The Nation Newspaper

Category: Life – The Midweek Magazine

  • Story of the river people

    Written in first person narrative, the short story was set in a village called Obir in Port Harcourt, South-South of Nigeria. (The writer’s maternal village).

    The writer focuses on the time of his life from the early 90’s to the year 2000; during this period the British had built gigantic oil refineries in the Niger Delta but the people were impoverished and their youths were not employed in the companies, yet the community suffered oil spill.

    He described his mother’s village as more civilised than his father’s. According to the writer, just like his father’s village he imagined his mother’s village to be characterised by “rustic setting where children played hide and seek with relish; where they frolicked in the sand and listened to moonlight tales of Tortoise, the antagonist of lore. I dreamt of a place where elderly men made merry with companions as palm wine flowed from calabashes to enthusiastic throats in front of huts roofed with bamboo and raffia. And I envisioned maidens with lithe limbs returning from the farm or marked with trays of ukwa and ogiri balanced on their heads.”

    But when he got there to spend his holidays as his father had travelled to England to study, he discovered his mother’s village had big structures of oil refinery and a maze of oil pipelines.

    In irony, the writer showed that even with the difference, appearance of the villages, the people of his father’s village were happier as they didn’t suffer oil spill or lived in abject poverty.

    Ogochukwukamma (The writer) soon settled in his mother’s village and had a friend called Sangha who showed and took him everywhere.

    The writer showed he was an intelligent child when he mentioned that he was only nine and read Chinua Achebe’s Things Fall Apart from his mama’s library, and Ngugi Wa Thiongo’s Weep Not Child and many other African books even though they were just to overcome the sultry tiring days.

    He expressed this when he stated that his mama was surprised that he could read the books at that age.

    In the beginning of the story he said ‘Tuesday died on Thursday’ but didn’t explain who Tuesday was until he and Sangha were coming from the River Pama, they arrived at a field crossed by an oil pipeline, Sangha asked him to wait then went to defecate. A man materialised from nowhere and Ogochukwukamma froze.

    He described the man as looking grim, “his eyes were jaundiced, the colour of sunset. Fear gripped me and my heart beat faster. The man was huge and dark in complexion. When he said, ‘how are you?’ his voice appeared to come through a loud speaker. A lump in my throat stifled the reply forming in my mouth. ‘What are you doing here, he said with greater, if intended menace.”

    He continued: “Trembling I let go of the fish. ‘Are u waiting for somebody?’ No, yes, I said as I stopped to pick the sand-ridden fish. When he walked past me with a cutlass in his hand onto the path we had just left, I watched him from the corner of my eyes to make sure he didn’t swing at my neck with the double-edged machete that looked more like a sword.”

    Sangha revealed the man’s identity to be Tuesday, popularly called old soldier because he was a former soldier.

    Sangha further explained that Tuesday owned the fish pond near where he defecated, how many people are afraid of him and how he is fearless of even the British. “He told us that one day he would chase all those oil companies away if they were not willing to employ our youths in their companies, Sangha told Ogochukwukamma.”

    When he got home he was told by his mama that his holiday has been extended due to an indefinite strike by teachers.

    Ogochukwukamma didn’t bother about the strike or any other thing but instead in his child’s mind, he imagined how strong old soldier is and how he can single-handedly chase all the company owners away if they refuse to employ their youths. He imagined that old soldier would go to them and say: “Come I am sick and tired of all your troubles in our land. Now, pack your things and go!”

    He also imagined that old soldier would gather all the companies and their machinery into one gigantic wheel-barrow, the size of an ocean liner, and, with muscles bulging and veins bursting, push them off the land.

     

  • Foundation mentors students

    Knowledge came the way of 20 students of Community Senior Secondary School, Mushin,Lagos, benefactors of a day of photography under the Youth Empowerment Through Contemporary Art(YECA).

    Organised by African Artists’ Foundation(AAF), YECA is a programme targeted at the youth in communities in Lagos State through art courses, mentorship, and exhibition opportunities.

    The aim of YECA is to provide vocational training, the acquisition of livelihood skills and a solid extra-curricular outlet for youths in secondary schools and to position art as a viable career path.

    The day of photography held at the Community Senior Secondary School, Mushin. The pupils were shared into four groups. A group was assigned to a photographer with a theme to work on. Thereafter, the students went out within the school environ with a photographer to take pictures that would best describe the theme that was assigned.

    The themes included Handwork, Street and School game, Portraiture and Election and Trade. The photographers at the event were Benedicte Kurzen, Robin Maddock, Jide Odukoya and Bayo Omoboriowo. Before then, the students had a brief lecture on the basis of handling a camera, taking pictures and how technology has converted the Camera Oscura into the digital camera that is trending today.

    Gallery Manager, AAF and Coordinator/Facilitator, YECA, Mr Olayinka Stevens, said that YECA is part of AAF’s quest to give back to the society as an art organisation. He said that it is important to start teaching the students now at the early stage.

    “YECA began in February, 2014 with Euba Secondary school, Mushin,Lagos. The organisation then proceeded to Community Senior Secondary school, Mushin this year.

    “The day of photography is also an avenue of developing a close contact with the students and involve them in AAF’s activities like exhibitions, festivals and so on. Apart from photography, they are also taught paintings, sculptures and also contemporary art”.

    Mr Stevens said that the organisation is also working with two schools on the Lagos-Island; Isaleko Senior Secondary School and Girls Senior Academy.

    He said that the organisation gave out about thirty forms to each school for students to fill and a test was also conducted to determine the level of the students’ interest. “That was where we arrived at the final are in each school. At the end of the pilot programme, YECA will develop a curriculum to be presented for adoption in public secondary schools in Lagos state in order to re-appraise the curriculum with what is trending presently in the art industry”.

    According to him, Art Education is declining in the country due to the inadequate numbers of art teachers. “The programme is a way to give students the opportunity to venture into arts as a profession.

    We are teaching these students to be self-reliant”. One of the photographers, Benedicte Kurzen said that photography is a way to relate to the world and also to tell a story noting that ‘we the photographers are here to teach these children to understand the camera and how to use the light to make good pictures. Sometimes, a photographer has to convince people in order for then to take photographs’.

    Kurzen said that photography is a job you do out of passion and not for money at the initial stage. “So we are teaching the students on how to look at the environment in a different way. Picture is a tool that could also be used to open up the photographer’s mind”.

    Another photographer, Jide Odukoya said that the aim of the programme was achieved at the end of the day because the students were smart; putting into practice all they have been taught. “They surprised me with the way that they were so particular about details”.

    The initiative is sponsored by Ford Foundation with partnership from Nokia Microsoft.

     

  • Saro The Musical: A spectacle on stage

    Saro The Musical: A spectacle on stage

    It pesters. SARO pesters. From the conceptual stage right through the entire production process, it pesters like a bundle of joy wriggling its way into life, and with it a rapturous celebration of music, drama, culture and history.

    This is the feeling evoked on one’s mind by Saro The Musical, created and produced by Bolanle Austen-Peters and scripted by Seun Kentebe and Thomas Odia.

    It has been showcased twice between 2013 and 2014. It made its debut at the grand ballroom of Oriental Hotel, Victoria Island the year before. The second outing, titled: Saro The Musical 2, took place during the last yuletide with a clear evidence of the progressive imagination of a creative visioner.

    The object of this piece is essentially the sustainability of quality cultural expression of which Saro The Musical is a reference point, but not without a piquant exposition of content and style.

    ‘Saro’ explores the odyssey of Brazilian returnees after the abolition of slavery and slave-trade in the mid-19th Century. The returnees migrated from Sierra Leone to Lagos.

    Etymologically, ‘Saro’ is a Yoruba derivation from the ‘Sierra’, which also explains the historical fact that there is a thriving Yoruba community in Sierra Leone with some members bearing original Yoruba names up till this day.

    According to the lead character, a culture connoisseur and unofficial historian, Don Ceeto: ‘We are Saro descendants. In the beginning of the 1830s, our forefathers were freed slaves who migrated from Sierra Leone to Nigeria. Most of them were well-trained and experienced in medicine, law and the civil service whilst in Sierra Leone….When they arrived, they settled in Ebute-Metta, Yaba and Olowogbowo….The Saros were known for their travel in pursuit of freedom and commercial opportunity.’

    The expose went on with details of the elitism and cosmopolitanism that characterise this breed of Nigerians, summing up the thematic thrust of the creative exploration.

    What follows is a dramatic quest, a country-to-city migration of four musically-gifted village boys – Laitan, Azeez, Efe and Obaro – in search of the golden fleece in Lagos City.

    In the city, they are dazzled by the ritzy cityscape, the hustle and bustle and, of course, the menacing culture-shock that lands them right in the midst of pimps, pick-pockets, prostitutes, area-boys and all manners of social derelicts. In one swoop of a comically enacted raid, they end up in a police-cell. Right there in the cell, they raise their voices in an exciting, self-consolatory rendition of Bobby McFerrin’s ‘Don’t Worry, Be Happy.’ And this turns out to be providential.

    Don Ceeto, the dreamer, visioner and benevolent godfather is around to bail out one of his boys from the cell. The song filters to his hearing. Deeply impressed, he also bails out the village quartet, takes them into his creative custody and grooms them for his dream-musical project, SARO.

    Between the odyssey of the Saros and the village-to-city migration of the quartet, Don Ceeto identifies a historical parallel, underscored by the drive for self-actualisation through vintage cultural expression. The main vehicle, this time around, is music, while other forms of art – dramatic and spectacular – fall in place in the unfolding plot.

    Don Ceeto grooms the boys in his studio. He discovers that even his own secretary, Jane, is also a fantastic singer and co-opts her into the group. Don is crazy about talents. He has an eye for excellence. He brooks no nonsense, not even from his own pampered, overbearing daughter, Ronke. He exposes the boys to a broad spectrum of Lagos life – secular and spiritual – to bring them to fullest terms with his ideology. He hones their skill to be at par with the sophistication which his new vision of cosmopolitan African culture represents.

    Thereafter, the young singers are replete with confidence and, in contemporary parlance, one of them interjects the conversations with, ‘We don blow!’

    The show, from curtain-rise to curtain-call, was a titillating interplay of sight and sound, rich, whimsical dialogue and comic relief. No dull moment.

    It opened with a dance exposition, complemented by colourful costumes – red on black and an aerial pattern toned with a curvilinear play on fans – which was as symbolic as it brought to mind an aesthete’s religion of beauty.

    Through this the music flowed. It flowed  from the folk-songs of the Delta to Yoruba Bata merged with a pan-Nigerian dance and musical revue woven into the afro-fusion effect of Lagbaja’s ‘Africalypso’.

    Africa, in its idyllic setting, was projected on the big screen on the cyclorama showing a serene, romantic Kutuenji (the quartet’s village). The raw talent of the village singers was displayed against this background in a local festival. So was the scene involving the parting of two love-birds, Laitan and Rume, as they delivered the hair-raising song ‘Ma Gbagbe Mi’ (Don’t Forget Me), backed by the polyphonic orchestration of a compact chorus.

    One song sailed into another with unbridled fluidity from the boundless repertoire of Nigerian music; highlife, juju, apala, and a medley of contemporary pop.

    Scenes dissolved, one into another introducing new segments. Lagos welcomed the village boys with a bold projection of ‘Baba Meta’, the iconic statue of three white-cap chiefs that adorn the Lagos State Gateway at Alausa. At other points, it was either the high-rise buildings or a legion of yellow-buses that depicted on the big-screen the peculiarities of Lagos in sympathetic correlation with the action on stage. There were several other pictures projected and, in turns, they heightened the visual appeal of the presentation.

    Actions, in Saro, were so pacy, varied and variegated that members of the audience were sometimes propelled to the edges of their seats. Songs were enchanting, dances scintillating. The music was pulsating, just as the acrobatics were spectacular.

    From ordinary sketches to full-blown enactments, the dramatic elements made compelling statements about our cultural reality, its delicate mix and variety. Religion found a place in it, as Jane’s church choir, later joined by the quartet, treated the audience to soul-lifting performances of ‘Jesus Na You Be Oga’ and ‘Bridge Over Troubled Waters’.

    Then came the show-stopper before the show-stopper, a performance of John Legend’s ‘All For Me’, remixed by Kunle Ogunrombi. With dynamic showmanship and vocal dexterity, the singer opened with the original western pop and suddenly adapts it to a throbbing, syncopative and dance-effective Fuji idiom. The applause was deafening.

    But the ultimate show-stopper was the performance of Fela Anikulapo-Kuti’s ‘Water No Get Enemy’. The MC’s line whet the appetite. The introduction of the act tuned the musical palate to salivate on a special dish from a grand-master. And, at the mention of ‘Fela’, there was a mirthful explosion our hilarity, whistling, hooting, cat-calls and hauling of ‘Eleniyan!’, synchronised with the fire-effect on the massive screen. The horns led the way with their tuneful harmony, followed by throbbing beats from African drums and the dialogue of the strings. Then spritelike dance-maidens stepped in, wiggling their waists in electrifying waves. The rest was the climax of an evening entertainment that led you to a soothing dream.

    But behind these well-deserved was a lot of hard-work. There were well over a hundred members of cast and crew in the ensemble and the skills they displayed were buoyant. From the majors to the minors and extending to the technical personnel there was clear evidence of the essential synergy.

    The quartet, Azeez (Paul Alumona/Frank Konwah), Laitan (Patrick Duabua), Efe (Paulo Sisiano) and Obaro (Gideon Okeke) evinced such ebullience and versatility that places them in the ranks of total performers, follow-ups to Nigerian classic examples like Jimi Solanke, Tunji Oyelana and Tunji Sotimirin. The same applies to petit and vibrant Adejoke Laoye who brilliantly performed the role of Jane in dual capacity of actor and singer.

    All said, except for a snappy instance of distractive mannerism by Efe and Ronke, an unguarded drift of the follow-spot and intrusive puff of the smoke-effect, the entire package was phenomenal. Team-spirit was taut and indicative of the qualitative pliability of individual talent.

    A very important point to note in SARO is the input of a new generation of directors; Kenneth Uphopho (Drama), Yusuf Gbenga (Dance), Ayo Ajayi (Music), their very able Stage-manager, Ibukun Fasuhan and Costumier, Juliana Dede. These young thespians not only showed their resourcefulness and accomplishment on the big stage, they also leave one with the confidence that a brighter future awaits Nigerian theatre given the right kind of encouragement and support.

    At the peak of it all, the commanding presence of Dolapo Ogunwale (Producer) and Bimbo Manuel was nothing less than edifying. The duo brought on stage robust experiences in oral communication, through sound and compelling elocution as well as spontaneity in speech and action where the occasion demanded it. Manuel’s stage charisma was a delight. It matched effectively the scripted role of the man in control, Don Ceeto, the captain in an artistic voyage who effortlessly stitched one scene to another with the proficiency of a master.

    On that uplifting note, Saro The Musical 2 lived up to its billing. The audience could only shout ‘Encore’.

    That ‘encore’ should come. A classy piece like Saro should enjoy optimal presentation. Its viability is already vindicated in virtually every department of theatre production, so much that government, the business community and other interest groups can tap into it for all the relevant promotional objectives.

     

  • Voices to an enigma

    Voices to an enigma

    A lot cannot be exhausted about this man. He has written about himself, others have written about him. Depending on the angle he is viewed from, Olusegun Obasanjo could be perceived in varying lights – great, villain, thug, joker, soldier, chicken farmer or just a jolly old man. His rambunctious character has been the subject of many books. Yet, Akanda Eda: The story of Olusegun Obasanjo, a new book, joins the array, unfolding the continuing enigma.

    Several authors, including Obasanjo himself, exhaust their opinions about the soldier, leader, Owu Chief, African statesman, and global leader via apt essays and pictures. In all, OBJ as Obasanjo is popularly referred to, emerges as a great person, or Akanda Eda, which in Yoruba, the language of OBJ’s birth, translates as ‘the special breed.’

    Unlike many books, it skips the bullshit usually associated with many biographical narratives – drawing on tedious genealogical lineage and heavy leanings on accounts of very early years. Rather, Akanda Eda quickly jumps into the main narrative of Obasanjo in public life with an introductory essay by the editor of the book, Dare Babarinsa, titled: ‘Born To Be Different.’

    Other essays would skim about Obasanjo’s formative years – his birth, school at Baptist Boys High School, Abeokuta between 1952 and 1956, how he had to enlist in the army in 1958 after secondary school. Through the army, Obasanjo would acquire engineering training. The essays also dwell on Obasanjo as military head of state, life as a farmer, and as a politician and Nigerian civilian president.

    In the book, OBJ writes about how in 1957 he had passed the examination for admission into University of Ibadan but because of paucity of funds, he could not attend. About how Fourah Bay College in Sierra Leone also offered him admission, while the UN offered him a scholarship to study geology either in India or the US. He, however, opted to go for the Officer Cadet training in Teshie, Accra, Ghana. At that period, he was faced with the tough decision of how to tell his mother he had enlisted in the military. He never did. Instead, he merely said he was going for further training as a teacher. When he joins the army, he recalls his girlfriend, Oluremi, who later became his wife, feeling he made a bad decision.

    ‘She asked me if I would turn out like one of the ordinary soldiers living in her father’s house in Abeokuta,’ he writes. ‘I said yes. She was not amused by my answer, and for the six months I stayed in Teshie, she never replied any of my letters.’

    However, it was in the army that greatness was thrust on him multiple times. From missing death by the whiskers on more than one occasion, he became president of Nigeria in 1976 at the age of 39. He would relinquish power to a civilian president, only to become a civilian president himself 20 years later. Eight years after serving two four year terms, the 78-year-old Obasanjo is still vibrant. The essays in Akanda Eda attempt to capture his story. It does not fully succeed, becoming rather a mere teaser.

    Hate him or love him, OBJ’s greatness cannot be dismissed. But there are many reasons for people to love and hate him. In fact, he widely commands both. Perhaps, the editor falls into the category of those who ‘love’ OBJ because Akanda Eda seems to dwell more on Obasanjo’s achievements. This way, Obasanjo’s personae is not fully captured, considering the slants of essays chosen.

    Aside confronting and ensuring reforms in some sectors of the economy like the telecoms and the power, introducing anti-corruption watchdogs, some slights of the former Nigerian leader were glossed over in the selected essays. For instance, no essay mentions some of the controversies which have trailed his time in public service. One of such is whether he actually wanted a third term. But reading OBJ’s letters, including the ominous missive he recently wrote to President Goodluck Jonathan, one gets the feeling that even out of power, OBJ still remains a passionate Nigerian. The prose employed by the indefatigable letter writer drips with brilliance, whether he is castigating or mending. But OBJ is also a man of action too.

    In chapter 12, Africa’s Elder Statesman, written by John Iliffe, various exploits of Obasanjo are detailed. It is poignant to note how Obasanjo restored the leader of Sao Tome and Principe after he was ousted by the military in that country. Other events as recorded in the article also show the leadership role which Obasanjo has played in global affairs, especially on the African continent.

    The book also reveals Obasanjo as a husband, father and family man. However, he is not just concerned with his children. The article written by John Olowofela explains what transpired when Obasanjo went on an official visit to Akwa Ibom State where he met a widow who pleaded for help.

    “He there and then asked the barefooted son of the widow to be brought to Aso Rock Villa where he put him in a first class primary school in Abuja,’’ writes Olowofela. ‘The boy has now completed his secondary education at The Bells, the school owned by Obasanjo in Ota and has moved on to the university.’

    The all-colour book is rich with photographs – pictures of Obasanjo with different people and many people mentioned in the essays are plentiful. However, unlike the essays which have by-lines, the identities of the photographs are mostly obscure. And while the subject of the book is interesting and the layout is rich with colour, the publishers did not pay adequate attention to some cheap errors.

    Akanda Eda hardly provides any new insight to understanding Obasanjo. Rather, it offers bits of his personae in a book filled with pictures, ensuring less monotony that boring texts on grey pages often bring. It offers a wide populace an easier avenue to leaf through the many sides of Obasanjo. And that is perhaps the best thing the book has to offer.

     

  • ‘The Lagos I miss’

    ‘The Lagos I miss’

     Last Friday an exhibition of 39 photographs of some iconic buildings in Lagos taken in 1954 by Gillian Hopwood, 88, opened at WheatBaker Hotel in Ikoyi, Lagos, reports Assistant Editor (Arts) OZOLUA UHAKHEME .  

    Do you remember St. Anna’s Court at Tinubu Square in Lagos demolished in 1960? Do you also recall the architectural design of the Central Mosque on Victoria Street before it was replaced in 1984? Do you know the Kit-Kat on Moloney Street, the first branch of John Holt? Photographs of these iconic structures and others like the old Apapa Docks by Marina foreshore that was ideal for an evening walk are being presented in an exhibition: A Photographer’s Odyssey, by Gillian Hopwood in Lagos.

    Hopword, 88, is a rare Briton. She is among the few Britons who came to Nigeria before Independence and still finds joy living in the country. Since 1954, she has been working in Lagos as an architect and photographer, when she joined her husband, Prof John Godwin, also an architect in a professional adventure of a life time. The couple spent their prime time documenting the environmental changes, urban renewal and growth of Lagos via photography, thereby providing photographs of 60 years.

    Before she left London by sea to Lagos, Hopwood’s father gave her a camera to document her two-week sea passage from England. She began using the camera during Sunday walks along the tree lined streets of old Lagos. After taking pictures she would return home  and develop the film literally in a small cupboard in the bedroom which was the darkest place she could find, and cooling the chemicals in the kerosene refrigerator in the kitchen.

    Gillian and John are graduates of the Architectural Association School of Architecture in London and they worked as partners in Lagos. After spending a year on Brickfield Road in Ebute Meta, Lagos, they lived and worked in Onikan, Lagos for 60 years. Later they founded an architectural firm, Godwin & Hopwood.

    Hopwood’s years in Lagos have been eventful, especially in environmental and heritage preservation. Apart from being among the few pioneer professionals that shaped the policies on urban renewal and development of modern Lagos, she also contributed to philanthropic projects as member of social groups, such as Business and Professional Women’s Group, Motherless Babies Home, Soroptimist International, Eko Club, National Association of Nigeria and Legacy.

    To preserve her photographs of iconic buildings of which many have been demiloshed, Hopwood took the negatives out of Lagos. “The negatives were professionally taken care of all these years,” she said

    “This set of photographs was taken over several Sundays in April to May 1954, when the weather was good for photography. Each photograph’s composition was thought about carefully as film was expensive and had to be used sparingly, she said.”

    She photographed iconic buildings and areas in old Lagos, including the Central Mosque and Tinubu Square, Holy Cross Cathedral and Upper Broad Street, and the Brazilian Quarter and Onikan. “I then developed the negatives in the dressing room (inside a cupboard) of our small flat in Ebute Meta, and sent them to my father for printing and sharing with the family in England,” she recalled.

    Between 1954 and 1984, their architectural firm grew and they opened shop in other parts of the country. During the oil boom, the firm built many manufacturing industries in Lagos, the New Nigerian building in Kaduna and Toyo Glass, among others.

    She said shortly after, they were approached by the then Director-General of National Commission for Museums and Monuments to identify old buildings that would be preserved. This, according to her, led to the founding of Legacy, a historical and environmental interest group in 1995, which has documented and restored many important old buildings, including Jaekel House at the Nigerian Railway Corporation in Lagos, which today is a museum. Hopwood and Godwin have also written several papersdocumenting the growth of Lagos and have dedicated much of their time to preserve and restore buildings in old Lagos.

    “But you can’t expect to preserve every building because the land is getting smaller for the residents of Lagos. However, we must document them via photography. In Legacy, we have preserved some old buildings in Railway quarters and the Ilojo Bar near Tinubu Square. Most times, the political will to adopt an old building for a new use is not always there,”  Hopwood said.

    According to her,  most public buildings here become deelict for want of maintenance, noting that preserving a building is preserving one’s heritage.

    “In fact, you feel bad and troubled inside when you go back to find the building you designed left in bad condition. When you preserve your buildings, you are spreading your budget, but you are preserving your heritage,” she added.

    In appreciation of their contributions, she and her husband were granted Nigerian citizenship in 2013. Hopwood holds the title of Erelu Baakole of Owu and was honoured  with member of the Order of the Federal Republic in 2012.

    A Photographer’s Odyssey, an exhibition of 39 black and white photographs taken by Hopwood in 1954, opened last Friday, at the Wheatbaker Hotel in Ikoyi’s Lagos along with the release of a book with the same title, which presents the growth of Lagos through photographs taken over 60 years. The exhibition will run till April 9.

    Lagos State Governor Babatunde Fashola in the foreword of the book said: “Lagos is an enigma and this book, A Photographer’s Odyssey captures the development and essence of this ever changing City-State over a 60-year period. This book now helps to create a torch passing moment between my generation and that of my children.”

    Mosun Ogunbanjo, Director of Wheatbaker Hotel, sponsor of the exhibition, said: “The frank, naked and non-judgmental nature of the photographs leaves the viewer to reach his or her own conclusions regarding present day Lagos, whilst the side notes capture the richness of a moment in time.”

     

    Reminiscences

    “It will interest you to know that Britain was bankrupt after the World War II. So we were looking for something to do outside Britain. We came to Lagos as fresh professional architects who were not diplomats. One good thing was that John joined the Island Club where he interacted with Nigerians. That was a good thing that connected us with the people. He is a trustee of the Island Club. We were very fortunate to come to Lagos at the time we came. It was at the time of transition. One of the major early projects we handled was the designing of the Northern Nigeria Police College. In fact, I never thought all these pictures would become treasures. All said, no regret coming to Lagos but the civil war was one.

    This was not the Lagos I met in 1954. There were fewer people on the road, everybody has an acre of land. It was much more relaxing. But today, so many people are coming into Lagos every day. Lagos is a narrow strip of land. My husband once said that one day, Lagos will expand to Ibadan. Those days there were lots of forest and fewer houses. Lagos was divided into GRA, old parts and there were different influences such as the Brazilians, Saros etc.

     

    Life at Ebute Metta

    “We were conned into thinking we could not live without a cook, a steward and a small boy all in a PWD type flat.   When our assistant architect came out and lived next door – it was years before I found out that my cook was cooking on my electric oven for him!! Two of the best things which happened before I arrived was that John was invited to join the Island Club and I met Aduke Alakija. And he was invited to join the Lagos Yacht Club, which provided space for children’s recreation and a breezy open space as before long we only had a small compound on Lagos Island. Our very local entertainment in our first house, in Oil Mill Street, was enjoying watching the films, albeit obliquely, with sound, from the outdoor cinema two doors down from us across our neighbours garden.

    “The Railway Compound used to be a beautiful environment. It has been altered anyway but can be made beautiful again. I missed steady electricity, moving around easily, driving myself and walking around. However, there was a time when anything expatriate was bad. People sometimes openly challenged expatriate (Oyinbos) to go back to their countries.  Even at that, I did a strange thing one day on my return from England. I walked alone from Marina to Onikan. And what did I get in return? Lots of greetings from passersby. I feel sorry for expatriates who do not move around in Lagos because they will not know Lagos.

     

    Revisiting old locations

    “We had actually hoped to take them after 25 years as we were watching Lagos develop. Old Lagos disappearing, New Lagos emerging. “What was there before”? – I cannot remember….Again the idea was put on hold although we were motivated to take comparative images as Tony was in Nigeria and working with us which made it a good opportunity for the three of us to be involved with taking the record shots in 1984. At this stage we already had the seeds of an idea to publish a book of comparative images. The idea had to be put on hold after the new sets of pictures were taken and the negatives were stored away with the originals!

     

    Confidence on getting a book published

    “I did not have the confidence. I fear that I am the pessimist in the family, but John is always optimistic and he insisted that we got on with it so “Never say never” – and, in fact, it is wonderful to be here today after 60 years in Nigeria presenting you with our book and photograph exhibition.  John and I spent many hours deliberating, remembering, laughing, smiling and putting this book together.”

    Of all the 39 photographs for the exhibition, Five Cowrie Creek, which shows the Creek Hospital where her son, Tony, was born in 1954 is very dear to her. Only 15 of the photographs are for sale.

  • How to make marriages work 

    The 21-chapter book by Olayinka Ogunmekan is a well-researched work on wedding and marriages. It addresses among others fundamental issues in marriage such as life during marriage, meaning and types of marriage, weddings dos and don’ts and how to keep a marriage. It also includes illustrations on sexual positions and many other things that one must know about marriages and weddings.

    In Chapter one, the writer defines marriage, and types of marriage where he mentioned marriage because of children, for pregnancy, based on material gain, arranged marriage, unconditional marriage. In all these he said the best is unconditional because others end drastically except unconditional.

    According to him, unconditional marriage is the one ordained by God, based on genuine love, understanding and fairness, but all the marriages  have their advantages and disadvantages.

    “There is none that is full of proof as any of them could break up if the couple do not know how to handle bad situations. A successful marriage is not the one where the couple is happy with themselves when things are good, but when things are not very normal and when things are down,” it stated.

    Chapter two talks about the road to marriage, which starts with introduction and ends with actual wedding. In this chapter he tried to point out changes and inventions that have been made and introduced to the African wedding of today and advised that people go back to the old ways of doing things.

    Chapter four explains that God and not the husband, is the head of the family while the husband and wife are students in the college of marriage. “If couples have this at the back of their minds they will tolerate themselves more and have less friction,” the writer said.

    He advised that the foundation of marriage is very important and before a couple ties the knot one of them must ensure that one of the spouses has somebody he or she looks up to in case all internal entreaties fail as nobody is perfect and people can change.

    He explained problems that can come up in marriages and ways to correct them. He also advised that people should not allow infatuations becloud their sense of judgment on who to marry.

    Still in chapter four the writer stated that people have a choice of who to marry. “Black or light complexioned, tall, average or short, an introvert or extrovert, well-kept or carefree, flashy, reserved or just calm, number of children, where and how to live, the type of work to do and whether both of you should work.”

    According to the writer these are very important things to ponder before marriage.

    On how to keep a marriage, the writer suggested that one should be able to manage conflicts that may crop up occasionally. “Talk to your spouse with some respect, and always be willing to look at the ugly situations very well before you pass comments and judgments. Do not continue to give excuses when you are accused or a wrong is pointed out to you. Never be ashamed to admit your fault. Talk courteously and try to look for ways and means to resolve issues instead of looking for how to punish or set trap for your spouse.”

    The book mentioned that spouses should try to look good always and call themselves pet names. Chapter seven  focuses on  tolerance where it described tolerance is one major thing in a successful marriage. It stated though there is always a limit to the tolerance level of any human being, in marriage there should not be any limit. If people want their marriages to stand the test of time and last forever,  there are some secrets that should remain secrets.

    “This is not to encourage deceit, but to advise that there are some past mistakes that were innocently done and would never be repeated as they could damage the trust between the couple.

    “For example, does it make sense for a lady to start counting the number of boyfriends she had before the marriage in the name of honesty. Another mistake ladies make is getting home to tell their husbands who and who made advances at them while at work of when they go to parties with friends,” it stated.

    Chapter 10 is on security feeling, while 11 dwells on sexual life. The writer identified sexual life as one major reasons for the success or failure of a marriage. He said sex is very important in marriage and disagreed with people who say there have substitute for sex in marriage.

    According to the book, the usual position is for the man to do all the work in a ‘deem-light’ or no-light at all in the room, but now it is bare  and in some cases the wife does more of the job than the ‘lazy man.’ It gives other reasons why sex is good for couples, the dos and don’ts of sex life of a couple and gave an illustration of sex positions on page 63 of the book.

    The writer advises in Chapter 12 that couples should show love to each other. The chapter focuses more on men as the writer tells them not to beat up their wives, take them out more often, buy them gifts during their birthdays while the next chapter advises that couple should make it a point of duty to sleep on the same bed every night even though they have different rooms.

    Chapter 14 is on relationship with in-laws. It states that women are very poor when it comes to relating with in-laws. It explains that: “In the Nigerian environment, a wife is always wrongly looked upon as being junior or at times inferior to members of the husband’s family. “To get their support, you have to play along with them. As the wife, you must persevere and win them to your side.”

    Chapter 15 talks about polygamy, reasons for it, influence on the children and pieces of advice that a lot of wisdom is needed to succeed in a polygamous home in modern times. The next chapter is on polyandry.

    Chapter 17 is on the children. It explains that children can make or mar a marriage.

    “Do not over pamper your children and do not give then their future too soon,” it stated. In the next chapter we are made to understand that our housemaid, driver or artisan can play a major role in our marital life. “I must tell you they play a lot and might even wreck the marriage and take over if you underrate them,” the writer stated.

    Chapter 19 is on divorce, which the writer says is the worst situation in any marriage. The next is on Wills where the writer says people should not create a problem for others after their death through their will by sharing their property unjustly.

    The last chapter is on family prayers where the writer says the husband and wife should pray together on non-working days so that they will have enough time to pray together.

    The remaining 40 pages contain prayer messages. The book is ideal for those preparing for marriage and those already married who need to understand some things in their marriage life.  In chapter nine, “mistake done” was used instead of made. Another is “number of boyfriends she had gone out with,” instead of dated. Also in the same chapter “who and who made advances “to,” instead of at were few of the errors in the book.

     

  • NTDC gets information desk at Abuja Airport

    NTDC gets information desk at Abuja Airport

    THE  Nigerian Tourism Development Corporation (NTDC) has unveiled a Tourism Information Desk at the Nnamdi Azikiwe International Airport, Abuja.

    Its Director-General, Mrs Sally Mbanefo, said the desk would assist tourists with tourism information on Nigeria, noting that the launch was part of the corporation’s efforts to promote domestic tourism and assist in  collating data on tourists entering the country.

    According to her, the information desk will showcase tourism assets because many tourist sites are unknown.

    “The reason we are unveiling this portal is to give Nigerians information about our numerous tourism sites that are not known to tourist. As you know we are promoting domestic tourism which means that before we can begin to market outsider we want foreigner seeing many Nigerians enjoying what we have.

    “Nigeria have so many tourism attracted sites but nobody know them, that is why we are going to different states to known what they have so as to market those sites for the state government in order to increase revenue generation in the country not only that this will provide job opportunity for our teaming unemployed population,” she said.

    She noted that ‘the information Centre would equally assist through ease enquires for both arrival and departure tourist. We have already got approval for two airports, we got approval for Abuja and Lagos to start with and will soon replicate in all international airports in Nigeria.’

    Mbanefo added that the initiatives would also promote security of tourists by recommending to tourists the accredited taxis and hotels in the country.

    “We are partnering with VIKO taxi car hire service at the airport and the idea is to let travellers that arrive the city to know that there is security in Nigeria. With this, NTDC will recommend for them credible and accredited taxi and hotels in Nigeria. NTDC want to use this to market the tourism assets of Nigeria and to improve the image of Nigeria.

    She thanked the Minister of Aviation Mr. Osita Chidoka for providing NTDC with a bigger space where it would easier for the corporation to market Nigeria.

    “We want Nigerians to know that tourism is here to stay and tourism is here to replace oil,” she said.

    Head of FAAN Communication Mrs. Yakubu Henrietta lauded the NTDC initiatives, saying that information desk would go a long way in promoting Nigerian culture.  “This stand that has opened today by NTDC is truly great as the desk will promote Nigeria and provide foreigners coming into the country and with adequate information on Nigerian tourist sites as well as which hotel to stay.

    “I am happy that this stand is located in a very strategic place in the airport that will allow everybody that comes see the information desk both at international and domestic wing. This is a very good development,” she said.

    In a related development, the corporation and the Republic of Cote d’Ivoire are partnering on tourism development. The Cote d’Ivoire Ambassador to Nigeria, Madam Toure Nee Kone Maman who paid a courtesy call on the NTDC director-general, said the two countries are blessed in tourism ‘hence it is expedient for a synergise to propel the development of the two countries.’

    Ambassador Maman noted that the partnership would ensure an  increase in the tourism traffic between the two countries, adding that the synergy would also encourage investment between the two nations, “and we shall ensure timely implementation of the MoU we would sign with the NTDC.

    Mbanefo assured that Nigeria’s achievement in tourism would double by 2017, explaining that “the fall in the price of oil in the global market has propelled an encouraging shift of focus from oil to tourism.

    She said: “At present, tourism contributes about four per cent to our GDP, but it would have increased to about eight per cent in the next two years.” The NTDC boss reiterated that the focus of her administration is on domestic tourism, that would encourage Nigerians to travel within Nigeria and for foreigners to travel to Nigeria.

  • ‘What does Mr President read?’

    ‘What does Mr President read?’

    Playwrights serve as the conscience of their nations. Through their plays, they showcase societal ills and proffer solutions. At this crucial moment in Nigeria’s history, what can playwrights do for the country?  Has playwriting lost its voice or is the problem with what the politicians watch? These formed part of deliberations at the 2nd Playwrights’ Confab held in Ilorin, the Kwara State capital, reports Evelyn Osagie. 

    Has the playwright lost his touch in the face of disillusionment”; “Who is to blame for the crises in the land: the leaders or the led”; “What do politicians read” and “What plays do they watch” formed the discourse at a three-day National Playwrights’ Confab at the ancient city of Ilorin, the Kwara State capital.

    The icing on the “dramatic” cake was the calibre of guests.

    More than 50 scholars and playwrights braced the harsh Ilorin sun, and like the ancient Ilorin “mythical warriors”, converged on the Kwara State Council for Arts and Culture to redefine their course and rekindle their voice in the face of national anomie.

    The conference was convened by the distinguished playwright, Prof Femi Osofisan, and hosted by the Kwara State University (KWASU), whose drama troupe entertained guests.

    The place of playwriting in Nigeria’s history cannot be overemphasised, participants  said. The playwrights noted that the genre has the power to rescue the polity, if the leaders and the led heed their warnings. They also sought an endowment fund for playwrights or a specialised bank from which creative artists can draw funds with minimal conditions, adding that cottage theatres should be established in council areas “in order to practically promote playwriting as a discipline”.

    For KWASU Vice-Chancellor Prof AbdulRasheed Na’Allah, the relevance of literature, especially playwriting, in the development of Nigeria cannot be overstated. He noted that the genre and its writers should be celebrated for their achievements, saying the nation got the Nobel Prize through Prof Wole Soyinka, a renowned playwright.

    He said: “Arts matter in the development of any society. Playwriting has brought fame to Nigeria over the years. We must celebrate the arts and artists because their contribution to the development of our nation. Today, we dedicate this occasion to celebrate the achievements of Nigerian playwrights – from Prof Wole Soyinka to Prof J.P Clark…Prof Osofisan and many others who have brought our nation fame. KWASU is known to celebrate culture and the arts. As a university, we feel that Nigeria is endowed and that it should be far from where it is today.  It must recognise that the arts matter.”

    For the 2014 winner of Wole Soyinka Prize for Literature, Akin Bello, playwrights can write all they want, “what happens if leaders don’t read or watch our socially-conscious plays?”  Taking the stance of an investigator, he wondered what politicians, such as Mr President, read.

    “What books does the President read? I have a right to know. There must be a way we can get our plays to the audience who are in authority for the desired change to happen.”

    The Executive Director, National Institute for Cultural Orientation (NICO), Dr Barclays Ayakoroma, a former director, Bayelsa State Council for Arts and Culture, intervened, citing an example of former Bayelsa Governor Diepreye Alamieyeseigha and President Goodluck Jonathan, who was his deputy then.

    He said: “Depending on those in authority, every leader wants to relax. As the director then in Bayelsa State Council for Arts and Culture, I’ll say the bulk stops at your table as playwrights. The then governor once told me that he would often go from home to office and back.

    “he would often say, ‘The only thing you can do for me to help me relax is to have productions’. If you have good and well-packaged plays people will want to read and watch them, no matter who they are.”

    On his part, former Director General, National Theatre and National Troupe of Nigeria, Prof Ahmed Yerima, said drama can be creatively used as a tool for change.

    “Government listens. The theatre can be used to point them towards change. Know the kind of message that is needed at any given time and what message the government wants, and be creative about your delivery. When I was the director, National Theatre and National Troupe, I used drama to speak to the authorities, such as the late President Musa Yar’Adua. Through a Hausa musician I once urged him not to disappoint his forebears.”

    The conference was a sequel to the first edition held two years ago at the historic town of Ile-Ife at the Obafemi Awolowo University (OAU), Osun State. The confab convener, who is now a professor at KWASU was then a Visiting Research Professor at OAU’s Institute of Cultural Studies. It was at Ife, according to Prof Osofisan, that playwrights took the decision to meet every two years to chart the way forward for playwriting in Nigeria.

    With the theme, The Time is Out of Joint – Playwriting in the Time of Global Incoherence, the confab’s second edition was laced foreboding and apprehension, it was said.

    “With all the joy of our reunion, we cannot but admit that our gathering here, today is haunted by a great unease,” began Prof Osofisan, “Here, elections are conducted like warfare, with all that this implies in terms of violence, furious and mendacious propaganda, and callous blood-letting. In our season of elections, we do not have politicians but, instead, maniacal freewheelers and gladiators. Law-enforcement officers turn to partisan thugs; professional assassins rage unchecked on the open street.”

    Osofisan compared Nigeria’s political situation to the mythical ‘Prometheus’ chained to his perennial burden of stone, observing that more like programmed, recycled robots, “politicians seem condemned to an unending abyss of anguish, into which they must plunge all of us”.  While urging political office holders to heed the warnings of history, the author of the insightful play, Another Raft, charged writers to use their literary and creative weapons against tyranny and oppression.

    He said: “At a moment when the people are stricken or confused, our stage should be a refuge of resurging possibilities, a raft of dreams to keep the people above despair, a guiding light to serve as beacon to those adrift… The problem, some would say, is that we are not soldiers, but writers and, as writers, we have only one weapon —our pen. And pens only weave words.

    “And yet remember this—that, weighted with metaphors and images, and other tricks of rhetoric, words can carry a deadly power. Furthermore, put in the mouth of actors on a stage, words can become a formidable arsenal of resistance or of re-assuring hope.”

    Charged by the different electrifying sessions, the playwrights deliberated on “What plays to write to stir the sensibilities of populace and regulate the decay in the land”. Prof Olu Obafemi urged playwrights to mobilise their arts as instrument that can help redirect the course of the land.  He said: “We must begin to think of the state of our society in these times of galloping inflation and deregulation; we cannot afford to remain as inactive followers but ensure we participate effectively.”

    Associate Professor of English at Unilag, Dr Osita Ezenwanebe called for comical plays to douse the rising anger in the polity. “You can write all kinds of plays as long as they provide social healing and displaces the anger in the land.”

    Ace playwright and veteran journalist, Ben Tomoloju, canvassed for people-centred plays, saying playwrights should ensure the masses are not alienated in the plays.

    Participants also deliberated on the position of the academia vis-à-vis Nollywood on various allied institutions and professions that come under the purview of the dramatic arts.

    In his paper, entitled Theatre and Film in Nigeria: Whither Goes the Academia in the Nigerian Film Industry, the Managing Director, Abuja Film Village International, Segun Oyekunle called for collaboration between the playwrights, other writers and filmmakers. Other participants included Prof Segun Adeoti; Dr Grace Hassan-Adinku of the University of Ghana, Legon; Dr Salihu Bappa; Vice President, Association of Nigerian Authors (ANA), Denja Abdullahi; Dr Bisi Adigun of Arambe Productions Dublin, Ireland; Dr Greg Mbajiorgu; Ag. KWASU Director, Centre for Nollywood Studies, Dr Carmen McCain; Dr Solomon Igunare; Jare Ajayi and Dr AbdulRasheed Adeoye.

    At the close of the conference, participants came up with a communiqué, suggesting that: “theatre which seems to have lost its voice among other contemporary forms of arts should be re-energised to attain a competitive and profitable level”; “playwrights earn a place in the front-burner in the national reckoning by interrogating in an engaging and entertaining way issues of social discourse, such as leadership problems”; “playwrights take into consideration the moral and psychological health of children in the face of the corrupting influences of multimedia channels”; “effective collaboration between the town and gown in the playwright’s pursuit of excellence”, and “enhancement and sustainability of creative atmosphere and free expression by relevant authorities – governmental and non-governmental”.

     

  • ‘Every artwork is like your child’

    ‘Every artwork is like your child’

    Professor of Art, Miami University, Oxford, Ohio, United States (US), Dele Jegede, in this studio talk with Assistant Editor (Arts) OZOLUA UHAKHEME shares his studio experience and views on INEC and relevance of art movements to the growth of arts, among other issues.  

    What is your studio work schedule like? How many hours do you spend in the studio per day?

    My studio work schedule is perennial and interminable. In one respect, my studio is a cerebral deal. I nurture and incubate ideas mentally over a period of time. I annul the usual distinctions between the physicality of practice and the fertilisation of ideas. So, you can say that my studio practice is both meditative and performative. What matters most to me is the gestation of ideas, which may take anything from a flash—a sudden burst of insight—to eternity. My studio work covers just an aspect of the totality of my commitments. As a professor, my commitments range from conducting research to teaching; carrying out quotidian academic chores to making art. I divide my time between writing and painting. Whenever I am in the practice zone, I remain in the studio for as long as I have to, regardless of the time of day.

    What are you working on currently: exhibition or commissioned works?

    I am currently working on a solo exhibition, which will be my second in the last four years. My forthcoming exhibition, which will be in a major gallery in Lagos, stems from my latest exploration of ideas and new media. It will be a combination of figurative and conceptual aesthetics. It is a body of work that I have been working on specifically to commemorate my 70th birthday, which comes up this year.

    How many works are you working on concurrently and why?

    It is difficult to itemise. At any given time, I have upwards of two, three, or four canvases that I am working on. And, as you may have suspected, a blank canvas is something of a battleground; it presents its own challenges and dares you to make your move. There are times when issues are resolved amicably between you and the canvas; when it honours your moves and reciprocates your gestures. But there are other times when the canvas becomes recalcitrant and uncooperative: when you reciprocate such stubbornness by turning the stupid canvas against the wall and leaving it there for as long as it takes. This is purgatory of sorts for the poor thing. It is a test of wills. Some times, this practice works. You go back and voila! Case solved. But at other times the canvas remains unyielding, and you may have to resort to extreme measures such as painting over it completely. There! You just exercised your power as an artist. The Yoruba say that, “Ohun ti ko lenu, ki i gbon ju eni.” “That which cannot speak should not outwit one.”

    Of all the media, which one do you find challenging to handle and why?

    I see a medium—any medium—as a means to the attainment of an idea. A medium is part of a process, the mastery of which is fundamental to any successful assertion of your expressivity. That is foundational. At my stage in professional practice, I have come to prefer certain media to others. I favour two-dimensional platforms and continue to experiment with new media. In recent years, I’ve limited my romance with oil-based media, preferring instead to focus on water-based processes. The challenge here is to limit my exposure to fumes and potential hazards that are an expected consequence of a studio space with circumscribed ventilation systems. Besides, artists owe themselves a duty to take necessary precautions and avoid health risks that are posed by exposure to certain media.

    In your personal collections of your own paintings, are there works you will never part with? If yes, what is the attachment to them?

    Potentially, every work is like your child. You gave birth to it. And this explains the attachment. I am often reluctant to part with my work. I hoard my work. I prize it above monetary recompense. This seems inevitable because my time is split among several endeavours as professor. Yet, part of you often must be with your work. Even at that, you are never fully parted with it since you do have multiple processes of reproducing the same piece although Walter Benjamin’s notion of the diminution of aura and authenticity is worth noting in this respect. Here’s the deal though: I will rather give my work out free to someone with incurable love of art, but no means than sell it at an exorbitant price to someone, who has the means but no respect for the art.

    As a seasoned artist, what is the relevance of art movements or guilds to the growth of art practice?

    The critique of art formations and movements falls within the purview of art historians and art critics. This is one area that is relatively under-developed in Nigeria. Contemporary art is that precisely because we are all still in the moment; we as yet do not have the mandatory spatial and temporal distance that is a necessary component of enduring historicisation. Art movements will continue to remain relevant, even inevitable, so long as there are artists who continue to work and experiment. At times, you need decades to be able to compartmentalise movements. Traits that may initially be fugitive or indiscernible have a way of settling down later. For example, based on their creative longevity, it should be relatively easy at this point to examine the stylistic trajectory of the works of, say, El Anatsui, Bruce Onobrakpeya, and Kolade Oshinowo. But we may not as yet have the spatial gaze that will help us determine which of these artists is central to any broad-based movement, and which is at the cusp of inscribing or initiating a movement. As for guilds, they are an inevitability, regardless of the nomenclature that they claim—society of this, association of that, or whatever else may emerge.

    Considering the many debates on different national issues in politics and economy, how has the visual artists fared in contributing or adding his or her voice to the talk?

    There is no doubt that visual artists have realised the economic viability of their profession. What I don’t know as yet is the extent to which they have translated such viability to political capital. Nigerian artists have a responsibility to express their political opinion and exercise their political rights without let or hindrance. Demas Nwoko once demonstrated the innate propensity to exercise political right when he threw his hat into the political ring a generation or so ago. Our inimitable Fela Anikulapo-Kuti once formed a political party. Of course, we do not all need to be candidates before we make our contributions to on-going political debates. Such contributions may come in the visual agendas and portfolios that artists present to the public. Jelili Atiku, for example, has shown the capacity for performance art to engage in subtle or covert critiques of cultural, social, or political systems.

    There may be understandable reasons why visual artists are not known (as yet) for the public exercise of their political views. Some may be dismayed by the unbridled sycophancy that has become normative. Right now, Nigeria is on the right path in one respect: the embracement of democratic practices. Oh yes. Feel free to quibble about the democratic process itself; it certainly is far from being perfect. But regardless of its shape (which is a function of the dramatis personae) what Nigeria should continue to celebrate is the institutionalisation of the democratic process. In its most execrable form, which is what we are currently seeing in Nigeria, a democratic dispensation is better than a military dictatorship. I am optimistic that the days of peremptory broadcast on national television by stern-looking military dictators, interspersed by martial music, are over forever. That is worth celebrating. But Nigerians have a duty to protect this incipient democracy.

    That said, what is appalling is the lack of civility that has characterised the political discourse. There is a shocking display of gratuitous grandstanding, crudeness, uncouthness and plebeian mentality particularly among the top hierarchy of the political class. A top citizen of the country, one who, though not elected, enjoys all the pomp and pageantry that come with an exalted office, could use some decorum and exercise decency in the choice of words for opponents. Disagreeing with a political opponent should not entail being disagreeable. It certainly should not warrant wishing anyone dead. I have looked, in vain, for a robust campaign that is based on issues and not on trivialities and sophomoric vituperations especially by political operatives that include a once-demoted governor and a former minister who appears to specialise in nothing but corrosive utterances that belie the dignity and equanimity that his status is supposed to command. Where is the decorum? It is astonishing that a political umpire, who was appointed by the government, has been dragged into an unnecessary political fray, which is clearly aimed at impugning his integrity. Everything, including the kitchen sink, is being thrown at INEC. It is surely unsettling to read statements and see political adverts, which virulently attack a man who cannot (and should not) volunteer a response at this point. In all of this though, our cartoonists should be having a field day. I’m not sure that I have seen enough impactful cartoons that are devoted to searing critiques of the on-going political buffoonery and sophomoric outbursts by certain personalities.

     

     

  • Collector decries poor art appreciation

    Collector decries poor art appreciation

    A Lagos-based art collector and Chairman, Board of Trustees, Aguene Art Foundation, Chief Solomon Ogbonna, has decried the lack of support from the government and poor art appreciation in Nigeria. He called for the building of standard museums across the country, saying nothing would strengthen a people as much as a proper appreciation and understanding of their own history.

    ”I believe that art is a form of culture and an extension of the mind and reasoning of the spirit. I am an advocate of the customs and traditions of Africans, and I am convinced that nothing will strengthen a people as much as a proper appreciation and understanding of their own history as recorded by their own people in their own language,” Ogbonna said.

    He said if he had his way, one of the biggest museums in the world would be built in Nigeria, as he believes strongly that the country is blessed with a rich arts and cultural heritage that are not given due attention.  Indeed, one of the things that have continued to surprise him is why the government, especially the governors, are paying lip service to art and culture?

    “It is a shame that most of the states in Nigeria, despite the rich cultural heritage and artifacts in them, the country cannot boast of any standard museum that can showcase their ancient or modern arts or compete favourably with museums in other parts of the world. Rather, our sons and daughters travel to the western countries and are proud to flaunt it that they saw one, two or more art works of their tribes on display in various museums abroad, raking in money for the western countries in the process. It is a known fact that Nigerian art works do not serve decorative purposes alone. Aside being priceless, they also convey important messages to the people, especially bronze, copper and wood works, which have been rated in the world as the best and most valuable African art.”

    He went on: “Our leaders should know that setting up a standard museum that will attract tourists from all over the world is not about a certificate or how educated one is. It is also not about appointing a friend or relation who has no interest or knowledge in, or love and passion for, art and tradition as a commissioner or minister.

    “It is also pertinent to know that no one can govern his people without having a clear knowledge of their art, culture and tradition,” Ogbonna said.

    He rsaid the preservation of art, culture and the tradition of the people is a passion in his family. He said the Aguene Art Foundation is a product of his love for art.

    “We launched the foundation about two years ago, specifically, on August 21, 2013. I want to use this foundation to help young artists who are talented but do not have the material to showcase and expose their talent to the world because of lack of resources. The foundation will help them with their creativity and make them independent, and also serve as a medium to empower students who are talented – in primary and secondary schools and also in higher institutions.

    “I have over 6700 arts works including modern and ancient arts, bronze, beadworks, word carvings, paintings, batiks, ceramics, fibre glass works, some of them dates to 200 years ago. I have some terracotta (Nok Culture) works that are about 2000 years old.”

    So, is he just collecting art works just for its appreciation and documentation or is he also thinking of making money from them?

    “For the modern works, yes,” he said. “I can commission specific works for people to buy. For such work I also personally supervise them to make it special, make it different.  What I do with most modern works that I commission, I don’t use one artist. Sometimes one artist could do a work to a particular stage and I will tell the artist to stop so that someone else will touch it. So you cannot claim the work, also you cannot copy the work.”

    “I hope to hold the first exhibition of most modern works I have collected for over two years. The exhibition will hold here in my house in April this year. The works for the exhibition will be limited to those I collected from two years ago till date,” he said, adding, however, that the works are not for sale.