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Category: Life – The Midweek Magazine

‘I am at home with portraitures’

At any time you encounter a two-year-old baby you will appreciate his innocence. The expression on his face will also tell if he is anxious, happy or sad unlike adult who will pretend. These are among features that attract young Nigerian artist Oluwaseyi Gbadebo to produce many portraitures and paintings of children and pet faces.

Gbadebo’s forthcoming solo art exhibition, Synonyms opening on October 24 at Quintessence Gallery, Lekki Lagos is to showcase these similarities between the traits of a child and that of a pet, especially the expression on their faces. No fewer than 25 paintings will be exhibited and will include bold images of children between ages one and 10 as well as pets. The artist who trained at the Ladoke Akintola University of Technology, Ogbomosho, uses palette knife to splash vibrant colours on canvas thereby creating images that are almost jumping out of the canvas space. His colour application is one tool with which he conveys his emotions in a near impressionistic manner.

“I love children and the joy on people’s faces lures me to do portraits. I am more of a portrait artist though I am still evolving and I will dig deep portraiture. In fact, capturing the likeness of a mortal being on canvas is like immortalising him because after his death, the artwork will remain,” he said at a preview session.

Gbadebo who is shortlisted among the finalists in this year’s LIMCAF in Enugu, recalled that he got engulfed by portraiture after overcoming some challenges in portraiture class in his 300 level programme at the university.

Gbadebo said: ”God is the creator of man, woman is his helper and children are his heritage but dog is man’s best friend.” Of Synonyms (a tale of man’s heritage and man’s best friend) and why the focus on children and pet, he said: “The subject of children and dogs has always enthralled me. I’m inspired by their character, the facial expressions they display and how they tend to live in the moment. They don’t remember the past neither are they worried about the future. These values of theirs are beautiful and they inspire me as a person. I noticed that with children and pets (dogs in this context) we tend to be very free as persons. While children seek attention, dogs retain the capacity to read our mood and then act accordingly. I remember Coco (now late), my brother’s Boer bull dog. Whenever I was excited, Coco was excited but whenever I was sad, Coco was silent and she laid low. The Parisian artist, Francoise Nielly, inspires me by her bold and colourful approach to painting, but I find balancing my works in terms of mixture of techniques and use of colour personally suitable.

The aim of this exhibition is to portray the wonder, innocence, self-less nature and beauty of childhood and also the loyalty and beauty of dogs. This exhibition is set to echo the values they stand for and to make society appreciate them more and most importantly to be grateful to God who has planted them in our lives.” The management of Quintessence started working with Gbadebo in 2012 when they noticed the potentials in his paintings and this stimulated the desire to give the emerging artist a solo exhibition.

According to curator of the exhibition, Moses Ohiomokhare, Gbadebo is thrilled by expressions and has found great joy in children and animals. “His style is different from the stylised works that are in the market today. The body of works he has created also tends to show how much he has been influenced by animals in his youth as pets. Dogs are called man’s best friend because of their intelligence, loyalty and devotion and children being innocent and loving beings are best of friends of dogs,” Ohiomokhare said. Synonyms which will run till November 11 will feature works such as Lala, I hear you, George, Lunch time. Others are Rex, Baby’s rage and Max.

October 21, 2015
Celebrating Ofeimun’s poetics, politics

He set out early in life to be a writer. As a young lad bubbling with ideas, he came to Lagos in search of literature. Odia Ofeimun found it and more. Forty-eight years after the celebrated poet wrote his first poem, he has over 40 books and a publishing house to show for his labour. The eminence of his art and the controversies of his politics drew dignitaries to his 40-book exhibition at the MUSON Centre, Lagos. Evelyn Osagie reports.

Some called it a “festival of ideas”. Others simply described it as “a feast of books”. But, the man behind the feat, the distinguished poet and social critic, Odia Ofeimun, christened it “A 40-book exhibition”.

“If I called it a book launch that would be overdoing it,” Odia said while handing some guests a list of his books as they arrived.

His book exhibition was tailored in the pattern of the art exhibitions done by artists. The exhibition featured 18 of his old works and 22 new books. Five copies of his old works were on display.

“I am not a rich man; I do not have the money to print all the books,” Ofeimun said when asked why most of his new books were not on display.

Reputed for his creative literary buffets, Ofeimun’s innovative exhibition gave freshness to his published works, unveiled his new but forthcoming works and allowed for the appreciation of his scholarly and literary wealth spanning over four decades.

The character of re-invention is the quality Rivers State’s literary scholar Dr Obari Gomba said has consistently shaped Ofeimun’s poetry and cultural interventions. Noting that it is impossible to ignore his output due to its quality and relevance, Gomba, who took guests into Ofeimun’s literary voyage, divided poet’s writing into four literary phases and genres.

Describing Ofeimun as a “principal Nigerian political poet”, he observed that Ofeimun “emerged in a surefooted manner that belied his age in 1970s when the Nigerian literary scene had broadened, offering a paradigm shift in the aesthetics of our literature”.

“His earliest poems were published in the iconic post-war journal called Okike and in Nigeria’s cultural flagship called Nigeria Magazine,” he said.

The exhibition brought notable personalities to the MUSON Centre in Lagos. Praising his ability to brave the odds bedevilling writing, many said they were drawn by curiosity mixed with admiration for the poet’s tenacity of purpose. Guests were urged to adopted the new books, a process that turned out to be a launch of a sort.

The event had in attendance former President Goodluck Jonathan, who represented former Minister of National Planning, Abubakar Sulaiman; All Progressive Congress (APC) chieftain and former Chief Segun Osoba; Permanent Secretary at the Federal Ministry of Communication and Technology, Dr Tunji Olaopa; Prof. Kole Omotoso, Chairman of The News Magazine, Mr Kunle Ajibade and founder of Splendid Literature and Culture Foundation and the Women Writers Association (WRITA), Mrs Mobolaji Adenubi, among others.

While commending Ofeimun’s contributions to the development of this country politically, Osoba revisited the issue of the leakage of the late Chief Obafemi Awolowo’s letter to former President Nnamdi Azikiwe.

He said: “I am here to honour Ofeimun and make clarifications of your good name you are making. Odia has served this country. He has shown tenacity and the ability to hang on to what he believes in despite the vicissitudes of life. And despite the fact that he is not making money, he has not given up. People talk about his writing but his contributions to this country, politically, are immeasurable.

“They made him to suffer for an offense he did not commit, involving the leakage of Awolowo’s confidential letter to former President Nnamdi Azikiwe that they would work. I would say it publicly that Odia knew nothing about the leakage of Awolowo’s letter to former President Azikiwe. But because he was a Bola Ige’s person, those anti-Bola-Ige persons robed it on him. But those of us who are still alive will always tell the story. And we need to continuously correct such misunderstanding in our history. That brings me to today’s journalism. No more investigative journalism. Once a news break of a politician that is corrupt, we blow it up, but did we find out.”

On his part, Ajibade described the celebrator as a ‘literary model that has shown writers, especially the young, the path they needed to take against the odds in the industry’. He urged to publish the much awaited memoir on the late Awolowo.

“Questions have been raised about how come that a man who is an authority for the late Chief Obafemi Awolowo has not come out with his book on the late sage. And he has always said that is precisely why I have not come out with that book because I know that people think that that is about the only book that I can do; but I want to do the most difficult ones first. And now that he has done the most ‘difficult’ ones, such as poetry, collections of essays and other books, my plea to him is that this is the time for him to do that authoritative book on Awolowo. We need that book.

“He has not only written collections of poems. He has also, like a pugilist, engaged in serious arguments about the nature of our country, about the nature of our culture and you can see that today it’s like kind of festival of ideas. It is only a man who has stood seriously for ideas that would have this kind of festival of ideas around him. It is not about the large number of people turning out; it’s about the importance of the ideas that Odia Ofeimun has stood for all his life. That it is not an easy path at all to be a writer in a society like this. And Odia, with the example, has shown that you can conquer the demons on your path to literary fame if you stick to that path diligently,” he said.

Recounting his contributions to nurturing of talents, Mrs Adenubi said he was an inspiration to women writers.

For Prof Omotoso, Ofeimun’s consistence is what makes him interesting. Recounting his friendship with the poet that goes back to his days in the University of Ibadan, Omotoso said: “And it doesn’t matter how broke Odia is he would not take anything from anybody to compromise any of those situations. I have known him since 1972when I came back to teach at Ibadan; he was finishing up his first degree. He has become virtually a member of my family. My children look up to him as ‘uncle’. He would come and stay with us whether we were in London or South Africa or anywhere. It is that example of somebody who is clear and focused that makes his character interesting.

“If you look at the books he has published – whether it is his own collections of poems, other people’s collection – they are interesting collections. I remember when the South African Radio Station 702 came to broadcast in Lagos; I gave them six copies of The Lagos of the Poets because they were fascinated by what Lagos was like. And it is interesting, especially for younger people to be able to see somebody with such dedication. And with this event today is to be able to say ‘please look in this direction; this is what people who are concerned about the Nigerian society are doing, thinking, trying to relate to the society and give back to the Nigerian society’. And Odia is really an incredible example of giving back.”

Dr Oloapa added his voice. His words: “Odia Ofeimun is a rebellious nationalist who comes to the nationalist struggle for the soul of Nigeria from a unique perspective—poetry. Odia Ofeimun writes politically charged poems. Of course, this character flows from his belief that a poet is necessarily a citizen; it is vain to attempt divorcing the two roles from each other.”

His volumes of poetry such as The Poet Lied; A Handle for the Flutist, Dreams at Work and Other Poems; London Letter and Other Poems; Go Tell the Generals, I Will Ask Questions with Stones if They Take My Voic; A Boiling Caracas and Other Poems; One Country Is not Enough; volumes of Selected Poems; Salute to the Master Builder; Lagos of the Poets; Onomonresoa edited by Obari Gomba; The Child and Youth of Our Time; Nigerian Women Poets and 20th Century Nigerian Poetry.

His poems for dance drama include Under African Skies; A Feast of Return; Nigeria the Beautiful; Itoya and Because of 1914.

His books on politics and culture include: The Truth of The Matter: Interviews and Exchanges, Forewords and Prefaces; Taking Nigeria Seriously; When Does A Civil War Come To An End?; This Conference Must Be Different; Remaking the Nigeria Project; Media Nigeriana; June Twelver’s Dilemma; A House of Many Mansions; Imagination and the City: A Lagosian View; In Search of Ogun: Soyinka In Spite of Nietzsche; Impossible Death of the African Author; Breaking Deaf Walls in Nigeria Literature; My ANA File; Letters to Bose on the Arts and Society and Up and Down the Yellow Mountain. on my dead bed I want to be found writing books.

October 21, 2015
Contemporaries holds at Wheatbaker

As the global art world gathers in London next week for Frieze, tagged one of the “blingiest” art fairs in the world, The Contemporaries, an exhibition showcasing works by eleven cutting edge Nigerian contemporary artists, attracted much interest when it opened at the Wheatbaker boutique hotel, penultimate Monday. It will run till November 13 and is supported by Veuve Cliquot.

The exhibition of 21 paintings, sculptures, drawings, and mixed media works is a timely reflection of current trends in Nigeria and makes stirring and sometimes, tongue-in-cheek, comments about a nation expectant of change. The Wheatbaker’s fall exhibition The Contemporaries, showcases leading and emerging artists including Nnenna Okore, Duke Asidere, Uchay Joel Chima, Gerald Chukwuma, Raoul Olawale da Silva, Anthea Epelle, Taiye Idahor , Chika Idu , Adeyinka Akingbade, Tony Nsofor, and Onyeama Offoedu-Okeke.

A kaleidoscope of art that offers fresh perspectives on environment and development issues, feminism, unity, identity, history & tradition, and freedom of expression, draw on the artists’ unique heritage and perspectives. The exhibition is a robust exchange of ideas challenging its audience not to merely “think outside the box”, but to literally “stand on the box” and use it as platform to behold new vistas.

Sculptor and environmental activist, Uchay Joel Chima, whose skillfully crafted charcoal and paper relief addresses rampant environmental degradation and security challenges is juxtaposed against the masterly paintings of children swimming under-water created by Chika Idu, who tried to escape the nightmare of traffic gridlocked streets by relying on water transportation, only to be confronted with the daily struggles of coastal communities affected by dredging, pollution, flooding and all forms of urban pressure.

Artist, historian and architect Onyema Offoedu-Okeke, presents Obstacles to Paradise on the theme of global migration showing the desperate fragmented surge of humanity across geometric paths of color and symbol, while master sculptor Gerald Chukwuma’s ironic multi-media work, CHOP, created out of an intricate pattern of plastic spoons on wooden slats, makes a strong comment on the social cancer of corruption and the growing gap between Africa’s well heeled elite and the increasingly disadvantaged poor; in the artist’s own words, there is “plenty food, plenty spoons and empty plates”.

“Art reflects society within a constantly evolving socio-political reality,” explains exhibition curator Sandra Mbanefo Obiago, who started documenting the impact of contemporary Nigerian art in 2011 in a five part documentary series, Red Hot Nigerian Creativity, she produced and co-directed. “Its exciting to see how the contemporary art scene is making a positive impact on our international identity and confidence as Nigerians, as Lagos fast becomes one of the most-talked-about emerging global art cities.”

The Contemporaries is offering visitors works which exhibit inspirational bold abstract human forms created by painters Raoul Olawale da Silva and Tony Nsofor, alongside the unusual biomorphic sculptures and installations created by internationally celebrated Nnenna Okore, in which twine, burlap, and discarded newspapers touch on recycling, transformation and regeneration inspired by natural and man-made conditions within semi rural dwellings.

October 21, 2015
Artists in alliance for Today in history

Seven years ago, the Iponri Artists stunned the Lagos art scene with quality works of art when they made their debut exhibition New Dawn, at the National Museum, Onikan Lagos. In 2009, they had a follow-up, Isokan (Togetherness) at Terra Kulture, Victoria Island, which confirmed the arrival of this new generation of gifted young artists. In tandem with the independence anniversary of Nigeria, the group is in alliance with other young talented artists to host an independence show at Abuja, titled Today in History, showing from October 22 to 28, at The Thought Pyramid Art Centre, Abuja.

The artists are Tayo Olayode, Bede Umeh, Kehinde Oso and Sanusi Abdullahi who are in alliance with non-members such as Bimbo Adenugba, Gerald Chukwuma, Uchay Joel Chima and Bolaji Ogunwo.

For the group, showing with non-members is not new because in 2011, the group, had, in Abuja exhibited with other artists, and a year after continued with an international collaboration when the artists showed in Accra, Ghana, again with non-members.

According to Olayode during a preview session in Lagos, the partnership will continue in the next few years, and may take the artists to U.S or Europe next year for exhibitions. He disclosed that the choice of Thought Pyramid Centre as a space has to do “with our diverse and big canvas.”

Apart from the pedigree of Iponri Artists’ name, none of the exhibiting artists is a stranger to the Nigerian art scene as each has made a mark on the Nigerian art space. From Olayode, to Chukwuma, a mixed media relief sculptor artist, Umeh, a painter with depth of skills on the canvas; Abdulahi, a metal sculptor, Adenugba, a painter with strong passion for realism and Chima, a mixed media artist, the group outing at Thought Pyramid, Abuja may be a turning point.

Some of the works include A Time To Ponder, Umeh’s painting that takes the texture of an embossed portrait. Other works of the artist for the show include Adaobi, a multiplication effect; and Delegation, a stylised figural of people in gathering.

Since their return from residency at Vermont in the U.S., Olayode and Chima have been sharing their wealth of experiences. For Olayode his signature is distinct in his painting of figures, where he uses crowd effect. Night Market and Royal Procession are two of his works at the group exhibition and it confirms that the artist is stepping up his game.

One year after, Chima had his first post-residency show titled Connection, a two-artist’s exhibition. But, his outing with Iponri Artists is a fresh window to celebrate his new technique. Chima, again brings his narrative about burns and darkness as explained in portraiture of a couple rendered in black rubber pieces.

Chima is known for his eclectic use of alluring materials and unique artistic process, often questioning environmental and social issues around the world. Chima’s works have continued to evolve, remaining relevant to developments in contemporary art. Weaving a tapestry of memory, imagination, societal happenings and emotion, he combines various fond objects, including strings, sand, wax, charcoal, old sacks, with paint and other mediums in an aesthetic that informs his oeuvre. He creates thought-provoking presentations, which address the realities around us whilst employing a mixture of conventional and unconventional approaches in his unceasing explorations.

Ogunwo explained his work: “My art is informed by the people and events that permeate my immediate milieu. In the course of my artistic career spanning over a decade, I have resolved not to be led by just the trending thematic and stylistic culture in the art practice but to see and represent ideas the way I feel and not just the way they are, hence my art is cathartic; a purgation of my emotions on frenzied canvases. I ventilate loudly through my pallette addresing socio-political issues ranging from corruption and moral deficit knowing full well that Nigeria will soon assume her position as the giant of Africa indeed.”

The only sculptor in the group, Abdullahi flaunts the beauty of natural metal with works such as Our Domain, a depiction of insects on cobweb; drummer of native Yoruba dance steps, in Bata; and another insect life, Tussle, where butterflies perch on a hibiscus flower. Perhaps adding painterly touch to Tussle with red hibiscus and yellow butterfly, Abdullahi offers quite a choice in collection tastes.

As for the non-members such as Adenugba he brings his new canvas of realism into the gathering with works such as Ecstassy, Green For Sale anf Fragment. In the last few years, he has populated his realism canvas with signs and motifs, some of which are pronounced, for example in Ecstacy, a piece about ladies in sensuous dancing.

October 21, 2015
Twin brothers’ legacy for media

In every profession, there are those whose contributions and actions play critical roles in the growth of such human endeavour. Often times, such individuals help shape and define the trends and practices and thereby become masters of the trade. This, perhaps, informed the choice of 50 world journalists that make Mike Awoyinfa and Dimgba Igwe’s book entitled 50 World Editors (conversations with journalism masters on trends and best practices.

But, who are these world class masters of the pen profession? Your guess is as good as mine. They are drawn from top flight media organisations in Africa, Asia, Europe and the Americas. The 628-page book is a compilation of conversations with the masters on issues ranging from day-to-day schedules of practising journalists to what defines a news, what defines a front page story, quality of news, tips for success as a reporter, core values of a media house, the defining story of a reporter, and many more. In all, the conversations though share many things in common, reveal some interesting stories about some editors and their media organisations, including personal experiences.

But, the book, which is a result of the authors’ ten years of traversing the globe interviewing key players in the industry, is not all about editors, but top media players some of them at the apex of the media pole-publishers, presidents, managing editors, editor-in-chiefs, editors, bureau chiefs, line editors and correspondents who made great marks in journalism. The scope is all embracing as it covers practitioners in print, broadcast journalism and international news agencies such as Reuters, AFP and Globalpost. The book is ‘ultimately biographical in the sense that each of the candidates featured in this collection shares his or her own journalism story and in so doing, reflects on the diverse aspects of the practice and precepts of journalism in different generations covering different countries.’

To the authors, the book is a lived experience rather than a pedantic narrative of scholarly exploration, capturing similarities, diversities and sociological nuances of media operations in different countries of the world.

Published in 2014 by Corporate Biographers Limited, the book is in three sections A to C, with The Americas having 20 of the 50 masters, while Europe has 19 and Africa and Asia share 11 masters. Nigeria’s newspaper legend Alhaji Babatunde Ajose of the old Daily Times led the pack of masters featured in Section C that comprises Africa/Asia alongside Segun Osoba, Nduka Obaigbena Thisday newspaper), John Momoh (Channels TV), Dele Olojede, Bayo Onanuga (The News magazine), Joseph Odindo (Nation Media Group, Kenya), Ferial Haffajee (Mail & Guardian South Africa among others.

From The Americas and Europe Sections A and B are masters such as Michael Goodwin (New York Daily News), Jill Abramson (New York Times), Chris Cramer (former President CNN), Alan Rusbridger (The Guardian UK), Robert Thomson (The Times UK), Victor de la Serna (El Mundo, Spain) and Alan Johnston (BBC Correspondent).

On the challenges of being editor of Daily Times at the era of Nigeria attaining independence, Alhaji Jose said: “We published a paper that was trusted by the readers. To be trusted you have to show the integrity of a leader. The people knew that I had no political ambition. I had access and was consulted by highly placed government functionaries, prime ministers, presidents. So they know that whatever we did, it was not because I am a Yoruba man. They had seen the paper openly attacking Chief Obafemi Awolowo-the leader of the Yorubas.”

But given the content of the book, it can be described as the ‘most encyclopedic book on global journalism.’ It ranks among publications such as Martin Walker’s 1982 award winning book, Powers of the press: The World’s Great Newspapers. Apart from that, one unique character of the book is that it presents the journalistic views of the world editors in their own words.

Again, the public presentation of the book at the Nigerian Institute of International Affairs, Victoria Island, Lagos on September 15 was more than a launch. It brought together veterans in the industry to celebrate a worthy product, an effort that would gladden the heart of the late Igwe in great beyond. However, some oversights were noticed in the compilations. For instance, the retaining of late Dimgba Igwe’s email and telephone number suggests the book had gone to press with all the information before the death of Igwe. But, classifying Gillian Tett (Financial Times, USA) under Europe is an avoidable error of proof reading. If charity, they say, begins at home, 11 masters interviewed in Africa/Asia combined is an under-representation by the book, especially when considered against the conditions under which these media operate. Or is it a case of get one, you get all? Nigeria and indeed Africa deserves more representations in the book.

Notwithstanding, the book is a legacy of a sort for the media industry, which makes it a must read for all-students of journalism, politicians and other professionals. 50 World Editors is a well-packaged book with clean quality prints and is a collector’s item any day. It will be useful for researchers, media operators and practicing journalists irrespective of generation or region of practice.

October 14, 2015
‘Tourism is the greatest employer’

Director-General Nigerian Tourism Development Corporation (NTDC), Mrs Sally Mbanefo, has described tourism as the greatest employer. She said the corporation under her would ensure practical development and promotion of domestic tourism, which will propel job creation, develop the nation’s economy and raise social awareness on cultural preservation and environmental protection.

Mbanefo spoke at this year’s World Tourism Day, with the theme, 1 Billion Tourists, 1 Billion Opportunities, held in Enugu State which underscored the role of tourism sector as a valuable and sustainable source of livelihood for millions of people.

“Nigeria has a better advantage over so many other countries to benefit from tourism. We have the advantage of population. Tourism contributes 10% to the global GDP but as at now, Nigerian is not fully benefiting from tourism like other countries. For instance, 4,333,000 tourism visited Nigeria in 2013, which contributed about 4 per cent to our GDP, while tourism contributes 17.7 per cent to the GDP of Gambia; 13 per cent to Egypt; 12 per cent to Kenya; 11.9 per cent to Mexico; 9 per cent to South Africa, and 6 per cent to Cuba.

“We need to know that Nigeria should focus more on tourism as the best alternative to oil, with domestic tourism as the catalyst. I need to emphasise that Nigeria has the best of the ingredient of tourism. We have fascinating tourist sites, enviable cultural festivals, good weather, good and hospitable people. Have you ever wondered why most diplomats, after serving their terms chose to stay back in Nigeria? It is because of the warmth and friendliness of our people, environment and potentials,” she said.

Mbanefo, who emphasised that the potential of tourism in Nigeria is N4billion prayed that government should take privatisation to the next level, which according to her will facilitate further facilitate an enabling environment for tourism to thrive in Nigeria.

The NTDC boss lauded the Enugu State government for making tourism alive in the state, describing the state as a hub of eco-tourism.

Meanwhile, the Permanent Secretary of the Ministry of Tourism, Culture and National Orientation, Mrs Nkechi Ejele, described tourism as the way forward for Nigeria. She noted that the Ministry is, on a daily basis, intensifying efforts at ensuring the money spinning sector is well developed and promoted in Nigeria, to ensure Nigerians, among the people of other countries, maximally benefit from the potentials of tourism.

The Group Managing Director, Viko Nigeria Group of Companies Limited, Mr Lucky Kanu, expressed the readiness of his company to further support NTDC in promoting domestic tourism, thereby creating more jobs and wealth in Nigeria.

“Our partnership with NTDC could be best described as demonstration of a successful practice of public private partnership in Nigeria, as the partnership has yielded opening of information desks in about six states in Nigeria, while we are working on a new project that will create over 500,000 jobs for the youth in every state of Nigeria,” Kanu said.

October 14, 2015
‘Stop promoting Boko Haram’

In the face of terrorism, distrust and disillusionment, a university teacher, Dr Yinka Olomojobi, has written a book entitled: Frontiers of Jihad, Radical Islam in Africa. The book’s presentation drew high-profile guests to the MUSON Centre, Lagos. EVELYN OSAGIE reports.

Why would anybody choose to write a book on terrorism,” Dr Folake Olomojobi had wondered, when her husband, Dr Yinka Olomojobi of Babcock University, first set out to write the book, Frontiers of Jihad, Radical Islam in Africa. Then, she was consumed in fear. Today, her thoughts have changed from fear to pride.

“Initially, it was weird. I was asking myself: ‘why would you want to do this; wouldn’t you turn out to be a terrorist yourself?’ But as the world news added more spotlight on terrorism, I saw the need for this; and started supporting and paying attention to the work he was doing.

“It was very time consuming and challenging. It was not easy for all of us. He put in a lot of work: he stayed away from home most of the time as his research took him far from home; he stayed up so many nights, when others things had to be done.

“But today, we are happy with how it turned out. Whether we like it or not, it is a present reality. And we need people who have been so trained to go into historical reviews, appraise present realities and project into the future. I not only understand the need for the book at such a time as this, I am proud that my husband dedicated his time and knowledge to write it,” she said.

Her words reflect the feeling at the formal presentation of the controversial book from the stable of Safari Book Ltd at the MUSON Centre in Lagos.

Dignitaries from within and outside Lagos thronged Agip Recital Hall of the centre for the event.

Olomojobi’s book focuses on how and why ‘radical Islam’ finds a breeding ground, especially in Africa. Structured into two parts, it consists of 10 chapters. The first part, Exploring the Frontiers of Jihad, has four chapters, the second, Radical Islam in Africa, consists of six chapters and an epilogue.

With terrorism on the rise globally, any book, such as Olomojobi’s that seeks to throw more light on ways of curbing it is commendable, guests said.

Like Dr Folake, many at the event praised the author for approaching the issue from an intellectual point of view. They observed that “guns alone will not defeat the insurgents, neither will nuclear armaments”. Success in the fight against terrorism, especially in Nigeria, “remains an illusion as long as sponsors and godfathers of terrorists occupies government positions, wine and dine with those who claimed to be fighting insurgency”, they said.

They called for the prosecution of all those allegedly linked to Boko Haram, urging Nigerians to stop promoting insurgency and the insurgents by calling them “Islamic radicals”.

On the line-up of eminent guests were Former Lagos State Governor Babatunde Fashola (SAN); Founder of Latter Rain Assembly, Pastor Babatunde Bakare; Osun State Governor Rauf Aregbesola, represented by Dr Adeleke Ipaye; Executive Secretary, Muslim Ummah of Southwest Nigeria, Prof Dawud Noibi; veteran journalist, Aare ‘Lekan Alabi; Justice G. C. Okeke (rtd) and Executive Chairman, CEO of Safari Books Limited, Chief Joop Berkhout.

Also in attendance were the author’s parents, Prof Zach and Justice Rebecca Olomojobi.

Fashola, chairman of the event, noted that linking acts of terror with criminality gave rise to what is now known globally as “Radical Islam”. Fashola called for a collective fight against the insurgents.

“The biggest risk of succumbing to this propaganda is to put a religion on trial while expecting its adherents to join the fight against criminals. There is such a word as ‘Radical Islam’. The simple truth is we have allowed the voices of a few criminals to rise above that of billions of law abiding global citizens. I would say it is ‘Radical Dis-Islamisation’. What we are dealing with is a new wave of crime, by criminals who seem to have an edge because of the need for a new global legal order and the gaps created by globalisation.

“Guns alone will not defeat them, neither will nuclear armaments. It is our collective understanding and our collective agreements that this has nothing to do with religion, it is our development of the appropriate counter-messaging, it is our collective resolve to stop helping to promote their brand, by calling their names, that will expose them for what and who they are, and help us to defeat them,” he said.

Fashola described Olomojobi’s book as a “seminal work” that answers some burning questions in his heart. The questions, the former governor said, were inspired by a report on Cable News Network (CNN) that North Korea was threatening war on South Korea and an American professor was bought on set to proffer intelligence on North Koreans. And just as he was set to provoke a debate on Nigeria’s university dons/experts and the localisation of knowledge of other African states with the mind of providing intelligence that would form the basis of national security and economic decisions, he got the invitation to attend Olomojobi’s book presentation.

He said: “I hope it challenges others to respond; because if we take the power of knowledge seriously, we would be reorganising Nigerian universities, encouraging and sponsoring scholars to specialise and do seminal work diverse areas of national and global interests. I am not suggesting that these things do not exist but think if we have more information on terrorism and terrorist groups, it would assist the security services to deal with the terror problems we are currently facing.”

Bakare, the chief launcher, said the fight against insurgents should be a collective one. He called for the empowerment of more scholars to do such research.

He said: “I appreciate the contribution of Fashola in separating Islam from radicalism. I was born and raised a Muslim right in the heart of Sokoto; and we still have Muslims in my family. We don’t kill ourselves. Several years ago my uncle was Sarkin Yoruba right in the palace of the Sultan of Sokoto. We live in harmony. And those who are taking advantage of us, we must join hands together to push them out of our quarters.

“And I trust that we can genuinely do that when we have accurate information so that we do not begin to suspect ourselves. My job is to present the book to you.

“Thank God for the book has just been presented today. I believe that it would be a good instrument in the hand of those who are in charge of our security. It’d give them insight to look at the mind-set of the people behind the Boko Haram insurgency. “As soon as I held the book, I went straight to chapter eight, Opening the Pandora’s Box of Boko Haram, I browse through and said ‘whoa!’ what an insight. I pray our nation would begin to focus attention and give tools like Dr Olomojobi to do what they are trained to do so that we can collectively benefit from their genuine efforts.”

Prof Noibi said the insurgents did not represent Islam. The professor also called for cooperation of all Nigerians to fight insurgency.

He said: “This well-researched book focuses on the subject which is very important to every Nigerians. Coming from a Christian that is writing on an aspect of Islam, shows that we can live together peacefully with mutual understanding which has been lacking. The important thing to note is that those who carry out evil activities in the name of religion cannot be said to represent Islam which the author has well-explained.

“I think that this message should be spread across the country so that we learn to show respect one another for the benefit of Nigeria. I believe that if we all unite to fight insurgency and extremism, it is the totality of the Nigerian population that would benefit.

While blaming the past administration for popularity the terrorist groups have gained thus far, the reviewer of the book, Dr Laja Odukoya said, Olomojobi’s book provides an anatomical dissection of the mode of operations and networks of terrorist groups in Africa.

He observed further that the book calls attention to the mutation of terrorist and terrorism through exploiting the instrumentality of Internet possibility for training in weapons and self-radicalisation.

“I find his suggestions of a revised process of de-radicalisation through the same process by which an individual becomes radicalised and the application of African and International solutions to the terrorists challenge logical and illuminating.

“It is thus apposite to argue that leadership failure, maladministration, cluelessness and corruption of the Goodluck Jonathan administration contributed in no small measure to the monumental crisis and national embarrassment that the Boko Haram has become,” he said.

The event was steered by Mr Seyi Apampa, a lawyer and colleague of the author.

October 14, 2015
Contemporaries opens at Wheatbaker

As the global art world gathers in London next week for Frieze, tagged one of the “blingiest” art fairs in the world, The Contemporaries, an exhibition showcasing works by eleven cutting edge Nigerian contemporary artists, attracted much interest when it opened at the Wheatbaker boutique hotel, last Monday, October 12. It will run till November 13 and is supported by Veuve Cliquot.

The exhibition of 21 paintings, sculptures, drawings, and mixed media works is a timely reflection of current trends in Nigeria and makes stirring and sometimes, tongue-in-cheek, comments about a nation expectant of change. The Wheatbaker’s fall exhibition The Contemporaries, showcases leading and emerging artists including Nnenna Okore, Duke Asidere, Uchay Joel Chima, Gerald Chukwuma, Raoul Olawale da Silva, Anthea Epelle, Taiye Idahor , Chika Idu , Adeyinka Akingbade, Tony Nsofor, and Onyeama Offoedu-Okeke.

A kaleidoscope of art that offers fresh perspectives on environment and development issues, feminism, unity, identity, history & tradition, and freedom of expression, draw on the artists’ unique heritage and perspectives. The exhibition is a robust exchange of ideas challenging its audience not to merely “think outside the box”, but to literally “stand on the box” and use it as platform to behold new vistas.

Sculptor and environmental activist, Uchay Joel Chima, whose skillfully crafted charcoal and paper relief addresses rampant environmental degradation and security challenges is juxtaposed against the masterly paintings of children swimming under-water created by Chika Idu, who tried to escape the nightmare of traffic gridlocked streets by relying on water transportation, only to be confronted with the daily struggles of coastal communities affected by dredging, pollution, flooding and all forms of urban pressure.

Artist, historian and architect Onyema Offoedu-Okeke, presents Obstacles to Paradise on the theme of global migration showing the desperate fragmented surge of humanity across geometric paths of color and symbol, while master sculptor Gerald Chukwuma’s ironic multi-media work, CHOP, created out of an intricate pattern of plastic spoons on wooden slats, makes a strong comment on the social cancer of corruption and the growing gap between Africa’s well heeled elite and the increasingly disadvantaged poor; in the artist’s own words, there is “plenty food, plenty spoons and empty plates”.

“Art reflects society within a constantly evolving socio-political reality,” explains exhibition curator Sandra Mbanefo Obiago, who started documenting the impact of contemporary Nigerian art in 2011 in a five part documentary series, Red Hot Nigerian Creativity, she produced and co-directed. “Its exciting to see how the contemporary art scene is making a positive impact on our international identity and confidence as Nigerians, as Lagos fast becomes one of the most-talked-about emerging global art cities.”

The Contemporaries is offering visitors works which exhibit inspirational bold abstract human forms created by painters Raoul Olawale da Silva and Tony Nsofor, alongside the unusual biomorphic sculptures and installations created by internationally celebrated Nnenna Okore, in which twine, burlap, and discarded newspapers touch on recycling, transformation and regeneration inspired by natural and man-made conditions within semi rural dwellings.

Taiye Idahor’s intricate collage and pencil drawings called hairvolution weave a story of feminism and identity, complementing the works of fashion designer turned full time studio artist, Anthea Epelle, whose heavily patterned and textured canvases draw inspiration from the rich legacy of African cloth. On the other hand Duke Asidere’s deft play on red reflects the growing power of new technology in Freedom & Liberty, which grew out of the artist’s focus on the importance of protecting people’s fundamental right to think and explore, complementing emerging artist Adeyinka Akingbade monochromatic compositions, which appear a visual meeting point between eastern and western symbolism and calligraphy.

“All these stirring works are a powerful mosaic of avant garde contemporary African expression,” concludes Mosun Ogunbanjo, Wheatbaker Director whose architectural and design legacy helped shape the hotel’s art focus. “The Contemporaries reflects the raw creative energy and opinions of a vibrant country with all its contradictions and potential.”

October 14, 2015
Exposing the tricks in politics

In this book, the author took excursion into the chequered history of Nigeria right from 1914 Amalgamation of the Northern and Southern Protectorates and Lagos Colony into a geographical expression called Nigeria. The country became a conglomeration of people from diverse cultures and orientations, customs and traditions, religions and world outlook.

Incidentally, the features of ethnic and cultural contradictions rather than become a source of strength and unity seem to have become Nigeria’s albatross as it is still grappling with the problem of nationhood after over 100 years of the amalgamation. And to address the attendant uneven power equation and distribution inherent in the system which had created tension and fear of domination by any particular group, some phrases had been coined.

Ozekhome borrowed the title of the book from one of such coinages by Dr. K.O. Mbadiwe, the most grandiloquent politician of the Second Republic who used the term, Zoning To Unzone, in his National Party of Nigeria to address the vexed issue of zoning the presidency in Nigeria as a recipe to douse the fear of the minority groups or a section of the country to lord it over other parts.

In the book, Ozekhome synthesises the arguments generated by both protagonists and antagonists of zoning, exploring the perspectives of law and national history. He examines the issues of the Fiscal Federalism, Federal Character and the intense competition for power, resource control and derivation by different ethnic nationalities. He also discusses the vexed issues of rotational presidency and devolution of power.

Ozekhome posits that the continuous controversy generated about zoning is simply a ploy by the political elite to partition the country into fiefdoms and share her booty; that it is all about sharing the national cake, not bothering about baking it.

The book throws light into the reason zoning had been fervently canvassed and advocated to be the core of political scheme of things in the country, highlighting the remote and immediate causes of the great debate. The legal luminary writes that while it seems logical to conclude that zoning has been muted by political actors and which was to be in a continual state of political evolution in Nigeria, the word did not come into prominent usage until the death of President Umaru Yar’Adua. Ozekhome observes that after his death “Political Samurais unsheathed their swords, whipping up ethnic, sectional and regional sentiments to create an atmosphere of political uncertainty while gleefully riding on the word ‘zoning’.”

Ozekhome warns that the way and manner the concept is used or rather misused has the tendency of creating situations capable of cataclysmic effects thereby leaving the polity at the mercy of regressive forces.

Of particular interest is the Chapter Four in which he critically examined and analysed the link between Boko Haram terrorism that has been ravaging the North East Nigeria and the politics of zoning.

Ozekhome points the way forward. He submits unequivocally that the assumption that the principle of power rotation and zoning are mutually exclusive is patently fallacious. He insists that one actually presupposes the other, observing that the thought of giving every citizen and zone a sense of belonging and inclusiveness in the government of the country through rotation actually necessitated the concept of zoning.

He contends that zoning without power rotation is meaningless and irrelevant in the political scheme of things in Nigeria; that zoning standing on its own, is no more than systemic quest to maintain the status quo thereby defeating the actual reason for the evolution of the concept. He says that even the PDP which saw the wisdom of inserting the word zoning in its constitution never contemplated the subject in isolation of rotation.

Ozekhome submits that there is no zone in Nigeria that has the exclusive right to access the Presidency of Nigeria to the exclusion of all others. He argues that though zoning among the six geopolitical zones is not recognised by the 1999 Constitution, the same constitution which allows every Nigerian to aspire to the presidency, does not also state expressly the manner and order it should take. He contends that the constitution therefore does not prohibit the concept of rotation or principle of zoning, which brings about orderliness and a sense of belonging to and hope by all segments of the society that it would one day be their turn to govern.

“This brings about patriotism and a sense of nationalism. Were we to use majoritorial or numerical strength alone, some of the country would lord it over others for ever, while some other will be perpetually dominated and subjugated,” he says.

The author concludes by saying that rotational presidency and zoning help to unite the heterogeneous, religious, cultural, linguistic and ethnic diversity of Nigeria that consists of many nationalities.

He therefore recommends for all Nigerians of whatever gender, religion, language, ethnic group, state in life, circumstances of birth, academic and cultural backgrounds the philosophy of live and let live, and learn the principle of zoning to unzone.

The book is very relevant in the contemporary politics of Nigeria. For students, teachers of Nigerian History, Politics and Government, any one aspiring to the leadership of Nigeria and all patriotic Nigerians, Zone To Unzone is a must read.

The book has the touch of a master. It is written in lucid and easy to understand language which only a person with exceptional communication skills can accomplish. The organisation of facts, printing and layout of the book are superb and done with clinical finesse. All bear the mark of professionalism.

The book has four postscripts. The first and second deal with the South South Quest for President: The search for Equity, Justice and Fair play and the intrigues that preceded the 2015 General Elections and the limits of President’s power to declare state of emergency. Postscript four relives the author’s traumatic experience in the hand of kidnappers.

Chief Ozekhome, a radical lawyer and leading Human Rights Crusader brought his commitment and dint of hard-work and perseverance to bear in this work.

The pro-democracy campaigner, public affairs analyst reputed for being the nemesis of many opposing Counsel, Ozekhome, is deep in the knowledge of the Law and procedures and is a flamboyant master of advocacy and researcher who deploys the product of his insatiable appetite for knowledge even in fields outside the Law, to dust formidable opponents in the law courts.

As a student and lover of philosophy, literature, history and the scriptures, Ozekhome has a way with words and possesses profound oratorical skills which enable him to strike the right chord, while painting mentally-recorded picture with words.

October 14, 2015
Queen Amina of Zazzau marries theatre, Nollywood

The staging of Wale Ogunyemis play Queen Amina of Zazzau at the Sheraton Hotel and Towers, Abuja in November is reminiscent of Hollywood stars vying to perform on Broadway in New York. Tthis

time it will be Nollywood that will be in wedlock with the Nigerian stage. To take place in two shows in two days on Friday, November 13 and Saturday, November 14 at 4pm and 7pm the announcement of Jumoke Olatubosun as taking the lead role of Queen Amina in the play is already causing a buzz in Nigeria’s entertainment circles. Olatubosun, a star of the stage also has very intimidating credentials in Nollywood, Nigeria’s film industry and the country’s television.

Nominated for the United Kingdom-based ZAFAA in 2009 as the Best Upcoming Actress for her role in the Nollywood film Greatness, she has had over 30 marvelous stage performances to her credit. Among her television appearances is the soap Band of Five currently showing on ONtv. Others performances include ‘Wetin Dey’ which took television by storm and ‘Nimi’ (in Yoruba) both BBC initiatives. The other films to the credit of the Jos-based Olatubosun are: Sitanda, White Waters, Pensioners, Laviva, Five Apostles, Heart of a Father and Nadia.

The performance is produced by the indefatigable Patrick-Jude Oteh, the artistic director of the Jos Repertory Theatre (JRT), who said tickets are already on sale and will go on at the door on the day of the performance.

Last Monday JRT held two other plays at the Lagos Hall, Transcorp Hilton, Abuja with Pedro Antonio De Alarcon’s ‘The Three –Cornered Hat’ as part of the Spanish Week celebration. The other play, ‘Last Stand’ by Sefi Atta, will be staged on Friday, December 4 and Saturday, December 5 at the French Institute, 52,

Libreville Street, Off Aminu Kano Crescent, Wuse 2, Abuja by 7pm daily. Tickets will be sold at the gate and Oteh promises that the Jos Repertory Theatre will be going the extra mile as is always the case with the group’s performances to not just enlighten and entertain but to also thrill those who find time to attend.

Jos Repertory Theatre was founded in 1997 as a not-for-profit independent theatre organisation and started full programme implementation in 2000. JRT as the organisation is fondly called does play/poetry readings, production of scripted plays and the creation of theatre-for-development plays.

It has done very well in the mission of utilising theatre to confront and challenge crucial issues which affect the society with the ultimate aim of educating and entertaining audiences.

JRT organises the annual Jos Festival of Theatre which has become a nurturing ground for new playwrights, new directors as well as creating an insight into the Nigerian theatre repertory. Featuring plays from the international repertory, new plays as well as landmark Nigerian plays, the festival is currently the only existing private independent theatre festival in Nigeria.

October 14, 2015