Category: Life – The Midweek Magazine

Dr. Ajibade Adeladan, a United States-based psychiatrist and neurologist, is one of the candidates interviewed for the Alaafin of Oyo’s throne. Born to Prince and Mrs. Samuel Adeladan of the Agunloye Ruling House in Oyo, Adeladan studied Medicine & Surgery at the University of Ibadan, worked in some hospitals in Lagos before moving to the Caribbean Islands where he worked as a surgeon, and later to the U.S. In this interview with Southwest Bureau Chief BISI OLADELE, he speaks on his plan to transform the town through medical and agricultural revolution.

When did you join the race to become Alaafin?

I registered my intention shortly after Oba Adeyemi III passed on. I have participated in the process. We were about 89. Actually, we were initially about 119 candidates, then it dropped to 89. Then, 65 of us were interviewed. 

Why are many Princes interested in becoming the Alaafin? and what is special about the throne? 

The Alaafin throne is special in many ways. First, the Alaafin ruled the whole of Yoruba land and its environs during the old Oyo empire.

Other kings were and are subject to him. His domain extended from River Niger in the North to the Atlantic Ocean in the South, then to parts of Ghana in the west, and down the Niger river to the east.

The Alaafin and his government were the most sophisticated in Yorubaland, if not the entire continent of Africa. The Alaafin was recognised as the emperor in Yoruba land. The British recognised him so. They paid him almost double of what the next king to him was paid. An Alaafin was one of the six Nigerians that signed the Amalgamation of Nigeria in 1914. There were other kings, but they were not consulted because they considered them much lesser to the Alaafin.

He is the first among the first class kings in Yoruba land.

The Alaafin throne is so highly exalted that members of the Oyomesi only bow/prostrate to the Alaafin. They would not bow to other kings.

Why do you want to return to Nigeria at this time that many young people are relocating abroad for greener pasture? Why do you want to abandon your beautiful career? 

My co-workers in the U.S. asked me the same question every time since I made my intention known. Just before I came, they asked me why I wanted to leave California for Nigeria. But, I always tell them that Nigeria is the biggest economy in the whole of Africa and there are many opportunities in Nigeria. Also, there are many people, I think, I can be of help to, in Nigeria. With all my experience, with how I have seen how things are done, even though I have been on the medical field, I am very much interested in agriculture because I worked in Nebraska. Nebraska is an agriculture state. I have interacted with farmers, I interacted with ranchers and I come to Nigeria regularly. I know that those things are not here, those things are not readily available and farms are small. In Nebraska, you can drive for about 100 miles, and all you see are corns, wheat for more as very large farmlands by the road. 

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So, I said, we can do all these too in Nigeria. We may not be able to build planes, build rockets or submarines, but we can at least do all those things. We should be able to generate electricity, we should be able to grow enough food, especially in Nigeria. And now came the opportunity, biologically, I belong to the royal family and it is the turn of our ruling house and I see myself as eminently qualified to do it and my family is also in support of that. So, I said well, I think, I can do this and my interest has been growing since then. 

Now, I am more confident that it’s something I ought do to be of help to people. If you are in the western world and you are comfortable, it’s okay. But if you come back home, with the experience that you have and the idea that you have, you can begin to do things differently, you can begin to do things that will be of benefit to your people when you are back here.

I feel that with all those experiences I have had, I should be able to be of help. I should be able to contribute my own quota. And I think that being an Alaafin, it is going to be an Alaafin that is experienced and it is going to be of huge benefit, not only to the people of Oyo but to the people of Oyo State, Southwest and Nigeria as a whole.

Have you started doing anything in agriculture in Oyo?

We are on it. We have already identified the land to use. My father is an agriculturist, we talked about that. We are coming up with plans. Even things like palm oil and all that, we are already working on them. We are already planning on things like palm oil, maize and other things.

How do you intend to bring your medical experience to bear on the people of Oyo? And what does Nigeria need to stop emigration of medical doctors? 

Oyo is a university town. There are three universities there. One of them, Ajayi Crowther University,  is well-established. All of them are well established, but I see that university as an institution that can have a medical school. When you have a medical school, you always have doctors. There may be staff like 20 doctors every year and that will be very helpful to the community. That’s a long-term plan for me. 

There is no country in the world that has enough doctors. But in Nigeria, there are doctors that will complete NYSC and they say they cannot find a job. That tells you that there is something wrong with the system.

TO promote Edo language, a group, Edo Language Day Worldwide has rolled out plans to celebrate the first annual Edo Language Day Worldwide on August 13.

In a statement by its Global Coordinator,  Lady Nekpen Obasogie, she said that the initiative is part of the group’s response to the warning by the United Nations (UN) over the extinction of indigenous languages around the world.

Against the backdrop of a recent estimate that, at least, 50 percent of today’s spoken languages in the world will be endangered by 2100, Lady Obasogie noted that Edo language is not exempted from the list of Indigenous languages that are gradually becoming extinct.

She said the decision to declare Edo Language Day Worldwide was made at the first worldwide Edo Language Seminar organised by NEBO TV on August 13,last year..

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She said: “It was a historic event that featured many dignitaries from the Great Benin Kingdom. They connected online (via Zoom) to strategise on how to preserve, revitalise, and harmonise the Edo language among Edo indigenes worldwide. The initiative aimed at promoting and preserving a standardised Edo language worldwide.”

According to Lady Obasogie, this year’s event would be hosted by Edo Language Day Worldwide (ELDW), NEBO TV Canada, Edo State Ministry of Arts, Culture, Tourism and Diaspora Affairs, in partnership with the University of Toronto, Canada. 

The coordinator noted that the event is scheduled to hold (in-person and virtually) on August 12 and 13, at the University of Toronto, Canada and Sir Victor Uwaifo Creative Hub in Benin City, Edo State.

Recall that in his coronation speech in October 2016, Oba of Benin, Omo N’Oba Ewuare II had passionately to the state government to include Edo Language and History in schools’ curriculum in Benin Kingdom.

The monarch declared: “I advise my Benin people to try to maintain our culture especially our language, by insisting on its use in communicating with their children and each other.”

Nigerian-Canadian artist and author, Dr. Uba Iwunwa has been honoured with a prestigious literary excellence award by the Imo State University (IMSU), Owerri for her contributions to literature and academic excellence.

Dr. Uba, founder and chairperson of Abiama Dynasty, a humanitarian organisation received the award during the unveiling of her new book, ‘The Rising of Ikenga’ (Love Beyond Death) at the English and Literary Studies Department of the Imo State University, Owerri on June 2, 2023.

Dr. Iwunwa who was represented at the occasion by the brand ambassador for Abiamdynasty.org, Princess Chidinma Amanda Omeonu, had in her keynote address at the occasion expressed her joy and satisfaction for being able to produce such a book that carries a strong message that resonates with Nigerian youths who were at a critical juncture.

Explaining that the main character in the book, Ikenga, journeyed through bitter life challenges to reach the pinnacle of success, the author seized the opportunity to advise Nigerian students to rededicate themselves to academic excellence in order to actualise their dreams in life.  

Stressing that sound education remains the key to unlocking intellectual and creative potential, Iwunwa, however, cautioned that Nigerian youths must be ready to work hard, endure hardships and deprive themselves of many things in order to climb the ladder of success. 

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“The fact remains that the road to success is not usually a smooth ride. On a daily basis, we are confronted by different situations that test our resolve to either stay on our path or change our direction. 

“As a teenager, you are obviously at the beginning of your adult life. Most people at this stage in life are driven by exuberance and so prone to mistakes.

“How you channel your youthful energies, challenge yourself to get the best out of whatever you are doing, and how to correct the mistakes you make along the way will determine whether you will eventually make it to the top”, she said.

The Vice Chancellor, Prof Uchefula Ugonna Chukwumaeze, represented by the Head of the Department, of English, and Literary Studies, Dr. Mrs. Christiana Nneoma Onu, described Dr. Iwunwa as an icon, a worthy ambassador of the department, Igbo nation and Africa as a whole.

She seized the opportunity to advise the students to emulate the author who had done so much to showcase the rich Igbo and African culture on the global stage.

Pioneer General Manager of Nigeria’s first privately-owned broadcasting outfit, DAAR Communications, owner of Ray Power 100.5 FM, Olusesan Ekisola, will turn 70 on June 26. He speaks with Assistant Editor (Arts) OZOLUA UHAKHEME on how his late mother influenced his journalism career, the many battles he fought at OGBC, why he left Ray Power and why he will reincarnate as an academic instead of a journalist.

• ‘Dokpesi was a great leader, mentor’

You will turn 70 in two weeks’ time. But, you don’t seem to look it.

When my dad turned 50 in 1964, as a little kid I wondered if I will be able to get to that age. But, before I knew it, I blew past 50 and now am 70. I am grateful to God. Some people did not have such grace that God has placed on my life. In my immediate space, the person that was born before me died, the person that was born after me died. So, out of three, I am the only one alive. Then my mum later had a daughter for the former Governor of Lagos State, the late Alhaji Lateef Jakande. She died at 28, shortly after her PhD in Marine Law. I thank God for the special grace to be alive today to give my mum the proper send forth after her death. I am in a spirit of gratitude.

Your mum was a journalist. How did that influence your career as a journalist?

My late mother was a journalist and very assertive. I had the normal attachment to my mother. She was a professional journalist and a feminist. She started her career with the Daily Service. She loved to read and one of the things I picked from her is the appetite to read.  People think am the superstar. No. It was my mum’s influence. I actually copied from my mum even though I wasn’t doing it consciously.

Growing up you wanted to work in organisations like commercial banks where you could earn fat pay. Yet, you settled to be a journalist. Did journalism fetch you that fat pay?

As at that time, there was no money in journalism. It was a prestigious thing to be a journalist that commanded respect. There were famous columnists like Candido, Alade, Aiyekoto, Peter Pan and Abiodun Aloba then. When I left secondary, there was the ambition to go for Higher School Certificate (HSC) to get A ‘level that enables you enter university. But then there were also those who got employed, dressed smart and earned well in private sector.

I wasn’t sure I understood the implications of earning big salary then, but just to earn it. I took tests in banks like Barclays Bank (now Union Bank) and Standard Bank of West Africa (now First Bank) I wasn’t called though performed well. I also did test at Moore Plantation Ibadan, still was not taken. I was then a Clerical Officer at Federal Ministry of Transport and Aviation, Marina, Lagos, but was still seeking employment at those organisations. I  however settled for Radio Nigeria Ibadan as studio manager because I was convinced by a relation Mrs Bisi Onabolu that I would have two days off in a week.  Here I met Yanju Adegbite who became a very close pal. We later rose to be live on air, run our own shows live etc. We enjoyed the support of the likes of Ishola Folorunso who was of the old school. In 1976, with the splitting of Western State into Ogun, Ondo and Oyo states, I was approached by OGBC, which I obliged and that separated Yanju and I, as he too went to BCOS Ibadan.

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What was the experience on your first day to be live on air?

It was an intriguing one because you don’t know who was listening to you. And you don’t know whether what you were doing meant entertainment or not. But there were people who monitored what we were doing, whether we pronounced names or words properly, every mistake was recorded and you learnt from it.

In fact, first day on air live was like your heart was going to fall out of your mouth because of tension. But with time, one became confident with microphone life.

Looking back, can you compare the quality of broadcasting then with what we experience today on our airwave?

Well as much as one might be tempted to make ugly remarks about the quality of today’s broadcasters, but the issue is the sudden explosion in numbers of stations. Also, the human resources to man them could not be spread evenly enough among them for quality services. So, all kinds of people got behind the microphone.

Again there is the dearth of trainers, which reflected in the quality of training people get while in employment.

But there are still some veterans who should leave some legacies behind in the industry. All this free for all needs to be properly coordinated.

It can be deduced that furthering your education was the opportunity cost for keeping good employment? How did you correct this later in life?

If I reincarnate, I am sure I will be in the university system. I love to read and find new knowledge. Unfortunately, I could not get a chance to achieve all that. As soon as I left the college, I went into employment.  But some of my friends did same but were able to return to university. I moved from one employment to another trying to find money, which was nothing. It was not money that I needed then. I was just trying to define what I needed. I didn’t have easy passage because of the prevailing situations.

I joined Radio Nigeria Ibadan in December 1973, and was auditioned with a Breakfast Fiesta programme. While at Radio Nigeria, I made effort in 1974 to study at The Polytechnic Ibadan, but ran into stormy water of campus politics and that affected my A’Level examination. While I was there, I was elected Social Secretary of the Students Union. I was hoping to be a geology graduate.

I made another attempt to reregister at the University of Ibadan for Advanced level too. But this coincided with an invitation from OGBC for employment at Abeokuta.  That truncated my move to rewrite the examination.

In 1979, I did a diploma course in Mass Communication at the University of Lagos.  I also did a course in Public Administration at the Ogun State Polytechnic.

From OGBC2 to Ray Power FM: What were your experiences?

Before I left for Ray Power FM in 1993, I had lots of wrestling matches with some people at OGBC, Abeokuta because I was rebellious, especially on matters of promotion. At one instance, there was a fellowship holding in Netherland and it was circulated to almost everybody in the station except me. But few days to closing of entries, none of the applicants from the station was selected. That was when my name was sent to the organisers who immediately chose me for the fellowship that lasted six months.

The assessment report I got from the Netherland fellowship indicated that I was the best candidate since the fellowship was initiated. The organisers of the fellowship even wanted me to enter for the second phase of the fellowship, which was training the trainers. I turned down the offer because my wife had just put to bed and couldn’t stay away for another six months.

All these battles culminated into a serious health crisis that almost took my life. I spent one month in the hospital bed battling with strange ailment. It was shortly after this that I was moved to OGBC2 and the battles subsided. I made my impact at the station to the extent that it gave Radio Nigeria a run for its money. I moved to Ray Power FM as Controller Presentation shortly after to be the pioneer General Manger of DAAR Communications, owner of Ray Power FM.

Your stay at Ray Power was brief. What happened?

We started broadcasting on  September  1,1994, after an initial shut-down by military government over some sensitive issues. A year or so after, a set of circumstances, which made it difficult for me to continue to do things professionally, led to my moving on from DAAR Communications. I left after we came back from a trip to South Africa to look for ideas and plan for the setting up of the African Independent Television (AIT). It was not an easy decision, but, at that point, that was what I was convinced I should do. 

Raymond Dokpesi’s death

Dokpesi’s death is like a huge tree suddenly pulled off the ground. Lots of lives will be impacted by his death. He was a giver. He was a lover of human beings and he related with people irrespective of status. He has the ability to move from any level to relate with people. He was a listener.  I thought I was very hard working until I met him. I found out that I wasn’t even one tenth as hard working as I would have loved. He was a great leader and mentor. He achieved greatness and he did that from a very lowly background into prominence. This feat made it possible for him to dine and wine with the elders and the kings. 

What was your most memorable moment?

It was at the 50th birthday celebration of former Head of Service (HOS) of Ogun State, Mr. A. A. Degun. I  was at the party in company of my gang. I took too much drink at the party and I was to present a show that evening.  I managed to get to the station but too drunk to sit behind the microphone. I was lying down at the station’s reception till 1.00 am when the station was to close. The station decided to play music all through that time I was lying down. Interestingly, none of my bosses asked me about the incidence as they simply ignored me.

What is your legacy for the industry?

I believe the role I need to play before I finally quit is to draw attention to some of the lapses in the industry. I am working on a project to this effect. It will be similar to what we did at OGBC and Ray Power FM. Right now, there are too many radio stations. Interestingly there are lots of talents in Nigeria, and especially in broadcasting some styled themselves as On Air Personality (OAP), which is same as Duty Continuity Announcer.  Maybe it is part of the evolution, but I have not heard of such name in broadcasting in US or Europe.  What is essential now is to have more professionals manning the role of OAP. One such rule is that whatever you say on air without proof should attract sanction. And the mantra is: ‘Put your brain into gear before you open your mouth.’

Former Dean School of Art, Design and Printing, Yaba College of Technology, Yaba, Lagos, Dr. Kunle Adeyemi is an accomplished artist with rich experiences in class and studio. 

Since leaving the YabaTech in 1984, he has traversed the art landscape exploring new grounds while seeking knowledge and experimenting with innovative methods in art creation. His almost 40 years’ creative odyssey that will be reflected in his forthcoming solo art exhibition tagged Innovative testament, will be featuring paintocast, paintograph, printworks, and mixed media. The former Chairman Society of Nigerian Artists (Lagos) chapter’s trajectory is characterised by doggedness, commitment and love of the art. Most of his works promote the value of nature, environment and the need to preserve the nation’s cultural heritage.

Specifically, the artworks for the exhibition are a fall-out of his doctoral thesis in his desire to contribute new knowledge to art space. And this body of works create avenue for intellectual argument and debate, which is a hallmark of scholarship. Indeed, Innovative Testament is ‘an infinite creative adventurism that is ever-evolving and ever-unfolding with superb works of art emerging from his eclectic and energetic soul.’

At a recent gallery talk in his studio in Mushin, Lagos, Adeyemi traced his creative route dating back to his childhood experiences through his studio attachment years with great masters such as Bruce Onobrakpeya, his love for colours and new expression modes.  

Among his collection for Innovative Testament his forthcoming exhibition are his recently produced high-relief sculptural pieces of birds, leaves and trees. They include Dialogue with Nature I, II and III and other series in the thematic dialogues. Notable of the exhibits are his old Yoruba ‘Agbada’ dress and the Jakan (embroidery) inspired Paintograph and Paintocast’ works, which include Jakan I, II and III, Agbada Nla I, II and III, Dem-O-Crazy for Whom?, The Persistence of a Winner I, Ecstasy of a Lead Drummer, Female Form III and IV, Drummer Ensemble II, Dialogue: Primary Instrument in Democracy I, and It’s time to wind up (the Festival is over) II, among others will spice the collection.  

The exhibition is not all about visual art as Adeyemi will offer about six poetry works entitled Interfacing literary poems with my Art, which include Democracy for who? The ruler or the ruled? Women protest for the adopted girls, Ancestral mask, Chibok Tears and Adeoba. The solo exhibition, which will be curated by Moses Ohiomokhare will open on June 18 till 30 at Tim & Carol Art Gallery, on Oba Dosumu Street, Ikeja GRA, Lagos.

My New Expression

“The new expression in my art has its roots firmly planted in the traditions of simple sculpture forms especially African wood carvings, natural materials, environmental, people, places, things, spiritualism, socio-cultural milieu and general contemporary situations. These and many more are the vehicles used in creating my own style.  My words, like the age-old African folk pattern, are thoughtfully designed to chart the course of lives of the people of my generation, document the present and create ways for a viable future, inform, educate, refresh, entertain my audience and posterity, and create avenues for self-expression, especially on societal ills.  Even the patterns are much more than old-designed decoration for the sake of decoration.  Some are imbued with pungent contents; while some refer to ancient battles, as in some of my elongated ‘house post series’. Some represent words or wisdom in visual forms.  Some reveal and document the native sacred things in shrines and palaces and other sacrilegious places.

“The repetition sometimes of these symbols, patterns and motifs in my works give room for a real presence and emphasis. It is also thematic and visually soothing. The overall composition creates a soothing ambience of tranquility, spirituality and shimmering brightness.  I play with different combination of patters, motifs and symbols to create my own multilayered invocation of traditional Africa. These symbols, patterns and motifs bring life to my composition.  I arrange them in a way that the shapes and forms become a kind of visual music, whereby the rhythm and movement define and create moods, ranging from mystery and adventure to romance and even whims.  These motifs and symbols in my works are graphic and dynamic in character.  They also inhibit a virtual treasure of decorative possibilities.

The spiritual representational meaning and ritual significance of the patterns, forms, motifs and symbols are essential instruments and creative expressions of the beliefs and philosophies of traditional Africa. Little wonder that these symbols and motifs almost take the place of a written language.Examples abound in Nsibidi and Uli art of southern Nigeria, Andrika from Ghana and Ona of the south-western Nigeria.  The designs are a kind of visual communication, which makes it easy for verbal and visual meanings to come together to offer spiritual or physical protection, interpret omens and offer blessings.  The patterns and symbols depict leadership and ethnic affiliation, and represent proverbs and religious principles.”

My Colours

“I use colour as the heart and soul of my art.  With paint, I could produce any colour that comes to my mind.  I use colour as a catchment to create atmospheric meaning and identity.  Most times, my colour generates or creates some philosophical questions such as, ‘what am I?’, ‘who am I?’, ‘why am I treating that subject?’, ‘where am I?’ and when or in what mood am I when creating the picture?  I run my colours from neutral earth hues to warm reds and indigo blues.  I use colour to create illusions or new worlds and evoke some vivid antique memories.

Colour is very crucial in the production of my artworks.  Like any other artist, I have my favourite colours which often dominate my palette.  My favourite colours find their way into any of my works irrespective of its theme.  The colours have a way of presenting themselves naturally in my work.  My exposure to the world of print-making further enlarges my vision of the colour spectrum.  I now see colour as a tangible, solid thing that runs the heart and soul of my art.  I feel the warmth of the reds, the natural, neutral softness of the earth colours, the uplifting azure of the blues, the cheerful glow of the yellows and the unifying drab and withdrawn nature of the browns, which I use sometimes to play on sophistication, mysteries and earthly riches.

I found out that vivid application of colours makes my works shimmer, glow, mix, mingle and create, not only its own beauty, but the beauty I perceive. Colour is a powerhouse that moves me spiritually and emotionally. It soothes my heart, lifts my spirit and energises my mind. Sometimes, it makes me feel jubilant or sad, agitated or calm.  Colour is a major player and catalyst in the therapeutic function of my art.  I have, in my little way, made my art perform this therapeutic function with bold approach in using vibrant colours, sometimes flat as they are, in a grandiose metaphorical description of colour.”