The Nation Newspaper

Category: Life – The Midweek Magazine

All for ‘Uncle Sam’ at 80

The publisher of Vanguard, Mr Samson Oruru Amuka, is 80. Dignitaries, especially from the media, thronged the city of Lagos to celebrate the commitment and passion of the ‘birthday boy’ to journalism. The day was marked with tributes, presentation of a festschrift in his honour and a lecture on the future of Nigeria’s media. EVELYN OSAGIE writes.

[dropcap color=”#000000″]S[/dropcap]AD SAM is gone; long live Uncle Sam. All that is left of “Sad Sam”, the witty column that was the favourite of many newspaper readers in the 70s, is the caricature of the writer — a beautiful portrait of it has been made. But the columnist, the inimitable “Uncle” Samson Oruru Amuka, is 80. He was born on June 13, 1935.

Averse to any celebration, Uncle Sam fought gallantly to stop any of the festivities that go with clocking 80. But some of his admirers, mostly his younger colleagues, found a way round it. They organised a ceremony in his honour at the prestigious Nigerian Institute of International Affairs (NIIA) in Lagos.

It featured a lecture on Today’s Newsroom, Tomorrow’s Newspaper and the presentation of an anthology of essays entitled: Voices from within: Essays on Nigerian Journalism in Honour of Sam Amuka(Second Edition), which Prof Ayo Olukotun of the Obafemi Awolowo University (OAU), rightly observed, was an “appropriate birthday gift to Amuka”.

The event’s convener and the book’s editor, Mr Lanre Idowu of Diamond Publications, said celebrating Amuka was inspired by his belief that great men should be feted while alive. He praised the modesty of the Vanguard publisher, saying Amuka had initially objected to the celebration because he felt it wasn’t appropriate to celebrate when many media organisations were experiencing hard times paying salaries.

According to him, the book’s first edition was issued in 2005, when Amuka turned 70. The current one has eight new chapters and focuses on contemporary and topical issues in journalism.

In concert with Diamond Publications, the event was convened by the General Manager, Vanguard, Gbenga Adefaye; Managing Director, Independent Newspapers Limited Ted Iwere and Provost of the Nigerian Institute of Journalism (NIJ) Gbemiga Ogunleye.

In addition to its intellectual charm, the event was one of hearty recollections and eulogies to Uncle Sam.

Among the guests were Senate President Bukola Saraki; former Governor of Ogun State Aremo Olusegun Osoba; former Minister of Information Prince Tony Momoh; Chief Phillip Asiodu; National Democratic Coalition (NADECO) chieftain Chief Ayo Adebanjo; publisher of Business Day Frank Aigbogun; veteran journalist Ladbone Bonuola and The Source publisher and Secretary-General of the Newspapers Proprietors Association of Nigeria (NPAN), Dame Comfort Obi; Ovation publisher Dele Momodu and Channels CEO John Momoh, among others.

Guests showered encomiums on the celebrator for his long-standing contributions to the media. They agreed he is a mentor and a trailblazer in his own right, urging media executives and journalists to draw from Amuka’s examples.

He was praised for being “a man of intellect/wisdom”, “a reluctant celebrator”, “a creative narrator”, “a bookworm” and “gentleman”.

The first tribute was by Osoba. For Osoba, who chaired the event, the honour conferred on the celebrator was well-deserved. He called him “a reluctant celebrator”, saying it took strong persuasion to get Amuka to agree for his 80th birthday to be marked with the book.

“We are here today not because Sam Amuka wants us to be here. If he has his way, in the next five minutes he will disappear. That is Sam; it is his style. When he goes to a party, before you know it, he’s gone. I thank Idowu and all others who arranged it,” he said.

Recalling his early days with the celebrator, Osoba, former governor and journalist, who made reporting a delight, described him as a lover of arts and “pioneer, in terms of magazine”, observing that, as he was first editor of Spear Magazine 50 years ago, Amuka was “the first to make us appreciate cartoons”.

He said: “Most people don’t really know Sam enough. We call him “Uncle Sam”, but his most famous column was known as “Sad Sam”, with beautiful write-ups, elegant language, rich and very cynical writing. Amuka’s columns were witty and thought-provoking.

“I still remember a particular edition of his column in The Punch. Its title was ‘Thank God’. So, I want to thank God for Amuka’s life…Because of his growing works in magazine, we now have many magazines, such as Tell, Newswatch, The News, that followed him. He is a lover of artworks and a good swimmer. I enjoin those above 70 to start swimming.”

The Senate President, who presented the book, urged younger journalists to emulate Amuka’s wisdom and professional conduct. Saraki, who was represented by his Deputy Chief of Staff, Gbenga Makanjuola, eulogised Amuka for his sound intellect at 80.

He said: “Uncle Sam is more than an uncle to me. He is Daddy Sam. We will be here to celebrate you at 90.”

Prince Momoh praised Uncle Sam’s contributions to the media and his humane qualities, saying he represented everything noble in journalism.

Listing the places he had worked with the celebrator as his boss, Momoh described Amuka as a mentor in several ways, adding that he learnt a lot from his professional and personal lives.

Momoh, who also worked with Amuka at Daily Times, said: “Amuka has always been my boss. When I joined the Daily Times, I was an assistant editor while he was the deputy editor. As the deputy editor, he used his position to contribute to the development of the profession.”

Adebanjo said: “Amuka impacted on the society positively because he was fair and honest. He mirrored the society with his column without compromise.”

Dame Obi said: “Uncle Sam has done everything anybody can do for journalism. To us, Uncle Sam is a mentor and stabiliser and we cherish his inspiration and moderating voice. He has done everything anybody can do for journalism and the younger ones.”

Itsekiri leader Chief Rita-Lori Ogbebor, who represented the Olu of Warri, Ogiame Atuwatse II, praised Amuka for his contributions to the country and the Itsekiri ethnic nationality. She described him as a “performer, honest and gentle.”

Forging a future by re-inventing the old model

Prof Olukotun, the book reviewer, described the celebrator as a bookworm, writer and creative narrator, who is also one of the few outstandingly successful entrepreneurs.The festschrift (a term academics use to describe a book celebrating one of their own who has made significant contributions to the discipline), he said, is “an inspiring testament dedicated to a man of excellence, a great achiever, who wears his distinction lightly”.

Olukotun, who was represented by the Head of Mass Communications Department, University of Lagos (UNILAG), Dr Abigail Ogwezzy-Ndisika, said the book offers “rich insights not just into the honouree’s life, but various aspects of print journalism, including visual aspects as practised in Nigeria”.

He said: “The book is divided into three parts. The first features reflections on media content, looking at such things as news reporting, cartoons, and editorial writing. The second examines the business side of publishing in the context of the Internet. The third section contains reminiscences by people, who have worked closely with Amuka on various aspects of his career.

The collection features a few of Amuka’s contemporaries and those of the younger generation, such as Adefaye, Adesina, Aigbogun, Haruna, Fagbenle, and Ogunleye, among others.

Delivering the lecture, entitled: Today’s newsroom, tomorrow’s newspaper: how to survive and thrive in the internet age, Iwere advised newspaper publishers and journalists to embrace changing methods of handling news contents. He called for the re-creation of the newspaper business and re-orientation towards production and presentation of in-depth, analytical stories, and re-modelling akin to a daily news magazine.

Urging publishers and journalists to “keep informed and re-tool themselves on the opportunities arising from the continuing convergence of the newspaper and the internet”, he also called for the re-organisation of the newsroom and its management, and the re-invention of content creation and distribution in the industry.

“Beyond income from such traditional sources as Google adverts, display and banner messages, a newspaper must make money from its news and information. The newspaper must monetise its online presence. In deciding what and how to charge for news on the web, a distinction ought to be drawn between commodity news that is generally available (who, where and when) and premium news (how and why). While the former is most likely to remain free, the latter can, and ought to be moved from free to fee,” he said.

When asked to address the guests, Amuka, moved by their kind words, said: “May you live to be 80 years and above. May you have great tributes showered on you when you are still alive.”

Also at the ceremony were Odia Ofemun ‘the poet’; veteran journalist and The Nation columnist Mohammed Haruna; social critic and activist Chief Fred Agbeyegbe; Senator Bode Olajumoke; Chairman of Leadership Newspapers Mr Sam Nda-Isaiah; former chairman of the Oil Minerals Producing Areas Commission (OMPADEC) Chief Albert Horsfall; The Nation Editor Gbenga Omotoso; Editorial Board Chairman Sam Omatseye; Managing Editor (Online) Lekan Otufodunrin; and The Guardian Editor-in-Chief, Debo Adesina.

Others included: Mr Dare Babarinsa; Lanre Arogundade; Mike Awoyinfa; Tunde Fagbenle, former House of Representatives member Mrs Abike Dabiri-Erewa; Bisi Olatilo; Mohammed Fawehinmi; Emeka Opara; veteran journalist Prince Henry Odukomaiya; Muyiwa Adetiba; Kunle Oyatomi; Louis Odion; Oma Djeba; Fidelis Anosike; factional president of the Nigerian Labour Congress (NLC) Comrade Joe Ajaero and Felix Adenaike.

August 5, 2015
Solomon Temitayo Oyefeko (1930 – 2015)
Pa Solomon Temitayo Oyefeko, the pioneer dicrector, School of Environmental Studies, Yaba College of Technology, died recently at 85. Oyefeko, popularly known as Baba Oye, was a former president of the Association of Professional Bodies of Nigeria (CORBON). In this tribute, ADEOLU OYINLOLA writes of his many contributions to humanity.

[dropcap color=”#000000″]T[/dropcap]he Yoruba place considerable premium on names. The general belief in that corridor of Nigeria is that a child’s name is a prognostication of sorts. Apart from the first Temple of Jerusalem, the Bible attributes to Solomon the rebuilding of major cities and ports. King Solomon’s wisdom was also legendary according to Holy Writ. It is no surprise, therefore, that appropriately-christened Solomon Oyefeko was wisdom personified, an accomplished builder of physical structures and a remarkable developer of minds (S.T.O embodied the finest tradition of education in Nigeria). The difference, though, between the biblical Solomon and our very own Solomon is that ours never turned from God. He was steadfast to the last and kept the faith to the very end.

My association with Baba Oye (as he was fondly and affectionately called by many) took off a little over 20 years ago, after he and his wife handed me, an “Ara Oke” ( a somewhat pejorative, loosely-used term for those of us whose mother tongue is Yoruba but are indigenes of states other than Lagos and Ogun) the most priceless gift ever: their daughter, Yemisi, as my wife – who, like her English-speaking siblings, mirrors them (my parents-in-law) in a delightfully integrated beautiful-inside-and-out-package.

To know Builder Solomon Temitayo Oyefeko at close quarters was a rare privilege and a distinct honour. How could a soul so graceful and rich in his humanity, so accomplished yet so simple and unassuming, depart this earthly plane without the faintest hint of his imminent departure?

As we faced the devastating reality of his permanent absence from this firmament – mid-afternoon – on Thursday, July 23, 2015, we still struggled to come to terms with the finality of that awful occurrence, because Pa Solomon Temitayo Oyefeko was a decent, generous, dependable, reliable, knowledgeable, witty, convivial, debonair gentleman of high sartorial elegance. S.T was always well-turned out; even regal. His dress-sense was classy without being flashy. He carried himself with effortless grace and inimitable panache, and was an elegant, nimble dancer.

Pa Oyefeko had a way with people that put them at ease – regardless of their station in life; an attribute of his that lent him a compellingly magisterial aura. When you met him, you beheld a man who was so comfortable in his own skin, so profoundly at peace with who he was – so much so, that, humility, modesty and serenity were his most notable trademarks. My father-in-law was also deeply human, as he accorded every individual, due dignity and respect, and extended his usual courtesy to all. I will remain eternally grateful to God that my path crossed with that of such a self-deprecating soul who radiated genuine warmth and had a genial disposition and an extremely generous spirit. He would be the first to put a call through on our birthday anniversaries and followed up with a visit – armed with a gift – in the evening.   A reunion of sorts ensued at each well-attended get-together he organized every New Year’s Day.   When I lost my maternal grandmother five or so years ago, ageless, octogenarian Baba Oye not only turned down all entreaties that he and his wife needed not stress themselves to attend, but also fully participated in her (my grandma’s) burial rights in faraway Offa, Kwara State. What a man!

S.T related to me like a pal. Often, we engaged in conversation and debate on a range of issues during fairly regular Sunday evening visits his daughter and I used to pay him and his wife of close to six decades at their residence.   Even when we disagreed on issues, he was never disagreeable. A case in point was our diametrically opposed views on two of the candidates in the period leading up to the last presidential election. He not only articulated his position in his usual measured, contemplative, polite and non-confrontational style (as opposed to many of us Nigerians that believe he who shouts the loudest wins an argument!) but also listened very attentively to mine and ended that particular interaction on a philosophical note, when he said: God’s Will be done.

Extraordinarily, S.T kept his very sound mind and photographic memory till he breathed his last. As recently as one week before his death, he still reeled out people’s GSM numbers from memory, and used to recall events that happened in his childhood with a bewildering exactitude. He had an inexhaustible repertoire of jokes – usually accompanied by a unique, polished laughter – and a raconteur’s gift for inflection. Baba was also a sports enthusiast. He supported both Chelsea and Arsenal (in that order) and was sometimes child-like in reacting to the successes and failures of the two English Premier League clubs. For instance, last May, when Chelsea won the League and Arsenal claimed the FA Cup, he welcomed me and my wife on a visit to his residence with “thank you, Jesus”. Prodded by his daughter to reveal to what we should ascribe his ecstatic expression, he retorted: “are you not aware that the two teams I support are champions concurrently?”   In all probability, it was that kind of guilelessness, simplicity and innocence which kept my father-in-law’s hair almost completely jet-black in his 85-year sojourn here on earth. And, to be sure, he never touched dye of any kind in his life!

In a country where many have no compunction trading their names for money or suborning themselves for a mess of porridge, Baba Oye’s name was his most cherished, jealously-guarded asset. He was motivated and inspired solely to leave an imprint in the area of education. He was a teacher par excellence and his former students who are spread across Nigeria’s public and private sectors are a testament to the indelible, magnificent imprint he left.

Baba Oye’s greatest joy in life was his family; his wife, Moji, children and his grandchildren. However, he left such a rich, impressive legacy, because he touched the lives of so many other people. Born in Sagamu, Remo, Ogun State on March 3, 1930, Pa Oyefeko worked for some years with UAC of Nigeria, before he travelled to the United Kingdom in 1958 to further his studies. He returned to Nigeria in 1966 and joined the staff of Yaba College of Technology as an Assistant Lecturer; where he rose to the post of Chief Lecturer in 1981 and subsequently, the Head of Department of Building and Quantity Surveying. He was also the pioneer Director of the School of Environmental Studies at the same college. He was a Fellow and one-time President of the Nigerian Institute of Building (NIOB); Fellow, Nigerian Institute of Quantity Surveyors (NIQS); third President of the Association of Professional Bodies of Nigeria (APBN) and member, Council of Registered Builders of Nigeria (CORBON); to mention but a few. What an outstanding profile for someone who lost his father at age 6!

My father-in-law was a devout Christian. He was a member of both the Christian Fellowship Society of Yaba Baptist Church, and” Egbe Itesiwaju” of First Baptist Church, Sagamu. He was an exceedingly kind man. As I think about S.T’s life, I am reminded of a passage from Paul’s letter to the Colossians: “As God’s chosen ones, holy and beloved, clothe yourselves with compassion, kindness, humility, meekness, and patience” (Col 3:12). Pa Oyefeko lived out these virtues more consistently than anyone I have known or will probably ever know. This is not just a grieving son-in-law writing. These words – “compassion, kindness, humility, meekness, and patience” – describe Baba Oye to a T. We who loved Builder S.T. Oyefeko will miss him. In truth, we began missing him the very moment doctors informed us that he had changed mortality for immortality. But we give thanks to God for his life well lived, as well as for his life everlasting with God.

Because he inspired us with his life of service; because he left us prodigious ethical and moral codes; because he patented the art (and indeed the science) of giving, the man will continue to live in our hearts. Like Zion, the city of our God, glorious things shall continue to be spoken of Solomon Temitayo Oyefeko. I can confidently posit that he has fought the good fight, he has finished the race, and he kept the faith. May his generous soul find peace profound.   And, as Baba was fond of saying: “Cheers”.
- Oyinlola is a geologist and public affairs commentator
August 5, 2015
NGA resolves to keep faith with programmes

Despite paucity of fund the management of National Gallery of Art (NGA) has resolved to keep faith with the implementation of its progammes and activities, which are initiated to promote and propagate the visual art sub-sector. The gallery is also unrelenting in its campaign to push the Art Embellishment and Artist Royalty Act through the national assembly.

Director-General of NGA, Mr. Abdullahi Muku who spoke with Arts Editors in Lagos said that ‘if enacted the act will make it mandatory for every public building and bridges in Nigeria to have some kind of embellishment especially art works with a percentage of the construction cost set aside for this purpose.’

He stated that apart from the fact that the pool of money set aside will be available to the artists to access through the sale of their works, it would make them sit up and bring out the best in them.

“With Artist Royalty entrenched in the Act, if an artist sells his work to somebody and that person resells it, a percentage of it will go to the artist or his/her family. This is a residual income that will benefit artists just like the royalty that performing artists enjoy for the playing of their musical works in any medium,” he noted.

It will be recalled that three years ago, an Act aimed at promoting embellishment and artist royalty could not go beyond the first reading at the seventh National Assembly. But, Muku assured that NGA is hoping to reopen the bill through private sponsorship. “This is a dream we are hoping to realise with this 8th Assembly,” he added.

Leading the prorammes is the proposed Abuja Biennial, which has been in the works since 2013. Also, on the priority list of NGA is a proposed-bill to repeal and reenact the Act that set up the agency over 20 years ago. According to Muku Abuja Biennial is an event, which the agency would continue to push for as it has a lot of economic benefits for Nigeria. “The Abuja Biennial is a programme we are committed to, both for its economic benefits to the country generally and the artists in particular,” Muku said.

“For 14 days, renowned artists from Nigeria, Africa, the Diaspora and the world would gather in Abuja to showcase the best of the best of the their works with art collectors, art dealers and art lovers buying these works.” Earlier scheduled for this year, the event has been rescheduled to hold in 2017.

The decision to initiate the event, he said, was informed by the experience of NGA’s participation at similar events within Africa and overseas. He cited the Dak’Art in Dakar, Senegal as an example of a biennale that inspired the event. “Having participated in the Dakar Biennale almost from inception, we discovered that they have been able to make good money from organising the event compared to what they spend. We are hoping to do the same by getting the private sector fully involved and other key stakeholders,” he added noting that the biennale would start even on a low key.

Reacting to questions on how public-private partnership (PPP) can drive the gallery’s events, Muku said: “We are open to the input of the private sector. In fact, the coming in of Art Galleries Association of Nigeria (AGAN) was meant to promote government’s policy of public-private partnership (PPP) which was used to run the now rested Art Expo, Lagos.

Muku did not fail to flaunt the economic viability of the Abuja Biennale, saying: “The Abuja Biennial is an art market that will bring together artists, art and culture administrators, art collectors/connoisseurs, political leaders and administrators, tourists and tourism practitioners. It is so named to identify with the world standard as every biennial is named after its host city. Abuja being the capital city of Nigeria is chosen for its economic vantage position and is keying into Mr. President’s vision of diversifying the economy.” Other events of the gallery include Nupe Art Conference/Exhibition, Art of Friendship, Children Funfair, Children Funfair, Art Fair and National Visual Arts Competition. He, however, blamed the inability to host the National Visual Arts Symposium and the distinguished lecture series last year on logistics, hoping that they will take place this year.

August 5, 2015
LIMCAF flags off at Abuja

The zonal screening and exhibition of artworks for the yearly Life In My City Festival has begun with an exhibition held at the Thought Pyramid Art Centre, Wuse 2, Abuja.

The theme of this year’s festival is Beyond all odds. The 10 collection centres are expected to display their best entries. The festival, which enters its ninth edition, is to promote artistic creativity and professionalism among young and talented Nigerian artists.

Cultural Programme Officer, Institut Français du Nigeria, Alice O’Reilly said the festival has been driven mainly by passion for arts by Chief Robert Oji since 2006.

‘This year sees the 9th edition of what has become the most consistent and most expressive art festival in Nigeria. This constant high performance has been made possible because of people such as Elder Kalu U Kalu and Kelvin Ojiofor who involved thousands of people in their dream and whose passion for visual arts has few bounds. And this passion has driven the whole board, the organising committee, the jury panel as well as all the people involved in this nation-wide project. They also had the very strong support of the Alliance française in Enugu which has actively participated in the organisation of the festival from the very first day,’ she said.

According to her, the concept of LIMCAF is simple, unifying and it has extended to all over the country through the support of the French cultural network formed by the Institut Français du Nigeria in Abuja and the 10 Alliances Françaises spread around the country. ‘And it wouldn’t have been the same without the support of many generous private sponsors as well as the Embassy of France in Nigeria,’ she added. LIMCAF has been growing every year. As a proof of the vitality of young Nigerian artists, there are more participants every year and the standard gets higher.

August 5, 2015
Glitz as Rotary gets new president in Calabar

It was all glitz and glamour as the Rotary Club of Calabar-Tinapa District 9140 installed its 7th president for the 2015/2016 year.

The Monty Suites Conference Hall in Calabar, the Cross River State capital, venue of the ceremony, was filled with excitement as the immediate past president, Rotn Ottobang Akpan, handed over to Rotn Nse Paulinus Tom.

The event also featured the induction of new members, inauguration of the board of directors, presentation of service awards and a lecture on the management of prostate cancer.

Accepting the mantle of leadership, Tom said he looked forward to utilising all the offers of support from past presidents and the entire club whose advice and guidance has brought about what they were witnessing on the day.

He expressed gratitude to the District 9140 for the leadership orientation for all club presidents for the 2015-2016 rotary year.

He invoked a spirit of collectivism and giving so that they can work to address those primary challenges within the six areas of focus of promoting peace, fighting disease, providing clean water, saving mothers and children, supporting education and growing local economies.

His words: “It is a difficult task for me alone, but a simple job for us all. As usual, every Rotary year has its theme. For the 2015-2016 we have been challenged to BE A GIFT TO THE WORLD. This is because we started life as a gift to our parents and family; it is now time to extend same to our various communities. I for one, identify with this theme. This identity is borne out of my realisation that giving is not the exclusive right of the rich in materials, but the rich in heart and we can all adopt this nature of giving change to the world.

“As club president, I will urge you all to come on board with me in giving the three Ts of (Time, Talent and Treasure) of Rotary to the world. It is my benefit that from our giving, we shall restore many disorganised dreams, we shall bring back smiles to frowning faces, we will reduce child mortality rates in our communities, and we will help save our mothers from death in the course of bring joy to our families.”

Akpan said the club was able to execute some projects, such as an Ebola Virus prevention awareness and literacy project, where sanitary and learning materials were distributed to St Theresa’s Primary School, Mbarakom; St Theresa’s Primary School, Awi (both in Akamkpa Local Government Area) and the Presbyterian Primary School on Tinapa Road.

Others, he said, included the presentation of items to the motherless babies home in Uwanse; an educational grant of over N100, 000 to a blind undergraduate of the University of Calabar to support his education; hosting a rotary club from another district during the rotary exchange programme among others.

He said as a club, the challenge to their existence has been membership growth.

He charged the new president to be courageous as leadership has never been smooth sailing.

He noted that volunteers (Rotarians) were unlike employees because they are not paid and yet have to contribute their time, talent and resources which is a higher sacrifice.

“Hence, volunteers should be treated with utmost respect and recognition. I have no doubt that with your pragmatism and humble disposition you will achieve more,” Akpan advised.

He charged members to give their support to the new president.

August 5, 2015
‘Lotto is stock exchange of common man’

Chief Kessington Adebutu, the founder and Chief Executive Officer of Premier Lotto Limited (PPL), also known as Baba Ijebu has admonished youths not to be in a haste; they should first learn to crawl before walking.

The billionaire pool magnet gave the admonition when members of the Youth Advancement for Qualitative Education Africa (YAQE), a non-profit organisation, visited his office to present him an award in recognition of his philanthropic activities and support for young people.

The philanthropist who would be clocking 80 in some months told the youth that the secret behind his look at the age of 79 is that he does things in moderation.

Asked how he was able to rise from nothing to a multi-billionaire, he said; “It is God’s grace, that is why our office reception is full of people. I should appreciate God. That is why I give back to the society and the less privileged. God has done wonders in my life. Some people work harder than I do. At my age, I should be living on my reserve but I thank God that at my age I am still making money. I am very grateful to God, I don’t hide it”.

Responding to question on the succession plan he has in place for his business, Chief Adebutu affirmed that the plan is perfected and sealed.

“I have my six children working with me here. Whether I am around or not, they are working. I came back from a trip on the July 1st and I am going back again on holiday but the business goes on. So my succession plan is perfect”.

Reacting to the influence of lottery business on the society since some people have their reservations about the game, Chief Adebutu said the influence of the game on the society is enormous. “People have reservations, they are getting it wrong. I continually say that lotto is the stock exchange of the common man on the street. Shares crash at times, but when you game, you can win, you can lose”.

“It gives the common man hope and that stops them from any nonsense because they are still working. You can see this Ojuelegba area, there were ruffians all over the place, we have taken them all out of the street because they have hope”, he submitted.

Pledging his support for the advancement of young people, the philanthropist said he is motivated because he feels good about his business.

August 5, 2015
NTDC opens information desk in Kano

The Director-General, Nigerian Tourism Development Corporation (NTDC), Mrs. Sally Uwechue Mbanefo, has said that tourism is the greatest employer of labour which contributes about 9.3 per cent to the global gross domestic products (GDP) with the Gambia contributing 17.7 per cent, Egypt 13 per cent, South Africa nine per cent, Mexico 11.9 per cent, Kenya 12 per cent, Brazil 7.8 per cent, Cuba six per cent and Nigeria four per cent.

She said tourism development remains relevant to the economic growth of any nation.

Mbanefo, who spoke during the opening of NTDC tourism information desk at the Aminu Kano Airport, said the desk is part of the corporation’s effort towards promoting domestic tourism.

NTDC’s ongoing collaboration with Viko Group of Companies Limited witnessed the inauguration of three NTDC Airport Information Desks at the Nnamdi Azikiwe International Airport, Abuja, MM2 Terminal and the General Aviation Terminal at the Murtala Mohammed Airport, Lagos. She noted that Kano State is not just one of the tourism-friendly states but also a major tourism hub and gateway in Nigeria.

“This is why NTDC found it strategically important to establish the tourism information desk and travel portal at the Aminu Kano International Airport. The centre would facilitate travel businesses and promote hospitality and tourism services in Kano and Nigeria at large”, she said.

However, Mrs. Mbanefo, the Commissioner for Commerce, Co-operative and Tourism, Alhaji Rabiu Ahmed, including some top government officials in the state, embarked on a tour of Kano metropolis, visiting major tourist attractions, such as the Emir of Kano’s Palace, Kofar Mata Dye Pits (established since 1498), Gidan Makama Museum, Kemata Game Reserve linked with Yankari and South Africa, Porto Golf Resort and ‘Kwakwasiya” overhead flyover.

At the Governor’s Office in Kano, Mbanefo said: “It is clear that the new governor is focusing a lot of attention on tourism and security in the state and Kano is indeed very safe for tourists”, she assured.

The Emir of Kano, Alhaji Lamido Sanusi, praised the laudable efforts of the NTDC boss in repositioning NTDC and the milestones achieved within a short time so far as well as for visiting and marketing Kano State as a major tourism hub. “I know the Director-General Mrs. Sally Mbanefo as an erudite and principled banker, colleague for almost 30 years. No doubt, the candour with which the DG carries herself with passion to bring out the glory of tourism in Nigeria is amazing and has endeared her to many who have come across her way. She is really working, we acknowledge your sound mind, clear understanding of the tourism sector and your passion for promoting domestic tourism even in the face of challenges”, he said.

Group Managing Director, Viko Group of Companies Limited, Mr. Lucky Kanu said: “This project will create employment for thousands of our people and will also add to our effort to rapidly reduce joblessness through the SMEs project.” He pledged to support the efforts of the corporation through the public private partnership for best practices to create jobs for the youth and ensure that the tourism information portal is established in major Airports located in the country.

Mbanefo praised Viko Limited for their patriotism and passion in selflessly promoting tourism by contributing to creation of jobs for youth. “Viko’s zeal for development is highly commendable,this is a true demonstration of a successful practice of public-private partnership in Nigeria”, she said.

She stated that Viko and NTDC are working on a new project that will create over 500,000 jobs for the youth in every state in the country.

She, however, appealed to stakeholders, private sector operators and the general public to join forces with the corporation as tourism is a private sector activity which must be driven by the private sector and not just the government. “This will turn our dependence on diminishing oil revenue to tourism which is sustainable, will reduce rural-urban migration, generate revenue for poverty alleviation and job creation for the teeming youth in the country”, she said.

August 5, 2015
Arinze’s root of change at Alliance Francaise

Asolo art exhibition, The root of change, by Ato Arinze, will open on August 8 and run through 22nd at the Alliance Française Complex, 239 Herbert Macaulay Way, Alagomeji, Yaba, Lagos.

The exhibition will feature a series of 27 drawings compact with symbolisms and intense messages aimed at sparking and taunting the sub-consciousness of viewers. The works examine the vicissitudes and similitude of change in a bid to encourage and incite the viewer’s perspective.

Arinze said: “Whether we pay attention to the build-up of change or not, it encompasses and defines the totality of our existence. These dynamics and dualities of change will be examined through the collection of early and recent pencil drawings of spiritual and mystified intone on the quest and effect of change on the society and individual.”

The works, according to the ceramist and sculptor, are inspired by his quest for enlightenment and by his distant observance of people’s reaction to changes in their environment.

An interesting facet of The root of change is that it veers from direct political, social or religious inclination but symbolically intones droplets intended to stimulate the viewer’s perception, thoughts and understanding of what appears before him/her. It challenges the immediacy of first sight, and requires viewers take a step back, think twice and relate each piece as they come together to drill into the root of change. The choice of graphite on paper plays down on the distraction that colours obtain and enables viewers focus solely on the works. Whilst, some are wont to frown at what might appear as the explicit, carnal portrayal of the genitals, this is a conscious attempt by the artist to define the bareness of our existence. Our encounters and dealings are implied by the artist with subtle intents at romance and the results of such.

Arinze was born and raised in Lagos, but hails from Onitsha in Anambra state, where he had his secondary school education and his first two years of polytechnic education. Later he obtained his higher diploma at Yaba College of Technology, Lagos, specialising in Sculpture and Pottery in 1991. He has been practising as a full-time studio artist from then, and occasionally freelances as a sculptor, workshop instructor, art promoter and art consultant. His preferred media is clay, for pottery, and fibreglass, for sculpture.

August 5, 2015
‘My encounters with Soyinka’

Renowned playwright and lawyer Fred Agbeyegbe is 80. He joined the octogenarian club on July 22. At 80, Pa Agbeyegbe’s pen and mind remain as sharp as when he wrote his first play over 60 years ago at 14. But Agbeyegbe is not your regular playwright or journalist; his articles and plays remain pungent. Three years ago, his play was staged alongside Wole Soyinka’s The Lion and The Jewel at the London Olympics. He shares the same birthday month with the Nobel laureate. And, like Soyinka, he is also a social critic and activist. He is a roaring intellectual voice, clamouring for emancipation of the Niger Delta. Agbeyegbe marked his birthday with pomp and ceremony in Lagos. In this exclusive interview with EVELYN OSAGIE, he speaks on his encounter with Soyinka, his passion and regrets.

Part of being 80 I don’t like

My life has not changed significantly in any way from when I was 40 and now. I don’t remember anything that has been greater or lesser pleasure because I was getting on in years; my interest in life and things remain exactly the same. If anything, as I grew older, and saw that Nigeria is nowhere changing to becoming the Nigeria that I know and envisage in my youth; I am pained, not because I am older, more because I am not now thinking I am near where I am going to. And I am feeling that the change may not happen in my lifetime. Those are the regrets that I have.

Growing up in Niger Delta

We grew up in a free society where no one asked if one was from Itshekiri, Ijaw or Urhobo. Children played with each other; and the adults were always together. And people had their share of disagreements but their fights had nothing to do with land. They respected each other in the enclave that God put them, so they have no reason to fight over land. If all of us in Delta State put in a pool the proceeds from the resources gotten from the area and share it accordingly; it would be the Eldorado of this country. The resources would be more than enough for the population there. When I was Chairman of Warri Local Government, under NPN, I asked the Itshekiris, Ijaws and Urhobos to tell me the number of their abled-bodied men they had so that I’d worked it out as 100 per cent and would be able to create 101 jobs. The only reason for discrimination and fights is when there are not enough resources to meet the wants of the people. It is simple economics.

My thought on militancy

in the region

Militancy came up as a result of the deprivation in the Niger Delta. People feel deprived of what they see as their rights. There is a lot of disconnect between those who say they are governing for the benefit of the generality of country and the people they are governing. I come from Itsekiri, from one of the parts that should be the Eldorado of this country because every ethnic nationality there are all oil-producing. But what is the evidence that this people are so God-endowed? Nothing except fight! It suits some people that we should forget what Nigeria can do for you and focus on what you can do for Nigeria. They are milking us on a daily basis. They come from the so-called centre where they are running Nigeria from to deal with the nincompoops of the society, who don’t have education or antecedents where they are from. They pick and raise them up to situations they’d never hoped they’d get to in life; so they’d owe those who made them allegiance at the expense of the interest of their people. That is why you never get any of these communities sending their first-eleven to represent them anywhere. It is a deliberate policy. They’d pick up your resources, go there and share it, give the nincompoops part of it, which makes them very happy.

Adding my creative voice

to the struggle

There are those who think that my works have contributed to the struggle. And they publicly examinined how my works have contributed to it at the celebration of my 80th birthday last week. The colloquium was in the morning; it had G.G.Darah as keynote speaker. He delivered a lecture tagged: Drama and the Niger Delta Struggle: The Contributions of Fred Agbeyegbe. Other speakers examined The Socio-cultural Relevance of Fred Agbeyegbe Plays in Itshekiri Worldview; The Place of Fred Agbeyegbe Plays in the academia was presented by SONTA and a paper on The Place of Fred Agbeyegbe in Current Theatre Practice was presented by NANTAP. They spoke on how we can resolve this conflict called Nigeria. And my play, Conflict Resolution was chosen as the celebration’s play.

Besides creative works, I once wrote a book on the sovereign national conference: I printed 3000 copies and distributed them everywhere but did not sell a copy. It did not sell because those milking this country don’t like the truth. Look at what happened at the national conference last year. They brought market women, bricklayers, lawyers, and so on, because they wanted everybody to participate. That sounded nice but meant nothing because the people brought there were not the issues. But what is the basis for that Nigeria that you say must preoccupy our minds? Nothing. I am President of the Lower Niger Congress.

My passion for writing

At 80, I am still writing because writing is a way of life for me. Since an early age, I have been around so many books. In some of my law papers and books, you’d find poems and drawings that are meant to be sculpted. For me, the arts is a way of life. Writing comes to me naturally. Without boasting, I can write a play in 30 minutes: all I need to do is to pick up a subject and a play would be in place. Even at 80, I can’t stop writing.

I have four plays that are uncompleted and on-going; let me show you. (Reaches for his computer). Man Beast, Marital Bliss, Festival Child, The Abortionist are the on-going ones that I have been able to put down but there are several in my head. I’ve never stopped writing.

I wrote my first book at the age of 14, Tomb of West Minister over 60 years ago in 1949; and at the last count, I have written about 17 plays; some are not in print.

My first play was inspired by an Urhobo lady, who set out to discover talents in every boy in our boys’ club. It was staged during the club’s first anniversary. And since then I have been writing and producing plays. The King must Dance Naked, which I wrote while I was in England in the 70s studying Law, is my first play that was staged in Nigeria in 1983.

My highest point in over 60 years of writing and producing plays

I have several. First, it was when I wrote Woe unto Death. I used to travel a lot then. While I was returning from Warri with a West Indies girlfriend of mine, between 6 and 7 in the evening, after Ijebu Ode, a burial ground caught my attention and all I could see was a community of human beings. That is where Woe unto Death came from, the story of a young lady in love with death.

Having my play, The King Must Dance Naked staged at the 2012 Olympics was the crowning victory for me as a playwright at that level. And to be sharing the honours with Wole Soyinka was indeed a delight. Interestingly, in 1987 when the play won Play of the Year award in Ghana, NTA had announced it as a play written by Soyinka. (Laughs). And when I challenged them, the then Director at NTA Channel 10 said: “What right have you got to complain. Do you know what it means, in short, you should thank us.” (Laughs). So, Soyink and I have been coming parallel since a long time. I just hope that the people who gave him the title of Nobel laureate would remember me too. So that all these coming together cannot be in vain. (Laughs). But he is a wonderful person.

My encounters with Soyinka

Wole Soyinka is a fantastic human being. He is well-endowed; he is someone everybody would like to be like. The only irony about Soyinka is that it is the international community that had to identify him for what he is before we, Nigerians, realised we had such a person with us. And when eventually he had become a Nobel laureate and Nigeria gave him an award, he rejected as I would have done 10 times over. And the coincidences in our lives have been absolutely incredible.

My first encounter with Soyinka was in the 70s in England. I was the Chess master in London University and used to play chess with my professors. One of them was the Dean of Students. He and Soyinka went to the same university and were friends as students. One day, Soyinka visited my professor, his friend, and he told him about me that I was also a wonderful cook. The professor called and asked if I could host them and I was excited. I had heard about Soyinka but had never met him. During his visit to my place, the professor was full of praise for me and told him how in the middle of my PhD the Commonwealth Secretariat insisted that they must give me a job because the job specification was tailor-made for me. He also told him how someone in the Nigerian High Commission told them about me. On hearing that Soyinka said he was going to the toilet, which I showed him and went back to join the others. That was the last I saw of him. I did not know he had a problem with the Nigerian government then, perhaps immediately he knew that I was working with the Commonwealth Secretariat, he came to the conclusion that I must be a Nigerian diplomat; whereas I was the only person who was not a diplomat. That was our first meeting and it took so many years after I came back for us to meet again in 1984.

He was the special guest of honour at the first showing of Woe unto Death. He could not recognise me and I didn’t talk to him. At another show at the Pep Repertory Theatre, I confronted him and asked him why he deserted me and Prof Dennis in my house; and did not eat the dinner I cooked for him. He was in shock. He said when he heard my name at my show that he had thought it was not the first time he was hearing it.

The third time was when I won the Soyinka Prize for Literature in the late 80s. He was not a judge but he was one of those who presented the prize to me.

The fourth time was when we were plaintive in the Federal High Court in 2010.

The fifth encounter with him was during the 2012 Olympics in London when his play and mine were the Olympics plays. His was The Lion and the Jewel and mine was The King Must Dance Naked.

My journey into theatre arts

It is a sojourn into a mystical world and everything that gives joy. You’d see a lot of other things people don’t see when you look at something. The depth of thoughts is what really makes a person see through things. For instance, each time I look at Nigeria, the superficiality is all that I see. Like I’ve said I wrote my first play at age 14. But I didn’t face the challenges most theatre people faced because it was not my profession. My only profession is Law. I believe I have been successful because I am not dependent on writing as a source of livelihood; and I have other things that take care of all of those things that are problems to those practicing theatre arts and creative writing. When a publisher messed me up, I put my resources into publishing myself; that is why I may be those things that have been able to stop them have not stopped me. I am not waiting for a publisher to come and approve that my work is good enough for publishing. Some of the unpublished plays I talked about are over 10 years old. If it is my livelihood, it won’t be like that and it also means that the work may not have been so good because I would be rushing to make the market. So I am not a theatre person, because I didn’t live by it. Besides my plays and other creative works, I also write essays and articles published across diverse newspapers across the world; but I am not a journalist.

My journey into broadcasting/journalism

I came back from England as a lawyer and wrote for Daily Times, Sunday Times, The Guardian, Thisday, Vanguard, but people describe me as a journalist and broadcaster. I was never in broadcasting or in Nigerian Television Authority (NTA), the way people put it. Each time I watched Nigerian television stations in those days, they were not saying anything which I could identify and thought there must be a lot of people like me in this society. And later when a friend of mine was appointed Chairman of NTA by the then President Shehu Shagari, he drove to my house when he finished talking to Shagari and said: “Fred, you cannot just be talking theory you have to practicalise all you’ve been saying”. And before the end of the week that followed I already had a profile for having programmes on TV. I was made an ‘Honorary Editor’. Before the end of the month, I had worked out a programme on TV and was given a slot to air, Portrait of Nigerian Democracy. Chris Anyanwu, who is now a senator, was allotted to me to do the programme. So I was on TV every Monday evening: they gave me a room, which I furnished and designed to my taste. I took Chris and her cameraman to America to interview the older Bush, when he was Vice President. And later, I wrote a book for NTA.

My Ajo Productions

Ajo Productions is my ensemble. It is still on. Every now and then, we stage my plays. Penultimate week, I was at the National Theatre and we talked about old times. I and guy managing the place have agreed that in September, when it would be 36, Ajo and National Theatre would do something. He gave me a space at the theatre to hold my event, while insisting that I use Cinema Hall One that they have put so much money to make the place a state-of-the-art.

July 29, 2015
‘Tourism can drive development’

Prof Rasaki Ojo-Bakare is a Nigerian playwright, scholar and choreographer. He has sown drama seed in many universities, including the Ahmadu Bello University, Zaria, University of Uyo and Obafemi Awolowo University, Ile-Ife. The former Artistic Director, Abuja International Festival, is now Dean, Faculty of Humanities and Social Sciences, Federal University, Oye-Ekiti. He speaks with Assistant Editor (Arts) OZOLUA UHAKHEME on the rot in the arts, culture and tourism industry. He urges the Federal Government to rescue the sector and make it contribute meaningfully to the economy.

Your career in Arts and Culture industry traversed theatre practice, academics, administration and consultancy, how have you been able to cope with all of these?

Let me start by saying that I think the biggest secret to all of these is the fact that I align myself with nature. Right from the time I was a kid, I was privileged to be able to know through the almighty creator the artistic deposits in me. Even as small as I was then, I was able to realise that I am a natural carrier of the seeds of performative arts and somehow, I made up my mind early enough to just be what I was created to be. So, I was very resolute and positively stubborn that I close my eyes to other fields. I was not prepared to do any other thing apart from practicing performing arts, teaching it, intellectualising it, creating it, directing it and performing it. I think that is the biggest secret. And while growing up, I think I have mastered this and didn’t get derailed or confused. Looking back now, I have come to realise that the best one can be is what one was created to be. So, I’m not playing someone else’s role in creation, I’m playing my role in creation. And once you are doing that, it becomes like magic and part of you because what you are practising is your own nature, you are doing it effortlessly. That is why since I left secondary school, even before I gained admissiont to the university, I have been practicing theatre. After acquiring university education in the field and further studies to PhD level in the same area, I started teaching and intellectualising it by teaching students who are willing to develop their careers in the field. Today, when I look back, I can only give thanks to God for giving me that wisdom early in life because it has been a smooth ride all the way. Of course like every human endeavour, there have been turbulent periods but one thing that is clear is that I have been able to combine a robust practice with scholarship at various levels with ease. Therefore, performing Arts, whether it is scholarship or practice defines my life. I don’t have any other life outside this sector and so I concentrate on it fully. This, to me, is the reason I have been able to go this far and achieve what I have been able to achieve despite the many tasks that confront me daily in the cause of bringing out the best out of my chosen career.

No doubt, your achievement in this area must have paved way for you to be able to serve at the National Troupe and the Abuja International Carnival. What is your experience at the National Troupe?

Before I went to the National Troupe of Nigeria as Acting Assistant Director (Drama) I had served in The Gambia from 1994 to 1996; I was the chorographer and technical Director in charge of the National Troupe of The Gambia. I was in Banjul for two years; first to establish the country’s National Troupe and second, to handle it for two years. After the expiration of that contract, the country wanted me to continue with the National Troupe. At the same time, The Gambia Ministry of Information offered me appointment to establish the Performing Arts Department of their university, which was just taking off then. Meanwhile their National Television was also just taking off at the same time. As a matter of fact, my face was the very first face that was beamed on The Gambian National Television. When they were looking for material to test run the television station, they came to record my production in Banjul, which was a short drama on the HIV Aids epidemic, which I called Jangoroji. That was how they refer to the virus in their local language. It was a 30-minute drama, which the national troupe conceptualised to educate the people on the epidemic. That was how my face was picked, introducing the Jangoroji on the station. With that, the television was thinking of drafting me in, the country was willing to renew my contract with the National Troupe and the University of Gambia also wanted me. But, I retuned to Nigeria because of the passion I have for my country. I had told the authorities of the Ahmadu Bello University where I was lecturing before going to The Gambia that I would return. That was why the university gave me the two-year leave of absence to go. Therefore, when those offers came in The Gambia, I thought of the need to be a man of integrity by honouring my words.

On returning to Nigeria, the Ahmed Yerima led National Troupe of Nigeria, thought of what I did with the National Troupe of The Gambia and what I had been able to do in Nigeria, and then considered it necessary to invite me to join the National Troupe of Nigeria so that they could benefit from my experience. Prof. Yerima thus convinced the Federal Government to get me into the National Troupe in any directorial capacity, and fortunately, the position of the Assistant Director Drama was vacant and the minister then got me to fill that capacity. By then I was Head of Department at the University of Uyo, where I also took leave of absence and joined the National Troupe. We should not forget that every footballer wants to become the coach of his country’s national team and so I felt fulfilled to the extent that I didn’t mind to cut my university career short. The National Troupe for God’s sake is the culture equivalent of Super Eagles. In my view, the troupe should also be bringing whatever the Super Eagles of Nigeria is bringing to the country. The National Troupe should even bring more because here we are talking about our culture, different from football which was borrowed from another culture. The things that the National Troupe is asked to invent are the things that originally belong to us. With that belief in my mind, I joined the troupe with great expectations but I soon discovered that the politics of the place at that time was more than the work that was being done and I had to leave. I discovered it was another civil service contraption, not what it should be. Let me quickly add that the problem is not with those who are there, it is the way the system was designed from the beginning. It was not designed to succeed. That is the truth. If the National Troupe should serve Nigeria the way it should serve Nigeria, it needs a total overhauling. The entire structure must be redesigned from the beginning. If the structure of the troupe is correctly designed, the country would have a lot to benefit from the troupe.

What lessons did you learn from all of these and what suggestions will you give as the likely way out of the quagmire?

I left the National Troupe after that little spell in 2001 and eight years later, precisely in 2009, I was again appointed Artistic Director of the Abuja International Carnival. It was a different experience entirely, but again because most of these institutions are not properly structured, there is always a problem. The state carnivals like Calabar, Port Harcourt (Carniriv) and Lagos have well defined carnival structures. In Cross Rivers State, there is a carnival commission. If this can be done at the state level, what then stops the Federal Government from having a national commission for national carnival? What we have is conceived to be part of the ministry; a carnival secretariat tied to the ministry. An artistic director who is to work on the carnival is brought from outside but has to work with the ministry according to the existing rules and regulations and contraptions, with other challenges the ministry is encumbered with already. Some of the problems that limit the ministry get naturally carried over to the carnival secretariat. So, you discover that carnival secretariat does not have its own pulse or purse and rules and so they get subjected to the politics of the ministry. Now if the administration is not what it should be, how do we get the best from the carnival? Again, it is a continuation of what characterises most government establishments in Nigeria. With my experiences so far, I have been able to establish that the foundation of all these is corruption. Establishments in Nigeria are structured in a way that corruption can fester.

But despite these, you handled the carnival for five years. How were you able to manage it this far?

We thank God again for the personal commitment of those of us that were involved. Let me emphatically state that in 2009, 2010, 2011, 2012 and 2013, there wouldn’t have been a carnival in Abuja but for the personal commitment of those involved. From the state directors of the troupes to those that worked with me at the carnival office in Abuja, there was total commitment. I must also mention the personal commitment of our stakeholders in all the states of the federation and the FCT, who were keen on making success out of the carnival despite challenges.

The state directors were specially committed because of the personal contact and relationship we had with them from the carnival office. They saw it as a project that must not fail because we are all friends and professional colleagues. Some directors of culture would come with artists of 500 and above from their states with N500, 000 and their state governments expected them to spend a week in Abuja. They are expected to build costumes, build floats and provide accommodation for their crew. But because of professionalism and passion, the directors of culture from the states were determined to succeed and from our end at the Carnival Secretariat in Abuja, we kept encouraging them on why they should be committed. Some state directors would get to Abuja and would not be able to pay for accommodation and result to sleeping in primary schools with their artists on mats. We should not forget that some of these people are level 16 officers from the states. The permanent secretaries and the directors from the states, including those who worked with me in the carnival office are the heroes and heroines of that era.

In Nigeria today, everyone is talking of diversification of the economy, what roles do you think culture can play in the non-oil sectors?

Look, culture and tourism can feed this country. Without oil, we can use tourism to drive development. When I was handling the Gambia National Troupe, I discovered that the country called Gambia does not have anything apart from culture and tourism. Gambia earns everything it earns from culture and tourism. This is not what I heard but what I participated in. When I was in Gambia, the egg we ate was imported from Poland. That is, the stamp of Poland was found on every eggshell. They were importing Egg from Poland, Rice from Libya, Yam and Garri from Nigeria and Ghana. The only thing they have produced in Gambia is the long bread and tea. However, the county is working because the revenue they earn comes from culture and tourism is huge. What does Gambia have that Nigeria does not have?. Our tourism potential in Nigeria is huge but government is not sincere and professional with the handling of the sector. This is because most of the time, wrong people are appointed to head the ministry, it is politics you see instead of a professional development of the sector. With oil boom, it is easier to lazy about oil business and make or rather steal money .And so, everybody forgets about other sectors .Nigeria does not need oil to survive .Culture and tourism can feed this country very well. All we need is genuine intention from government and the will to do what is right. Nigeria should stop behaving like a suicidal husband whose wife is pregnant and instead of engaging the services of a gynecologist; he is engaging the services of a dentist. If you do that, you must patronise the mortuary. That is what Nigeria is doing. Our problem in simple term is that we put square pegs in round holes. Yes, government may have good intention, but it is important to take the correct action. We should realise that not all actions should be politicised. There are people who are not politicians but are hard core professionals in their fields. If these people are engaged, they can make this sector to begin to work for Nigeria. And Nigeria will surpass the countries that called themselves the great nations of today in no distant time. I believe we have everything it takes to achieve this.

How do you rate the National Council for Arts and Culture today, vis – a – vis its strategic role of promoting the country’s diversified arts and culture?

The new Executive Secretary of the council, Mrs Dayo Keshi has turned the place around positively. The place was asleep for a long time, but with the appointment of Mrs Keshi, a quite positive revolution that will reposition the council for effectiveness is going on.

Having worked as a consultant to many states, do you see the states playing active roles in the reengineering of these cultural values?

Without sounding immodest, I have worked with most states in the country as a consultant. It is that experience that exposed me to the quality of what the Almighty deposited in Nigeria. All the states whose governments cannot pay salaries are ironically sitting on untapped tourism treasure. It is only when a governor that is aware of these treasures comes into office that you see attempts at developing culture and tourism in the states. Once the wrong guy is elected, the projects are discontinued. That is the problem with the states.

How can we market the sector to the world?

The first step is to develop the culture and tourism products we want to market to the outside world here Nigeria. We must develop and package them before we move on to promote and market them very well. Nigeria is almost not existing in the area of marketing and promotion of what we can offer the world in terms of culture and tourism and that is bad. Let me cite a recent example, there is a beautiful advert running on NTA international to market Nigeria and I wonder why it cannot be on BBC and CNN. Even Nigerians outside this shores hardly watch NTA International, not to talk of foreigners. A similar advert by South Africa will be more prominent on International media rather than local platforms in South Africa. Beyond this, we are not having good presence online and you will see small countries like Kenya, Gambia and Tanzania making various strong statements on various social media platforms. The fact that we can be lazy and make money from oil has almost crippled our sense of creativity and innovation. That must be changed for Nigeria to see the change they so much desire.

July 29, 2015