s Literature and Inter-textuality; The Interface between Writing and Feminism; Reconstructing Women Literature in the 21st Century; Narratives of Flora Nwapa’s Novels; Literary Prizes and African Women’s Writing; African Literature and Sexuality;  Women, Work, Writing and the marketplace and Vulnerability and Agency in Flora Nwapa’s narratives.

    The conference is a celebration of the  book that heralded the birth of modern African women literature, the foundation Chairman, Mr Uzoma Nwakuchen said,

    “It will also be celebrate the pioneering work of Africa’s first published woman author and the achievements, friendships, partnerships and challenges of African women literature the past 50 years.

    “It will also answer questions about women’s contribution to the African literature, the Diaspora’s influence on African literature, and the extent to which the same has been influenced by the current global trends. We invite you to submit abstracts, not exceeding 200 words,” he said.

  • Outreach empowers art academy

    Outreach empowers art academy

    Children of the Footprints of David Arts Academy have been advised to build their confidence, and support themselves to become more independent and creative.

    It was at the outreach for the academy by Child Hero Empowerment Campaign (CHEC). Venue was  the academy’s home  in Bariga, Lagos.

    A speaker, Prestige Paul, motivated the children with his spoken word performance titled: ‘Love’,  laden with pun and rhyme, noting that truth without love is hypocrisy.

    Amobi Okeke spoke on the fundamentals of education as a catalyst for honing their skills. He said they must be well-nurtured.

    Motivational speaker and member of the CHEC team Babatunde Odubanwo taught the children the benefits of education and of being focused and diligent, listing some icons as standards for them to follow.

    CHEC, a Non-Governmental Organisation (NGO) comprising young individuals under Chinonye Chidolue, were at the event. The group is dedicated to the welfare of orphans and   underprivileged youth.

    This was the third edition of CHEC’s monthly child development workshop, which had as theme “Education & Talent: gateway to a better future”.

    Odubanwo, the Public Relations Officer (PRO) of the body, noted: “We aim to build the capacity of the children in basic knowledge, skills and self-reliance. They need to become successful in life.’’

    The Academy received the CHEC team and their imbuements. The academy, known for its performances, listened as they were exhorted on the pertinence of speaking the truth, and the fundamentals of education.

    The academy comprised young children with an array of talents spanning dancing, drumming, acrobatics, singers, oration, poetry, writing and dramatics. They are known to have performed on many stages, and even recently showcased their talents in a tour of Europe.

    CHEC’s President, Chidolue noted that when she was informed about the art academy, she was eager to help them, but that upon meeting them, she became convinced that the children were not underprivileged.

    “You are wonderful children and I want to assure you that you can use your talents to become great people in future. I see the next set of renowned performers and leaders in the world among you. Don’t ever give up,” she exhorted them.

    Founder of Footprints of David Art Academy, Seun Awobajo thanked members of the CHEC team and speakers for the gesture, saying that the group is open to more.

    The team will hold its fourth outreach later this month.

  • Ugwuanyi, Oba Otudeko for LIMCAF at 10 celebration

    Ugwuanyi, Oba Otudeko for LIMCAF at 10 celebration

    All is set for this year’s gala and award night of the Life In My City  Art Festival (LIMCAF) holding on  October 29.

    Enugu State Governor Ifeanyi Ugwuanyi is chief host and special guest of honour.

    Business giant Oba Otudeko will chair the ceremony.

    During an interaction with reporters in Enugu, on preparations for the 10th anniversary of the festival, its Executive Director, Mr. Kevin Ejiofor, said major prize winners had come from six states and Abuja, while winners emerged from nine states, with Lagos, Ibadan, Enugu, Abuja and Auchi centres topping the list of major winners.

    According to him, the grand finale exhibition will open on Monday, October 24. It will feature The Best 100 New Works by Young Artists in Nigeria, including the major winning works.

    “There will be several side activities in- between those dates, including supporting exhibitions by groups and individuals from these parts who have indicated interest in mounting those side attractions at no cost to LIMCAF. Details of such side attractions will be announced later. As usual, the festival patron Igwe Nnaemeka Achebe (Agbogidi) will be present at the gala and award night,” he said.

    Since inception, LIMCAF has conferred on young  artists prizes worth over N14 million.

    Two hundred and eighty-nine entries were received bringing the number of entries since the beginning of the festival to about 30,000. He recalled that the festival organisers had logistic challenges in some centres, such as Lagos, and Port Harcourt, which made them allow participants in those areas and other parts of the country to send their entries online.

    But Ejiofor noted that of all the entries so far, Enugu recorded the highest followed by Auchi, Ibadan and Kaduna. He added that there would be several side activities, such as supporting exhibitions by groups and individuals who have indicated interest in mounting the shows at no cost to LIMCAF.

    Ejiofor thanked the sponsors, especially the Founder and Managing Director, Rocana Nigeria Limited, Enugu, Chief Robert Orji, who, for the first four years, provided the money for the major prizes.

    He acknowledged the supports of others, such as French Embassy, the Alliance Française Network in Nigeria, the late Justice Anthony Aniagolu Family, Ms Bisi Silva of the Centre for Contemporary Art, Lagos, Dr. Pius Okigbo Family, Mrs Mfon Ekong Usoro, Dr. Ellis Onyekola of University of Ibadan, Mr. Jeff Ajueshi of Thought Pyramid Gallery, Abuja, the Art is Everywhere Project headed by Ayo Adewunmi and Mr. Vin Martin Iloh.

    Others include Senator Ayogu Eze, Mr Gozie Okoye, Chief Emma Egbunike (Odua ngu of Onitsha), and Mr Chisom Okoye of Diamond Bank.

    LIMCAF is designed to promote among young people an avenue to showcase and commercialise their productions, win prizes and interact with the larger art community on the national and international platforms and create a notable national and international art tourism destination in the country.

    No fewer than 2,700 artists from 29 states of the federation have participated in the yearly fiesta  since 2007.

  • Crown Troupe marks 20 years on stage

    Crown Troupe marks 20 years on stage

    Crown Troupe of Africa, one of the leading Nigerian theatre groups, has marked its 20th anniversary. Different theatre troupes featured at the celebrations  held at Freedom Park, Lagos,  PAUL ADE-ADELEYE reports.

    For two decades, Crown Troupe of Africa has steadily grown to be one of the leading troupes in Nigerian theatre. Perhaps as a way of appreciating the troupe for its active role in the industry, some theatre companies came together to organise free performances week.

    The anniversary started with an opening ceremony, which featured a seminar, with Prof Sophie Oluwole as guest speaker, a carnival procession, and five drama performances. Freedom Park, Lagos, was venue of the celebration, and for the five evenings of each performance, the air was rent with the projections of the players and the hollering of the excited audience.

    The first play was Wats Dis All About, a performance that sang placebo to the importance of popular thespian, Toyin Osinaike to Nigerian drama and theatre. He wrote the play himself, having adapted it from its South African counterpart, Woza Albert. He also directed and produced the play through his theatre company, One-Six Productions.

    In this play, the audience is treated to a rapid progression of scenes with little or no deceleration in pace. Ochuko (Toyin Osinaike) and Boboy (Simisola Hassan) play out the role of different character types in the society while eagerly awaiting the arrival of the Son of Man. While Boboy is sceptical about the authenticity of the Son of Man, Ochuko devotes his existence to awaiting this messianic figure.

    Through their imitations of numerous characters, they lampooned the foibles peculiar to each character type and also visit their dramatic satire on vices that have synergised to plunge the country into depression. These vices range from the repeated interventions of the military in political affairs, to the ambitionless desires of hack-workers, before resting on religious extremism.

    While forces have conspired to exempt the next play, The Waiting Room, by Renegade Theatre from the ongoing reportage, the third play, Jungle Justice by Kininso Koncepts proved another engaging production.

    The play depicts a day in the court of the character, Judge (Opeyemi Dada), the most outlandish legal-practicing character yet depicted. Written by Nollywood actor and thespian, Femi Branch, it is not clear whether any inspiration for the play stems from Ola Rotimi’s ‘Man Talk, Woman Talk’. However, it is notable that both plays bear great semblance.

    In Branch’s ‘Jungle Justice’, the audience plays court spectators to the outlandish trial of Ijimere Ika (Enechukwu Uche), a suspected murderer. The play thrives on the irony that due to its setting in a court room, and seeing as it chronicled a legal process, it should have featured the upholding of the law.

    However, it features the rapid break-down of law and order and the reign of anarchy in the trial process. A cast of seven was required to produce this engaging performance, which, like its preceding play, drew attention to the marketability of the theatre industry in the country.

    Following Jungle Justice was another performance of Osinaike’s creative direction. The play, ‘Grip Am’, written by Ola Rotimi, is one of the finest specimens of the playwright’s ingenuity, and was produced by Oxzygen Koncepts.

    Featuring Osinaike as Ise, a disgruntled scrap collector who lives with his wife (Angela Peters) under an orange tree, this highly humorous play does not seem to have any political undertones. However, it uses humour to turn a bad wish into a powerful one, as Ise’s wish for autonomy over an orange tree allows him autonomy over death itself.

    To round off the theatre ensemble was a production of one of Wole Soyinka’s finest plays, Death and the King’s Horseman. The celebrating troupe manned the helms of producing the play, which is renowned more for its success as literature than its success as a performance.

    The play revolves around the historical Yoruba practise of the king’s horseman committing ritual suicide after the king has died so that he can accompany him in the afterlife. Crown Troupe laced their performance of this play with choreography and character splitting. Three of the major characters in the play – Elesin, Olohun-Iyo, and Iyaloja – were split and played by two individuals, who played the roles simultaneously.

    Meanwhile, huge question marks hovered around some of their depictions of the Englishmen. However, it is admitted that the act of an English white man is difficult to pull off, especially when the actor is essentially born and bred away from English folk.

    Shortly before their performance was a re-enactment of ‘Silent Majority’, a music drama in Crown Troupe’s repertoire, which attendees at Goethe-Institut’s Lagos_Live festival should be familiar with. Kings and Queens Art academy, a children’s theatre group, took it upon their capabilities as dramatists to pull this off.

    Although they put in a hearty performance, they were not quite equipped with the physical attributes to, as dramatists say when trying to describe performances well above par, kill the show. Even though the audience could hardly hear them, they still applauded their spirit and commitment to the cause.

    Crown Troupe of Africa’s success would not have been of any worth without its leader, the heavily dreadlocked Segun Adefila, whose dedication and passion was celebrated as a way of putting a lid on the week-long celebration that marked their 20th anniversary.