The Nation Newspaper

Category: Life – The Midweek Magazine

  • Odunfa charges young writers to promote mutual respect

    An international freelance journalist Mr. Sola Odunfa has tasked young writers to promote mutual trust, respect and understanding among Nigerians in their reportage of news and current affairs.

    Odunfa spoke at the sixth edition of the Student Acquiring Media Skills (SAMS) organised by African Foundation for Peace and Love Initiative, RayPower/AIT and the Private Education Services of Lagos State Ministry of Education.

    The theme of the programme was Bridging the Divide in the Nigeria’s Socio-Cultural Heritage through effective communication and brought together over 100 students drawn from the six education districts in Lagos. It featured training in basic tools in print media, broadcast presentation and production.

     

    According to Odunfa the need for young journalists and writers to build the bridges of religion, ethnic, tribal and cultural cohesion that often times divides is very germane for national development.

     

    He said that throwing stones at each other do not make for peace. Nobody has the monopoly of violence. We must continue to make frantic effort in mending the broken walls around us.

    Odunfa who took the students through the basic skill in newspaper and radio production said that young writers must be avid readers and be open to new knowledge, ideas and perspectives from other people.

    President of the foundation, Rev Titus Oyeyemi said the programme is for youths, peace and nation building, adding that the vision behind SAMS is in three fold which are encouraging students to have fore knowledge of their future career, encouraging young people to have a lifestyle of peaceful co-existence and the need to reach Nigerian socio cultural divide most especially at the period the country is witnessing transition into new government.

    He said the reason for this year’s theme arose from the need to build and not to expand the Nigerian socio-cultural heritage, particularly as the country is moving into a new administration.

     

    “I call it a heritage because we as Nigerians are the heirs to and have inherited multiple cultures which are often competing against one another for superiority. A cultural divide being an artificial boundary in society that separates communities whose social economic structures, opportunities for success, conventions, styles and norms are so different that they have substantially different psychologies”, he said.

    Oyeyemi also described cultural divide as the virtual barrier caused by cultural differences that hinder interactions and harmonious exchange between people of different cultures.

    He listed factors that can cause socio-cultural divide as internal attitudes, external influences, ideological differences, stereotypes, conflicts of identities and some social barriers as well as social pressure and media bias in news and reports.

    “Though not premeditated, but a mere coincidence, we are aware of the ongoing debacle where party chieftains of the incoming government are being said to be banning some media houses from event coverage. Yet there are counter reports to the contrary. The question is how we can nip this ugly phenomenon in the bud before it becomes intractable,” he said.

    Oyeyemi said that in a multilingual, ethno religious and ethno political dichotomous environment with emerging democracies like Nigeria, ‘we need to understand cultural boundaries increase cultural interactions and build a wealth of cultural intelligence.’

     

  • NANTAP to honour practitioners

    NANTAP to honour practitioners

    The celebration of World Theatre Day is an opportunity to draw attention to the arts and culture sector, chairperson of the National Association of Nigeria Theatre Arts Practitioners (NANTAP), Lagos chapter Ms Eki Eboigbe, has said.

    She spoke with arts writers at a briefing in Lagos. She explained that the celebration which would have held on March 27 was shifted to June 26due to the exigency of election in the country.

    She said the celebration would be in tandem with the globally theme, Celebrating people behind the scene of theatre. This, she said, madeNANTAP Lagos chapter to adapt Theatre and Conflict Resolution in the 21st Century as its theme.

    Among those to be honoured are founder of Terra Culture Centre Mrs Bolanle Austen Peters, Teju Babyface, Femi Odugbemi, Yemi Shodimu, Mrs Laja Adedoyin, Debon Lexandra and Dr Osita Ezewanebe for their contributions to the sector.

    Chairman Planning Committee of World Theatre Day, Shaibu Hussein stressed that since 1991, the celebration has been used by NANTAP to call attention to the theatre and advocate a more sustainable policy for theatre in the country.

    “We felt that we could use theatre to resolve political, economic and religious conflict so also can it be used to proffer solution to the problems in Nigeria,” he said.

    He noted that Bolanle Austen Peters has been chosen to be recognised and celebrated as the ITD personality of the year due to her inestimable contribution and commitment towards theatre in the country as well as other genres of art. “So also has she provided space through her terra culture and has funded a production that featured about one hundred and twenty members of NANTAP,” he said.

    Shaibu said two sets of people would be recognised during the celebration. They are the ambassador and certified practitioners for the Nollywood industry, adding that their contributions of people like Don Pedro Obaseki, Ejike Azogwu, Rita Dominic helped in the smooth take-off of Nollywood.

    He disclosed that on the celebration day, the association would work on the start-up of an Endowment Fund for the theatre profession, noting that  as it would help fund projects and render aids to theatre practitioners with challenges on the field.

    He said community theatre project would only come to reality only if the endowment fund is in place and once it is started, it would be encouraged at the national level because the country doesn’t have an Endowment fund for the art which has made it look as if when money is given to the art it looks like a token.

    “We know that theatre has a lot of roles to play in the area of uniting this country, creation of job which interestingly is one thing the incumbent president is interested in. We are rest assured that if we set up theatre in the 774 local governments, it would create job opportunities like carpentry, set designing, light designing, make-up artiste, props managing, etc for the youths as well as people in the community. When government invest in theatre art, it would assist in curtailing unemployment in the society; we have a new government of change so what we hope for is that most of those things we are hoping to do would be changed for the better as theatre practitioners and performing artistes,” he said.

     

     

  • Shyllon to build multi-billion naira museum

    Shyllon to build multi-billion naira museum

    History will be made today as Omooba Yemisi Adedoyin Shyllon Art Foundation (OYASAF) founder, Yemisi Shyllon, an engineer, and the Pan Atlantic University (PAU) Governing Council, sign an agreement establishing Nigeria’s first multi-billion naira privately funded public museum, Assistant Editor (Arts) OZOLUA UHAKHEME reports.

    •Engineer donates 15-foot bronze statue to Unilag Law Faculty

    It could not have come at a better time than now when Nigeria does not have any functioning national art exhibition edifice. From today, Omooba Yemisi Shyllon will begin the funding of a multi-billion-naira museum of art that will house all genres of Nigerian art and photographs.

    Shyllon, who began collecting art as an undergraduate, using savings from his scholarship, has over 6,000 pieces of African antiquities, traditional and neo-traditional pieces and contemporary Nigerian art in his collection. It is the largest private collection in Nigeria comprising music, traditional dance, drama, opera, tribes, paintings, sculptures, photography, folklore, oral tradition, poetry, literature, architecture, performing arts, general arts, embroidery, documentaries and weaving.

    The facility, Yemisi Shyllon Museum – Pan Atlantic University, that will be on Pan Atlantic University campus in Lekki, is one of the steps taken by Shyllon to fill the lacuna in the nation’s art space.

    Shyllon said the project was a selfless effort by his family to establish a one-stop reference point of all the genres of art, including photography, traditional, modern and conceptual art. He said the museum set up for promoting Nigerian art. “It will be Nigeria’s first functioning privately funded, but public exhibition space that will contain all genres of visual art and antiques from part of my collection for the benefit of our country and the world,” he said. He disclosed that other major collectors of Nigerian art will be allowed to exhibit their collections in sections within and forming part of the museum.

    According to him, the agreement includes, among others, granting the museum his art collections, funding of the seed money, providing 15 years of yearly funding of the running cost of the museum and electing some of the members of the museum management. He disclosed that the University Council and himself would agree on the design of the museum architecture, which will be undertaken by an international architect.

    Shyllon has been worried by what will become of his treasured collections. Even after trips to renowned museums and galleries across the globe, seeking knowledge on how to run a museum, he discovered that it required more than erecting a building to run a viable museum. “It is an expensive venture as it involves insurance of collections, preservation of works, management of operating staff and logistics among others. Given all this, I was in a quagmire on how to preserve all my collections and what will happen to my works. I did not want my sweat to go the way of other collectors,” he said.

    Shyllon recalled that for many years he had been thinking of what to do with his art collections, which he started as an undergraduate. “In my working career, I kept satisfying my passion by collecting art. But, when I started to work for myself, I decided to take art collection serious. This led to the incorporation of OYASAF in 2007. The foundation held its first two art exhibitions: History of Nigerian art and Drums and Totems in partnership with Omoba Oladele Odimayo at the National Museum, Lagos. These shows caught the attention of the United StateS Embassy in Lagos and facilitated my selection for US-sponsored International Visitors Leadership Programme to 22 institutions in the US in 2009.

    “My question all through the trip was how viable is running a museum? When I returned I was better informed and learnt that gate taking was only 5 per cent of museum income,” he added, noting that his search on who to partner with led him to Pan Atlantic University, which has foreign partners in Spain.

    On why he chooses to initiate all this project, he said: “One thing that drives me is legacy. You can make all the money in this world, but if there is no legacy you left behind, when you die, people will forget everything about you. Whatever I want to do must be legacy inspired. These projects have no profit motive behind them but to contribute to the society in my chosen passion.”

     

    Donation of a 15-foot

    bronze statue to Unilag

    Similarly, on Friday  a 15-foot bronze statue donated by Shyllon to Faculty of Law, University of Lagos, will be unveiled. Considering the concept of the new statue of justice, it is to revolutionise the design concept of the universal symbol of justice. It is expected to project the different ethnic nationalities of Nigeria and redirect the representation of the symbol of justice as a people towards ‘promoting our culture and traditions.’ It took the artist Adeola Balogun, who was supported by a bronze-caster Paul Omorodion three months to complete the sculpture.

    The sculpture is a maiden holding the Eben of the Oba of Benin and the horse whip of Yoruba Kings. She is also adorned with the Jigida of the Efik culture around her waist and wears the famous Fura do Nunu attire of the Hausa/Fulani culture. The Ileke of the Yoruba culture adorns her waist. The beads on her neck and the Udu on her two feet represent the Igbo culture. Her hairdo (Shuku) and the bracelets on her hands are of the Yoruba culture. She is of the Negro (Nigeria) identity and blindfolded in tandem with the universal representation of the symbol of justice.

     

    Online journal of art:The OYASAF Journal of Art (TOJA)

    The third part of Shyllon’s intervention on art this month is the establishment of an online international journal of art, The OYASAF Journal of Art, under his endowed professorial chair at the University of Port Harcourt (UNIPORT), which he has committed funds. The journal is expected to make its debut by the end of July.  He said: “I decided to set up this quality of journal because of the dearth of such journals in our academic space in Nigeria. What we usually have in Nigeria are stop gap journals published merely to get promotions after which the journals are often jettisoned. This is one of the projects initiated to enhance the appreciation and development of Nigerian arts and culture and to position us in the global art space. It will also give Nigerian art stakeholders something to be proud of.

    It will be edited by the Chair of the Prince Yemisi Shyllon Professorial Chair of Art and Design of UNIPORT, Prof Frank Ugiomoh. There will be three professors from the US, two from South Africa, one each from Germany and the UK and four from Nigeria. The chair of the board of trustees is a Vice Chair of the UNESCO 1970 Convention, assisted by seven professors of international repute. The journal is expected to be published thrice year ly with a maximum of six and minimum of four papers per publication.

    TOJA is an online journal for critical debate on African art  and will publish  articles, reviews, critical discourse based on studio experiences of artists and products such as product/industrial design, architecture, sculpture, painting and printmaking, photography and installations, exhibitions, curatorial practice.    The journal will provide an on-line platform for documenting the arts of Africa, and similar cultural practices around the world.  It will be published annually, every four months (March, July & November) as an on line publication with a maximum of six (6) and a minimum of four (4) annual outings. It will include global features on book reviews, review of art exhibitions, scholars’ forum, review of art fairs and others.

    TOJA is set to occupy the position of a vanguard online forum that provides commensurate knowledge in art practice, discourse and related engagements in Africa. It vision includes to contribute to an appreciation of visual literacy through discourse alternatives that engage practice, history, criticism and interpretation; to encourage discourse options that privilege diverse ideological perspectives and to create an enabling medium for the free expression and exchange of ideas.

    Shyllon’s philanthropic gestures know no bound. He restored a failed Ben Enwonwu’s 1952 artwork for the University of Ibadan, donated a 25-feet sculpture Towards Distinction to the University of Ibadan, contributed to the redesigning of the University of Ibadan zoo, contributed to the refurbishment of the Obafemi Awolowo University, Ile Ife campus (during the tenure of Prof Rogers Makanjuola), endowed a professorial chair at the University of Port Harcourt, Rivers State, sponsored school competition in arts, sponsored the annual creative art workshop at the University of Lagos, donated sculptures to the Freedom Park, Lagos and runs residency programmes for arts scholars among others through his foundation.

  • Eyeing history from a photographer’s perspective

    Eyeing history from a photographer’s perspective

    The cover photograph of the catalogue for this special exhibition, Eyes of History, aptly personifies the metaphor that the camera-and-photographer is the ultimate eye that sees captures and records permanent visual documentation for posterity. This monumental photograph is a very touching human angle narrative of an extraordinary moment in an event of family history. Not surprisingly, many eyes and cameras are seen in the photograph diligently documenting the same once-in-a-lifetime moment and occasion!

    We see Governor Fashola caringly holding a new-born baby, the mother of the baby is ‘captured’ excitedly taking a photograph of the Governor holding her prized baby; with her cell-phone camera and, other female maternity-hospital staff are also seen taking photographs of the precious moment with their own cell-phone cameras. The many eyes present are all on this event; witnessing it. However, it is Lukman Olaonipekun (a.k.a Lukesh); magnificently playing the professional role of an experienced and creative ‘super-eye’ who has brought into sharp focus, for posterity, the entire extraordinary moment and event!

    This classic photograph and, many more in the exhibition, say a lot about Lukesh the photographer. The cover photograph demonstrates that he is very alert; a crucial hallmark for good photography and also has a keen eye for composition.

    When a photographer over time develops an intimate and spontaneous relationship between his camera and himself; the camera eventually becomes an extension of him, his all-seeing eye! The eye is one of the greatest wonders of nature. It never tires of seeing, it can see far and near, wide and small, it can see in any manner of weather and light; from bright sunshine to darkness, it can see colours, shapes and literarily everything. In carrying out its natural functions, it seamlessly adjusts its focus to keep objects in sharp focus!

    Hence, one of the top compliments you can pay a photographer is to say that he has “an eye.” In the case of Olaonikpekun, (Lukesh) his photographs in Eyes of History  and, many others of his, are clear and undisputed evidence that he has, “a very good eye.” Lukesh has an “exceptional eye,” and this is evident in his huge body of works compiled over two decades of his career as a professional photographer.

    He has a panoramic eye, a discerning eye for the unusual and spectacular and, a roving inquisitive eye! This is why Lukesh’s Eyes of History brings us marvelling sights of history, culture, lifestyles and landscapes. This exhibition simultaneously documents the history of a period in his photographic career and equally serves as a trajectory of how his eye has been refined, over time, in its development.

    Where does Lukesh belong in the pantheon of photography in Nigeria? He definitely belongs to the documentary genre; with a difference. Whilst he might also be classified as a Photojournalist/ Press Photographer, he is again a different type of press photographer; more like a trailblazer as a Political Photographer. He has made history and distinguished himself as the first private photographer in Nigeria to have become the full-time official and personal photographer of an elected Governor, Governor Babatunde Raji Fashola [SAN] of Lagos State, for two terms [2007-2015]. Usually, it is the official photographers in the State Ministry of Information and Government House who are assigned to cover the Governor’s activities.

    Eyes of History is a vivid visual story of contrast and change from both an aesthetic and psychical points of view. We get a glimpse and understanding of the process of change unfolding; with the principal characters and machinery for change at work, the challenges that have been overcome and the new challenges clamouring for future and permanent solutions.

    Incidentally, many of the photographs in this Eyes of History, exhibition are also published in Lukman Olaonikpekun’s new book The Fashola Years; a testimony of Governor Fashola’s successful efforts to transform Lagos State and chart the path towards Lagos becoming a megacity during his eight-year tenure.

    It opens with the driver of the change process in Lagos State, Governor Fashola, addressing his ‘engine-house;’ the Permanent Secretaries and Directors of the Civil Service in 2014. Then we see him distributing free Eko Crops Exercise Books to students in 2011.These two photographs in particular and, some others in this exhibition exemplify that Lukesh has mastered the cardinal photographic principle of knowing the moment of decision; that fractional exact moment when you take a photograph. It is about precise timing to get the action; as in Fashola’s hand gestures around the microphone as he stresses a point and, the eye contact between a grateful admiring student and Governor Fashola! The vast Agric-Yes Songhai Farm in Badagry in 2013 tells of efforts to make Lagos State more self-sufficient in food production.

    The next series of photographs can be categorised as reflecting the phases of change in the infrastructure and transportation sectors in Lagos State. These aerial photographs include The Old Face of Oshodi; congested and chaotic, new and improved road networks, The Okota-Itire Link Bridge, The Maryland intersection, the old reliable Third Mainland Bridge, the new cable-stayed Lekki-Ikoyi Link Bridge; first of its kind in West Africa and commissioned on Democracy Day, May 29, 2013, and the same Lekki-Ikoyi Link Bridge at sunset. A picturesque photograph of a mother with her baby strapped on her back and paddling home in her dug-out canoe precedes the new phases of transportation in Lagos State. These are a line up of Bus Rapid Transport-BRT buses launched in 2007, BRT buses driving under overhead pedestrian bridges and, then The Lagos Light Rail Project under construction.

    The photographs in this Eyes of History are taken from Lukesh’s point of view from the air, land and water. In the series that can be categorised as faces of change, we have an aerial photograph of the Makoko water community on the Lagos Lagoon; reputed to be one of Africa’s oldest fishing settlements, and, an aerial close-up shot of a colourful Makoko abode on stilts surrounded by dug-out canoes. As a sharp contrast we have photographs of a first-of-its-kind housing scheme in Nigeria, the Lagos State Home Ownership Mortgage Scheme-HOMS. There are photographs of a HOMS Estate near completion with hordes of workers who helped build the estate lurking around, and another photograph of a completed HOMS Housing Estate at Shogunro, Ogba, with children confidently playing football in the blissful environment. Aerial shots of Lagos with its skyscrapers, Bar Beach and a night scene of an Ikoyi waterfront complete this segment.

    By now a viewer of this exhibition would have noticed how Lukesh has artistically used natural light, the time of day and electric light to create different moods. The stunning photograph of the Lekki-Ikoyi Link Bridge taken at sunset gives the Lagos Lagoon a golden hue while the Lagoon of the Ikoyi waterfront has a shimmering blue hue thanks to the electricity-lit buildings. Nearly all the photographs in this Eyes of History, are in colour and the few black & white photographs like The Third Mainland Bridge and Badagry Traditional Drummers have their own peculiar mood and strength.

    Then there are photographs that depict the wide diversity of the culture, old and new, of Lagos State. The Eyo masquerade, the cultural face of Lagos, is prominently featured. There is a parade of dancers at the 2014 Lagos Carnival; supposed to be over 100 years old and another group of dancers. Two Badagry drummers drumsticks in both hands are photographed dancing around their traditional big high drum; this one with a painted robed figure carved on it. A photograph of participants in a boat regatta; featuring happy boisterous canoe-women performing at the 2013 Lagos Black Heritage Festival, captures one of the many aquatic attractions that have made Lagos State a vibrant tourism destination.

    The Fashola administration during its eight-year tenure undertook a massive beautification project in Lagos State which involved trees, flowers and jobs. A split-frame photograph of what the Adeniji Adele Loop looked like in 2007 and 2008 before and after its beautification respectively, a photograph of the beautified Simpson Loop in 2008 and, a photograph of the Muri Okunola Park, Victoria Island, Lagos, in 2011, attest to the success of this Lagos State Beautification Project.

    With a population in excess of 21 million and 60 per cent of Nigeria’s industries located in Lagos State, the energy requirements of the State is about 10,000-12,000MW. This is in sharp contrast to the less than 1,000MW currently available on the national grid. The Fashola administration therefore embarked on a robust programme of Independent Power Projects-IPP and power from these IPPs are used in government institutions, light the streets and public spaces. Tinubu Square lit up at night its fountains glistering is simply warm and beautiful!

    Eyes of History appropriately features Governor Fashola himself in the landmark exhibition. We see the politician, the person; charismatic, approachable by the elderly, adults and the young. A man of the people and for the people, he is comfortable with members of the Lagos State catfish marketers Association, a grandmother giving him a warm hug, and a bold young girl who has broken protocol to approach him. It is touching to see him exchange high fives with a young boy whose future he has definitely helped secure!

    Eyes of History is another milestone in the photographic career of Lukesh, with much more to come.

  • iRep attracts foreign recognitions

    iRep attracts foreign recognitions

    After a successful hosting of this year’s iRep International Documentary Film Festival in March, the iRepresent Documentary Film Forum has continued to attract international recognitions as it co-hosted the Dok.Network Africa programme at the 30th anniversary edition of the Dok.Fest Munich, Germany, one of the prime documentary film festivals in Europe.

    The event, held at the prestigious Museum Funf Kontinente Munich, witnessed an impressive diverse audience. The special session screened among others the film by Camilla Nielsson (Denmark) The Democrats and Rehad Desai’s compelling work Miners’ Shot Down (South Africa) as well as La Sirene De Faso Fani by Michel K. Zongo (Burkina Faso.).

    It also presented a dynamic panel discussion on documentary’s political role in emerging democracies in Africa. Rens van Munster of the Danish Institute for International Studies presented a talk with very interesting perspectives on the Political dimensions of Documentary filmmaking.

    Co-founder and Executive Director of IREP Femi Odugbemi was a featured speaker. He also presented Miners’ Shot Down on behalf of South African director, Rehad Desai. The film was curated and recommended to Dok.Fest 2015 by IREP and had earlier featured as part of the screened films at the iREP 2014 edition.

    The idea of Africa Day had been inspired by the collaboration between DOK.Fest and iREP, which began three years ago. The collaboration has also yielded another opportunity as DOK.Fest has asked iREP to send in one of its operation staff to once again undertake a six-week internship starting in November. The cooperation between iREP and DOK.Fest had been midwifed by the Goethe Institute, Lagos, which had also been the intermediary of the relationship between iREP and the Ag-Dok – the highly influential German association of independent film producers, which in the past four years, has brought groups of German filmmakers to every edition of the yearly iREP festival.

    Also, the Forum got an invitation from Cape Town, South Africa to send a representative to the ENCOUNTERS Documentary Film Festival – a highly competitive international documentary film workshop and industry gathering, for a three-week training and internship that would usher collaborative programming. IREP 2015 Festival Manager Lanre Olupona has since left for South Africa on that attachment. He will work and understudy the programming team of Encounters Festival over an intensive 3-week, with a view to learning best practices in Festival Operations and management. It will be recalled that two years ago another IREP Festival Manager Toyin Poju-Oyemade was in Munich, Germany to understudy the operations of the Dok.Fest Documentary Festival as well. All of these exchanges have strengthened IREP’s global network and enshrined global best practices in its operations.

    In June at the prestigious Sheffield Documentary Film Festival UK, Femi Odugbemi will also be a featured speaker on the subject of Imperialism Or Inquiry – How Fair Is Foreign Filming? a major panel of the Documentary Campus Industry Conference. He will as well be meeting several global documentary filmmakers to schedule films for the 2016 IREP Festival.

    In July, Odugbemi will also be attending the People2People conference to be hosted by the 2015 Durban International Film Festival in South Africa. Odugbemi is on the Advisory Board of the People2People Conference and IREP is a founding signatory to the Documentary Network Africa, DNA, an influential documentary platform featuring filmmakers from 45 Africa countries.

    Meanwhile, iREP will be resuming its monthly film screening programme at the Freedom Park Lagos this week with the tribute screening of the film Uncommon Service produced by Deji Adesanya on the unusual story of patriotism and community service by Dr Yombo Awojobi, a medical doctor cum inventor, engineer, philosopher, all rolled into one. Dr. Yombo Awojobi died a few weeks ago.  The film screening event was held on Sunday, June 7 at 2pm at Freedom Park, Broad Street Lagos.

  • My Hero… The sunny side of Mr President

    My Hero… The sunny side of Mr President

    IT was a 40-minute documentary. Yet, members of the audience at its screening got more than a bumper harvest from it. Tagged My Hero… is a documentary on the life style of President Mohammadu Buhari, which was premiered recently at Abuja before some select audience such as General Paul Tafa (rtd) Mallam Isyaku Ibrahim, Alhaji M.M. Abdul, former Minister of Information, Mr. Tony Momoh, former Head of Civil Service, Mr. Steve Oronsaye, Director General, National Gallery of Art, Abduallahi Muku.

    No doubt, many members of the audience at the premier may have been stunned by some of the revelations made in the film. The 40-minute documentary endeared Buhari to many at the end of the show as the sunny side of a man misunderstood as a brute and unfriendly was captured in the documentary.

    The film, produced by Ireti Bakare Yusuf in collaboration with Heavywind Studios,

    was premiered as part of activities heralding the dawn of Buhari’s administration. Executive Producer of the documentary, Ireti Bakare Yusuf said she got involved in the film through a voluntary work and that she was not certain Buhari would win the election. Yet many people supported her ambition and that was what led to the actualisation of the work.

    On the choice of title, she said the dots after the word Hero was included after the election was won to capture the inputs that were gathered after the election. According to Yusuf, after four years of Buhari’s administration, those who do not believe in him now might come to agree with the title.

    General Tafa, an age-long ally of Buhari who chaired the premier commended the effort of the executive producer. According to him, the fact that the documentary was single handedly financed by her was most commendable. Tafa said: “She traversed Nigeria with her team and at her expense to interview people, friends and relations of Buhari because of her belief in Buhari as somebody who will bring change to Nigeria. The documentary says it all but even before that, I want to say that Buhari is the man Nigeria needs now and my prayer is that all that he stood for and had said would be fulfilled in the next four years”.

    For about 40 minutes, audience were taken through interviews with prominent Nigerians on one hand and the general public who had not had any close relationship with him on the other, each giving his perception about the new President. Max Siollun, a historian, for instance, described Buhari as a very consistent person while others see him from the perception of honesty, consistent and integrity.

    In fact, every aspect of Buhari’s life was captured in interviews with 29 Nigerians that comprised close associates, childhood friends, relations, family members, employees as well as the general public. Among those interviewed are Musa Bello, Kunle Idiagbon, Captain Paul Tafa, Dr. Abiola Gyado, General Mohammed Magoro, Tunji Lardner and Chief Bisi Akande.

    Ironically, even though they were interviewed at different times and in different places, every contributor had an impressive and positive description of the man, Buhari.

    The highlight of the interview was where Buhari’s wife revealed how humorous he is. According to her, Mr. President also loves animal channels and local movies and could watch films for over 10 hours without getting bored.

    Yusuf stated that although the task was very challenging, she got a little support from friends and that made her work more of a memorable experience than a challenge, adding, “It was challenging but also, I had support and that made things a lot easier. However, that was not the most challenging task I have ever carried out. We live in Nigeria; we all have challenges but we always overcome those challenges. So, I like to see it as a journey and experience rather than a challenge

    “But it was good going to see all those friends of President Buhari. Some of the things I learnt from them behind the camera were greater than those in the film and as for whether it changed my perception about Buhari, I will say it did. Who would have thought that Buhari is into comic books? His wife said he sits down and watches animal channels for over 10 hours and he loves it to a point where he begins to cry. Who would have thought of that?

    “The Buhari we all know is a man that is austere and straight looking. Nobody knew he also has a sense of humour. It was one of the things I learnt. So, a lot of my perception about him changed and I think a lot of people’s perception about him also changed through the documentary. It was very rewarding for me in many ways but definitely not financially.

    “As a Nigerian, as a person and in my own development, it has enabled me to learn so much about the goodness of this country. One of the things that became apparent to me is that there are honest, humble, God-fearing and law abiding men and women in this country who served the nation wholeheartedly without stealing a penny.

    “These people are of different generations from ours and I hope that our generations would learn from that. A lot of Buhari’s friends I met have humble homes. It is a case of show me your friend and I will tell you who you are”, Ireti said.

    Also at the event was the Director General, National Gallery of Art, Abdullahi Muku. He said he would be taking away a lot of things from the documentary.

    “I learnt that we have a leader that is disciplined. With a disciplined leader, the followers will have no option than to be disciplined. But the most important thing I have learnt from the documentary is that we as a people appear to be having our last chance to get things right. Hence, we must give our maximum cooperation to ensure he succeeds and when he success, we succeed.

    “In one word, I will say that he is a disciplined man with a tremendous believe in the country and committed to see that everything works well for Nigeria”, Muku said.

    For the former Minister of Information, Chief Tony Momoh, the documentary has brought about the humane side of Buhari as told by friends.

    He added: “It also brought out how humorous he is. How strict people thought he was but how very humorous he has always been.

    “There were lots of things people did not know about Buhari, which came out in the film today – closeness to those who worked with him and those he worked with. There did not seem to be anybody who said anything evil about him or the so called bad side that the hate films said about him.

    “As a person, I have known Buhari since 2003 when I was with him and I know he is the simplest man you can meet. He talks about the rules and expects everybody to obey the rules. He is very predictable, you will know what he will do; if you compromise any of the issues, you are on your own.

    On what he expects of Buhari after inauguration, Momoh noted that the President should hit the ground running.

    “Buhari said things have become so bad that it will take a lot of time to stabilise and he will pursue security, develop infrastructure and all of us will look forward to prosperity”, Momoh added.

     

  • The metaphors of life

    The metaphors of life

    Short stories present to us the pieces of our lives in one single breathe; they illuminate our understanding of ourselves and illustrate the intricacies of existence and survival. They re-enact before our very eyes on the pages of paper, our struggles for meaning in a world riddled with derisive metaphors that sometimes make us want to cry, and other times they influence our reflections on the paradox of life. Halima Aliyu’s‘Fire On The Tip of Ice’ is a collection of short-short stories that present a portraiture of human hunt for existential gratification. In Aliyu’s stories, we encounter a recount of us, our desires for love, peace, happiness, sexual pleasure, and above all the search for purpose and meaning. The pieces are the metaphors of life-our lives. The characters and events are faced with the same challenges, desires and aspirations as us in the real world. In her characters we see us and our daily problems.

    Fire On The Tip of Ice is a collection of nine stories told with a feminine elegance and though, their cadence attempt to be neutral they are however, betrayed by the sentiment and feministic undertone of the portrayal of struggling female characters depicted as being selfless and perhaps the most important pillars of the society.In fact, the female gender is shown as the source of life by the affection and nurturing of young ones as if to say the only thing a woman is good at is giving care. For instance, we are informed in ‘Irora’ that Adeola had right from time decided on becoming a professional housewife like her mother. This is what the narrator tells us of Adeola’s aspirations;

    By the time she wrote her last paper in the Secondary School Leaving Certificate Examination, she already knew she wanted to become a housewife, like her mother. She planned on staying at home and raising her children. (p.13)

     Perhaps, Adeola’s ambition is conditioned by the parochial society she lives in that makes mothering seem like a profession or job to many young girls, who ordinarily should aspire for a higher education and well paid career and become a force in the society. Aliyu’s portrayal is questioning our values and how such values influence the decision of others. But of course, Adeola ends realising that marriage is not a career but just a necessary part of living.

    Adeola is confronted with the obstacle of a cheating and uncaring husband whom she despises but still manages to live with. She transfers her hatred of Bisi, to her innocent child,Titi. The frustration and challenges faced by the young nursing mother is well registered in the story. While Adeola stays awake all night tending to Titi’s endless needs, Bisi snores away the night unconcerned with the happenings around him. For the first time,Adeola smiles as she watches Bisi who is a soldier, go away for a six months assignment, ordinarily, no woman would be happy to see her husband go away for such a long time but to Adeola, Bisi’s long absence makes no difference. In truth, he had never really been there for her even when his presence most mattered. The narrator informs us that,

    The day Adeola put to bed, Bisi was in town. He, however, did not follow her to the hospital, as it was difficult to him on his mobile. She had tried his number several times before giving up and going to wake Mama Caro. That was not the first time that he had been absent on occasions when she needed him.  (P.13-14)

    In the title story Fire On The Tip of Ice we meet Amina the wife of Alhaji, and her chance meeting with a dentist doctor, who rescue her from a situation at union roundabout and whom she eventually lusts after. Amina is sexually deprived by Alhaji who hardly satisfies her, even when he finally finds the time to make love to her.She desires more than what Alhaji offers but is afraid to complain, so he doesn’t feel insulted by her assessment of his performance in bed. And yet again, the vow of marriage forbids her from seeking the comfort of another man. She ends up masturbating and living in misery. Also, Amina transfers her aggression to her only son and often hits him for little wrongs that she could have mildly scolded him with words. One would wonder how a mother would find the gut to maltreat her own son because of the shortcoming of his father. Although, it is difficult to believe it but we see it in the character of Amina, and one can only empathise with her over her condition.

    Sexual deprivation as can be seen in the character of Amina, is perhaps the worst nightmare of a married partner as it could lead to extra-marital affairs that could in turn break the home and worst still, it could result to psychological complication for the deprived partner such as in the case of Amina.

     It happened in a rush; as it always did. Amina had barely prepared herself when Alhaji slid into her. Then he began to move his bulky frame, with obvious effort. She closed her eyes, trying hard to breathe under the weight of his body. And then, it was over. (p.30)

     The above passage describes the mating routine between Amina and Alhaji. We feel the pain the protagonist is passing through. Alhaji is portrayed as an insensitive and docile man, who cares less whether his wife is sexually satisfied or not, so long as his own needs are met. What is Amina supposed to do with a situation as precarious as the one before her?

    There are equally very psychologically stirring stories in the collection such as ‘Take a Step’ and ‘Soiled.’ The psychological and emotional stimulation makes them stand out in the collection as every critical reader’s favourite both in terms of craft and the depth of thematic manipulation. Suspense is better handled, the interaction between the characters is well handled and for once the reader confronts really thought provoking and emotionally draining thematic engagements.

    It is intriguing to read a baby narrate the ordeal of his mother, as she fears that he may never walk. The storyline is simple but classic, Mama’s only son Junior, in Take a Step is due to walk but he still hasn’t started walking and it worries Mama that her only child may never be able to walk. This fear makes her grieve all the time and she employs the use of a walking tricycle with which she tries to teach Junior how to walk. The irony that makes this story exceptional is the simple fact that the story is narrated by the baby (Junior) and unknown to his mother it is his deliberate decision not to walk.Because he fears the danger in the world and therefore,he prefers to remain a baby forever, in order to avoid the ordeal of the adult world. Junior changes his mind after only listening to Mama and Mrs Taju’sconversation that he may become a ‘cripple’. Junior walks finally after much effort, he decides it is time for him to walk to avoid becoming a cripple and who can explain the joy of a mother on seeing her child take the first step of his life? None can.

    Junior explains the last moment of joy as he takes the first steps of his life, “the next thing I knew, I was in Mama’s arms and she was laughing and crying and kissing me at the same time. “Oh Junior, you can walk. You can walk. You can Walk,’” the suspense and humour in the story is really gripping, an emotional reader might cry while reading this particular story.

    ‘Soiled’ is another well-crafted piece in the collection, it engages the contemporary issue of homosexual and rape in a different sense than the term is mostly associated with. ‘Soiled’ is the story about the rape of the innocence of a school boy known as Richard. Richard is perpetually raped by a group of Senior Prefects, who molest him every night and day.This act of homosexual activity perpetuated against him traumatises him as he is regarded as a timid and retarded recluse who is also the subject of bully by many, especially Joel who saddles him with the duties of taking care of his homework. Unfortunately for Joel, Richard would end up using him as a bite to catch up on his assaulters as he stays out late at Richard’s bed copying an assignment and eventually falls asleep. Well, Richard succeeds in unravelling his predators. He finds out that Senior James and other seniors were his assaulters, when he switched on the light and caught them ripping Joel’s anus apart.

     

     

    The story shows us that strength is found even in meekness and that every evil act has its last day. The manifestation of Richard’s action is nicely done especially that one does not expect Richard to be that clever in finding out the identities of his rapist. It is encouraging that Aliyu wrote this unique story, a deviation from her overtly feministic inclination. The themes in ‘Take a step’ and ‘Soiled’ are refreshingly intriguing as they mark the crux of Aliyu’s narrative ingenuity. The elements of storytelling are most prominent and more effectively employed in these two stories.

     

    Finally, the nine stories in the collection ‘Fire On The Tip of Ice’ are a reflection of our collective and individual struggle for purpose and meaning in life. The little metaphors of life that makes existing both challenging and exciting. However, there are certain issues with many of the stories, in many instances the stories are not properly developed which leaves the reader wondering at the end, what a particular story was intended to achieve. The ending of many of the stories leaves little to be thankful for. In some of the stories the plots do not connect and are often not fully developed. The author might want to bank on the illusion of creating suspense with such abrupt endings, but it makes it more complicated, as in any case a story has to be properly developed. In other instances, the conflicts are lame and not emotionally stirring except in ‘Take a Step’ and ‘Soiled,’ where one enjoys quite an impeccable presentation. A successful story should be able to stir its reader and incite genuine reflections on their mind. Above all, Aliyu’s collection is ready for all who love little things that are everything. Pick a copy and read.

     

     

    By Paul T. Liam

     

     

     

     

  • Lawyer’s master trade tool

    Lawyer’s master trade tool

    To succeed in the profession of the law, you must  cultivate command of language. Words are the lawyer’s tools of trade. When you are called upon to address a Judge, it is your words, which count most. It is by them that you will hope to persuade the Judge of the rightness of your cause.

    When you have to interpret, a section in a statute or a paragraph in a Regulation, you have to study the very words. You have to discover the meaning by analysing the words one by one to the very last syllable.

    When you have to draw up a will or a contract, you have to choose your words well. You have to look into the future, envisage all the contingencies that may come to pass, and then use words to provide for them. On the words you use, your client’s future may depend”.

    – RT. HON. LORD AFRED THOMPSON DENNING, MASTER OF THE ROLLS.

    You have been told about the mass failure of law school students in the 2013/2014 August Bar 2 final examinations at the Nigerian Law School. You have also seen loads of our Nigerian graduates who cannot write good English grammar, despite their impressive University results.

    This book about written English, as opposed to spoken or oral English, hopes to add a modest contribution to the dearth of literary effort (locally) towards improving our present educational crisis in Nigeria.

    It is primarily intended to serve as a revision course in English grammar for lawyers but there is little doubt that all literate persons will derive immeasurable benefit from it.

    Barrister G B Nkemnacho’s new international bestseller Basic English Grammar for Nigerian Lawyers is a must-read on the basic essentials in writing excellent English Grammar for both businesses and professional people. It is intended to stimulate the interest and curiosity of the mature spectrum of the reading public at which the book is specifically targeted. As such, various categories of persons; from literate persons, professionals and non-professionals alike, will benefit from this reference material.

    The aim of this book is to assist in raising the standard of written and spoken English among our lawyers in particular and other persons in general, especially at this period of our history when the standard of education generally is admitted to be falling.

    Barrister G B Nkemnacho has used his various experiences as teacher, Chief Legal Draftsman at the State Ministry of Justice, Administrator (High Court Chief Registrar) and private Legal Practitioner, to compile this must read book for the benefit of readers and society in general.

    The book has been very conveniently divided into 21 chapters, each of which can be virtually independent of the others with the result that the reader is at Liberty to read the chapters separately without dove-tailing one chapter with another in order to understand it.

    In the opening paragraph, the author lucidly explains the primary roots of the English language, namely, the alphabet words, diphthongs, phrases, clauses and sentences, each of which he illustrates with clear examples

    He then proceeds to explain the various parts of speech with their unique grammatical amplifications. Of special interest is the author’s treatment of clauses and clause analysis, detailed analysis, figures of speech and punctuation.

    The author explains the latter with the expertise of a legal draftsman who is also versed in the trade of printing. Copious exercises punctuate the chapters of the book and these are intended to enable the reader to test his comprehension of the chapter in question.

    In the appendixes, the author demonstrates his mastery of the topics treated in the book; amazing in their variety, they are intended as an aptitude test for the reader.

    The author was pleasantly surprised when in the course of a proceeding in a High Court in Nigeria, the Judge who was visibly embarrassed at a Counsel’s submission, admonished him in these plain words; “As a Lawyer, you can speak as you like, but you cannot write as you like”.

    It is to be conceded that a good knowledge of the English language is not the exclusive preserve of Lawyers. Effective communication is a sine qua non in any process of knowledge dissemination. Excellent writers abound among authors of science, medical and engineering books and articles, as well as among journalists and other social scientists.

    Indeed, experience has shown that Science-oriented scholars make profound novelists. Accordingly, the need for lawyers whose principal tool of trade is the English language, to communicate in writing, in perfect English, much more effectively than those lawyers, arrogantly call “lay-men”, cannot be over emphasisised.

    The book is a compendium of the rudiments of the grammar of the English language. The reader will find in this book a lot that is both revealing and instructive. The author’s treatment of every topic is thorough, lucid and profoundly illuminating.

    The book is astonishingly rich in content. Its other high point is the simplicity of the language and style of the author which have enabled him to communicate effectively with the reader, thus justifying his literary philosophy that the best idea is that which is most simply expressed.

    “The reason why words are so important is because words are the vehicle of thought. When you are working out a problem on your own at your desk or walking home, you think in words, not in symbols or numbers. When you are advising your client in writing or by word of mouth, you must use words. There is no other means available. To do it convincingly, do it simply and clearly. If others find it difficult to understand you, it will often be because you have not cleared your own mind upon it. Obscurity in thought inexorably leads to obscurity in language”.- Rt. Hon Lord Denning

    The author belongs to what may be referred to as the “classical core of trained teachers” in this country and has richly drawn on his vast and varied experience both as a teacher of English in post-primary institutions and as a legal draftsman in producing this marvellous work which by any standard is in the tradition of Nesfield and Oliphant renowned authorities on the grammar of the English language. The book has been fashioned after the style of the immortal works of those classical authors.

    The book will be invaluable especially to all categories of lawyers, whether on the bench or at the bar, as well as to teachers in higher institutions of learning, law students, mass communication practitioners, politicians and authors generally, in the English-speaking world. It is further recommended that the book will be an indispensable addition to institutional and private libraries.

     

  • In the heart of Things Fall Apart

    In the Heart of Things Fall Apart, a three-man collection will hold at two venues in Lagos and Nsukka. The exhibition, which opened last Saturday at the Quintessence Gallery, Ikoyi will run from today to June 17 at the Institute of African Studies, University of Nigeria, Nsukka.

    The group exhibition gives a human face to the happenings in Things Fall Apart, a globally acclaimed novel by Chinua Achebe. This is not the first time that the book will inspire visual artists, but for this time it will feature drawings and water-colors accompanied by critical texts that help viewers to understand and interpret the novel better and also relive the author the late Chinua Achebe.

    It will feature works by three artists and scholars Chuu Krydz Ikwuemesi, George Oboh, and Henry Mujunga who have translated the operation of this novel into visual arts. Scholars such Ben Obumselu, Chike Aniakor, Emeka Nwabueze, Peter Ezeh and George Agbo have also documented and critically examined the works.

    “Since culture is the way of life of a people, we must continue to tell our stories for generations to come. The philosophy of the life of Africans is cyclical as the future is in our past and our past is in our present. This is reflective in our names and our age grade systems. Our ethnic identities reflect our aspirations and must not be wished or washed away as we must take control of our history and continue to make the best of our heritage.

    “The works in this exhibition teaches us about continuity and change in our culture. They show the cohesion, integration, and dysfunction in our society. They also serve as a landmark unto, and a window into, Chinua

    Achebe’s world as he narrates his story. In these works, one must not fail to recognise the Uli movement and the use of ink drawings and water-colours to translate the images of love, war, friendship, intrigues, loneliness, unity and strength. Uli is essentially the celebration of line, spontaneity, the deftly juxtaposition of negative and positive spaces, as well as the exploration abstraction and symbolism in the pursuit of iconography and meaning,” according to Moses Ohiomokhare.

     

  • ‘Consume goods that use less energy, water’

    ‘Consume goods that use less energy, water’

    The United Nations Secretary General, Ban Ki-moon, has urged Nigerians and other peoples of the world to shift their consumption patterns towards goods that use less energy, water and other resources.

    According to this change can be better achieved if they would stop unnecessary wastage.

    “In this year of transformation, when we hope to see great advances on sustainable development and climate change, let us think about the environmental consequences of the choices we make,” Ki-moon said.

    The submission is part of the UN Secretary General’s message commemorating made this year’s World Environment Day.

    His message was delivered by the Director of the United Nations Information Centre (UNIC) Lagos, Mr Ronald Kayanja at a symposium held to mark the day at the Lagos State Waste Management Agency (LAWMA) office.

    Kayanja called for great advances on sustainable development and climate change consciousness. The Director of UNIC Lagos, who was represented by Ms Adeola Adedeji, said: “Let us celebrate World Environment Day by becoming more conscious of our ecological impact.”

    To mark this year’s day, UNIC Lagos, with the Nigerian Environmental Society (NES) and LAWMA held a cleaning exercise at Iddo Market.

    The cleaning exercise, which involved the traders in the market, was meant to strengthen the culture of maintaining a clean environment, especially in the various markets where the rate of wastes generation is high, it was said.

    Sensitising the traders, the representative of LAWMA, Mrs Abimbola Jijoho-Ogun, highlighted the health benefits of a clean environment and the importance of tree planting, noting that no tree was sighted in the market. She added that the traders should shun the habits of disposing wastes into the drainage as this could block the channels and lead to flooding with possible loss of lives and property.

    Mr Olayiwole Onasanya, who gave the keynote address, spoke on the minimal usage of resources, the purpose and benefits of re-usage, recycling and reduction of material in use.

    NES Chairman, Lagos State Chapter, Dr Eugene Itua, urged the public to contribute in ensuring cleaner air and a greener environment in Nigeria.

    An awareness walk, tagged: The Green Walk, was also held to mark the day. It was organised by the International Living Africa with UNIC Lagos and the All Nigeria United Nations Students’ Association (ANUNSA).