The Nation Newspaper

Category: Life – The Midweek Magazine

  • ‘Bring Ilojo Bar back to life’

    Anyone who visits Tinubu Square on Lagos Island, Lagos, will hardly notice one of the oldest monuments in Nigeria, as traders, car owners and commercial bus drivers constantly block the building. The signpost which indicates that the place is a National Monument is also not spared.

    This was one of the issues raised last week by the Assistant Chief Heritage Officer of the National Museum, Onikan, Lagos, Mrs. Nkechi Adedeji, at the weekly seminar organised by the National Museum Study Group, Lagos.

    Mrs. Adedeji in a lecture tittled: Management of a Cultural Heritage; expressed her displeasure about the activities going on in front of Ilojo Bar Monument in Lagos.

    “The presence of motor park in front of the structure defaces the monument and another trend is the parking of cars and buses in front of the building where they detract the architectural interest and beauty of the sight,” she stressed.

    She examined a number of issues affecting not just Ilojo Bar Monument but also other monuments in Nigeria. She said: “Funding, legal protection, lack of awareness, interest and institutional framework are few of the challenges affecting these monuments.”

    She emphasised the need for a legal back-up for maintenance of the national monuments, awareness campaign, routine inspection by heritage officers, and request for assistance from cooperate and international bodies can go a long way in restoring the monuments, as well as  boosting the interest of people towards national heritage.

    “Historic monuments which are cultural heritage constantly subject to decay and distress. These take various forms and may consequently jeopardize the safety of the building itself.

    “Historic Monuments in most countries presents a conservation problem that requires attention. It is the duty of the current generation to preserve these monuments bequeathed to us by our ancestor for the future generation, she added.”

    According to her, the stakeholders involved in the management of Ilojo Bar at the moment cannot adequately maintain the place to desirable standard.

    She revealed that the monument will be renovated according to architectural standards, accompanied with a view to training local students of architecture and technical workers in the restoration of building.

    “Assistance is presently being sought from other organisation such as Legacy, an historical and environmental group, towards the restoration of Ilojo Bar.

    ‘The Brazilian consulate has also initiated the renovation of Ilojo Bar into a cultural centre to be dedicated to the erstwhile Atlantic Slave trade.

    “The innovation will take into consideration the period of the faced but the interior area could be converted to other uses such as exhibition room and library

    An appeal fund will be launched by the stake holders which is aimed at attracting interested individuals, cooperate organisations, NGOs etc to assist in the maintenance of the Ilojo Bar Monument.”

    While giving a brief history of the monument otherwise known as Case de Fernandez, Adedeji said the building was built in 1855 by the Fernandez family from Brazil, which the Fernandez family later sold to Mr Alfred Omolana Olaiya in 1933.

    Ilojo Bar Monument is located in front of Tinubu Squire on House 6 Alli Street/2 Bamgbose Street in the old nieghbourhood called Brazilian Quarters in Lagos Island, Lagos and was declared a National Monument in 1956.

    She also described the place as “Living-Monument as there are inhabitants occupying the building.

    Some notable monuments which have received international awareness are: The Colosseum Flavian amphitheatre in Rome, a popular monument of the Roman Empire., The Cristo Redentor, a modern religious monument in Brazil. The Statue of Liberty, the symbol of the United States’ freedom. The Taj Mahal, a mausoleum in India. The Eiffel Tower, in Paris (France), a monument commemorating the French Revolution for its centenary The Great Pyramid of Giza built almost 5000 years ago as pharaoh’s tomb, one of the Seven Wonders and enduring symbol of ancient Egyptian civilization, The Lincoln Memorial, Washington Monument, and US Capitol. The US capital Washington D.C. is built around monuments commemorating founding fathers of the United States.

    As these countries constantly receive tourists from around the world and earn a huge income, this cannot be said about Nigeria as people still loot national treasures and make mockery of some National monuments, just like the case of Ilojo Bar.

    “Despite the management challenges associated with Ilojo Bar Monument, it still maintains the historical value, Brazilian architectural style and other distinctive features which give it the status of a National Monument. These attributes still accord the monument the potential of a tourist destination and a source of revenue generation for the country,” she asserted.

  • ‘A man’s destiny is not dependent on godfather’

    ‘A man’s destiny is not dependent on godfather’

    For Pastor Kingsley Innocent of Bible Believing Mission, Aba, the Abia State capital, serving God is the best thing that has ever happened to him. Pastor Innocent, also known as God of Talk-na-do, has published six books. In this interview with Evelyn Osagie, he speaks on his writing, his calling and more.

    Considering your schedule as a clergyman, when do you find the time to write?

    I do most of my writings at night. As from 3 am, I am with my writing materials and begin to write as inspiration comes. When I am in the office, I have my writing materials with me and when inspiration comes, I write them down. Even when I am in a car, I have my writing materials and I do write them down when the inspiration comes. Later, I compile all that I have written and put them together into a book. I don’t have any specific day to write, but I write every other night and it has helped me over the years. Being fulfilled as a pastor and author, gives me a lot of joy. In short, the best thing that has happened to me is my calling. Some people have asked me how I cope with my work and writing, I tell them I am not struggling to do it but it flows naturally.

    What books do you enjoy reading?

    I read a lot of leadership books because I am a leader and have come to understand that the day you stop reading is the day you stop teaching. Reading is part of learning, so when you stop learning then you stop teaching. I find it difficult not to read a book a day. I read all manner of leadership and career-building books and those that tell me how I can do and expand various businesses. Interestingly, I also read my own books and each time I do, I find I learn new things from them. It is also the propelling joy that makes me to want to go ahead and do more. Presently, I am reading Mike Murdoch’s book, The Leadership Tool and it has really helped me.

    Critics say one of the challenges of the book industry is that Nigerians do not read. Do you agree?

    To a great extent, I do agree. Nigerians need to cultivate the reading culture. In some of my interactions with people living in the Eastern part of the country, I have discovered that people don’t read because of the level of poverty. People don’t read because they are yet to comprehend its usefulness because they feel that it has no need. What will a petty trader, who trades in vegetables or pepper read books for? This nation needs help because I am looking forward to a situation where God will touch our leaders and make them know that the masses are suffering. Poverty has made it that if some people fail to go to market each day, then there will be no food for them to eat.  There are families that do not have reserve of food at home and that is why when there is any form of strike in the country, I am not happy. Whenever, there is any closure of market, it makes me sad because people would not have food to eat for that day. Whenever our leaders, destroy markets or the goods of traders who make their living from there, they make life difficult for such people. Any leader who destroys any market without giving an alternative place to sell their goods is not a good leader, but a wicked individual.

    For example, when our leaders introduced adult education, they didn’t make it enticing for the elderly people to go to school. If they leave their petty trading, after studying, they’ll come back home and have nothing to eat alongside with their children. Good leaders are those who will bring such great ideas and make them work, by covering all sides, including incentives. People are moved when you show them how much you care for them -when they know how much our leaders care, then they can give themselves into such policies. I believe in leadership by example; and urge people working with me to also lead by example. For me, since every one of my staff would be bosses someday, I try my best to teach them how to treat others; and I know that if they follow my footsteps, leadership will be easy and followership will be easy. Everyone should understand that it is a teamwork and that no one can achieve the work alone.

    So, in your opinion, how can the reading culture be revived?

    What we need to do is to annihilate poverty. It is in the hands of government, they should bring policies that will favour the poor. The reason it has favoured the Western world is because they have policies that protect the poor and they have the chances of coming up and improving themselves. But in Nigeria, the rich are becoming richer while the poor are becoming poorer because our policies favour only the rich. Until the poor have a say in the country, poverty cannot leave them and they have the opportunity to live in this nation that it belongs to all of us, then the reading level will improve.

    What inspires you to write?

    My inspiration comes from the spirit of the Lord to whom I owe all gratitude. I am also inspired by my day-to-day experiences in life. I am inspired by what I see others go through and I share with people through my writings. My books are meant to help people to progress spiritually, mentally, physically, financially, materially and family-wise. And they are easy to understand: you read some books at times and become more confused. I prefer to use simple correct English because I have come to understand the best way to communicate is to pass information that can be assimilated. In my books, I express my life experiences because I know who I am and I know where I am coming from and I’m not in competition with anybody. And I also touch on life’s principles. For instance, in my latest book, I Can Fulfill My Destiny, published last month, I observed that every man has a unique destiny to fulfill; fulfillment is not dependent on any man, background, godfather, academic acquisition or financial capacity, but on God and oneself.  Before, I Can Fulfill My Destiny, there was my The Morning Dew, in which I touched on the diverse stages of life, while urging people not to lose hope for the time of refreshing will come soon.  In my first book, My work with the Holy Ghost, I shared my experiences with the spirit of God in the course of my work. In Practical Encounter with God, which is my second, the reader can draw lessons from a believer’s personal encounter with God that becomes sustaining factor in time of trials. There is God, My Help, What If? and Where are you coming from? I am still working on more which will be published very soon.

    How I relax?

    My time of relaxation is usually on Saturdays. I stay at home and spend time with my family. I also do some exercises like playing table-tennis to keep fit.

  • US varsity honours Nigerian scholar

    The University of Wisconsin, Eau Claire in the United States (US) will on Saturday, October 18, host the celebration of Archival Collection in honour of Prof Tess Onwueme, its eminent professor of Global Letters.

    In a statement by the Office of the Chancellor of the university, the event is in recognition of “her exceptional achievements and contributions to World Literature/Drama, the University of   Wisconsin system, the Africana, and the world at large.

    “To mark this historic event, international scholars, writers and speakers are expected to dialogue and participate in the celebration of the remarkable Archival

    Collection of the literary icon now being acquired by the University of Wisconsin, in addition to showcasing a  production from Onwueme’s award-winning plays during the  event.

    “As you are aware, Dr. Onwueme is the recipient of several prestigious national and international awards, including the Fonlon-Nichols Award, the Phyllis Wheatley/Nwapa Award for outstanding black writers, the Martin Luther King, Jr./Caeser Chavez Distinguished Writers Award, the African  Distinguished Writers Award, and the Association of Nigerian Authors Award (ANA). The Archival Collection, including the author’s original manuscripts, creative life-work and other materials related to her scholarly and professional career are being donated to the University of Wisconsin-Eau Claire Foundation. In turn, these materials will then be given to the Special Collections & Archives Department of the University of Wisconsin Library and become a permanent resource for scholars, students, and teaching faculty across the world.”

  • Are we all journalists now?

    In his new book, ‘We Are All Journalists Now – Africa in the Age of Social Media’, noted journalist, author, award winning investigative reporter, media researcher and now media adviser to former Governor of Lagos State and now foremost national opposition leader, Asiwaju Bola Ahmed Tinubu, Mr Sunday Dare, examines the emergence, evolution and implications of the phenomenon of citizen journalism in Nigeria. Based on an academic research at the Reuters Institute for the Study of Journalism, Oxford University, this stimulating work published by Visual Image, Lagos, in March his year and which covers 108 pages comprising five chapters, critically interrogates the impact of the phenomenal expansion in the mediums and use of social media platforms on the state, society and in particular the media profession in Nigeria. This offering combines the rigour of scholarly research with the accessibility of lucid prose.

    What has been the implication for the practice of journalism in Nigeria of the emergence of such on-line mediums as Facebook, Twitter, text messages, You Tube that provide opportunities for millions of Nigerians to become ‘Citizen Journalists’ reporting and disseminating news, images and ideas about themselves as well as issues and events around them to a mass audience? Has this development broken what can be describes as the professional authoritarianism/dictatorship of the traditional, mainstream media, which once enjoyed the monopoly of determining what constitutes news and in what form it is disseminated? What are the implications of Citizen Journalism for the democratic process and how has it empowered the weak or impacted governance? These are some of the questions that Dare seeks answers to through an exhaustive study of the operations of the path-breaking and unorthodox on-line medium, Sahara Reporters.

    After examining the research questions and objectives of the study in the first chapter, the author goes in the second to undertake a racy but informative overview of the origin and trajectory of the Nigerian media from the colonial period through the various post-independence civilian and military regimes to the present dispensation. Examining the implications within the Nigerian context of such electronic modes as mobile phones, Face Book, blogs, Wikipedia, Twitter and You Tube, he compares the present scenario to the previous one in which newspapers, magazines, periodicals, radio and television were the sole and dominant sources of news and opinions. In the preceding era, letters to the editor, opinion pieces published at the pleasure of the editor as right of reply as well as revenue-driven advert placements and commercials were the major avenues for audience participation in the media process.

    Dare defines Citizen Journalism as “the kind of journalism in which the users or audience create content online rather than wait to be fed by the traditional media outlets”. It is a process whereby an individual plays “an active role in the process of collecting, reporting, analysing and disseminating news and information”. As a result of this development, he argues, millions of citizen journalists no longer constitute a passive and receptive audience. Rather, they are defining and writing ‘the first drafts of history by themselves’. Nigerians are thus part of a global process through which millions of ordinary citizens are being empowered by revolutionary technological innovations to set and communicate the news agenda.

    In chapter three, Dare X-rays the evolution of social media in Nigeria from the age of emails and emailing lists to discussion fora through social media networks. He notes that from an internet penetration level of just 0.1 per cent in the late 1990s, internet usage in Nigeria had exploded to 16.1 per cent of the population. Quoting figures from the International Telecommunication Union, the author put internet figures in Nigeria at 43, 982, 200 or 28.9% as at 2010. Similarly mobile technology has become the seventh mass information medium after film, television, radio, print and sound recording. From this general overview of the growth of citizen journalism in Nigeria, Dare moves on in the next chapter to the main focus of the book, which is a detailed case study of the rise and consolidation of Sahara Reporters as posing the pioneering challenge to the hegemonic dominance of the mainstream, traditional media.

    The book offers a detailed study of the conceptualisation, editorial structure, modus operandi, agenda, funding as well as business model of Sahara Reporters and its journey since inception. The medium was established in 2006 and modelled fully as a citizen journalism site. It describes as a unique organisation made up of ordinary citizens rather than professional journalists but who are committed “to seek truth and publish it without fear or favour”. One of its main aims is to aggressively seek to expose corruption through ordinary citizens who act as its reporters and foot soldiers. Seventy per cent of Sahara Reporter’s content is news, 10 per cent opinion and 20% User Generated Content.

    Dare interrogates to what extent Sahara Reporters has set the agenda for political and social discourse in Nigeria and how effectively it has achieved its objective of exposing corruption and subjecting power wielders to closer scrutiny. One of its dramatic achievements was Sahara Reporter’s role in putting the Governor James Ibori corruption saga on the front burner and contributing significantly to his extradition, trial and eventual conviction in the United Kingdom. Between 2006 and 2010, Sahara Reporters produced 104 news items and investigative reports on the Ibori corruption scandal.

    The last chapter in which Dare interrogates the relationship between citizen journalism and the traditional media is easily the most insightful and thought provoking. Some of the advantages of citizen journalism he points out include immediacy of reporting, speed, minimal start- up capital and its greater vigour and audacity in investigative reporting. Indeed, Sahara Reporters claims it emerged to fill an investigative void created by the conservatism of the traditional media, which OmoyeleSowore claims had itself become a power bloc. Due to citizen journalism, the world including Nigeria can now benefit from the flow of news without boundaries or frontiers.

    However, the flipside Dare notes is that citizen journalism is faced with serious professional gate keeping issues including deciding news fit or unfit to publish, little concern for ethical constraints and scant regard for objectivity, fairness and accuracy in news gathering and information dissemination. In the final analysis he argues, the relationship between citizen journalism and the traditional media can be complementary rather than antagonistic. While citizen journalism can challenge the mainstream media to be more transparent, innovative and investigative, the former can learn from the traditional media’s better gatekeeping, factual checking and more matured news presentation. He submits that collaboration between the mainstream media and citizen journalism can lead to better journalism in the interest of the public good.

     

  • NAPTIP office rebranded

    The head office of the National Agency for the Prohibition of Trafficking in Persons and Other related Matters (NAPTIP) has been inaugurated by the Ambassador and Head of Delegation of the European Union to Nigeria and Economic Community of West African State (ECOWAS), Michel Arion.

    Arion, who was represented by First Secretary,  Alan Munday, handed over a wide range of IT equipment comprising internet servers, 50 desktop computers and network printers among other facilities.

    The inauguration of the facility followed support from the European Union (EU), within the framework of the EU-funded project ‘Promoting Better Management of Migration in Nigeria by Combating and Reducing Irregular Migration that occurs, inter alia, through Trafficking in Persons (TIP) and Smuggling of Migrants (SOM)’ project.  This project is being implemented by the United Nations Office on Drugs and Crime (UNODC).

    Arion said NAPTIP is the European Union’s key  when it comes to turning words into action to fight trafficking of Human beings and smuggling of migrants.  This, he added, will make life more comfortable for the youngest victims of trafficking.  The equipment, he said will help increase its staff performance.

  • NICO to host SONTA 2015

    NICO to host SONTA 2015

    The National Institute for Cultural Orientation (NICO) has accepted to host the 2015 annual international conference of the Society of Nigerian Theatre Artists (SONTA).

    This is coming on the heels of the request by SONTA, the assemblage of academics in Theatre Arts, that the institute host its conference next year, SONTA 2015.

    A statement by NICO Executive Secretary, Dr. Barclays Foubiri Ayakoroma, said the institute was ready to host the 28th edition of SONTA’s Annual International Conference and has constituted a Local Organising Committee (LOC) under the chairmanship of  Abayomi Oyelola, who is the Director, Administration and Human Resources of NICO, with the Executive Secretary serving as the Convener.

    According to Ayakoroma, the hosting of SONTA 2015 presents a veritable platform to further bring the potentials of the Institute to the fore, and proffers a platform that will draw reputable Thespians from across the globe where NICO staffers can key into the programme as they will be expected to serve in different sub-committees finance, accommodation, entertainment, transport, plenary session amongst others.

    The management of NICO is optimistic that with preparations towards the hosting of SONTA 2015 already in place, the outcome of the conference will serve as a benchmark for the body for subsequent conferences.

    The Society of Nigerian Theatre Artists (SONTA), an umbrella body of theatre arts lecturers in higher institutions in Nigeria, was established in 1982, with the mission of research, promotion of academics and robust practices in theatre, culture, media arts and film.

  • A life of excellence, integrity

    A life of excellence, integrity

    The book ‘A life of Excellence and Integrity’ was put together in commemoration of Mr. Tunji Olugbodi’s 50th birthday ceremony. In a way, the book could be tagged ‘compendium’ on the celebrant as it took a careful look at him through the eyes of his various stakeholders – spouse, child, family, friends, and professional colleagues among others. The nine-chapter book gives a great insight into the life of the celebrator and what actually makes him ‘thick’.

    The book starts with a concise biography of the celebrtor titles ‘Joshua Olatunji Olugbodi ‘through the years’, which is succinct in looking at him from birth, educational journey, career path and business adventures down to his involvement in spiritual work.

    Prologue, which comes next, is a literary piece woven in verses as obtainable in any typical poem. The editor of the work, Mr. Ayodeji Ayopo, a seasoned Public Relations practitioner and business communication strategist, was more than generous in the use of association to describe and trace the life of the celebrant, Tunji Olugbodi, who clocks the golden age of 50.

    Through flashback, the book uses words to create imagery of circumstances surrounding the night before his birth, resilience of the mother in waiting for the day to dawn and the support of the husband to get her to mainland for the eventual delivery. Alas Tunji Olugbodi, arrived the world! The narrative which is rendered in verses also dovetailed into his 50 years birthday.

    The book then progresses into chapters through which the editor looks at the celebrant through other people’s eyes.

    And so chapter one,  x-rays  the celebrant through a bosom friend right from when they met in their undergraduate days. Though Tunji Olugbodi schooled at Ogun State University while he schooled at University of Ife, (now Obafemi Awolowo University), but they were able to bond due to the strong personality traits of the celebrant. Properly captioned, ‘A dependable friend’, the chapter captures Tunji Olugbodi as an embodiment of knowledge, cosmopolitan and someone who adheres to Christian culture in all his undertakings. The celebrant’s nature of being always ready to share whatever he has, lending helping hand and not taking relationship for granted were properly captured. His strong principles based on Christian values, the chapter notes, has helped him in all he does.

    Who knows a man better more than his spouse? The editor did a yeoman’s job by looking at Tunji Olugbodi through the eye of his wife. Indeed chapter two could not have been better titled than  – ‘my husband, a dutiful husband’. Flowery and powerful words were used to describe Tunji Olugbodi . He is seen as a man of his word, confidant and a diehard believer in nothing is impossible. The chapter brings out some characteristics that makes Teejay, as he is fondling called by his wife, a man of her life. He is a focused man that pursues whatever he sets to do with doggedness; he is also a perfectionist who hates laziness and disloyalty with passion. His relationship skill in calming her down when she is upset is acknowledged.  Teejay is a man bustling with ideas, inspiration and strategies and above all his ‘can do spirit’ goes beyond description. He loves work and if work could be considered a weakness, so it is for Teejay.

    Chapter three captures what the celebrant, Tunji Olugbodi, is to his child. A father to behold, cherish and love for his generosity is the celebrant to his son.

    The book moves further in chapter four to give insight into the life of the celebrant through one of his staff in the office. The totality of Tunji Olugbodi to the staff is that he is a leader and not a boss. He is a leader who believes in supremacy of ideas; listens to superior augments; and sees others as colleague.

    Chapter five reviews his commitments to using his God’s given resources to advance the kingdom business through his denomination – Baptist Church. The book presents him as a man who being a deacon uses his office excellently in service and exhumes the virtue of humility in his relationship with people.

    Chapter six specifically lists out virtues that make Tunji Olugbodi a veritable resource in God’s hand. He is a child of God, an apt teacher and a powerful preacher, a public relations officer, a good programme planner, a renowned strategist, an impeccable innovator and a motivational speaker.

    Chapter seven acknowledges that Tunji Olugbodi has always shown great promise from his teen age.  His involvement in organizing ‘street Olympics’ featuring marathon races around Tejuosho, standing to fight for his younger ones, talking of visionary things about the future, demonstrating courage, fashionable and commitment in self improvement  are traces which shows what is future will be. Today, he is the rally point for the whole Olugbodi’s family and he is playing the role very well. Building of business empire in marketing communication only reminds one of the promise he has shown as a child.

    A heart committed to ministry, the title of chapter eight, is apt when viewed vis-à-vis what the chapter says about him. How else can a man be committed to ministry than being a believer in the bible, giving to the ministry and providing for spiritual needs of others? Tunji Olugbodi excels in them all.

    In Chapter nine which rounds up the chapters, the editor, Ayodeji Ayopo, describes him as a mentor and exemplary role model. He has not ceased to inspire him through his disciplined life, openness, giving, professionalism and respect for other people’s opinion.

    The book ends with appendix of his various press interviews with leading national dailies such as the Guardian, Thisday and The Nation.

    The book really captures the life of Mr. Tunji Olugbodi from his birth to his 50th birthday anniversary, which the book is dedicated to. His doggedness to build business from ground zero to spreading tentacles to West African countries is an example in raw courage. However, there are few typographic errors which should have been avoided. Some borders on spacing between words, a good one is Tunji Olugbodi being spelt as one word many times in chapter eight and mistake of writing chapter 7 as chapter 1. Despite some of these shortcomings, the editor, Ayodeji Ayopo, did a good job in putting the book together. He has been able to add another book to volume of books on life and times of great men through which others could draw inspirations.

  • They call me princess

    They call me princess

    •A portrait of Motunlayo Adefunke Sofowote

    Then in mid-2014, a revised edition of the original 1998 novel, They Call Me Princess by Motunlayo Sofowote was published there were more than a few people who wondered how the author, bedridden and fighting for her life, could find the strength of purpose, and indeed, the presence of mind to execute such a project. But that was only the second book published by the woman in the final year of her life.

    However, as though as final statement and reminder, They Call Me Princess will now go down in history as the very last known work of art by Motunlayo Sofowote made available to the public during her lifetime. And how apt, how absolutely apt it is, this simple, quiet, unassuming statement – They Call Me Princess!

    For so they did. In their hundreds and thousands, or perhaps even hundreds of thousands. Wherever she went, she was regarded and treated as royalty. But this was no surprise… You only had to spend a few minutes with the woman to feel that without a doubt, you had just come across a true and wonderful human being, something rare, something royally unique. Something beautiful.

    And beautiful she was inside and out. In fact, many would agree most emphatically that her outward beauty was only further intensified by her dazzling yet welcoming beauty of her spirit which could never be diminished; not even in the most literally painful years of her life toward the end. This was made all the more obvious when in the excruciating throes of the final stage of cancer, she lost all of her trademark long-flowing silver hair and was recommended a wig to cover the resultant baldness.

    To oblige her caregivers, I believe, and even more, to shield the rest of us, her loved ones, from the sad reality that her baldness so vividly highlighted, she tried on the wig for a time. However, not many days had passed before she decided that she would have no more of it. With a twinkle in her eye, she said: “I will not wear this wig anymore. If I am beautiful, I am beautiful.”

    And she was beautiful.

    Yes, they called her princess. They called her friend and mother too. Her four biological children very quickly had to learn that there were a far greater number of people who, while not related by blood, had sufficient right to look to her as a mother; by virtue of her own disposition toward, and love for, them. And she loved them all. With a true motherly love that brought many a biological mother to her in curious wonderment at the effect that this woman quite unassumingly had on their own children. It was therefore, not long before there became untold numbers of mothers who looked upon her as a model for their motherhood.

    It was not only mothers however, who were drawn to her and who found themselves making Motunlayo a mentor of sorts. Women and girls, and indeed, men of all ages who had within them an appreciation of beauty and goodness were invariably drawn to her through varied encounters and scenarios. Even those who might ordinarily have a base outlook on life often found themselves wishing to be better and working on themselves as a direct result of having met her.

    Motunlayo made friends of all kinds everywhere. From road-side sellers to captains of industry and heads of government, Motunlayo was truly the sort of person who could eat with beggars and dine with kings. And she did both.

    It is therefore not surprising that they called her princess. Whether she was helping others through quiet and secret philanthropic acts, or drawing public attention to causes that needed intervention through her annual charity concerts, she always was royal.

    In the 67 years of her beautiful life, she left a definite mark of positivity on the world and everyone who met her. And she will continue to do so, on everyone who will yet meet her through her works and the stories of her which are bound to be preserved and spread abroad.

    Motunlayo was, indeed, one of those one-in-a-million, once-in-a-lifetime, Hallelujah-I-met-you people whose lives, however long or short, leave a firm imprint on this Earth.

    As a friend, mother, teacher or princess, Motunlayo’s foremost objective was to serve her GOD, to whom she constantly sought to draw nearer, through her life, and her very essence. And now that she has left the confines of the physical, one can be confident that she is now free to fly upward, nearer His Presence, according to the natural law of Gravitation, which cannot but suck up a spirit as light, and as beautiful as Motunlayo’s toward those Realms of Eternal Beauty, where like spirits are permitted to serve their King forever.

    Even now, her pure ringing laughter is to be heard, a happy child of the Light, singing songs of praise in beautiful soprano, to the warm smiles of those angelic helpers who guide her path upward, to a Garden in which she can be yet another beautiful flower of Creation.

    *Bibisanmi is son of the late Motunlayo

  • It’s no longer anonymous

    It’s no longer anonymous

    A Professor of Art History and Graphics at University of Benin (UNIBEN), Edo State, Prof John Ogene, has ascribed the seeming anonymity of art and the perception that it is a craft to the importance the society attaches to it.

    He spoke at a lecture at the Prof Yusuf Grillo Auditorium, Yaba College of Technology (Yaba Tech), Yaba, Lagos. The theme was: No Longer Anonymous. He said art is anonymous in Nigeria because most people don’t know its importance to the society.

    According to him, art is unknown, obscure, nameless and unrecognised “as a serious profession. “This attests to the fact that art as a vocation belonged to a category of unfamiliar professions. Things have not changed much today. This stereotype, apart from exasperating, is suggestive of the fact that what is “commonly” attainable is of little importance,” he siad.

    He described the anonymity of art in Nigeria as a collective burden like illiteracy. “It is a factor that robs the individual and the profession of social, academic and political visibility. Consequently, it is a direct source of inferiority complex and, thus, must be shed and demolished,” he said.

    Ogene observed that lack of grand institutions for art in the country contributes to its anonymity, suggesting that contemporary artists should marry art with science and technology as the world revolves around them.

    “Some people argue that art is a doing thing and it is a natural gift which cannot be taught. This may be right, but the thought is both defeatist and nihilist. It is an over simplification of what the profession demands, and gives a false sense of confidence to the creative individual that is often in early stage in life. Besides, such an assumption limits the potential of such an individual.

    “This over simplification may be responsible for the mindset of most Nigerians who think that you “just draw” when you say you are an artist. The next thing they want to say is “my little daughter or son can also draw very well.”

    Recounting an experience while handling a project with Professor Osa Egonwa of Delta State Univerty, Abraka, Delta State,  in 1987, at Okada Wonderland, Ogene said he presented a quotation to the committeein charge and the Director of Consultancy (one Professor Osifo) noted that the quotation was on the high side.  Osifo asked Egonwa to reduce it, saying, after all, his brother, who had no training in art, is also an artist,” he said.

    He stressed that Fine Arts students are also faced with these challenges as other students perceive their choice of course as inferior.

    He said: “Recently, I received a complaint that a Fine and Applied Arts student at UNIBEN was verbally assaulted by a student of History and International Relations, who said the Visual Arts student was ‘making noise over ordinary N500, no wonder he is reading ordinary Fine Arts.

    “This attitude towards the discipline exists and the status of artists is continuously being undermined. This is what could be referred to as identity crises or group anonymity.”

    He noted that the teaching of art in Nigeria has been dominated by the culture of practice with minimal theory, scarcely articulating what is being done. “Although the practice of making art is as important as its articulation, what we find today in most institutions is the excessive emphasis on the psychomotor domain. In other words, emphasis is laid on doing or making art- a practice largely based on perceptual and physical ability, skilled movements and non discursive communication. It is, therefore, convenient to conclude that the state of art has predominantly stagnated within this domain of learning,” he stated.

    Ogene advised that  those artists who wish to further their education, should be encouraged to do so, bearing in mind that not only their practice will be enhanced; their potential to articulate their practice becomes incremental. “This is important, because a journey into the inner mind of a celebrated uneducated artist will reveal a vacuum or desire for education. It is a different thing altogether for those who suffer from illiteracy.

    “This can be achieved by taking cognisance of the three equal domains of learning which are cognitive, affective and psychomotor. Without these, it will be futile to articulate what we have produced and are producing in our country. Failure on our part will yield to perpetual dependence on the West in defining our cultural wealth,” he asserted.

    After the lecture, Ogene presented an art exhibition for public viewing in Yusuf Grillo Art Gallery at the same venue.

    The works consisted of paintings and photographs, which Ogene said he took with his mobile phone. He also gave the show the same titled with his lecture: No Longer Anonymous.

    The lecture and the works from the exhibition are also documented in a glossy book, entitled: No Longer Anonymous.

    According to him, the theme of his lecture and the art exhibition was inspired by Prof Solomon Wangboje’s quote. “My encounter with Professor Solomon Wangboje in 1995 remains indelible for several statements he made when I interviewed him in preparation for a conference in Ahmadu Bello University Zaria. One of them is his proverbial “now that we are no longer anonymous, let us see what we have done.” Besides impacting on me as a young lecturer, his words remain in perspective and context both as it was then, and today. Almost 20 years after, it now dawned on me that to be anonymous is to be free, and to be known is responsibility.

    “Given a choice, anonymity is certainly not the kind of freedom an artist should enjoy. The freedom of anonymity can be likened to the saying by Jean-Jacques Rousseau that Man is born free but everywhere he is in chains – and in this instance, art in Nigeria as symbolised by man, is in chains of obscurity and anonymity,” he said.

  • Ekemini’s fetching the future

    Ekemini’s fetching the future

    Fetch the Future  is a collection of poems that addresses the need to look after and pay attention to children early on, in order to avoid personal and societal decay. The book emphasises that if children are trained and cared for in the right way, then a lot of crime and wrong acts will be nipped in the bud in the society.

    The book, Fetch the Future touches on a lot of aspects of upbringing that are essential for normal growth and development of a child.

    The author, Ekemini Francis’ use of  the language of poetry to convey her opinion is apt, but it is hoped that the structure of the poetry may not be lost on some children who are the primary target.

    The use of pictures in the book is refreshing, giving the book a twist especially for a poetry book.

    The author has a first degree in Modern Languages and Translation Studies, majoring in French form the Universite D’ Abomey Calavi in Republic of Benin.

    Ekemini’s passion for children is evident, hence the writing of the book and being the founder of Inspired Children Foundation (ICF).

    Her involvement in child development training from her university days, came in handy in the production of this book. Lessons from these programmes such as; UNICEF, Capacity Development Training to promote Social Change etc. were applied in this work.

    Fetch the Future can be said to be a basis in correcting from the root, vices that are prevalent in Nigeria and the world at large.

    For example, the Poem on page XV is an admonition to parents against saying negative things to their children, as this could make children bitter towards them, but should instead nurture and grow their talents which would be more beneficial.

    Also the Poem on page XVII of the book highlights the need for parents and teachers to work hand in hand,  in grooming children and having an interest in their education.

    The Poem on page XXXII advises against abusive words and harsh treatment which is the norm in Nigeria. Parents feel that this is the way to go in correcting children, but when a child is corrected in love, it makes a positive and lasting impact in the life of that child. Sitting a child down and talking to him/her is better than having that child angry and which might eventually lead to him/ her developing hatred for you.

    It is evident that the decay in morals and ethics starts from the home, where an individual gets his/her first interaction and communication with people. It is from the home that children are taught right from wrong, depending on the setting and foundation of that home.

    In this wise, Fetch the Future calls for all hands to be on deck in the restructuring of the Nigerian society that is pitiable and riddled with vices and crime committed mostly by the youth.

    Government should also take action in and play its part in reforming juvenile delinquents, and organise programmes/clubs aimed at giving children ‘big brothers and big sisters’ who will be part of their day to day lives in a mentoring way.

    The author’s attempt in addressing an issue as worrisome as this is commendable and encouraging for at least focusing on the children who are the future leaders. it is believed that the author consideration for children is worth the while but there is need for all children from all social strata should be considered.