The Nation Newspaper

Category: Life – The Midweek Magazine

  • ‘You are not alone, there is help for you’

    ‘You are not alone, there is help for you’

    The management of Finn Grey Project has assured orphans not to despair nor feel alone and that help is out there waiting for them.

    A lawyer and founder of the group, Olubisi Shaola and the Project Director, Akintayo Afeez gave the assurance when members of the group visited Little Saints Orphanage, Akowonjo, Lagos to donate foods, beverages, carbonated drinks, toilet items and other household materials to the centre. The items were to ease their burden during the on-going celebration of the festive seasons.

    Shaola said they decided to make the donation to the children of the orphanage to make life better for them in terms of feeding, clothing and shelter, stressing that the gesture was their own way of giving back to the society in order to make it a better living place for all.

    Items donated included cartons of Indomie, Spagette, Milo, bags of rice, Corn Flakes, toiletries, carbonated drinks among others.

    Shaola said: “The reason why we are doing it in this kind of place is that it would encourage other people. They would see that we have come to add value to the life of people in this place.

    “We have chosen this kind of place in order to encourage other people to do same. They would see that we have come to add value to the live of people in this place and they too would be encouraged to do similar thing.

    “May be there are some people out there who wanted to do this but they are shy. But when they see us do this, they would be encouraged to do same. Our message to other organsations and groups is for them to emulate us and give back to the society as well through this gesture. We shall be helping those who are in need so that the world can be a better place for us to live in”, he said.

    Director of Project, Akintayo Afeez said that the group is considering discussing with the authority of the orphanage on the possibility of sponsoring the education of one or two of the children in the nearest future.

     Akintayo expressed confidence that they can achieve this by sourcing funds from within the society, from their own resources and personal income adding that they can also tax themselves to get things done.

      ”There are a lot of people out there facing challenges but with time and determination, they can overcome such challenges if they are determined and hardworking”, he said

     The Administrator of the orphanage, Mrs Tina Odiong thanked the group for the donation made to the children of the home.

     Mrs Odiong said the orphanage has grown over time with branches in other states of the country and children from the homes playing important role within and outside country.

    She stated that some of those who left the orphanage for America are doing very well in the US Army.

     To ensure good education and better tomorrow for the inmates, she said children of the orphanage attend private institutions from primary school to university level and that two of them are in UK writing their master programme examination very soon.

     Mrs Odiong said some of the children attend Crawford University, University of Lagos, (UNILAG), Akoka.

  • ‘At 89, I am agile and active cerebrally’

    ‘At 89, I am agile and active cerebrally’

    His palacial home stands out among the lots in the community. And to every guest at this year’s annual prayer session, Adura Odun, the Ijebu Ode country home of Founder, First City Monument Bank Group, Otunba Olasubomi Balogun, is an ideal place to honour God. ADEOLA OGUNLADE reports.

    “I imbibe the habit of always singing and praising God. I ascribe everything to the grace of God, that was why I was made the Asiwaju of Christianity in Ijebu Land.”

    These were the words of the Founder First City Monument Bank Group, Otunba Michael Olasubomi Balogun during an annual prayer meeting of the Otunba Subomi Balogun Foundation (OSBF) in Ijebu-Ode, Ogun State recently to mark the New Year.

    Draped in immaculate white attire, Otunba Subomi Balogun sat patiently to host every guest at his palatial home in Ijebu Ode, which is a Mecca of a sort, especially on the Adura odun day set aside to thank God for His mercies.  “There are vicissitudes that one would experience but I am forever grateful for what God has allowed me to do at almost 90. My ambition is to live much longer. I have friends, and relations who have been so bestowed by the almighty and I am confident that God has something planned for me. I am extremely excited because it has to be like that. Somebody looks at my status and said those factors are not strong enough,” he recalled.

    He said that one of the things that helped him in life is to constantly commit his ways to the Almighty God. “Anywhere I go, I bring up what God has done for me. That helps me to modulate any possible arrogance”.

    “When I was made the Asiwaju, there were a lot of people that were older than me. I was just 63 years old. I was nervous and I cried the day I was installed as the Asiwaju. The congregation was singing-Kosoro rara…

    ”God has been my guide and companion and I owe everything I have and I have been to him,” he said.

    Subomi stressed that the significance of Adura Odun is to allow the Asiwaju to join everybody in thanking God for what He has done for all of us in the year before and asking him to continue to guard and take care of us in the New Year.

    “I think that its significance is not just for Christians, but for all people. The Yoruba say if you give thanks for the favour done in the past, then you will receive more favours.

    “So, the essence is that I have invited all Christians and friends. Some Muslims, too, joined me in thanking God for protecting us, providing us with everything, and giving us good health. We can now expect that the same Good Lord will continue to be with us for the New Year. So, it is not just a religious thing, it is something that has become habitual. When God has done something for us, we should go back and give thanks and that will encourage the Good Lord to continue to help us.”

    He noted that there are many Ijebus and God singled him out and made him what he is, saying ‘it is in appreciation of the unique endowment the Good Lord made to me that I do whatever I do. I am not the only Ijebu to be a lawyer, I am not the only Ijebu to be a banker, I am not the only Ijebu to be made Otunba, I am not the only Ijebu to be anything.

    “There are all kinds of birds flying in the air, but the eagle is the king of all birds. So, when we pray as Christians, we say God should renew our energy like that of the eagle. The motivation is that God has been very kind to me. He made me what I am and, in return, I am doing what I am doing.”

    “It is the grace of God that keeps me fit. You probably will notice that whenever I am in a gathering, the musician will start playing the tune, Nipa ife Olugbala ki yo si nkankan, (which means by the love of the Saviour, there shall be no evil). I believe it is the good Lord that is protecting me and, as such, I am always glad to sing that song.   “But it is more than that. I am a child of God and I believe fervently in it. So I have turned all my needs to good Lord.  If you get me to run 100 meters with you, I am not sure many of you will beat me. I do a lot of walking and I also swim. In every home of mine, you will find a swimming pool. I am particularly grateful to God that, even at 89, I am agile and still active cerebrally’’, he said.

    On his journey into the banking industry, he recalled: “The operations of the bank took off in 1983.Since then, the institution has been consistent in merchant banking in Nigeria. When I look around, I am the oldest banker still around and taking part in what is still going on. And that is an amazing grace of the Almighty God. All I do is remain close to God and be a prayer warrior.

    ‘’Some friends joke with me that I can’t say one or two words without thanking God. That’s my own understanding of what God has done to me, my family and my institution. About 45 years ago, we started this. Not many of us who founded financial institutions are still active today. I started banking 60 years ago.

    ‘’For the first 15 years, I was working for other people. But in the last 35 years, I have been given the privilege by God to run a bank I founded single-handedly. I thank God that I am still vibrant and all I want to be doing these days is to be thanking God.” He also acknowledged the support of professionals that helped in building a strong financial institution. Despite having just a law degree, he was able to attain unbelievable heights in investment banking.

    According to him, reflecting on God has helped him to modulate any kind of arrogance. “In addition to sustaining 68 years of friendship and keeping his secretary as his PA to date, Balogun has been loyal to every commitment he sets his mind on. As a philanthropist, he has changed lives with the Subomi Balogun Foundation Scholarship. Giving credit to his mother, whom he described as his father’s only educated wife, he owes a lot of his educational years to her input and early intervention.

  • Purity, authority of Ade-Are crown

    Purity, authority of Ade-Are crown

    Long before the coming of colonial administration and civilisation, the Yoruba have had their political, religious and traditional system led by  their Oba (King).

    Ade (crown) takes the highest pedestal among items that are used for the coronation of a Yoruba Oba, among other items like Opa Ase (staff of authority) and many more. In fact, the conferment is incomplete without the Ade (crown). 

    After being installed as leader, a Yoruba Oba must not reveal his face to the public. Instead, he wears an Ade or Adenla.There are several crowns, including the one called Orikogbofo, which reflects the personal taste of the king, among  others. 

    For the Ooni of Ife, there are different crowns available to him, but the most important and sacred is the Aare crown, which a new Ooni must wear before being installed. The most respected, most significant and most exalted, is “Ade-Aare” (Are crown). 

    Ade-Aare is the crown worn by the Ooni of Ife, the direct descendant of and the holder of the royal stool of Oduduwa, the progenitor of Yoruba and human race. Ade-Aare is a heavily beaded, heavily ornamented crown and by extension equally acclaimed to be very heavy in actual weight.

    The sacred Aare crown is the only physical symbol of authority that the Ooni inherited from his ancestors. It is believed to have been made from several items, such as cutlass, hoe and 149 other undisclosed objects.

    The Ifa oral tradition reveals that the Aare crown is very heavy and it is believed that the Ooni is spiritually empowered to wear it during the Olojo festival; the crown is too heavy for him to bear on any other day.

    The history, sacredness and authority of this beaded crown can be traced to the first King that ruled the whole world. He is called NIMROD – by the Hebrews, Lamurudu as known by the Yorubas or Aramphael – as called by Arabs (Ora Ife onile ina). He ruled the whole world ruthlessly with the exhibition of the power of the Sun and Fire and without recourse and respect for Olodumare, the Almighty God. 

    Consequent upon Nimrod’s confrontational attitude to the Almighty, God raised Oduduwa – the deity of prayers (ti oba ina ja, o da ina,o ba oorun ja ,o da orun); he fought fire and conquered fire, fought sun and conquered sun.

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    Oduduwa is called Dua by Arabs, Adura by Yoruba and Adua by most ancient tribes of the world. He neutralised, subdued, conquered and totally eliminated Aramphael who never wore the sacred Aare crown. But Oduduwa was the first to wear the crown that descended to the earth from Oke Ora hills in Ife.

    Oduduwa’s mandate is to establish structures and make the world a better place for mankind. Thus during his second coming through chain, unlike his first coming as a spirit being in charge of prayers in the presence of Olodumare – Olu odu to mo Ade Are.

    Oodua became the first beaded crown wearing King in the world – The Are crown. Oduduwa hereafter, established the royal ruling system of governance in the world whilst the beaded crown became an inheritance of Oonirisa in Ile to n fe – Ile-Ife.

    Before the coronation and installation of a new Ooni of Ife, the Ooni-designate is moved into seclusion at a shrine known as Ilofi in the ancient town of Ile-Ife,  where he will spend 21 days as part of preparation for his coronation. At the Ilofi shrine, the Ooni-designate will be initiated into different cults, taken through the rudiments of his duties as the Ooni of Ife after performing series of traditional rites at the shrine. After this seclusion period, he is then brought out to the open, coronated and installed with his staff of office and the Ade Are. Apart from this day of his installation, Ade-Aare is worn once in a year, only during the yearly celebration of Olojo Festival, when the Ooni comes out of Iledi, a secluded place, where he is expected to spend seven days, prior to the festival.

    Historically, it is known that there is a strong relationship between the sacred Aare crown and the Ogun deity, the god of iron, due to the crown’s iron component. The crown must be brought before the Ogun deity at the Okemogun shrine during the annual Olojo festival celebration in Ile Ife. 

    According to Ifa oral tradition, corroborated by a chief priest of the Aare crown, the crown is believed to attract people to itself when the Ooni wears it. During the Olojo festival, people often troop out to behold the crown and on sighting it, they offer prayers because the presence of the sacred crown symbolises peace, unity, blessing and prosperity. History dictates that the reigning Ooni must not look inside the crown because any attempt to do so would result in him joining his ancestors. 

    It is believed that when the Ooni puts on the mysterious crown, he is instantly transfigured into his true nature, Orisa (deity) whose visage has been said to become too dreadful to behold. 

    The crown serves as traditional legacy from one reigning king to another and this particular sacred Aare crown was the inheritance of the Ooni from his progenitor, Oduduwa. The sacred Aare crown is kept in a separate room in the palace under the watchful eyes of the high priest of the crown, while sacrifices are offered on a regular basis as tradition demands from time to time. 

    *Aderemi is Principal Museum Education Officer

    National Museum, Onikan-Lagos

  • Photographer’s view of Nigeria’s many splendours

    Photographer’s view of Nigeria’s many splendours

    In Kelechi Amadi-Obi’s Amazing Nigeria photography exhibition, he goes beyond capturing what is in front of himself to setting the mood and catching the magic that light and shadow communicate, Chinyere Okoroafor writes.

    Peering deep into Nigeria’s treasures, award-winning photographer, Amadi-Obi spent 12  months travelling across the country to capture 30 detailed views of tourism destinations of the Southeast, West and North zones.

    For Amadi-Obi, the journey was to tell a profound story about Nigeria’s rare, forgotten panoramic vistas and show what beauty looks like across Nigeria.

    The works, which were showcased in a public art display were recently hosted by Ecobank Pan-African Centre, (EPAC), at its head office complex in Lagos.

    It was curated by SMO Contemporary Art and supported by The Macallan and Ecobank.

    The photographs featured spectacular mountains, valleys, breathtaking waterfalls and awe-inspiring landscapes. The creative artist went into a risky adventure to develop a documentary of motion and still-life images of Nigerian landscapes, unleashing the lushly eco-friendly endowment that Nigeria is blessed with; such that is either ignored or have been sidetracked by the event of time, like the insecurity, ethnocentric divisive approaches towards its cultural diversity, which in a way, disrupts tourism spirit in the country.

    From the captivating scape of Ado Awaye Hills to the Agbokim Waterfalls and Aurara Waterfalls, Amadi-Obi in his Amazing Nigeria’ created one of the most important photographic collections within the country’s Archives and acquired by Birmingham Central Library in 1990.

    The exhibition was aimed at showcasing a “resilient and hopeful country.”

    Through these photographs Amadi-Obi revealed the face of a country rarely seen from spectacular vantage points including the canyon and falls of Ahwum, the mysterious Iyake suspended lake, the magnificent Mambila mountain range, and the rocky hills of Ado Awaye.

    Amadi-Obi’s solitary journey of discovery is the pinnacle of a rich career working as a visual artist, fine art and fashion photographer, publisher and master teacher. At a time when the incessant drone of bad news is increasing, Amazing Nigeria reminds us of the power of art to transcend the ordinary and urgent; it is Amadi-Obi’s commitment to ignite hope and change our perceptions. He urges us to be still and reflect on the reality of our beautiful land, draw inspiration, and renew our vision.

    “I believe perception often becomes our reality. It is how we look at the world around us. The digital world and books have become agencies from which perception collates. We form a conclusive opinion of a place without ever visiting it because of the impression fed,” explains Amadi-Obi.

    He disclosed that with the project, he decided to go on a journey to discover Nigeria for himself, experiencing the pitch-dark caves of Ogbunike to the cascading waters of Agbokim and Obudu Mountain where the beauty of nature has no end, adding that the images represent the beginning of a journey to discover the true beauty of Nigeria.

    Revealing some of his on-the-spot discoveries, Amadi-Obi said that a visit to the Osun Oshogbo shrine shows a well-preserved and managed grove and relatively cheap to go to. “The management of the grove is constantly restoring the sculptural pieces and artworks while in some places, there is less infrastructure to attract tourists. At Ogbunike cave, the government has built houses but no one is in there. It was locked. A guide that took us around came in with a bike from the town. Meanwhile, there are few structures on the ground with no one managing them.

    “Ogbunike cave is very pitch-dark just like any other cave. I was able to make my studies about cave photography before I embarked on that. Ogbunike is very dark and inhabited by bats. So, I have to go there with portable lights to enable light shooting. This is one goal I intended to achieve because everyone who has been to Ogbunike would confirm that it is completely dark. But with these pictures, I succeeded in revealing the beauty of the cave from the inside,” he said.

    He stated that one of the challenges in harnessing some of Nigeria’s endowed tourist sites is negligence by the government. According to him, some places have not been developed at all. Places like the Mambilla Plateau are like several local governments on the mountain. There are no roads, just a track lane. The only mobility to the mountain is by bike or distant trekking. He said it is an amazing place to be with sightseeing views on top of the mountain.

    “For the Awhum Monastery, it is made sacred for spiritual upliftment. It is managed by Nuns who guard it jealously to prevent fetish worshippers on the ground. There is a Virgin Mary image there to represent the essence of the place while encouraging people to visit, worship and feel free, instead of turning it into a sort of secular jamboree,” explains Amadi-Obi.

    Amadi-Obi said one of the major aims of the project is not just photography but about telling Nigerian stories. “Nigeria is a great country. We just need to see it, believe it and work towards its greatness through a believable story like this. This is one of those steps to reveal the different layers of not just our topography alone but how endowed we are,” he said.

    He said one of the major aims of the project is not just photography but telling Nigerian stories. “Nigeria is a great country. We just need to see it, believe it and work towards its greatness through a believable story like this. This is one of those steps to reveal the different layers of not just our topography alone but how endowed we are,” he said.

    He also explained that the concepts and beliefs of national integration towards one indivisible nation are just a mindset. According to him, most times, Nigerians are never divided when listening to music or watching sports. They tend to forget their differences in such moods which could also reflect in a project like this.

    “I do find it awesome how vast Nigeria is, but get more worried when the entire region is not secured. People are compelled not to travel as much as they could because of these challenges, but the whole issue here is about perception. For instance, people have always been curious about the Mambilla Plateau. Each time anyone travels, he learns something new out of curiosity.

     ”This, in a way, is an instrument for national integration because it tends to being  information about places, opening people’s minds about the people and culture. When that starts to happen, integration takes place. However, there are simple things that need to be put in to create that tourism attraction. Most of these sites do not need massive infrastructure to get them running. It could be just good roads for vehicular movement, or hotels for lodging because nature has already provided the entertainment.”

    For instance, I was in Riyom to see the famous Riyom rocks with triangular shapes. But when I got there, I met a small community of farmers around the rocks. I curiously enquired if they make money out of the site, but to my surprise, they said no, that they were just farmers occupying the place as home. However, if there is a basic infrastructural development that would attract visitors, the natives can reap the economic benefits of the nature around them. Even at that, souvenirs can be created out of the wonderful beauty of nature around them.

     The exhibition curator, Sandra Mbanefo Obiago, founder, SMO Contemporary Arts said: “At a time when the incessant drone of bad news is increasing, ‘Amazing Nigeria’ reminds us of the power of art to transcend the ordinary and urgent; Amadi-Obi’s commitment to ignite hope and change our perceptions of our country, and of what truly represents Nigeria in all diverse complexities.”

    Amadi-Obi is multiple is award-winning photographer whose images have been showcased in leading global publications, including Vogue Italia, Emporio Armani, Forbes and Microsoft, among others.

    The  lawyer-turned fashion photographer and mentor to a generation of creative talent in Nigeria’s fashion, film, music, art and celebrity circles took this meditative journey into the heart of his homeland after a rich career spanning over 20 years.

  • ‘How experience can attract foreign tourists’

    ‘How experience can attract foreign tourists’

    Father of Nigerian Tourism and former president, Association of Tourism Practitioners of Nigeria (ATPN), Chief Mike Amachree has tasked private sector tourism industry practitioners to be proactive and aggressively market the country as a leading tourist destination in Africa.

      He said it was the only way the country’s tourism industry could attract foreign tourists and grow as a destination.

    Amachree recalled that him and  other tour operators attended tourism programmes and fairs in various parts of the world with flyers and brochures to market Nigeria. His words: “People like Jemi Alade of Jemi Alade Tours, Wanle Akinboboye of La Campagne Resort, myself and others used to go to different tourism events to market the country.

    “With the advent of the internet, marketing the country as a destination could be done physically and through the net. I urged the practitioners to use these avenues to aggressively market the country to foreigners. I also urge them to partner  locals to develop more tourist sites and products that will grow the industry.”

    He said there are many attractions  across the country that are yet to fully develop as tourist sites that local and inbound tourists can visit.

    The tourism guru, who was part of the development of many tourist sites in the country, urged council chairmen and wealth-to-do individuals to invest in the building and development of tourist sites in the country. He said: “In the past, as ATPN President, with my team, I moved around the country, visiting known and unknown tourist sites to publicise and draw attention to these sites.

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    “I remember visiting Bauchi, at the mausoleum of former prime minister, the late Sir Abubakar Tafawa Balewa. I saw that it was a tourist site that should be developed and publicised for people to come and visit, I drew the attention of the state authorities. With the support of the state tourism board, I quickly corrected this by making the site more accessible to tourists. I also allotted shops to souvenirs and artefact sellers. Today, it is one of the foremost tourist sites to visit in Bauchi State.

    “There are so many places like all over the country that need to be discovered and packaged as tour sites.

    Amachree urged the practitioners, especially tour operators, not to wait on the government but should do things on their own when the desired help from the government is not forthcoming: “It is our industry and we must do everything to keep it alive.’’ 

    We don’t have to wait for the government until they develop the industry for us.”

    He used the opportunity to commend private sector industry practitioners for their resilience and ability to forge ahead post COVID-19. He said: “I want to use this also as an end of the year message to my colleagues in the industry. I know the year has been very challenging especially in the light of the huge loss suffered during the COVID 19 pandemic. I commend them for bouncing back despite not getting the desired help from the government. They should continue the good work and I am sure soon Nigeria will become the desired destination we want it to become.”

  • Meditation on Nigeria’s trajectory

    Meditation on Nigeria’s trajectory

    My story is a tale of a bard who has lived through an impasse. It is a tale of many failed attempts. It is a tale of survival in a country where nothing works. It is a tale about little inside jokes that only those who wear my shoes can fully appreciate. It is a tale about ‘elder days’ and my transition into contemporary madness and curated cacophony. I never knew the span of it is this humongous, until I lifted my head from the easel. I am telling my tale with ink, with hues with impasto, with marks, on paper, on linen, on cotton, on wood. I hope that you can relate.”

    These statements are pointers to understanding the form, style and philosophy behind the recent solo exhibition by Muyiwa Akinwolere entitled Introspection, which opened at the Thought Pyramid Arts Centre, Ikoyi Lagos on December 10 to 30.

    The exhibition, which first opened at Yusuf Grillo Gallery School of Arts Design and Printing, Yaba College of Technology, Lagos on November 8, last year, featured most recent paintings and drawings. Thematically, Muyiwa’s body of works though appears child-like, but it addresses relevant issues, stimulates creative conversations and provides possible answers to both simple and complex questions confronting the society.

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    Having gone this far in his professional practice since his years at Osogbo, where he encountered the works of great artists such as Susanne Wenger, Duro Ladipo and Twin Seven Seven, this travelling exhibition could serve as a crucial self-assessment.

    Upon graduating from the university, he experimented with ideas in his head via drawings. He fused elements from Ona with caricature figures from way back in his secondary school days and soap stones carvings that he saw during his Osogbo years.

    And gradually a distinct hybrid form began to emerge that was slightly figurative, but mostly abstracted. Ever since then, his art has transformed a great deal to the extent that he uses it to comment on social and political issues in the society in a satiric manner that borders between metaphor, hyperbole and sarcasm.

    Muyiwa’s works are inspired by the Onaism movement which is synonymous with the University of Ife where the pioneering proponents patterned their art after the works of Yoruba traditional carvers like Arowogun of Osi- Ekiti and his protege, the late Lamidi Fakeye.

    Over the years, this style of art has become the cannon through which students of the fine art department of the university were taught and expressed themselves. The proponents were Moyo Okediji, Adetola Wewe, Kunle Filani, Babatunde Nasiru and Bolaji Campbell. To Muyiwa, Onaism is the cradle of his art practice.

    Like his forms and content, the titles of his works are not only readily within the language register of viewers but also amusing and sarcastic at times. Little wonder titles such as All that is fair and foul, Dey your dey series, Upside down and Regbe regbe are common place in his exhibitions.

    In Èmi l’ó kàn for instance, Muyiwa depicts a tortoise leading an elephant to fulfill his self-centred ambition, as a commentary on the entitlement and egocentric attitude of  politicians.This and other works provide window of opportunity that will engender conversation in the political space.

    Curator of the exhibition, Mathew Oyedele recalled that as keen observer, Muyiwa draws from his observation to address and comment on social and political issues in the society in a satiric manner that borders between metaphor, hyperbole and sarcasm …

    “In this campaign season, the Nigerian landscape is filled with happenings and events that require introspection, questioning, commentaries and dialogue. This exhibition offers the space for such conversations,” he said.

    The exhibits include Army of the unemployed (ink on paper), -Mimo mimo mimo,  (ink on paper), Untitled, New strains series (ink on paper,  Mai Tamako (ink on paper), We are together, Upside down, The return, Oba koso, Tales by moonlight, -That ludo game, and Whispers in the dark (ink on paper). 

  • Osiyoye’s Tiny Mercies reflects vagaries of life

    Osiyoye’s Tiny Mercies reflects vagaries of life

    Title: Tiny Mercies

    Author: Rotimi Osiyoye

    Reviewer: Chukwuma Ajakah

    Publisher: Out of Sight Hub, 2022

    Pagination:  39

    In this engaging collection of contemporary poems, media and brand management expert, Rotimi Osiyoye extensively explores a wide-range of socio-psychological and economic issues that readily resonate with readers from diverse backgrounds.

    The anthology entitled: “Tiny Mercies” is structured into four divergent but thematically interrelated parts with riders streamlining the intended message. Part 1, The Root, features 11 poems, including the title poem.

    The Root opens with Heartbreak, a two-stanza didactic poem of 32 lines, which hinges on a no love lost filial relationship. Other poems in this segment chronicle some societal ills, revealing themes of neglect, moral depravity, gender-based violence, abuse of power, hypocrisy and terrorism.

    As exemplified in the satire, Equity, the poet explores multifarious thematic concerns, using literary devices and poems that the reader will find captivating. The subject matter of a decadent society is portrayed in Equity, unveiling themes of moral decadence, corruption and lawlessness as mirrored in the lines: “What do we do with the arrogance of a country?/Roads: serving accidents; hospitals: force-feeding/accident victims/death?/Our prisons, so bloated they leak rapists, murderers & felons/…judges collect bribes to forget those/ torched/…Where is your justice/for the officers who decorate our bodies with bullets, kill our children …?/Tell us, what to do with…/ politicians, thieves, terrorists…/whose joy is tearing up our country…”

    Part 2, In Flight, is a travelogue, depicting themes of escapism, rural-urban migration in quest of greener pastures, racism, separation, peer pressure, hope, resilience and disillusionment, which resonate stridently in the four poems – Deserving Blues, Lorry, Reunion in Manchester, Arrival On The Last Day Of August, E Go Be and Migration. As revealed in Migration, a two-line poem etched in a mixture of metaphor and personification, the poems are replete with images of adventurous survivalists, exposing the travails of migrants in cities, especially foreign lands. 

    Part 3 subtitled, God, focuses on religious faith, emphasising the indispensability of God, as the persona struggles to navigate through life. The select poems – Nothing New, Dear God, A Few Signs, and Have Faith, expose man’s frailties and attitude towards God, echoing the message of salvation as panacea to his myriad of troubles.

    Love is the overriding thematic preoccupation of the lyrical poems in Part 4. As instantiated in Not All Losses Are Bad, which mirrors the theme of separation, each poem in this section encompasses subthemes such as infatuation and regrets.

    Osiyoye, an alumnus of Olabisi Onabanjo University, Ogun State and University of Lagos, works within government frameworks, re-engineering brands for governmental agencies.

    He is also the author of ‘Digital Affection: New Frontiers for Relationships’.The political scientist brings a wealth of experience to bear in his writings.

    The simplicity of language and admirable style in the delivery of “Tiny Mercies” make the anthology a must read.

    •Ajakah, a journalist, writer and academic, is of the Lagos State University, Ojo.

  • Motherland the musical: Nigeria’s difficult, chequered story

    Motherland the musical: Nigeria’s difficult, chequered story

    The night was a peculiar one for the audience. The menu was a mixed grill of a sort for an audience of varying psychographics. It was also tasking for the thespians (cast and crew of 90) to tell the difficult and chequered story of Nigeria to such a gathering.  Welcome to the exclusive opening of Motherland the musical held at the Terra Kulture Arena on Victoria Island, Lagos last Friday.  

    While some have been part of the over six decades of chequered history of Nigeria, many such as youths (Generation Z) simply were not only indifferent but also unimpressed. At first, it seems the old generation was a failure, little wonder the youths said: “You had your time, this is our time.” A clarion call that seems to be attracting huge followership this season of electioneering.

    The duo of Chinedu (Francis Onwochei) and Hassana (Tosin Adeyemi) represented the old generation middle class Nigerians and were on the hot seat all through the performance explaining and defending bad governance that has characterised Nigeria in the last 62 years.

    Unfortunately, their submissions were drowned by the vociferous youths, claiming the old has failed them. The likes of Julius Obende who were in large number stood for the young generation who are demanding their rights to lead. The two hour performance produced by Bolanle Austen-Peters Productions is a story of Nigeria that bleeds while being raped raw by conflicting interests of politicians and the military in her 62 years of existence. In essence, using dance drama as medium the musical chronicles the near failing state of Nigeria, which prompted the large population of the youth to rise for a change and perhaps plot to take the driver’s seat in 2023.

    Symbolically, in the musical, Prince Shalom Mohammed of YCP represented the growing interest of the youth led the campaign of protest and condemnation of past leaders performances.  Without mincing words, they believe the old brigade which Chinedu and Hassana represented have not only betrayed them in the political missteps, but have also denied them participation in governance.

    In attempt to explain the challenges faced by the old generation these past years, especially middle class, Chinedu recalls that the struggle for the soul of Nigeria was so extreme resulting in riots, violence, coups and wars.

    “Even when the then Head of State, Gen Yakubu Gowon declared there was no victor, no vanquished after the war, we were all vanquished. Hopefully we have learnt our lessons,” Chinedu sobbed.   

    Motherland the musical is coming on stage at a time when the political landscape is being shaped by the outcome of  October 2020 #EndSARS protest that rocked the country. Consequently, there has been a rising political consciousness among Nigerian youths, a development that is further amplified by the musical.Last Friday night was a fresh reenactment of the difficult Nigerian story told unusually from a youth perspective to capture the current dominant narrative.  

    It was not all knocks from the youths as they acknowledged the contributions of icons such as Funmilayo Ransome Kuti, Fela Anikulapo Kuti, Gani Fawehinmi, Aminu Kano among others.  They show respect only to deserving parents and elders and not those who have sold their birthrights for a crumps.

    Artistic Director, BAP Productions, Mrs Bolanle Austen-Peters said the musical will be on stage at the Arena till January 2, 2023. She, however, noted that to tell the Nigeria story was a very difficult and chequered one hoping that ‘we get a better Nigeria in future.’ She thanked the sponsors MTN and Amstel for their continued support.

    If this narrative captured by Motherland the musical is a true reflection of the pulse of the youths, how does the old generation sell its messages to these politically conscious youths in next general election?The task is as difficult as telling the story of Nigeria in Motherland musical.  

  • ‘Save my life’

    ‘Save my life’

    The saying If wishes are horses, beggars would ride applies fittingly to James Oloruntosin Molehin at this time. His greatest wish today is to have his life back and live a normal life again .  For that to happen, he needs you, kind hearted Nigerians and other well-meaning members of the society.He needs N20 million to do a kidney transplant, and he has just three months to get this done or else, he is a dead man.

    Molehin, should be a man of means – In his late 50s, Molehin, who hails from Ode-Erinje in Okitipupa Local Government Area of Ondo State, is a graduate of Accounting, from the University of Lagos, Unilag, and Fellow, Institute of Chartered Accountants of Nigeria, ICAN,  He was a management staff of MDS, the logistics arm of UAC Plc, Lagos.

    But all that is history now. His life took a dip for the worse around November, 2018, when he was first diagnosed of Chronic Kidney Disease CKD, due to prolonged ailment. The ailment forced him into early retirement in 2020, to help him recuperate.

    He has been in and out of St Nicholas Hospital, Lagos – seeking the best of help and solution to overcome the ailment, all, at least up to this point, to no avail.

    Life for him in the last five years had been lived on the needles. He had lived this far, on the benevolence of machines. But that has not come cheap. Like the waster that the ailment was, the CKD had eaten him up, reducing him from a man of means to a man with nothing.

    “The ailment has taken a toll on my life savings and retirement benefits as I have to undergo excruciating dialysis between two to three times weekly at an average cost of N55,000 per session, excluding emergencies, breakdowns, ambulance charges among others,” Molehin said.

    Because he cannot be on dialysis forever, he needed to do a kidney transplant, but there is nowhere else to turn than to seek those with milk of kindness to rise up for him and give him an opportunity to live again.

    Married with four children who are barely graduates but yet to secure any job and wife, who, also has retired from her job at LUTH, and who has spent all she had on his ailment, he had nowhere else to turn.

    He said: “I’m left with no option but to make this passionate appeal to all public- spirited Nigerians, home and abroad, corporate bodies, government, as well as non- governmental organisations, (NGO) to urgently come to my aid to help me raise the sum of N20 million required by the Hospital Management handling my case within a timeline of three months to enable me get kidney transplant so as to live my normal life once again.

    “In light of this, I humbly seek your help, for no amount is too small to donate to save a life today!”

    He has 90 days to live, and before his health would dip and take a turn for the worse, had decided to cry out perhaps, he could get someone out there to help him achieve his dream to live again.

    For anyone who may be interested in giving him a second chance, Molehin said they can assist him by donating to the James O. Molehin Kidney’s Transplant Fund through:  Zenith International Bank Account Nunber: 1003384335, while anyone who wanted further information or clarification could reach him through his two lines: 08050238412 or 09166056210.    

  • Niger Delta pageant begins screening

    Niger Delta pageant begins screening

    Screening and selection of contestants for the 19th edition of the Miss Niger Delta Peace Cultural Pageant began in designated states in Niger Delta last Friday. It will run till January ending.  

    According to the Director, Communication and Media of the Miss Niger Delta Peace Cultural Pageants, Ms Karina Israel, screening of contestants is expected to hold at three zones to promote effective participation of young females of the Niger Delta.  

    Contestants from Delta, Edo and Ondo states will have their screening centre in Delta State while contestants from Bayelsa, Rivers and Akwa Ibom states will have their screening in Rivers State. Contestants from Cross River, Imo and Delta states will have their screening in Imo State.

    Karina said contestants are expected to register online and it is free while forms can be obtained in the nine states from designated universities and polytechnics approved by the organizers.

    “The competition will take place next year and the winner of the competition will go home with a car, become an ambassador for Peace and Development, acquire skill acquisition, training programmes and there will be cash awards for all contestants. 

    “The Miss Niger Delta competition is poised to create empowerment of female youths of the Niger Delta, identify and promote talents. Also, it encourages young females in the Niger Delta to be self-reliant, focused and hard working through meaningful engagements of young females in the Niger Delta. The Miss Niger Delta Peace Cultural Pageants started in 1999 and was put on hold due to the COVID-19 Pandemic,” she said.