Category: Life – The Midweek Magazine

  • Church holds programme

    Church holds programme

    Newbreed Leadership Centre is set to hold its international conference of Newbreed with the theme: “A new generation”.

    According to the hosts, Pastor Broda Martyns and Pastor Mrs. Nkiru Balogun, it will feature salvation, deliverance and healing, etc.

    Read Also; Methodist Choir marks 103 anniversary

    It will be holding at Newbreed Leadership Centre, Makanjuola Street, Surulere, beginning with the opening ceremony from Thursday, November  24. On Friday, there will be evangelism; musical concert on Saturday and Sunday, a celebratory service  by 8am.

    Ministering are Obed Akanya, Jephrey Osobase, James  Munor, Rev. Ugom Onwochei, Tosin Alao, Chuks Chidube and Emeka Aaron.

  • ‘Statues Also Breathe’ reflects Chibok girl’s image

    ‘Statues Also Breathe’ reflects Chibok girl’s image

    Reflecting on the plight of the Chibok girls, who are still missing while highlighting the global struggle for girls’ education, French sculptor Prune Nourry and the Department of Fine & Applied Arts of the Obafemi-Awolowo University, Ile-Ife has created an army of 108 life-size human head sculptures, representing a small fraction of the number of people taken by Boko Haram.

    The contemporary reimagining of the girls titled ‘Statues Also Breathe’ as well as a documentary movie of the project is showcasing at the Art Twenty One in Lagos, Nigeria, before traveling around the world to remind of the rich and diverse history and culture of Nigeria, and the present day challenges that we must all address collectively as a global community. Upon completion of the tour, the sculptures will be returned to the permanent collection of a museum in Africa.

    The project which was also in collaboration with the families of the Chibok girls who were kidnapped by Boko Haram in Northern Nigeria, was unveiled on November 19 at Eko Hotel and Suites, Lagos with the aim of making sure the public continued to remember the abduction of 276 students of Government Girls Secondary School, Chibok, Borno State, by Boko Haram on April 14, 2014.

    According to Nourry, who is based in New York, the inspiration for the ‘Statues Also Breathe’ came when the girls were abducted eight years ago and she was traveling to China at the time for her work titled ‘Terracotta Daughters.’

    “I  heard about the abduction of the Chibok girls and then I saw the beautiful ancestral Ife heads, then it started to raise in my mind that as a sculptor, it was my dream one day to go to Ife and use the same clay to create a rising army of girls, that is the missing girls of Chibok. My dream came true when I met with the Obafemi-Awolowo University, Ile-Ife to create the  terracotta heads of Chibok girls”

    For Nourry, the goal for the art is to personify their absence and for a collective memory to remember that these girls still exist.

    “This is absolutely to remember the Chibok girls. These are symbols of their agony, they also represent the fact that we care for our girls.”

    Read Also; Chibok kidnappings: Why it’s important to listen to the survivors of Boko Haram terrorism

    After meeting with the Chibok families to conceive the project, Nourry said she was entrusted with portraits of their missing daughters, which she used as inspiration for eight heads sculpted in clay – creating portraits of the high school girls imaged in the style of iconic ancestral Ife head of the region.

    From the eight original sculptures, 108 heads were cast in clay sourced from Ile-Ife, by potters from a female potter’s community in the Yoruba town of Ilorin and students of Obafemi-Awolowo University.

    The project which took about a year to complete was sculpted by 108 students after a 1-day workshop at the university. The students sculpted and transformed each head into unique sculptures using portraits of the missing girls.

    A delegation of mothers of the Chibok girls and girls who managed to escape Boko Haram captivity was also in attendance during the sculpturing, honoring and remembering their friends and loved ones depicted in the sculpture.

    In the documentary movie, all collaborators and participants voices were heard as the recounts their unique perspectives

    The foundation of the project was built on conversations with mothers of the eight models and their desire to ensure the world does not forget the girls; each element of Statues Also Breathe works towards bringing continued attention from the wider world.

    There was a podcast that provided listeners with an intimate look at the events that took place before, during, and after the kidnapping, as recounted by the women who experienced it firsthand and the people who contributed to making their involvement in ‘Statues also breathe’ possible.

    The President of the Missing Chibok Girl’s Parent Association, Yakubu Nkeki, noted at the event that 38 parents of the abducted girls died in the first three years of the incident. He also recalled how he travelled 50km to meet the parents of the abducted girls.

    Nkeki added, “Initially, it was tough putting together the parents. In fact, I have about seven of my extended family members abducted as well. I was the first person who staged a one-man protest when the abduction initially happened. A lot of people warned against this but I did not listen to them. As we speak, only one of my nieces is yet to return.

    “We are not resting our oars as an association to secure the release of the remaining abductees,” he said.

    While appreciating the government and the security forces for securing the release of some of the girls, he urged the government to do more in saving the remaining abducted girls.

    Speaking at the art event, one of the abductees, Amina Alli, shared her experience of how she escaped from the den of kidnappers in Sambisa forest in 2016. She said, “I was kidnapped alongside others on April 14, 2014, I was in JSS 2. We were taken to different camps and I was lucky to have escaped when the Nigerian Armed Forces came to raid where I was captured. That was in January 2016.”

    She, however, expressed optimism that having gone through government-funded rehabilitation, she would survive the trauma of the abduction and live a normal life. She also called on the government to intensify efforts in searching for and rescuing her abducted schoolmates.

    She said, “After receiving rehabilitation and meeting with the President of the country, I have returned to school. I live with my family and I am happy. I really wish my other sisters could regain their freedom someday.”

  • Reading group prepares for Lagos Book Walk

    Reading group prepares for Lagos Book Walk

    Groundwork towards Lagos hosting book club activities beefs up following its choice as National Book Clubs City 2023, says the Network of Book Clubs and Reading Culture Promoters in Nigeria (NBRP).

    According to a statement signed by the Publicity Secretary, Anote Ajeluorou, the group has lined up exciting programmes to get the entire Lagos metropolis, including its leadership at Alausa  to engage in its book events.

    Tagged the Lagos Book Walk, it will take place on April 25, 2023, and will start from Ikeja bus stop on Awolowo Way through to the governor’s office at Alausa, Lagos’s seat of power.

    According to the group, Lagos Book Walk is a grassroots carnival-like programme designed to deepen awareness about books and reading. To this end, members of the public, public-spirited individuals and corporate organisations are invited to support this worthy cause of keeping ignorance at bay and bringing enlightenment to the populace. Corporate bodies are especially encouraged to key into the 774 LG library project of NBRP and help to either establish or renovate/refurbish and stock a local library near them with books to improve reading standards and literacy levels in their local, host communities.

    Read Also; Book on Obasanjo’s Secret letters’ for launch December

    The National Book Club City is inspired by the UNESCO World Book Capital, where a city is designated to host books and reading activities for a whole year among various communities and interest groups within the city to further entrench the gospel of book reading. For instance, Accra, Ghana is UNESCO World Book City 2023.

    “The National Book Club City and all its affiliates are innovative ideas of NBRP, the umbrella body that promotes the establishment of book clubs in communities to spread and deepen interest in book reading and the establishment and or renovation of community and public libraries in the 774 local government areas of Nigeria.

    “Lagos as Book Club City 2023 will embark on sundry book reading-related activities to stimulate appetite in the pastime of reading among citizens with a conference and AGM, and a discussion on book activities that will involve all segments of society. Lagos Book Walk is intended as a measure to garner support for the rich programming of Lagos Book Club City from sponsors, partners, and collaborators in the book ecosystem that includes book and literary festival organisers, libraries, associations, schools, government and more,” the statement read.

    For an effective and productive Lagos Book Walk outcome, the group stated that a “Lagos Book Stakeholders Charter of Demands” will be presented to the Lagos State Governor and the Speaker of the Lagos House of Assembly in the course of the walk.

    “The idea is to co-opt government more intensely into book matters and get greater input from those in power, so they see the need to invest more in education, particularly books which is believed by many to be grossly inadequate for students and others alike, a situation that has degenerated what many in the sector call ‘Book Famine’ in the land which they also say must be fought aggressively to avert a major national educational disaster.”

  • US Mission marks 3D documentation of Osun Osogbo shrine

    US Mission marks 3D documentation of Osun Osogbo shrine

    The 3D documentation of the Busanyin Shrine, one of eight monuments within the Osun-Osogbo Grove, has now been completed.

    At the public presentation in Osogbo, US Consul General Will Stevens explained that the 3D documentation of the Busanyin Shrine provides the most accurate record of the current conditions of the site to effectively plan a restoration project.

    Supported through the United States Ambassadors Fund for Cultural Preservation (AFCP), the project entitled, “Digital Documentation, Training and Conservation Planning for National Heritage Busanyin Shrine within the Osun Osogbo Sacred Grove” was awarded to CyArk, a California-based nonprofit. The AFCP programme was established in 2001 by the US Congress to assist countries in cultural heritage preservation while also demonstrating American respect for other cultures.

    Read Also; Awori Day gets new date

    The US Consul General thanked CyArk, Adunni Olorisa Trust and their local partners for working so hard to preserve a valuable national heritage. He also lauded their efforts in providing training to local professionals to build capacity i0n digital documentation skills and cultural heritage management. “The United States Mission to Nigeria has a long history of supporting the protection and preservation of Nigerian cultural heritage through the Ambassador’s Fund for Cultural Preservation,” Consul General Stevens said. “We have funded over $ 1 million for preservation projects across Nigeria through the AFCP in the last 10 years.”

    The public presentation was attended by Nigerian alumni of US government exchange programmes, senior government officials, media leaders, representatives of cultural institutions, as well as officials of the National Commission for Museums and Monuments.

    In addition to the Busanyin Shrine project, additional AFCP projects include documentation and conservation of the 14th-century Sungbo Eredo earthworks of the Yoruba Ijebu Kingdom in southwest Nigeria; documentation of the Ifa oral traditions in Oyo State; rock art preservation project in Cross River and Jigawa states, among many others, it was stated.

    The U.S. Mission to Nigeria continues to explore opportunities to support the preservation of Nigeria’s rich cultural heritage using the AFCP and other partnership mechanisms, it was said.

  • Etching Benin culture for renaissance

    Etching Benin culture for renaissance

    In celebration of over 500 years old heritage, an iconic Benin royal art exhibition held at the National Museum, Onikan, reports Ozolua Uhakheme

    Artist community in Lagos couldn’t have wished for a more merrier and rewarding week than penultimate week, when the National Museum, Onikan, Lagos hosted a solo travelling exhibition by Dr. (Princess) Theresa Oghogho Iyase-Odozi.

    Despite holding same week with the 35th edition of National Festival of Arts and Culture (NAFEST) in Lagos, the exhibition on Benin royal art, tagged:  UHUNMWEN vbe EHINMWEN AND MASTER OF THE CIRCLED CROSS IN BENIN KINGDOM, lived up to the expectation in terms of content and attendance of guests.

    Featuring 52 paintings, mixed media, batik textile and installation works, Dr. Iyase-Odozi focuses on Benin iconography, using Edo batik and other media which are products of in-depth research over the years.

    The travelling exhibition, which made its debut in Benin in 2019, is undertaken by the artist to create awareness and publicise appropriations of the rich Benin icons found on artefacts dating as far back as the 16th Century which are deployed by the artist in her endeavour to revive the waning culture of Edo batik clothing.

    Going by the diverse content of the exhibition, the artist uses the show as a celebration of heritage as well as advocacy for the rebirth of textile culture in Benin Kingdom.

    Instructively, the artist is deliberately interrogating the near disappearance of the over 500 years old textile culture in Benin Kingdom, while uncovering some major elements of the heritage like the circled cross among others. Some of the textile works by  Princess Iyase-Odozi are strong testimonials to the rich textile culture in Benin. “What has happened to our 500 years old textile culture in Benin kingdom?” the artist wondered..

    In appreciation of the rich wealth of Benin culture, the artist developed the yearning to promote enlightenment about that culture and the history that sustains it, a quest that propelled her research into Benin art history. Since then, she has been completely absorbed in that endeavour which has been fulfilling in terms of the works she produced and her personal experience over the years.

    Most of the exhibits are painstakingly rendered with a heavy dose of Benin iconography using the the earth colours and a tone of red peculiar to Benin, as background.

    In “Odibo Ofure kevbe Ahoemwonwan”, the artist recalls the folklore surrounding the ore bird (messenger of prophecy of peace and love) and it’s prediction about Oba Esigie’s reign. This led to the commemoration of Ugie Oro ceremony at regular intervals in Benin till date.

    Read Also; NASENI partners nations to revolutionise agriculture

    But “Queen mother India Niye Esigie” shows the commemorative head of Iyoba the Queen mother of Benin. Significantly Iyoba title was created in appreciation of Queen Idia’s role in her son’s victory as Oba.

    In “Omuekpokin”, the artist celebrates one of those royal messengers carrying a box with a blade bronze on the handle. This image has a strong historical relevance to the reign of Oba Esigie because during his reign a recipient of a leopard skin sachet would not doubt the authenticity of the message contained therein.

    The significance of head in a man’s life is captured in “Uhunmwum Elao”, which the artist recreates in different media.

    Founder Omooba Yemisi Adedoyin Shyllon Arts Foundation, OYASAF, Chief Yemisi Shyllon, described the Benin culture as a very rich and unique one, adding that the exhibition is an added platform to celebrate the great Benin empire culture. He said culture should not be mistaken as same as religion because both are not same.

    “We will not stop celebrating who we are,  hence we are supporting Princess efforts at organising this exhibition, “ he said.

    Founder Stanbic IBTC Mr Atedo Peterside commended Dr. Iyase-Odozi for putting together the exhibition, saying that doing anything major in Nigeria comes with lots of challenges. He noted that it didn’t come easy for the artist to hold the exhibition as many things are against its success.

    “Focus on pursuing your vision in spite of the obstacles you encountered,” he urged the artist.

    However, he expressed surprise at the growth rate of art in Lagos. “I am pleasantly surprised at the growth of art in the last 30 years in Lagos. Now an art event is capable of causing traffic gridlock on Lagos roads,” he added.

    The exhibition, which ended last week Thursday, is a bold step towards a renaissance for the famous Benin culture.

    Dr. Iyase-Odozi is a professional visual artist, writer, curator, empowerment expert, community leader, philanthropist and Founder/CEO, GreenHouse Art Empowerment Centre. She received her B.A. Degree in Creative Arts (Painting), M.A. and PhD (Visual Art Education), all from the Department of Creative Arts, University of Lagos.

  • 500 get free Rotary medicare

    500 get free Rotary medicare

    NO fewer than 500 members of Irawo community in Lagos have benefited from the Rotary Family Health Days under the auspices of Rotary Club of Onigbongbo.

    The three-day programme is held yearly for host communities of Rotary International during which they receive free counselling, tests, treatment and drugs for diseases such as malaria, hepatitis, high blood pressure, eye problems.

    However, this year, Rotary added polio to celebrate Nigeria’s free-polio second anniversary and keep a tab on the disease to avoid resurgence, according to the president, Rotary Club of Onigbongbo, Rasak Salau.

    He expressed satisfaction with the attendance. He said Irawo was specifically chosen to enable those in rural-urban areas also benefit from the Rotary’s largesse, whose objective is service to the people. However, he pledged to complete the medical centre that his club is building in the community.

    Read AlsoSchool, Rotary celebrate Literacy Day

    A past president of the club, Terry more Ogungbawa, described the programme as a sucess. He noted that it was the second time Rotary was holding the event in the area. He added that the turnout was impressive despite that the terrain is waterlogged.

    He,however, pleaded with the government to complement the efforts of Rotary by constructing a road for the people.

    A resident of Irawo, Mr Peters Olamide Oladokun, an engineer, thanked Rotary for the gesture. He urged other social clubs to emulate Rotary. “Rotary spent three days rendering service to the community. If other social clubs can do something like this to help the society, it will be good,” he said.

    He promised to support Rotary in future.

  • Artist bares her soul through ASCEND

    Artist bares her soul through ASCEND

    It was a gathering of lovers of art and fun seekers for a night of good music, food and art at the opening of ASCEND, a solo exhibition by Abisola Kuburat Gbadamosi, fondly called AKG, in partnership with Moist Beach Club, Lagos.

    AKG gives the guests an insight into what runs through her mind with the aid of 12 watercolour paintings  created between 2014 and 2022 focusing on the interplay between light and colour, spirituality, everyday life and loss.

    One of the paintings, which are not up for sale unlike the others, is her first practice piece, entitled Fiona (Love) inspired by her first muse: Mable in 2014. Other paintings which are all available for purchase are Eden; Saved; In my own world and Ecstasy, among others.

    The 27-year-old visual artist finds watercolour handy to give her works a distinct and noticeable style which she uses to create ethereal pieces that echo her various states of consciousness while simultaneously capturing and navigating a plethora of emotions through the process of creation influenced by life.

    For the President of British International School (BIS) Alumni, her art changes as she moves from one state of consciousness to the next.  She believes in the “power of oneness (spirituality), creation and female empowerment.”

    The nature photographer has attained the understanding of how the mind is one of the most powerful tools inhabited by human beings, and how it has the power to determine the entire trajectory.

    Read AlsoExcited Don Jazzy finally meets favourite spoken word artist

    According to AKG, it’s time to not only appreciate art but to celebrate the artists within us all.

    Actor Enyinna Nwigwe  considers her exhibition “no small feat.”

    “I think her putting up a solo exhibition at a young age is no small feat. I’ll keep encouraging her. The very first time I saw her, about five years ago at Rele Gallery; I felt the clarity in her work, her drive, her energy. I’m really impressed and happy to be here to see how she has evolved,” Nwigwe stated.

    On her journey to self-discovery as an artist, AKG said: “From growing up in Nigeria, I have been a proactive designer and an art/self-help enthusiast. This has led me to be eager to learn and develop the necessary skills to succeed and improve myself as an artist.

    “I work with multiple mediums, including oil, acrylic, ink, pastel, and coloured-pencils, but my top area of interest would be watercolour. My work so far stems from personal stories and is reflective of experiences crucial to my growth and journey through life. With watercolour being a self-taught medium, I am free to express my truest self without worrying about any obstacles I might be facing. Watercolour allows me to let go and trust the process and outcome of a piece of artwork.  Colours speak louder than words to me.”

    She has her works exhibited at different galleries and events including: Art In Mind (Brick Lane Gallery) – (London) (2016); shoppingmode Nike Art Gallery: Be Bold For Change (2017); Afrikulture (Freedom Park) (2017); White space (2017); Zarnellia Gallery (2017); TSE Exhibition (2017); Magic Of Lagos: The Hub (2017); Rele Gallery: Young Contemporaries (2018). Her works featured more recently at RELE Gallery (Alumni)- National Museum (2020); Art House Contemporary (Auction/Exhibition) (2020); Miniature art fair (2021); Art Pantheon gallery (A room with all out things) (2021-2022) and HTL book and art fair (2022).

  • Blackness, new approach in Adekola works

    Blackness, new approach in Adekola works

    Maintaining cultural identity and connecting with African roots have been top priorities for Black artists in the diaspora. Suraj Adekola, who recently received an MA in Contemporary Fine Arts from the University of Salford in the United Kingdom, is no exception.

    “We Should All Be Blacks” series is a new body of work by Suraj. Suraj disassembled and reassembled indigo tie/dye fabric, a process similar to cubism in which forms are cut and reorganised to create a new relationship. His use of sophisticated drawings made with thick bleach, an unconventional painting medium, is intriguing. Thick bleach isn’t typically used as a painting medium; instead, it’s used to sanitise and remove stains from surfaces, leaving them sparkling clean. Suraj, on the other hand, has repurposed thick bleach as a drawing, and Suraj has chosen to blacken the surface of his paintings as a metaphor to celebrate blackness. And Blackness for Africans is a celebration of Blacks’ past, present, and future legacies, said the artist.

    Suraj transforms traditional and contemporary materials into visually stunning painting surfaces and installations. He uses Adire (tie-dye) fabric, a clothing material intended for fashion, as a surface for paintings instead of the traditional canvas to maintain his Black identity in a multicultural environment. Meanwhile, he uses Adire fabric, a textile specific to Yoruba culture, to reflect his ethnic heritage and identity. Suraj wears Adire (tie-dye) fabric from his hometown of Egbaland Abeokuta, Nigeria. While the background of his paintings may depict the sensation of Manchester at night, Suraj’s work is situated in the liminal spaces of identity politics, migration, dislocation, and co-existences. Through the materiality of his work, he draws attention to Black-cultural identity and the contribution of people of colour to the development of the Western environments. Suraj also uses football players’ jerseys and military camouflage to tell the story of Black history. His work draws attention to little told stories of Black people.

    Read AlsoThe Black Person’s Burden revisited

    Suraj’s art is heavily influenced by the postcolonial books he reads. His use of football jerseys alludes to the contributions of Black athletes to the development of sports in Western countries. And the use of military camouflage is a metaphor for telling the story of the soldiers in red jackets during World War I and II. Suraj interprets this as the Blacks joining forces with the British during both world wars.

    His new series of works’ narratives were inspired by postcolonial theorists such as Stuart Hall, John H. Bracey, Jr., Philip D. Morgan, Kehinde Andrews, Sean Hawkins, and David Olusoga, to name a few. The artist expressed the belief that the fight for equality will continue in the future. The body of work that he created is a direct response to preventing segregation and promoting unity among diverse cultures and preventing further marginalisation in a multicultural environment. The artist stated that the notion of being black is not to undermine any culture or to compel people of other races to become Blacks, but to promote equality in our society by accepting each other’s differences.

    Suraj’s unique abilities have earned him a Graduate Scholarship Award from the University of Salford Art Collection. Suraj was also given the opportunity to join Castlefield Gallery in Manchester. This will allow him to take part in artist talks and gallery exhibitions.

  • Chronicles of an uncommon journalist

    Chronicles of an uncommon journalist

    Book review

    Title: Dotun Oyelade Reporting… (Memoirs of a Newshound)

    Authors: Dotun Oyelade, Tola Teriba and Ayodeji Ajisope

    Reviewer: Isaac Olawale Albert

    Publisher: Aikon Integral Concept, Ibadan (2022)

     

    Prince Dotun Oyelade, is a broadcast journalist, publisher and politician. But he restricted the coverage of his publication, Dotun Oyelade Reporting…(Memoirs of a Newshound), to the first two aspects of his life: journalism and publishing. He intends to write on his political life in the years to come but flagged some of his political landmarks in the work to include being Publicity Secretary to Alliance for Democracy in 1999 and Private Secretary to Governor Lam Adesina from 1999 to 2003. He was Special Adviser on Public Communications to Governor Alao Akala from 2007 to 2011 and was also Head of the media campaign team of Governor Seyi Makinde January 2018 to May, 2019.

    The interesting publication is broken into five parts of 18 chapters. The first part consists of two chapters and these have to do with how Prince Oyelade cut his professional teeth in journalism by working at NTV. The first chapter ought to have chronologically been the third but the author made it the first invariably to teach some lessons to students of journalism education. Oyelade was in Akure in 1978 to report the visit of Olusegun Obasanjo. As he charged through the crowd with his microphone to get a scoop for his federal television channel he was bullied back by some unfriendly soldiers guiding the head of state. It took him some time to get out of the panic mode. This must have been included in the book to show that it is not easy for an early career journalist to get breaking stories as taught in the classroom; it involves unpredictable risks and embarrassments. It was actually in the second chapter that Oyelade narrated how he was employed by NTA in August 1977 under the leadership of Yemi Faroumbi. His supervisors on the job included Bayo Sanda, Fabio Lanipekun and Biodun Adetuberu. In the news department, Oyelade worked with Segun Oyedele, Kunle Adeigbe and a host of others. He used colourful adjectives to describe the innovations brought to NTA by each of these personalities. He called attention to the suspect image of the journalist working under the military, the intrigues of reporting the “Ali must go student protest”, attempts to repress the media etc.

    Part two of the book consists five chapters focusing on Oyelade’s sojourn and exploits at the TSOS/BCOS.  In chapter three, he told the story of how the amity between Governor Bola Ige and Dr. Yemi Farounbi led to the founding of TSOS and how the station was provided the best facilities and conditions of service  for practising journalism. He listed all the people he worked with in the station but singled out Yanju Adegbite, who later become the Project Coordinator at BCOS from 2011 to 2019, as the first face to appear on TSOS TV. In Chapter 4, he called attention to a number of ground breaking reports he wrote for the station: the Lawrence Anini saga, trial of Gen. Mamman Vatsa, the Cocoa House inferno, the death of Awolowo and Dele Giwa; the inaugural AFRC meeting of the Babangida regime etc. In chapter 5 Oyelade called attention to how the corporate identity of BCOS changed when the NPN government of Chief Olunloyo came to power in October 1983 in Oyo. Chapter 7, is  the shortest of the essays.

    Part 3 consists of seven chapters and has to do with Oyelade’s foray into publishing: another field in which he has made outstanding contributions. In chapter 8, he told the story of how it all started in February 1988 after interviewing Professor Ojetunji Aboyade, the former Vice Chancellor, University of Ife, now OAU, at the BCOS Studios. Within a month of this discussion Oyelade was hired to manage a publishing house jointly established by Professors Akin Mabogunje and Aboyade: Fountain Publication. Oyelade was with Fountain Publication for just a year; the owners were more engrossed in their academic activities. In chapter 9, Oyelade narrated how he had to move to Chief Joop Berkhout’s Spectrum Books where several works were produced: including Emeka Ojukwu’s Because I Am Involved. Chapte 10 has to do with how he left Spectrum Book in 1991 to register his own company, Current Publications.

    Read Also2023: Experts urge journalists to set agenda for transformational leadership

    Part 4 of the book consists of only one chapter (15th) and it is on the “Current Studios & Publications”: a broadcast commercial studio for video & audio recording and post-production.

    Part 5 is on the man Dotun Oyelade. The rest of the chapter lists his achievement on the job: staff manpower development, staff welfare, motivation and reward system, execution of iconic projects, amendment to the corporation’s edict with a view to identifying certain provisions inconsistent with modern day realities; reinstatement of officers wrongfully dismissed/retired; redeployment of staff of bcos from the mainstream of the civil service. Chapter 17 are people’s perception of Prince Oyelade while the last chapter, the 18th contains tributes by his family members: wife and children.

    The publication, Dotun Oyelade reporting…(Memoirs of a Newshound), is not an everyday autobiography but an innovative case note that has a lot of lessons for students of journalism studies. The publication describes Oyelade as a newshound. The term refers to an aggressive or energetic journalist with insightful and instructive attainments.  He worked closely with several eminent politicians (Lam Adesina, Alao Akaka, and Seyi Makinde) but he said this has not made him a professional politician but a journalist in politics. In other words, the work under review is not an autobiography per se but an autobiography innovatively redefined. He prefaced each of the issues he raised with detailed historical background in a manner that makes the chapters instructive for students of history. I found this approach to academic writing to be very original and worthy of commendation.

    Students of journalism studies have a lot to learn from the publication not only in terms of the exemplary way Prince Oyelade did his work but more importantly his writing skills which he excellently demonstrated here.

  • US Mission lauds American-Nigerian film industry collaboration

    US Mission lauds American-Nigerian film industry collaboration

    For the seventh consecutive year, the United States Mission in Nigeria has supported the Africa International Film Festival (AFRIFF), to further strengthen the collaboration between the Nigerian and American film industries.

    This year, Disney and Amazon were leading American creative industry participation at the festival. The two organisations premiered a movie each for the opening night of festival, including the participation of some of the cast. Disney hosted the African premiere of Black Panther II, while Amazon screened The Nanny on Sunday, November 6.

    AFRIFF, which ran from November 6 to 12 is an annual showcase of the world of filmmaking, with participation from local and international actors, directors, film critics, buyers, distributors, visual artists, film students, and equipment manufacturers.

    The US Mission’s participation in AFRIFF is part of the US government’s ongoing efforts to strengthen the partnership between Nigerian and American filmmakers and strengthen the voices of the next generation of filmmakers.

    Read AlsoShaffy Bello wins big at 19th Abuja International Film Festival

    Building on last year’s successes, AFRIFF with the US Mission’s support, awarded a $25,000 grant to five emerging animators who produce works in broad areas of climate change, elections and good governance, women’s empowerment, youth engagement, and countering disinformation.

    At the reception for representatives from the Nigerian and American entertainment industries, US Consul General Will Stevens hailed the growing US-Nigeria cultural ties. He said AFRIFF provided an incredible platform for artists to explore new ideas, promote dialogue, and foster valuable business connections.

    “Since 2015, the US Mission has partnered with AFRIFF to bring together American and Nigerian screenwriters, directors, and film experts to share ideas, network, and collaborate. Our long-standing partnership with AFRIFF helps to further strengthen the Nigerian creative industry as well as our strategic partnership. This year’s event highlights the Nigerian movie industry’s creativity and growing global reach,” Stevens said.

    Founder and Executive Director of AFRIFF Chioma Ude noted that the 2022 theme of the festival “Indigenous for Global” seeks to raise awareness about African cinema, its vast potential, and the tremendous socio-economic impact it has on African economies.

    “Our stories need to remain authentic, and we must find ways to make it global. In making it global, we get the right value and the right pay,” Ude added.