The Nation Newspaper

Category: Life – The Midweek Magazine

  • ‘We ‘re driven by strong passion, professionalism’

    The management of Arthouse Contemporary, an auction house, has identified passion and strict adherence to professionalism as the main impetus behind the success story of the outfit established in 2007.

    Its Manager, Nana Sonoiki said aside being driven by a strong passion and professionalism, the auction house does not compromise on standard and that the experts work as a team. “Every auction is an improvement of the previous edition and we try to work with the professionals in the sector who are not bias. In fact, we have turned down an art work by Prof Ben Enwonwu at a time because we were not satisfied with the state of the work,” she said during an interactive session with Arts Editors in Lagos last week.

    Founder of the auction house, Kavita Chellaram, said the thirteenth edition of the auction of modern and contemporary art will open on Monday, November 3, by 6 pm at the Wheatbaker Hotel, Ikoyi, Lagos. It is sponsored by Citibank Nigeria.

    The auction, which will be led by notable auctioneer, John Dabney, will from Saturday, November 1, through Monday November 3 afternoon display works at the Wheatbaker Hotel for viewing in anticipation of the auction. The previous auction in May made a sale of N85,334,000 with 75 lots sold.

    This edition will include 115 lots of artworks from 1955-2014, spanning the mediums of painting, sculpture, mixed media, and photography. Notable artworks from the modern period to be auctioned include El Antasui’s The Mask (1978), Ben Enwonwu’s Elongated Female Fiture (1978) and Ututu, Morning Meeting of Chiefs at Old Asaba (1970), Yusuf Grillo’s Hawker in Blue (1964), and Bruce Onobrakpeya’s Totems of the Delta (2003). Contemporary artists featured for the first time include Muri Adejimi, Cyril Omamogho, Tchif, Mohammed Abba-Gana, Samuel Ajobiewe, Abiola Idowu, Sam Maduike, Nengi Omuku, Julien Sinzogan(Beninese) and Silas Adeoye.

    “The auction house has created the Arthouse Foundation, a non-profit organisation that aims to encourage the creative development of contemporary art in Nigeria. Through a residency-based programme, the Arthouse Foundation provides a platform for artists to expand their practice and experiment with new art forms and ideas. By establishing a network that supports cross-cultural exchange between Nigerian and international artists, the Arthouse Foundation embraces contemporary art as an educational model to engage communities, promote social dialogue, and advance the critical discourse of artistic practices,” she added.

    According to Chellaram, the Arthouse Foundation has inaugurated its first year by supporting Nigerian artists in their participation in art programs abroad, including Victoria Udondian’s graduate study at Columbia University in New York, residencies for Uchay Joel Chima and Tayo Olayode at the Vermont Studio Center, and Chibuike Uzoma in Vienna, Austria. This auction will include a selection of artworks that have been generously donated to support the Arthouse Foundation from artists including Yetunde Ayeni-Babaeko, Uchay Joel Chima, Tayo Olayode, and Arthouse Contemporary Limited.

    Recalled that Arthouse Contemporary also expanded its scope to include Arthouse-The Space, which organises exhibitions of contemporary art outside of the auction. Arthouse-The Space recently opened an exhibition of Nigerian photographer George Osodi entitled TRANSGREXION, which took place at the Renault Showroom in Victoria Island, September 28 – October 17, 2014. The exhibition was sponsored by Renault Nigeria.

  • Amidst the Mire recalls fuel subsidy removal

    Amidst the Mire recalls fuel subsidy removal

    After two years of hard work, contemporary Nigerian artist, Mavua Lessor, presents Amidst the Mire; a solo art exhibition of mixed media which covers events that happened within 2012 to 2014.

    In his exhibition of 40 works, Lessor highlights on the dramas that took place during the fuel subsidy removal era, Boko Haram insurgency, the yet-to-be-rescued kidnapped Chibok school girls and the Ebola crisis.  The show held at Alexis Gallery in Victoria Island and was curated by the gallery owner, Mrs Patty Chidiac.

    “Amidst the Mire is a theme I chose for this particular show because of the circumstances that occurred while I was doing the works. These works cover a period of 2 years, and if you look around the world a lot has happened within this period. The theme serves as an umbrella for each of these events,” Lessor said.

    Despite these disturbing issues, Lessor feels life must go on and this he try to discourse in some of his pieces. “One thing about life is that no matter the problem or trouble; we should concentrate on the positive areas, the things that will keep life going. Some of the works are complementary, I trying to document them with more humor.  I am not focusing on the problem; I didn’t really put the problems on canvas.

    “Most of the works focused more on experimental material in this exhibition, which is fabric on canvas or fabric on fabric as people will prefer to call it. I am trying to explore fabric as discipline on figures, this is fading away, so I am trying to bring it back, using mix medium,” he said.

    In recent times, many artists seem to be exploring the medium of fabric, but to Lessor, “It appears to be a trend but I have been exploring this mix media for as long as my career. In 2008 and 2010 I had this mix media in works

    With theses disturbing issues, Lessor feels life must go on and this he try to discourse in some of his pieces. “One thing about life is that no matter the problem or trouble; we should concentrate on the positive areas, the things that will keep life going. Some of the works are complementary, I trying to document them with more humor.  I am not focusing on the problem; I didn’t really put the problems on canvas,” he asserted.

    Most of the works, “focused more on experimental material in this exhibition, which is fabric on canvas or fabric on fabric as people will prefer to call it. I am trying to explore fabric as discipline on figures, this is fading away, so I am trying to bring it back, using mix medium,” he said.

    In recent time many artists seem to be exploring the medium of fabric, but to Lessor, “It appears to be a trend but I have been exploring this mix media for as long as my career. In 2008 and 2010 I had this mix media in works,” he explained.

    While explaining one of his works Cans of Life, he said, “Cans of Life is a painting that focused on shortages of portable water in our city. What you see are vendors with cans going around hacking priceless commodity (water). We cannot do without water, is something very important. I look at distance and reflection, these are cans of life and that is how life is.”

    Lessor was born on 26 November, 1960 in Warri, Delta State, Nigeria. He had his early education in Warri, Delta State and higher education at the Auchi Polytechnic, Auchi. Between 1987 and 1993, Lessor engaged himself as a freelance artist, experimenting with metals and other materials for interior and exterior decorative works. By 1993 he opened his studio and concentrated more on his specialiSed discipline of painting.He has exhibited his works locally and internationally, he is well recognised in the art community due to his consistency.

  • Macmillan literary night focuses on rebirth

    Macmillan literary night focuses on rebirth

    Nigerians have been blamed for the challenges which the country is currently battling with.

    The Chairman, Macmillan Literary Events Committee, Mrs Francesca Emanuel, observed this during a briefing at the Macmillan Publishers Ltd office in Lagos, saying there is a burning need to change the mindset of many Nigerians in order to reinstate the norms, values and tenets, which can have positive impact on the society.

    “We amass wealth by hook and crook, stupidly thinking that our wealth will see us, our children, and our children’s children through whatever ills befall our country. All of us, the helpless, the silent, the desperate, the stingy, the greedy all of us are part of the problem. And when religion is used to foist mayhem on the populace, it becomes really frightening. When the society exhibits these symptoms, a REBITH becomes imperative,” she said.

    She believes one of the ways to achieve a rebirth is through social activities. This, she said, is why the 12th edition of Macmillan Literary Night, holding tomorrow at the Agip Hall of the MUSON Centre, Onikan by 6pm, will be focusing on the theme: The Rebirth. The theme, according to her, reflects the characteristic responsiveness of Macmillan Nigeria Publishers Limited, sponsor of the event to the promotion of ennobling and productive values, essential to national development.

    She said: “Hence our theme for pointing the direction for us to see, to address, to know and to actualise. Faith, unity, honesty, love justice, honour, these are words entrenched in our motto, our anthem and pledge. Let these words guide our intentions and actions. And as usual, we shall utilise the various genres of arts to sensitise and entertain our audience in a refreshingly different way.”

    For the past 11 years, the organisation has been engaging the public through the annual Macmillan Literary Night, which they intend to keep doing as part of social responsibility.

    This year’s edition, she said, will feature some Nigerian’s outstanding performers, such as, Joke Sylva, Odia Ofeimum, Taiwo Ajai-Lycett and the Crown Troupe of Africa.

  • UNESCO advocates women in politics

    UNESCO advocates women in politics

    As the 2015 general elections in Nigeria draws near, the United Nations Educational, Scientific and Cultural Organisation (UNESCO), Abuja Regional Office, has called for more women in elective and appointive leadership positions in Nigeria.

    This, according to the Director, Prof Hassana Alidou, is in continuation of its support to the electoral process. Speaking at the training of trainers’ workshop on Gender and Transformative Leadership in Nigeria, she observed that the lack of more women in leadership is not only a sign of inequality, but tends to highlight the gender disparity. The disparity, she said, “can be seen through a lack of role models for young women and through the absence of women’s voice and input into the decision-making processes”.

    Prof Alidou, who was represented by a UNESCO National Programme Officer, Dr Safiya Muhammad, said: “In the 2007 elections, some 516 women sought political office in elective positions at various levels, while in 2011 more than 900 women contested for elections into the various offices, an increase of about 78 per cent.”

    She noted that even with such increase, the percentage of women currently in political offices in Nigeria is estimated to be 8 per cent, an indicator of the high levels of exclusion faced by women in the political arena.

    The training, which is aimed at equipping women who intend to go into leadership positions whether appointive or elective, was initiated by UNESCO and Rutgers University in the US ; funded by the European Union (EU), UK AID, the Canada Government and UNDP through the Democratic Governance and Development project, and supported by the Federal Ministry of Women Affairs and Social Development.

  • Evolution of Ije Uwa runs in Quintessence

    Evolution of Ije Uwa runs in Quintessence

    LAST Saturday, Quintessence Gallery, Park View Estate, Ikoyi, Lagos, hosted an arts exhibition of works by contemporary Nigerian artist Promise O’Nali. It was an event of mix medium, entitled: Ije Uwa (Life’s Trajectory).

    According to the curator of the exhibition, Moses Ohiomokhare, the show will run for two weeks. “Quintessence is delighted to show works of this promising artist. They are works that one characterises as contemporary or avant-garde art and will be a delight for collectors and art lovers,” he said.

    O’Nali, said: “Life is a journey, but one constant thing in life is change. Ije Uwa is an Igbo title, it demystifies the kind of person I am.  My art has gone through a lot of processes in terms of evolution to the state where it is now and it may not be the end point because I am still revolving, searching and experimenting.”

    After graduating in 2007, “I have been pushing my frontiers, exploring, experimenting; trying to see how far I can go with my expression. I was always driven by the brutal force of visual reality and communication,” and this according to him inspired Ije Uwa.  “A phrase that means a lot to people, it could mean: science, faith, life, evolution or change. There is a lot of drama going on around the Ije Uwa phrase, which is why I fell in Love with it.

    On his works, technique and style, he stated that he is a versatile artist, which is why he described himself as an experimental artist. “I don’t like terming or tagging myself because it kind of put a hold on me as far as I am concerned. But I can call myself a contemporary experimental artist. I try to stay grounded with contemporary trend in my discipline; I am not like a stagnant artist who is always exploring one theme. That is why I read a lot.”

    Among the over 30 works that will be on display for the viewing is: Gaia’s Dilemm. “This piece is about the earth being able to harness poisonous situations and turning it into friendly ally. With all the pollution and unwanted things thrown into the atmosphere to the biopsy, somehow the earth has been able to use all these things to its advantage. The Dilemma is being able to take positive and negative and make something worthwhile,” intimated.

    Ayakalunka Mana Obu Ogodo Ayi Kaluka, which he said means: “We are not old but is our clothes (body) that is old. “The piece was inspired by the atoms of our body. The atoms are billion years old, the genetic makeup of our bodies is very old, but we don’t look it,” he explained.

    Recently many artistes are shifting a bit from their usual medium, style and technique, exploring other areas. O’Nali has also joined this league in the area of colour; you can call his a colour shift. “Before now I used to be a colour freak, and it reflected in my works then. This exhibition is quite a discipline to play down on colours and it bit my palate,” he said.

    The paintings are based on the evolution of man to the present state of man from O’Nali perspective as an artist. He explored black, white and earth tone colours to communication his view. “I was looking at evolution from the state of energy to matter and to self reflective consciousness.

    “The black colour in the paintings represents energy, the earth tone basically represents matter; the geology, how land came to be. I can’t actually put a colour to consciousness, so I explored white in that regard to represent consciousness. That is why most of the paintings for this show are have white background,” he narrated, pointing at the works. “It is basically white, black and the earth tone colours for this exhibition,” he hinted.

    Other beautiful pieces which will also be on display are: Ego vs Self, Schism, Noogeneses; and they depict evolution.

  • Oyeleye Oyediran and the struggle for democracy and good governance

    Although it had been published as far back as 2004 by Ibadan University Press, it was only recently that I came across the seminal collection of essays on diverse aspects of Nigeria’s politics, society and economy titled ‘Nigeria’s Struggle For Democracy and Good Governance’, edited by Professors Adigun Agbaje, Larry Diamond and Ebere Onwudiwe’. This 470 page festschrift in honour of the eminent Nigerian political scientist, Professor Oyeleye Oyediran, is a testament to the high esteem in which he is held by his intellectual colleagues both for his immense contributions to scholarship as well as the political development of the country at the practical level through his participation at different times of Nigeria’s constitutional and institutional re-engineering processes.

    Among the eminent scholars whose contributions constitute the 26 chapters of this book include Richard Sklar, Peter Ekeh, Ritimi Suberu, Julius Ihonvbere, Darren Kew, Ebenezer Obadare, Adewale Adebanwi, Adele Jinadu, Kayode Soremekun, Adebayo Williams, Cyril Obi, SojiAkinrinmade and Aderemi Ajibewa. Bringing to bear their deep learning and unique insights in their various spheres of specialization, these scholars ruminate in the various chapters on such issues as the foundations of federal government in Nigeria, minorities and the evolution of federalism, the politics of revenue allocation, civil society and democracy, the military and democratisation, political parties and elections, democracy and violence, governance and the development crisis, gender politics and international dimensions of politics and governance in Nigeria. In his examination of the role of ethnic minorities and the evolution of federalism in Nigeria, Professor Peter Ekeh, deplore the perpetuation of a multiplicity of 36 tiny and ineffectual states as an enduring legacy of military rule that continues to haunt the country. According to him, “This design of Nigerian governments appeared deliberately orchestrated by Nigeria’s military rulers to ensure the supremacy of Nigeria’s central government”. The discontent arising from the perceived deficiencies and injustices of this structure, he says, fuelled a resurgence of ethno-regionalism and agitations for the resuscitation of a six-regional federal structure patterned substantially after the first republic. Professor Ekeh rightly notes that the separatist sentiment has been most vehement in the Niger Delta, has felt the most alienated of the ethnic minorities because of the mindless exploitation of its oil and the extensive destruction of its environment.

    It is, however, ironical that the ascendancy to the country’s apex of political power by a Niger Delta Ijaw indigene, Dr Goodluck Jonathan, no concrete step has been taken under his leadership to either restructure the country in favour of the ethnic minorities or indeed meaningfully address the problem of the socio-economic exploitation and marginalisation of the region.  Afer an exhaustive examination of the trajectory and travails of federalism in Nigeria, Nuhu U. Yaqub in chapter four advocates the restructuring of the 36 state structure into a six state or regional structure based on the existing zones. In his words “Agreed that certain vested interests are going to be hurt by the proposed arrangement but we may be having a much more viable and a highly ideal federal structure, which, if existed in the First Republic, would have hardly warranted the creation of the current parodies called states”.

    But is a return to a regional governance structure in the image of the First Republic a realistic response to the perceived structural deformities of the Nigerian federation? Professor Richard Sklar in the very first chapter of the book does not think so. He reviews the various attempts in the practice of federalism in Nigeria “to reconcile the claim of each nationality to its place in the constitutional sun with the practical necessity of having a reasonable number of viable states as constituent units of the federation”. In his view, “The lessons of Nigerian political history teach that political regionalism is not compatible with the empowerment of a multiplicity of politicized ethnic groups. Once regions are established and endowed with political power, ethnic interests are articulated by the leaders of large ethnic groups. Smaller ethnic groups then look to the centre for protection against their overbearing neighbours within the region”. In the final analysis, therefore, the constitutional formalisation of regional governance may only end up strengthening the pull of centralisation.

    In chapter three, Professor Rotimi Suberu exhaustively examines the various stresses and challenges of revenue allocation in Nigeria particularly in this fourth republic and proposes strategies to address identified problems. Two of his innovative suggestions to strengthen Nigeria’s fiscal federalism are to enhance the prominence of Internally Generated Revenue as a criterion for revenue allocation as a way of encouraging component states to tap and develop local revenue sources as well to limit the salaries and emoluments of politicians and civil servants with the exception of teachers to the Internally Generated Revenue of the various states. Suberu also advocates making the submission of audited financial accounts of all levels of government a precondition for the release of fresh funds to them. This latter suggestion may, however, unwittingly strengthen the federal government to the detriment of the other levels of government unless Suberu’s other recommendations to enhance the autonomy of the Federation Account are implemented.

    Professor Larry Diamond in another key chapter of the book dilates on how to build a system of comprehensive accountability – horizontal, vertical and external –to control corruption and promote good governance. His fundamental premise is that “the deepest root cause of development failure is not a lack of resources or international isolation. Rather, it is a lack of good governance – the inability or unwillingness to apply public resources effectively to generate public goods”. For Professor Julius Ihonvbere in his rumination on constitutionalism and the national question, the resolution of the political question is a necessary condition for the attainment of peace, progress, growth, development and democracy in Nigeria. He advocates radical political restructuring predicated on the active involvement of non-elite groups in the process of evolving a new, people-oriented and inclusive constitution to help reduce conflicts and pressures on the state, its institutions and custodians.

    It is the central contention of Professor Adebayo Williams in one of the most exhilarating contributions to the book, ‘The Radiance of the Uncaptured Scholar’ that “the signal importance of Oyediran for a democratic Nigeria does not lie in earth-shaking theories or a paradigmatic leap of insight but in his sturdy determination to evade capture by the Nigerian military state unlike many of his equally distinguished colleagues and professional peers”. He was referring to Professor Oyediran’s initial participation in Babangida’s convoluted political engineering project but resolute and risky disengagement from the project when he discovered it was an elaborate farce. And Professor Adele Jinadu offers his interrogation of various dimensions of ‘The Identity of African Political Science’ as a testimonial “to Oyeleye Oyediran’s life-long interest not only in the development of Political Science in Africa but also its relevance to democracy and development in Africa” as attested to by “his persistent advocacy on the point that the association and Nigerian political scientists must uphold the canons of scholarship, insist on standards and play a vanguardist role in advancing democracy and development in Africa”. This book is a veritable goldmine of information and refreshing interpretations of various aspects of the politics of constitutionalism, governance and development in post-colonial Nigeria.

  • Omenka hosts Power and powers

    Omenka Gallery Lagos will hold Power and Powers, an exhibition of recent photographs by leading contemporary Nigerian artist, Uche James-Iroha on Saturday. Supported by Nikon, the exhibition calls for a self-examination and invites the audience to an introspective of 54 years of epileptic power supply in Nigeria.

    According to the artist, “These are images that explore the dark and unprogressive romance between political power and electrical power distribution in Nigeria. By far the most populous nation in the continent with vast human and material resources and enormous potential, electricity is still a big issue. Marred by erratic power supply, the nation is caught in the web of deceit where political office seekers clearly use the promise of ‘light’ as the most effective bait. It is interesting to know that tons of white elephant projects which include a cashless economic system and automated rail transport, are in the works gulping mammoth budgets and will all depend on an efficient electrical supply system.”

    “The works are largely a critique of a corrupt leadership that proffers cosmetic solutions to the persistent issue of electric power supply and serve as a springboard for confronting issues that continue to face Nigerians today. Perhaps, no singular contemporary Nigerian artist has created a singular body of work that mounts a sustained challenge on such an important issue,” says curator of the exhibition and Director of Omenka Gallery, Oliver Enwonwu. The exhibition will run till 22.

  • UNILAG Creative Arts Dept hosts workshop

    The Department of Creative Arts of the University of Lagos, in collaboration with Omooba Yemisi Adedoyin Shilon Arts Foundation, has organised an entrepreneur workshop to encourage youths to sharpen their skills.

    According to the coordinator of the workshop, Akinwale Onipede, the forum should be seen as a great opportunity for participants to interact with professionals in their fields of learning.

    He said the workshop was to impact knowledge and to prepare the participant on how to be self-employed and believe in themselves that they can become employer of labour instead of looking for jobs.

    Onipede said: “At the end of this exercise, participants will be productive to the economy and will also put Nigeria on the better pedestral.

    Also, a lecturer at the Department of Creative Arts, Ogunwo Bolaji, said “the workshop is the third edition of its kind which is aimed at improving capacity of artists to enhance their in-built talent rather than waiting for white collar jobs before getting foods on their table.

    “One’s palm can never, in life deceive, one if every other thing does.”

    He further advised the participants “to be good ambassadors after the training and be ready to add value to the country with the skills acquired from the workshop. They should also make good impact on others.

    One of the participants, Folami Raski praised the organisers for making valuable impacts on the youth.

    He added that ‘’Being a partaker is a great opportunity for me to excel in my hand work and to  be more creative in my  field of learning,and inother to  impact to other peoples life.

  • Owo celebrates Igogo festival

    Owo celebrates Igogo festival

    The annual Igogo Festival was celebrated in a low key due to the Ebola disease, Taiwo Abiodun was there 

    It was a royal dance by the Owo monarch, Oba David Folagbade Olateru Olagbegi. Yet, there was no drumming except the clanging of iron metals. Decked in full traditional attire – customised beaded ewu okun woven cloth atop a big skirt – with four white feathers (urere okin,) attached to his hair, Oba Olagbegi stepped out elegantly  from his palace with a smile and danced to Oja Oba Market.

    The monarch was accompanied by the retinue of chiefs  and well wishers, who showered praises and panegyrics on him.When the monarch would lead a song  his followers would go into frenzy and sing in chorus. All the  chiefs   would hail him,  saying ‘Ologho Baba o! Orisa ma dimi s’Ologho,  tu wa pe ghin waaa!.’ (Long live our monarch! ) .

    The event was the annual Igogo Festival held recently at Owo, Ondo State.

    This year’s festival was celebrated in a low key following the outbreak of Ebola disease.   While some of the chiefs celebrated the festival at home and exchanged pleasantries and gifts others danced round the town.

    The annual Igogo festival which showcased the culture and tradition of Owo means different things to different people. Some call it  festival of love, others  call it the Queen’s festival, while a few others call it festival of unity. It is a only unifying festival that brings men and women together irrespective of their differences and political affiliations. it is over 500 years old.

    Owo was agog as old and young, males and females set aside their political differences to dance round the town exchanging greetings and gifts with one another. Children, youths and elders were all ‘armed’ with long sticks painted in different colours. The sticks were used to replace leather drums as they were hitting them on the ground to produce sound in replacement of drums (drumming is forbidden during this period) and singing all kinds of songs.

    The male chiefs who were also participants could  be mistaken for women because of the false breasts padded with foams and the earrings dangling from their ears. As part of the festival, they are compelled to dress like women, wearing blouses, skirts, earrings, necklaces and brassieres. Not only that, they either plait their hair or braid them or wear wigs on their bald heads!

    The festival which started over 500 years ago during the reign of Oba Rengenjen, who unknowingly married a beautiful woman, Oronsen, who  possessed supernatural power. According to history, the monarch fell in love with the strange woman and kept her in the palace. He was so much in love with her that other wives became jealous of their love. However, Oronsen , was said to have made the monarch wealthy by using her supernatural power.

    This brought prosperity and popularity to the town . Later, out of envy, other wives, however, became more jealous and were in search of how to cause disaffection between the two lovebirds. Her taboo was that okra should never be mixed in her presence, nor firewood be thrown, and no water should be splashed before her. All these taboos were kept under wraps by the monarch while he warned his household never to try any of these.

    The story went on that, until one day when one of the wives got the husband drunk and was made to divulge the secret. One day, the monarch went out on an for hunting expedition while the other wives conspired against the wife and broke the taboos: they splashed water on the ground, threw firewood and mixed okra in her presence. The woman, sensing danger, and having discovered their conspiracy, fled the palace and ran for cover in a thick forest!

    But when the monarch returned and was briefed about what had happened  in his absence, he  grew annoyed. He made frantic effort to bring her back and therefore, instructed the palace guards known as the Iloros, Ayoyos to trace her out. Alas, it was only her headgear  that was discovered along the Ulaja groove. This material was brought back home with long canes to discipline the other wives who perpetrated this ignoble act.

    Several efforts were made to locate her but all to no avail. But her voice was always heard weeping for losing such a lovely husband. Her crying was heard but she was never seen. In return for her love, she instructed the monarch to be celebrating her every year to get the town to progress.

    During the Igogo Festival, there should be no booming of guns, men and women must not wear caps and headgears, while no drums should be beaten. Wooden sticks and iron metal gongs are used in place of drums, while different songs are sung during this occasion.

    High Chief Ola Osenenpen, who also dressed in woman’s clothes  said: “Nobody should miss the festival, it is a sign of showing love and honouring the king who is the chief celebrator at the festival. I am about 71years old  and since I became a chief 27years ago, I have never missed the festival”. On the costs implication, Osenenpen said it cost him much, “I bought drinks and food for my visitors. In fact, I spent money  with full happiness. This is our own festival.”

    Chief Christianah   Fehintola  Famuagun,93 the Obanuwa of Owo described the festival as a huge success despite the fact that she is too old and cannot go out again. She said that because of her  old age  coupled with Ebola warning she could not go out to join the dance but observed it from her home. The septuagenarian in spite of her inability to walk, dressed in her own regalia decorated with beads. According to her, she has never missed the festival  for the past 50 years   since her enthronement.

    She said: “Both the celebrators and well wishers from outside the town were  not many , they said it was because of Ebola , I observed my Igogo at home.The festival is important  and has to be observed, this is my 53 years I have been celebrating  it and I have vowed that it must be done. I am among the oldest chiefs  that partake in this festival”

    During an interview, contrary to rumours the monarch denied ever trying to abolish the festival saying ‘Igogo  Festival is part of our culture and it is our festival’ he added and that there is thechief priest, Chief Adelanke Ajana who oversees the rites and rituals.

    He continued “The federal and state governments through the chiefs of staff  advised us that we should be careful  in bringing  in foreigners because of the Ebola disease. So, they advised  us to restrain from bringing outsiders    so as  not to cause any problem. What that means is that if the festival has to take place it has to be  low key  and people cooperated. We kept to the advise, people did not troop out  enmase”.

    On the rituals and rites, the monarch said: “We did everything we were supposed to do for the festival. You can ask the  town’s chief priest, Chief Adelanke Ajana who is in charge. I don’t perform rites it’s the chief priests that will do it , but I have to be there when they are praying”

    Senator Remi Okunrinboye described the festival as  a celebration of love and womanhood. “You can see  the coming together of  sons and daughters of Owo. It has been there over hundreds of years , we are happy to celebrate it.”

  • Charting new path for Nigeria at 100

    Charting new path for Nigeria at 100

    This year’s edition of the Port Harcourt Book Festival focused on the youth as a vehicle of possibilities for Nigeria. It was a festival of books that sparked up debates over the role of the government, society and youths in building a Nigeria of possibilities at 100. Senior Correspondent EVELYN OSAGIE reports.

    What bothered most of the participants at the seventh edition of the Port Harcourt Book Festival, was how to harness the rare potential of Nigeria after its 100 years of existence.

    The week-long event held at a time when there were lots of political activities going on, which attracted thousands across the state. While some governorship aspirants were kick-starting their campaigns, Governor Rotimi Chibuike Amaechi was marking the seventh anniversary of the Supreme Court judgment that brought him to power. Interestingly, whatever the occasion, youths formed the largest population of the army of supporters – they were often seen chanting diverse songs and screaming their hearts out.

    The role and participation of the young ones at such events and the need for a reorientation formed the major part of the discourses at the book festival. The constant conscription of unemployed youths by politicians for such “campaigns” also raised fears in some quarters about the future of the youth and the nation, if such trends were not checked.

    Stakeholders at the annual fiesta, therefore, looked beyond the current economic and security challenges bedevilling the country, and called for courage and hope for a better Nigeria through the empowerment of the youth.

    Held at the Hotel Presidential, Port Harcourt, the gathering of intellectuals, government officials, literary enthusiasts, captains of industries and students turned out to be a haven of Possibilities for Nigeria at 100, justifying the theme of the week-long festival.

    The organisers, Rainbow Book Club (RBC), in collaboration with the Rivers State government, must have achieved their goal of using books to unite the world, especially at a time when Port Harcourt was adjudged by the United Nations Educational, Scientific and Cultural Organisation (UNESCO), as the 2014 World Book Capital.

    The programme, which began on Monday, October 20 through Saturday, October 25, was full of activities in which the youth were given the opportunity to express their minds on how they feel the world could be best-managed.

    Addressing the guests, including writers from various parts of the world, the Festival Director, Koko Kalango, who was also one of the recipients of the recent national honours from President Goodluck Jonathan, said the festival formed a crucial part in the move to build a new and better Nigeria. Her organisation, Kalango noted, has also established 200 reading clubs across the state to promote the reading culture among the young, which, she said, has the power to change thoughts and character of the young.

    She said: “The youths are key in this conversation hence our festival this year is aimed at the youth. Using the book as a focal point for discussion, we would look at the key pillars of national life and how we may, through them, work at transforming the society. As we journey from one century to another, in our national life, we have an opportunity to reflect on our past and explore the opportunities before us that can enable us build the Nigeria of our dreams.”

    In his keynote entitled: Possibilities for Nigeria at 100: Youths as Underdogs and Misfits, the Bishop of Catholic Diocese of Sokoto, Matthew Hassan Kukah, charged Nigerian youths to be more articulate with strong will to become an agent of change, at least for the coming century. Kukah said Nigeria has been wracked by internal wars and that the society needs to find a way to wean its youths from the agony and consequences of the war, advising that they focus on other areas of educational pursuit as opposed to seeking  monetary gains in their endeavours. While lamenting that Nigerian youths appear not to be ready to take the leadership role, having allowed   money bags to corrupt her natural edifice, the cleric, therefore, charged the youths not to stand and look but to get busy.

    “Confronting the Goliath of corruption and inefficiency and gross mismanagement of resources that has rendered our country what it is today should be our battle. The problems may look like a mountain and of course, it is tempting to say that we cannot do anything…Are you looking for weapon called money or power? Look no further. David had only a stone. He did not wait for the politicians and the men and women of power of his time to save his people. The time to act for a better tomorrow is now and the generation to ensure a greater tomorrow is here. If we are to change tomorrow, we must slay the Goliath of injustice and corruption that has held us down.”

    He also lamented on the sad penetration of fraud in the domestic vocabulary of Nigeria, blaming the nation for laying a legacy of corruptible values and disdained educational policies for her youths, saying: “Sadly, with no strict regulations over conduct by teachers in our secondary schools and universities, young female students have been reduced to victims to be preyed upon.”

    “Youths are prepared to form gangs, become thugs as they angle for positions of advantage and access. Youths can only access politics by way of patronage and through the institutional process of transaction. They serve as consorts to the high and mighty, they are conference materials shipped around cities and foreign capitals; they are trafficked and rented for parties and so on,” he said.

    The seasoned author implored the youth to be more involved in legitimate business and activities of governance from the grassroots, advising the youth to challenge the corrupt leaders so as to win back the glory of the country through needful protest, saying there is value in protest and in saying no.

    “Jesus was angry with the money changers in the temple and he flogged them and overtuned their table. It is one of the rarest expressions of violence by our Lord.  Anger is not necessarily a negative outlet if it energises us to moral revulsion. Why are the youth no longer angry in Nigeria? The American youth were angry about Vietnam. They took to the streets in revolt. The youth in China were angry in their society and they took over Tiananmen Square. Do we not remember the picture of the young man facing the armoured tanks in Tiananmen Square? We are young only once, but it must be a matter of great concern that the youth of Nigeria have, at an early age become caught up in consuming the position of corruption and greed that their parents never tasted at their own age,” he said.

    The cleric condemned the mutual relationship between today’s student union leaders and those in government, an act he considered as betrayal to the constitutional content of their services to establish the gospel of truth and justice. He called for the need to channel youth frustration into a more productive means of engaging government across the board.

    He noted that the universities in Nigeria have been tribalised to the extent that community fights against the appointment of vice chancellor that is not from their tribe.

    “It is little wonder that we now only have NANS’ marches in solidarity with the government as opposed to marches against the oppression of students, joblessness, social conditions or even Boko Haram. The students are looking for a politician to adopt them as thugs or to use the expression, Youth Leader.”

    The cleric queried the rationale behind the extinction of history in today’s secondary school curricular, saying Nigeria is preparing to face the risk of losing its cherished monument if care is not taken.

    He also affirmed that most Nigerian children cannot trace their origin, the issue, he stressed, could jeopardise the hope of communal relationship in the nearest future.

    He observed that an average Nigerian abroad has perhaps lost the totality of knowledge of her culture and values, a scenario he also described as national embarrassment to every citizen. He said significant percent of Nigerians cannot speak their mother tongue because of the craze for globalisation, while decrying the outcome of this endangered social malady in another 50 years of existence of Nigeria nation.