The just-concluded Sterling Leadership Series was marked with several highpoints, chief of which was Africa’s nexus to the global civilisation. The event headlined by United States scholar Prof. Howard French of Columbia University took guests on a journey of how Africa has impacted the success of the Western world. EVELYN OSAGIE reports.

The just-concluded Sterling Leadership Series was marked with several highpoints. From Africa’s nexus to the global civilisation to rethinking the future of Africa in the era of the new normal and the unveiling of “A Possible Future”, a book by 46 literary authors on Nigeria – past, present and the future.

Prof. French, who was a guest speaker at the hybrid 4th edition of the Sterling Leadership Series with the theme: Born in Blackness: Truth, Lies and X; over the weekend in Lagos, contended that it was gold from Ghana and slaves from the rest of Africa that served as cheap labour for three and half centuries during the slave trade that made the difference in terms of Europe’s economic prosperity compared to other parts of the world.

The Sterling Leadership Series, which highlighted Africa’s iconic past marked by Westerners discovery of its rich treasurers to what the future holds for Africa.

The leadership series, which is in its fourth edition, has featured notable speakers in past such as Nobel Laureate and poet; Prof. Wole Soyinka, former Minister of Communication and Technology; Dr. Omobola Johnson, and Yaw Sarkoh, former Managing Director and CEO of Unilever Nigeria Plc.

The Chief Marketing Officer (CMO) of Sterling Bank, Dapo Martins said: “The Sterling Leadership Series is a platform to bring together a diverse group of opinion leaders and global thinkers to share their views and experiences to shape perspectives on key issues, and inspire others to contribute to the reimagining of a more stable socio-political environment in Nigeria in particular, and the African continent in general.”

Speaking on the inspiration for this year’s theme, Martins said: “As a people, we tend to focus on today as our major challenge,” noting that, “Most Gen X, Millennials and Gen Zs are out of sync with history because the few that are informed have an easy tendency to neglect the actual reasons behind today’s actions, and are conditioned to quickly forget the past. This creates a worrisome loop in which we are set to repeat history’s mistakes, time and time again.”

Prof. French is an author of five books, photographer, former foreign correspondent for the New York Times, a Professor of Journalism at the Columbia University Graduate School of Journalism and has been an instructor since 2008.

He took guests through how Nigerians/Africans, got to where they are, their thinking; and the shift in thinking required to kick-start a better tomorrow today.

Prior to re-entering the ivory towers, Prof. French was an instructor in Cote D’Ivoire in the 1980s before becoming a reporter and international correspondent for the New York Times, where he wrote extensively on West and Central Africa.

According to Prof. French, who first visited Nigeria in 1977 and in the ’80s, Africa provided gold and cheap labour, in the form of slaves, for the transformation of Europe into a prosperous and economic zone in the 19th century. He focused his speech on what Africa has given to the world, especially the Western world.

He argued that it was Africa’s wealth and labour that enabled the settlement of the Western Hemisphere and ensured the transformation of that part of the world into a prosperous economic zone. In addition, he contended that it was gold from Ghana and slaves from the rest of Africa that served as cheap labour for three and half centuries during the slave trade that made the difference in terms of Europe’s economic prosperity compared to other parts of the world, adding that remarked that the enslavement of Africans was the basis of economic life in Barbados, which the British took over in 1630.

“Without Africans, the prosperity of Europe would never have happened on the scale it is today. Europe would have been a minor player in the history of the modern world. It is Africa and its people that made the difference for Europe. Recently, I was working on my book so I decided to do some research on the 15th century and I discovered how the Europeans, Portuguese especially, have spent a lot of that century on engaging the Africans and trying to build a relationship with them.  The Portuguese interest in Africa began when they were struggling economically and they sailed through the sea and discovered Africa. They were the first to discover gold in Africa before they moved to Brazil because they were the earliest explorers. They were followed by the Spanish while the British were late comers to territorial expansion in Africa.

“The French, looking at the English, would say we can’t let the English run away with all of this black wealth. We have to do this too. And so the French came looking for what’s left in the Caribbean and this is how they got hold of Martinique and Guadeloupe, which are also known today as the Eastern Caribbean. England couldn’t challenge Spain directly in naval terms because it didn’t have the wealth and power that Spain had but it caught up with the other countries with the help of Africans that were taken as slaves to grow sugar in Brazil,” French, who had worked with the New York Times as a foreign correspondent, said.

Expressing his love for the nation, he admitted that there are a lot of changes since his first visit in 1977 and in the ’80s, and noted that to change the people’s mindset bothers on how we tell our story and how our people connect with the story. According to him, Nigerians have to invest more in educating their people than religion. Education of high quality will make people take religion seriously without force. “Every young person without a quality education is a liability for the country in the future. Nigeria has large numbers of smart, intelligent youths that the leaders need to invest in to attain that height they crave.” he said.

The 411-page book: A Possible Future, which covers the period from 1789 to 2018, was curated to preserve the gems of Nigeria’s literary history, promote a reading culture in the country, according to the organsers. It features some of the best works of 46 Nigerian literary authors, including Olaudah Equiano, D.O. Fagunwa, Gabriel Okara, Cyprian Ekwensi, Obotunde Ijimere, Chinua Achebe, Duro Ladipo, Chukwuemeka Ike, Christopher Okigbo, Elechi Amadi, Wole Soyinka, Ola Rotimi, J.P. Clark-Bekederemo, Ken Saro-Wiwa, Isidore Okpewho, Mobolaji Adenubi, Buchi Emecheta, Femi Osofisan, Niyi Osundare, Tanure Ojaide, Odia Ofeimun and Ben Okri, among others.

As part of its activity of the Governing Board of the Nigerian National Merit Award (NNMA), it is organising the Annual Forum of Laureates. While this year’s Forum, which opened yesterday, had as theme: “Building Nigeria Through National Integration” and Prof. Babagana Zulum as Keynote Speaker, Poet Laureate Prof. Niyi Osundare NNOM is delivering the 2022 Award Winners’ Lecture today at the Merit House, Abuja, from 9am.

The laureate who won the award in Humanities in 2014 will be delivering a lecture entitled ‘’Poetry and the Human Voice’’.

Speaking on to The Nation on the focus of his lecture, Osundare stated: “In the beginning was not the Word/In the Word was the Beginning ….Tracing poetry back to its oral source. Reasserting the primacy of the Spoken Word as far as poetry is concerned…. Examining the journey of Nigerian poetry from page to stage to screen. Reconciling the Human mouth and the Human ear…”

The Chairman, Nigerian National Merit Award Governing Board, Prof. Shakarau Yakubu Aku, “The theme and sub-themes were carefully selected to reflect the needs of the nation and also relate to the ongoing issues of the present situation of Nigeria. May I also use this medium to invite you to attend the upcoming Forum as various national issues fall squarely within our common areas of concern on different aspects of the theme of the Forum.”

As British sovereign Queen Elizabeth II of England and the Head of Commonwealth of nations passed away to eternal glory after 70 years of reign, her bronze statue by Africa’s foremost 20th Century Artist, late Prof. Ben Enwonwu resonates in farewell. She became the Queen of England in 1952 through ascription, a formal rule of succession which qualified her to rule until death. The Queen belonged to the elite class of the rich, privileged, globally famous and powerful. She occupied a prominent status in the social structure of Great Britain and the Commonwealth in which she played important roles in the life of nations and nationals, including Nigeria as a crown colony which became independent in 1960.

The introduction of Western education in Nigeria led to the arrival of an English art teacher, Kenneth Murray in 1927. Ben Enwonwu became one of his art students in Government Colleges at Umuahia and Ibadan in the 1930s. Upon completion of his secondary education, taught art in schools, had his first solo-exhibition in 1942 at the Exhibition Centre, Marina, Lagos. Through the exhibition Mr. Harford, Director of Shell-Mex of West Africa offered him a scholarship to study at the Slade School of Fine Art, London and graduated in 1947. He did a postgraduate course in anthropology and ethnography at U.C.L and L.S.C. He came back in 1948 and was appointed art supervisor and later rose to the position of an Art Adviser to the Nigerian government. Between 1948 to 1957, he had established a professional reputation unparalleled in modern Nigerian art and Africa as a whole. The professional feat was attained through numerous art exhibitions, public lectures and public commissions locally and internationally. Mr. Enwonwu was honoured with an M.B.E by the Queen in 1954 out of several other awards. He was commissioned by the Nigerian government to sculpt the Queen to commemorate her visit to Nigeria in 1956 as prelude to Nigeria’s independence.

Enwonwu’s statue of the Queen generated controversies as criticisms varied from political, sociological and anthropological. The mostly White critics argued that it was impossible for a black artist to do a portrait statue of the Queen without giving it an African interpretation. There where those who were shocked that Enwonwu had the audacity to sculpt the Queen. Many wondered how an African boy had been given such a privilege. Others were of the view that if he captured the likeness of the Queen, the representation must be from an African point of view. The art critic, Eric Newton, stated that “only when hand and chisel and imagination are in complete harmony the confidence seen in Enwonwu’s work occur”, an affirmation of the artistic merit of the statue from deep knowledge in humanity.

Enwonwu replied his critics, that the statue contains a certain innate African characteristics despite true representation of form was the touch of genius. He stated that the hallmark of achievement was in the representation of quality and its trueness to nature. This writer opines that it is very difficult to paint or sculpt portraits from a life model; most Artists would take the easier route of copying photographs. The professionalism in portraiture lies on working from a life model as was in the Renaissance tradition which provided a richer understanding of forms, interpretation of the sitter’s character and the validity of draughtsmanship.

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Enwonwu observed that the Queen was a symbol of the British government and one of the highest any Artist can achieve. He stated, that the Queen does not sit for any Artist unless such an Artist has the skill, you don’t just walk up to the Queen to request she sits for you. It is a diplomatic arrangement by governments and governments have Art Advisers to advise whether an Artist is good or not. For all that the Queen represented and her clout, it was indeed an honour for Enwonwu to have her sit for him as a proof of professional competence and attainment. By the Queen’s statue Enwonwu scored highly in promoting the international relations between Nigeria and Britain, exemplified the strategic partnership in building people to people ties and as a tool that promoted parliamentary democracy as the statue was meant to be at the House of Representatives at the time.

The statue has some innate qualities of African embodied expression in terms of its composition, the still and upright frontal pose, the chiseled-like textured surfaces and the freedom of stylised treatment of drapery in a manner that suggested African wood carving techniques. Unlike the traditional African artists who used 1/3 head to full-figure proportional guide, Enwonwu’s proportional approach was purely Western which relied on photographic representation of the Queen’s likeness. He created a hybrid-aesthetics which combined African and Western art conventions in a continuous parallel between antiquity and contemporaneity. This became the history and practice of contemporary arts and the lens for understanding the continent’s arts and societies.

Enwonwu’s strong international acclaim in art positioned contemporary African art at the world stage. As the first Black man, African Artist to sculpt the Queen, he broke racial barriers and questioned racial prejudices as one sufficiently gifted to sculpt the Queen in the same manner equal to the Greco-Roman classical art tradition. The Queen statue was depicted in the classical retinal beauty in contrast to stylistic stereotypes ascribed to African art as grotesque representation, and their artists incapable of the perceptual realism of Western art. For this reason, African art with misunderstood canons was described by Western art scholars as primitive artifacts, curio objects and not considered as art.

Enwonwu was bestowed with the highest academic award of Nigerian National Order of Merit Award (NNOM) in 1980, for outstanding contributions in art. As the arts community in Nigeria bid farewell to the Queen, we reflect on the state of Nigerian contemporary arts today. There is no befitting architectural edifice for Nigeria’s National Gallery of Art in the Federal Capital Territory, Abuja where people can go to see the historical development of Nigerian modern and contemporary arts, enjoy its tourism and leisure assets and educational value for mass literacy, the same way we view the  National Gallery at Trafalgar Square, London as an important British tourism hub housing works of arts dating back to 12th century.

The proposal for establishing National Gallery of Art was written by art scholars. Its management is ideally an intellectual position but unfortunately it has been left in the hands of those without the requisite education in art and curation against the background of international best practices. This is uninspiring and leaves the (NGA) without a constructive contemporary arts future.

 

• Prof. Ecoma is Head, Department of Fine & Applied Arts,

University of Calabar. 

Head, Fine and Applied Arts Department, Lagos State University of Education, (former Adeniran Ogunsanya College of Education), Otto-Ijanikin, Dr. Biodun Kafaru has said that the department has set a five-year development plan to stabilise arts studies in the university. He said this period will afford the department the opportunity to improve on the quality of its existing human and material resources with a view to creating a unique selling point for its products in the global art market.

Dr. Kafaru who spoke at a preview session of a maiden group art exhibition titled, Transmutation, organised by the department in Lagos, said the exhibition will feature works by 16 art teachers in the department. The group show will open on December 10 to 17 at the National Museum, Onikan, Lagos.

“Since I joined the institution, my passion is to create a school of thought for the institution and it is evolving. The exhibition is organised to showcase to the world that the College merited the varsity status. And by the time we are marking the five years anniversary, we should be running the Masters and Phd degree programmes. The department is given the approval to run a BA Fine Arts and B Ed,” he said.

Dr. Kafaru disclosed that experienced art teachers such as Prof Banjo Abiodun and Dr. Kunle Adeyemi are part of the human capacity of the department, noting that Dr. Adeyemi is being brought in on part time basis for now in order to share his experiences in printmaking.

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The exhibition is the first outing the department will have as a group host outside of the institution since the days of the college.

The exhibiting teachers include Dr. Kunle Adeyemi, Dr. Biodun Kafaru, Dotun Oluwa, Jagun Kehinde, Suluka AB, Azeez Rasaq, Rasheed Amodu, Ajayi Noah, Odunsi Adeyemi, Oridola Ibrahim and Shidi Yusuf.

The exhibits that will be on display include Clarion call, Rehearsal, Unity in purpose, Ori leja…, Meal time, Lagos on show among others. Lagos State Governor Babajide Sanwo-Olu is expected to be special guest of honour while Prince Yemisi Shyllon as chairman of the opening ceremony.

One of the sponsors of the show is Oba Adeshina Raji, Oniba of Ibaland, Asade 1 is one of the royal fathers of the day.

According to the organisers 20 percent of the proceeds from the exhibition will be dedicated towards the development of the department.

 

 

Ozolua Uhakheme
Assistant Editor (Arts)

Yuletide celebrations will start early for the people of Remo, as the entire Remoland with headquarters in Sagamu, Ogun State, will be agog from the first week of December, with the celebration of the fifth coronation anniversary and 60th birthday celebration of its paramount ruler, the Akarigbo of Remo, Oba Babatunde Adewale Ajayi.

The celebrations, which will commence from Friday, December 2, will span seven days of activities to climax on Sunday, December 11.

The chairman of the planning committee for the twin celebration, Otunba Seni Adetu, said: “The double celebration is not just to socialise and make merry. Our intention, in addition to all of that, is to showcase Remoland, most especially the laudable achievements of our dear Akarigbo in the last 5 years of ascending the throne of his forebears. We also want to use this opportunity to reveal some projects that give insight into the endless/limitless possibilities that abound in Remoland. Apart from the completed projects, we have some that are work in progress, as well as those categorised as short, medium, and long term projects targeted at meeting current and future needs of Remonians.”

Unveiling activities lined up for the week-long celebration at a briefing with selected journalists at the sprawling Akarigbo palace in Sagamu, Adetu stated that there will be a commemorative Islamic prayers on Friday at the Sagamu Central Mosque. On Saturday, December 3, the youths of Remoland will converge at the Remo Stars Stadium Ikenne for what promises to be a fulfilling Sporting Day. This will be followed by a dedicated Thanksgiving service for Kabiyesi at St Saviour’s Church Ikenne on Sunday December 4 respectively.

Monday, December 5, His Royal Majesty’s birthday will be celebrated at the Akarigbo’s Palace.

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“As Wednesday, December 7, marks the exact day five years ago when he ascended the throne, Social Clubs and Remo people are expected to participate in a homage-paying ceremony with a cultural display to honour the Akarigbo on that day.

The Akarigbo Golf Tournament enters its fourth year and has been integrated into the coronation anniversary ceremonies. This will hold on Friday, December 9 at the Lafarge Golf Course, Sagamu.

The coronation anniversary will come to a beautiful close with a grand reception for the Akarigbo with dignitaries from the government, corporate organisations, the diaspora and the diplomatic community in attendance on Sunday December 11, with the famous Master Guitarist, King Sunny Ade at the Band Stand.

For the record, Remoland is situated in the Southwestern part of Nigeria. It has three out of the 20 Local Governments in Ogun State. t is bounded in the Northeast by the Ijebu North Local Government of Ogun State and Ago-Iwoye villages. It is also bounded in the North by Obafemi Owode LG of Ogun State with Owode Egba.

The committee also highlighted the strategic location of Remoland, the friendliness of its people, citing the various businesses that have made the area their base, and inviting prospective businesses.

A short video showcasing the potentials of the community was also played to further give the media and the business community an idea of the people’s friendliness.

The committee includes chairman, Otunba Adetu; Asiwaju Solomon Onafowokan; Aare Kola Oyefeso; chairman, publicity sub-committee, Princess Adenike Adedoyin Ajayi; Olori Olubukonla Osiberu and head sub-committee, Mr. Wole Ogunsanya, an engineer.

As Art Master Africa Competition by BIC Plc gets winners for this year’s edition, Nigerian ballpoint pen artists dominated the contest. Under the theme Celebrating Africa, it encouraged artists to create artwork that represents their personal identity and their unique perceptions of the African continent and its diverse cultures using the BIC ballpoint pen.

BIC has long been connected to art and regularly celebrates the creativity and originality of talented individuals.

This year’s Nosakhare Igbinosa’s for portrait entitled: “Bona” won first place. Hezekiah Okon for portrait titled “Proudly an African”, second; and Moses Ojeleye for portrait titled “Amaka”, and Dumbor Debeeh for portrait “Echoes of joy” came third place. Okon for portrait titled “Proudly an African” is the  national Nigerian winner.

Winning pieces were chosen out of 6,574 pieces submitted, marking a significant increase from last year’s. The art pieces were selected by a panel of judges which comprised experts from BIC, artists from the region, and previous editions of the contests.

The national winners across Africa were the following: “Celebrating Africa in Harmony with Wildlife” by Maiku Fred (Uganda); “African Culture portrait” by Griffin Lundi (Kenya) “Imwe hamwe na Kamere (One with Nature)” by Romeon Mwiseneza (South Africa); “Mother Africa” by Essadik Laila (Morocco) and “Africa with my pen” by Mouhamed Boudhri (Tunisia).

The Art Master Africa winner received a prize of $2,000, while second and third place winners received $1,000 and $500. National winners got $500 each as well as BIC hampers.

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Winners in Nigeria were celebrated at an event in partnership with Alliance Française de Lagos. A BIC Art Master Africa art exhibition kicked off at the Alliance Française de Lagos, which opened last Wednesday and runs until the December 12, 2023. At the event, a panel discussion, moderated by Jola Ayeye (host, writer, and storyteller), on building a sustainable art career in the African art industry took place. In presence of Claire Idera, Visual Artist, and Influencer; Fola David,

General Manager art in Nigeria Guillaume Groues said: “In its fifth edition, Art Master Africa continues to shine a light on ballpoint pen artists as they express themselves through creativity. Our flagship contest has seen tremendous growth year-on-year with higher participation numbers especially from Nigeria. We are proud of the platform that we have created for Nigerian youth and of the phenomenal artwork produced. This year’s results  are a testament to Nigerian youth’s creativity and dedication to the art industry.”

Expressing his delight, Director Alliance Française de Lagos, Marc Brebant, said: “Alliance Française de Lagos is delighted to host at its premises, the first-of-its-kind BIC Art Master Africa exhibition. Alliance Française and BIC share a mission that aims to promote art, culture, and education amongst youth. The quality of the artwork produced by the ballpoint pen artists is impressive. BIC has been a part of everyone’s childhood and it’s refreshing to see that the brand continues to be a part of people’s lives through various passion points.”

Igbinosa  expressed his delight: “I am ecstatic about winning first place in the 2022 edition. This is my third attempt at applying for the renowned ballpoint pen contest and I am grateful for the achievement and for BIC, a platform for self expression through art and creativity.”

Book review

Title: Asiwaju Bola Ahmed Tinubu in the eyes of Nigerians:

Authors: Waheed Obomeghie
and Dan Amor

Reviewer: Prof. Ayo Banjo (CON)

 

Emeritus Professor of English Ayo Banjo (CON), the man who wrote the introduction to the book, is not struggling for his place in the sun. As far as the world of English language is concerned, he is The Sun itself. Prof. Banjo, the only one to be the Vice Chancellor of the Premier University of Ibadan for two terms is certainly the largest and most crucial literary critic in the English language since the divine Walter Pater, the divine Oscar Wilde and the divine Northrop Frye. Prof. Banjo summarised a book, one of the best written biographies in human history, second only to the biography of Dr. Samuel Johnson, the dictator of the English Literary Club of his time, written by his bosom friend, James Boswell, into one piece.

The foreword to the book was signed by no less a personality than Mike Abumere Ikhariale, a first rate Professor of Constitutional Law and was one of the best Nigeria has ever produced, who became a professor of distinction at 32. The book which is a compendium of the views of notable Nigerians from all walks of life, on Asiwaju Bola Ahmed Tinubu, was co-authored by Wajeed Obomoghie and Dan Amor, two distinguished Nigerian journalists and world-class writers of note.

Whereas Wajeed Obomoghie is a national bibliotherapist who has written many books on the origin and tribal wars of his people, Dan Amor, is a culture journalist who has published many professional books to his credit. Asiwaju Tinubu, the subject of this already controversial biography, is a notable Nigerian politician who can squeeze water out of stone.

Admire or fear him. But you can’t ignore Tinubu, except you do that at your peril. No matter where you are, he influences your life through the political leaders that he has made; through the newspaper, television and radio houses that he has built over the years. He is, perhaps, Africa’s most successful politician and business baron. The story of his political exploits, as put together by these journalists and culture experts, is the story of the century.

Tinubu used his overwhelming influence to buy into the media industry in Nigeria because he knew long ago that there is an endless possibility in this age of communications. In this book, about 400 Nigerians of all walks of life talk about the possibility of Tinubu and a new Nigeria.

The co-authors or co-editors, Dan Amor and Wajeed Obomoghie, as students of historical literature, convinced that history is in art, not in science, have underlined the importance of Marx’s artful use of language, Carlyle’s gift for capturing the flow of history in time, Gibbon’s humour and his creation of a benevolent conspiracy between the reader and himself, Macaulay’s ability to propel inert facts into motion, and the literary artistry of other great historians.

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In the book, the co-authors show us how they create suspense among the over 400 commentators on Tinubu and how they feel like actual participants in all the actions Tinubu has taken all through his busy and active life. The authors did not only create suspense but balanced background and foreground. The book of about 60 chapters, opens with President Muhammadu Buhari who calls Tinubu a political strategist without whom, there would not have been APC and the ruling party would not have been in power.

The book ends with the remarkable remark by Senator Oluremi Tinubu, who said that it was the husband’s “kind eyes that attracted me.” For the president’s wife, Dr. Aisha Buhahi, Tinubu is “a politician above personal interest.” For el-Rufai, the Executive Governor of Kaduna State, Tinubu remains the best for Nigeria Whereas the Vice President, Prof. Yemi Osinbajo describes Tinubu’s years in politics as Tinubu’s “remarkable decades, for President Olusegun Obasanjo calls Tinubu “a thorough- bred politician of masters class.” Former President Goodluck Ebele Jonathan described Tinubu as “an exceptionally fulfilled man.”

Declaring that Asiwaju Tinubu wouldl not disappoint Nigeria, the Ooni of Ife enthused that “Asiwaju’s relevance is not in doubt.” The co-authors examine as well, the pudding molds employed by Victian historians to interpret the past and classics of historical writing, such as G.M Young’s Portrait of an Age and hod how G.M. Trevelyan continued the tradition of The historian as literary artist and examines Herbert Butterfield’s concern with the use and abuse of the past. He describes the threat to the art of narrative history brought on by the complexities of social history and he parodies the misplaced use of computer techniques in current writings. These comments, both incisive and amusing, convince the reader that the works of the great historians not only supply part of part of a true education but are also the source of great of great continuous pleasure.

The co-authors, great students of history and historical literature, have written one of the best books in modern scholarship. No partial reading of the book is enough. Asiwaju Bola Ahmed Tinubu In The Eyes Of Nigerians: Portrait Of An Uncommon Nigerian, is therefore an idea whose time has come. It is supposed to be in all libraries and private book shelves in Nigeria.

As Nigeria counts down to the 2023 elections, Nigerians are reminded of the significant role politics plays in a nation in the leading epic film, Elder’s Corner. Like a blast from the past, the film directed by America-based Nigerian, Siji Awoyinka, takes a trip into the history of Nigerian music, exploits of the legends, their struggles and challenges. The movie, premiered at the 2022 Africa International Film Festival (AFRIFF), literarily holds up a mirror on how the nation’s political developments can make or mar its brightest talents. EVELYN OSAGIE writes.

Thinking of how to Japa? Well, you are not alone. And this is not the first time there will be a general desire by Nigerians to relocate or a mass movement, particularly of professionals, to take their skills abroad. Japa, by the way, is the Nigerian acronym for relocating out of the country –what is globally known as the “brain drain”.

The award-winning film, which made its Nigerian premiere at the African International Film Festival (AFRIFF), is a voyage of return and discovery. The movie, Elder’s Corner by American-based Nigerian filmmaker, Siji Awoyinka, is not just the story of music but the story of Nigeria told through the trajectory of its music and legendary men and women who established the great heritage that has placed Nigeria on the world map.

It was, therefore, an emotional evening as the producers of the historic yet musical documentary, Elder’s Corner, Awoyinka and Ade Bantu, took guests on a journey into Nigeria’s history.

The film screening ended with a discussion anchored by Keziah Jones, which had Pa Jimi Solanke as guests along with the producers. At the session, Awoyinka hinted that the film was sure to have other series, stating that many footage on other musicians were omitted from the final cut for diverse causes.

It is also an epic tale of survival and the undeniable power of music to reconnect the present and weather the storms.

From the colourful, celebratory sounds of Juju music to the political fervor of Afrobeat, Nigerian musicians have spearheaded some of Africa’s most prominent musical movements. Oftentimes, their work form the backdrop against which the nation blossomed and floundered. So what happened to the pioneering artistes who rose to prominence during the country’s untroubled years and continued to endure when it faltered? There are also the new voices of revolution, such as the Lijadu Sisters, Fela Anikulapo Kuti and others.

As Nigeria counts down to the 2023 elections, Elder’s Corner is reminding of the significant role politics has been playing in the nation’s growth. But, unfortunately, as the Lijadu Sisters lamented in the film: “We don’t learn and people who do not learn do not make progress”.

Awoyinka stated that the making of the film, which was edited by Charlie Hoxie, took 11 years.  “There was a time I walked away from the film because we raised some money to shoot but when we began to edit the film, we ran out of money. I travelled the country and beyond, seeking out and capturing the stories of Nigeria’s long forgotten music pioneers. Among them are Juju maestro Chief Commander Ebenezer Obey and guitar wizard Sir Victor Uwaifo.

“I was born in London to Nigerian parents and taken to Lagos when I turned 5. I vividly recollect those 12 early years via the immersive presence of rhythms and sounds. I spent my formative years in Lagos during the 1970’s oil boom when the city was a bustling metropolis of bright colours and sounds. From the celebratory percussion of Juju music to the cries of street hawkers peddling wares, Lagos’ unique sonic footprint defies easy categorisation. The concept for Elder’s Corner was born when an audiophile friend, who owned a prized collection of rare African music on vinyl, returned from one of his crate digging exploits and invited me over for a listening session.”

 

Journeying through the eyes of the filmmaker

 

The film shows how Nigeria’s political development affected the music scene and musicians’ fate and fortunes. From before independence to the civil war down to the oil boom and immediately after it, the film takes one on a voyage of return and discovery – an epic tale of survival, using music to reconnect the past to the present. Woven throughout this denouement is Awoyinka’s personal search for reconciliation with the past.

It features live studio recording performances, rare archival footages and intimate conversations with some  foremost pioneering music legends, including the legendary E.C Arinze, Chief Obey, Joni Haastrop and Monomono, Victor Uwaifo, Fatai Rolling Dollar, The Lijadu Sisters, and Salawa Abeni, among others.

“Their collective journeys mirrored that of the nation, through its triumphs and upheavals and put my own childhood into sharper perspective. Shockingly though, few owned any copies of their old recordings. So we had them recreate some of their old classics in the same studio where they were originally recorded (Afrodesia Studios, Lagos). These intimate sessions feature prominently in the film and help lend even greater weight to their moving stories,” Awoyinka stated.

These intimate sessions feature prominently in the film and help lend even greater weight to their moving stories. Through coordinated recording studio sessions with some of the surviving musical icons, the film conjures a way for everyone to savour once again, everything that is sweet about the past. The live studio performances reveal how their collective tragedies – Awoyinka’s, the musicians’, the nation’s—meet in the present with music and sound as vehicles for healing.

He says: “Through coordinated recording studio sessions with some of the surviving musical icons, the film conjures a way for everyone to savour once again, everything that is sweet about the past and also recalling their pains etched inside. The film also touched on the Nigeria-Biafra civil war and how it affected some of their lives.

Elder’s Corner will act as a modern day, oral and visual archival document from which the present and successive generations of music lovers the world over, can benefit and learn from for decades to come. By showcasing the rise to prominence and notable achievements of these icons, we can help to raise awareness about the urgent need to preserve their work and honour their legacies.

The film culminates with a remembrance of FESTAC, international black arts festival hosted by Nigeria in 1977. Victor Uwaifo and Mary Afi-Usuah recount how it was a joyous display of black homecoming and culture from all corners of the globe, while others reflect on how it was a pointless waste of money.

But earlier, Afi-Usuah, who was on the cusp of superstardom in Europe when she forsook all to serve the country and flag in Nigeria during the early 1970s, recalls in pain but questions the nation’s loyalty to its citizens. Speaking sadly of her return, she asks: “Where is the love that your country promised you?” when reality sets in. But at the end, she enthuses: “There is hope for Nigeria.”

Along with Afi-Usuah and the Lijadu Sisters, the film also gives women musicians a voice, including Salawa Abeni, who  made a short appearance too, speaking on challenges of women musicians.

Bantu, recalling how the project started, stated: “Every musician would lead us to another. That’s how we got so many people and we started collecting stories. I remember when we met Fatai Rolling Dollars, he had moved houses and had lost some materials in the floods. I thought, ‘Wow, we’re losing our history. That was how we started. We couldn’t wait for outsiders to come and tell our stories. So, we started.”