Like Butterflies Scattered about by Art Rascals, a book by Umar Sidi, a naval commander with the Nigerian Navy, was unveiled recently in Port Harcourt, Rivers State. The book is coming three years after the release of his first collection of poetry, The Poet of Dust.

The event brought both military and civilian personalities together. The Commander of the Navy Base, NNS Pathfinder, Commodore Ibrahim Suleiman, represented by Navy Captain Stanley Umeh, Officer-in- Charge of Fleet Support Unit, NNS Pathfinder, Lt. Col, A. Oteri, Wife of Renowned author, Prof Preye Amadi, and Chairman, Association of Nigerian Authors, Rivers State chapter,  Sadi Wali graced the event. There were also music performances by the Naval band and dramatic performances of the poems by Suzzane and Chiromi, Voices of the Creeks, and Husayn Zanguru.

The book reviewer, Dr Ismail Bala, said the new work is grounded in expressionism similar to the New York Poets, while steeped in the core of Surrealist writers and painters. He also noted that unlike the conventional Nigerian poetry, his work explores philosophy, perspectives on poetry, and painting, without losing its mischief, verse, and hold on its reader.

Dr. Bala compared Sidi’s work and creative balance to that of Wallace Stevens, a leading modernist American poet who was a lawyer and insurance executive. “He rose to become one of the best American writers for all generations.” He said, for Stevens and Sidi, “their profession does not limit their writing, nor do they reflect in their writing like other poets”. He also stressed that Sidi’s work is not conventional and therefore does not bear the academic structures that have become the staple of Nigerian poetry for years. ”Sidi writes a kind of poetry that I believe is non-conventional. It means you have to be very good at it (poetry), he added.”

Poet and lecturer, Dr Gomba said, “I want to thank your employer for posting you to Port Harcourt. The attendance here shows that you are welcome to the city. He advised that everyone can produce art, noting that everyone needed to look inwards to find and “mine the depths of his or her creativity”.  Gomba stressed that Sidi’s work deploys a rare kind of inter-textuality that bears the density of impressions from novels, poems, paintings, and ancient texts among others.

He said, “Most people think that for an African poet to be authentic, you have to focus on the experiences of the African landscape, but here is a field of thought that brings a totality of life that can be experienced by the reader.”

In response to the question of how he balances the strict observance of his military duties with the rebellious nature of poetry, Sidi said: “In the military, you have different branches and professions, some are in the band, some are in education, some are medical doctors. I always tell people that we have duty periods and off-duty periods, and it is what you do with your time that matters. So, I use my spare time to read, study, reflect and write.”

Capt. Umeh said he discovered Sidi’s works in The Valiant; the Nigerian Defence Academy Magazine, while Sidi was in his first year as a cadet. At that point, he felt that the work that the “clown” was been assigned was not tasking enough for him, such that he could create spare time to write. However, with time he began to realise that Sidi was both a dedicated Navy personnel, as well as a consistent writer.  “The Navy and armed forces will always support you, and give you a platform to thrive,” he said.

Oron is situated in the west bank of Cross River in Calabar Province, Southern Nigeria and they have elaborated carved figures called Ekpu, which represents the male ancestors.

They are  the most important antiquities or works of art in the area and are probably the oldest group of wood-carvings surviving in Nigeria. No new ones are being made now. No one can say how old they are, but it is agreed that they must have been made many generations ago. Although the Oron clan is classed as belonging to Ibibio tribe, the Ekpu is quite unlike Ibibio work; nor resemble any other style in Nigeria.

The carvings vary in height from about one foot to five feet, but the majority average about three feet. They are uncoloured. Each carving represents a particular ancestor but only men are represented in this way. A pot is the women’s symbol. When a man died and before his second burial ceremony, a carving will be made to represent him. The size and the elaborateness depend on the importance and wealth of the individual. A childless or junior member of a family is usually represented by a plain stick. Each branch of an Ekpu has an ancestral symbol.

It is believed that the spirit of the dead man had some connection with the carving. It is a shrine where his spirit could be conveniently approached, sacrifice were made before the Ekpu twice a year, when the new farms were started and during harvest.

The village headman made the chief sacrifice at the village shrine, but each family had its ceremony under the eldest member at their own shrine. Sacrifices were also made at other times on the instruction of a native doctor.

Their heads are specially striking in appearance with long pointed beards and a dignified ascetic look like, the elder they are representing. They have narrow bodies and bulbous stomachs, this may be probably the challenge the carver faced in converting a tree trunk to a human being in an elongated cylinder. This would have compelled to reduce the width of the torso in order to give full value to the head and stomach and to make room for the arm within the shape of the cylinder. On the hands, are always ceremonial staffs or horn. The stomach has kind of onion shape.

The lower part of the stomach curves inwards to the waist which is marked by a ring of the full circumference of the cylinder. This is decorated in the finest carvings with a chevron pattern which gives the appearance of a frill. Directly beneath this ring is the membrane virile, which is not emphasised and the legs.

All the Ekpu have a kind of headgear carved on top of their heads, but it is often hard to tell whether a hat or form of coiffure is represented.

Some certainly have top-hats, but the majority balance a more or less conical or bun-shape object. Some have small effigies’ carved on their stomachs or resting on their forearms.

• Adeseri is of the National Commission for Museums and Monuments, Lagos

• Title: The Roots

• Author: Jeremiah Oyebode

• Reviewer: Gloria Okezie-Okafor

• Publisher: SCLK UK

• Pagination: 97

From knowing your ancestral lineage and interacting with people who share the same bloodline with you, and avoiding the costly mistake of marriage or sex, to understanding that what you sow is what you reap, and believing in your dreams, The Roots, an anthology of short stories, serves as a moral compass and guide to everyday living.

Aside dealing with everyday life experiences, the author, Jeremiah Oyebode, espouses contentment, patience and morality in a decadent society. The stories are well crafted and interesting; with about three or four of them catching the immediate attention of this reviewer. They include “What Goes Around”, “A Life Mystery”, and “The Other Side’s Pain”.

In the anthology, Jeremiah Oyebode tells a story within a story. In fact, all the stories are well cut out for both young and mature readers. Young people, most especially, will find tales like The Roots, Secrets, Ego, and The Rewards For Persistence” directly appealing to them. Nonetheless, stories like “I Want To Be Like You” and “The Other Side’s Pain” greatly deliver on the lessons they teach, while also making for exciting reads.

As a pointer, The Roots, which is the opening chapter as well as the book’s title, talks about the need for young people to ask questions concerning the background of their intending life partners, in order to avoid marrying or having sex with a distant relation, since such act whether done by omission or commission, is a taboo in the African tradition.

If wishes were horses, Oyebode would ride and ensure the teaching profession is elevated to an enviable status in Nigeria. In “I Want To Be Like You”, the author celebrates the virtues of the teaching profession, which in our society is very much looked down upon.

Despite the powerful role of teachers in imparting knowledge and strong morals to their students, one of whom may later become the president of a nation, their rewards are often said to be in heaven.

If only Oyebode’s thoughts about the recognition of teachers in Nigeria could be adopted, this set of professionals will find themselves living a blissful life. But, as they say, fiction isn’t reality. Perhaps, that’s why university teachers could be on strike for almost six months and government seems not to care.

“The Other Side’s Pain” chronicles the travails of a young lady who is infected with HIV by accident. But rather than opening up, she keeps mum about it and isolates herself from her family and colleagues at school. The secrecy causes her more pain. But in the end, when the parents discover the reason for her depression, they rally round and help lift the burden off her.

Published by SCLK UK with the cover designed by Femi Osewa, The Roots, a book of nearly 100 pages, makes for an interesting read. However, some of the stories appear as though they were hurriedly written to arrive at a conclusion. The tonality of the work is not diverse but streamlined, as Oyebode appears to be writing from one point of view. But then, the stories seem to gather momentum towards the end of the book. One only needs to be patient to read through to get to the crux of the stories. Also, the author needs to look out for typos and ensure there is proper editing in subsequent editions of the book.

Jeremiah Oyebode’s works have appeared in several publications in Nigeria. He has contributed articles and essays for many newspapers and digital platforms. Born in Nigeria but now resides in the United Kingdom, the author is also a public speaker on contemporary issues. At his pace, Oyebode looks promising to carve a place for himself in the pantheon of the literary stars.

Nigeria’s dominance of West Africa’s bourgeoning sports and cultural tourism industry will receive a boost at the annual Argungu Polo tournament and cultural fete holding between September 8 and 10. This year’s tournament and fete will hold at the sprawling NSK Polo Ranch and Resort in Argungu, Kebbi State.

Argungu Polo Tournament and Culture Fete has over the years lived-up to its billing as one of the most spectacular and massively visited African Polo and cultural tourism festival in Nigeria. More so, Argungu is one of Nigeria’s historically significant towns and the host town of UNESCO’s intangible cultural heritage asset in Nigeria – the famous Argungu International Fishing and Cultural Festival.

Since inception in 2016, leading polo teams from popular Nigerian Polo Clubs have regularly featured in the prestigious Polo Tournament. Over the years, the tournament organizers have consistently rallied stakeholders in the polo and tourism communities and corporate Nigeria to partner in making the event more beneficial to the rural host economies. It will be recalled that NSK Ranch & Resort started hosting the Polo Tournament in Keffi, Nasarawa State and now holds the event in Argungu, Kebbi State.

In recent years of the event, cultural entertainment groups from neighbouring West African countries have been enchanting players, residents, visitors and tourists with awe-inspiring traditional performances, including groups from Niger Republic, Benin Republic and the host destination, the ancient kingdom of Argungu, now referred as Argungu Emirate.

Read Also: Governors meet Wednesday for talks on insecurity

The Emirate’s territory spans parts of North-Western Nigeria and Southern Niger Republic. Participating clubs in the tournament will be contesting for the prestigious cups such as Governor’s Cup, Sultan’s Cup, Emir of Argungu’s Cup, Emir of Kano’s Cup, King Appolos Chu’s Cup, Lai Mohammed’s Cup, Shehu Kangiwa’s Cup and Abubakar Dangiwa Umar’s Cup, among other laurels. Six polo teams will take part in the tournament in Argungu.

The teams listed include NSK Farms Team, H. Hago Team, Ayatun Team, JRB Solar Team, NIHOTOUR Team and Osolo Team.

The Patron of Argungu Polo Tournament and Cultural Fete, Alhaji Nura Sani Kangiwa, who also holds the traditional title of the ‘Turakin Kebbi’, promised that activities lined-up for this year’s tourney and fete will surpass previous editions’. He stated that not less than 24 polo players, some of whom are the best in Nigeria, and over 80 Polo horses will be involved in the tournament for 3 consecutive days, in the pristine town of Argungu.

The Turaki assured that this year there will be more emissaries, international dignitaries and foreign governments’ officials in attendance at the event. He further clarified that cultural entertainment groups from West African countries have confirmed their participation and are currently making arrangements accordingly. Some of the traditional displays at the event will be culinary arts, traditional wrestling, camel racing, horse racing, mini-durbar, folk dancing, bull fighting, and many other uncommon traditional spectacles.

He was a man of honour, an uncommon freedom fighter and a leader widely-celebrated for his selflessness. “Salute to ‘Madiba’ Nelson Mandela‘’, say 20 Nigerian artists who have turned the spotlight on the impressive qualities that stood the icon out as a politician and global thought leader. As Nigeria approaches next year’s polls, the artists have condemned bad leadership with their strokes in the ArtGidi’s Mandela Day Charity auction. EVELYN OSAGIE writes.

The heroes are those who make peace and build… Real leaders must be ready to sacrifice all for the freedom of their people.”

The words of Madiba Nelson Mandela (July 18, 1918 – December 5, 2013) are etched in the marble of time.  And even in death, the persona of the late African icon and leader in the development of humanity is still being remembered.

What Mandela means to us

As the world commemorated his day last month and as Nigeria approaches the polls next year, 20 artists have kicked against bad leadership and other national concerns with their strokes, under the auspices of ArtGidi’s Mandela Day Charity Auction.

The artists turned the spotlight on the impressive qualities that stood the icon out as a politician and global thought leader.

The auction was held online at Artgidi.com, which was put together by Artgidi Limited, an art technology company focused on the promotion of contemporary African arts, founded by the duo of Ashiru and Tayo Olatimehin.

For the organisers the move was deliberate.

“The theme connotes defending and upholding the quality legacies that Mandela lived, suffered and ultimately became globally renowned for. His life epitomised selflessness, determination, and absolute commitment to the cause of freedom. The Nelson Mandela International Day is an important window for African artists, not only to extol the virtues of the great Mandela, but one that turns the attention of the entire globe to Africa by exposing beautiful works of the African artists to the international market,” according to the organisers.

As they sought to honour Mandela through their art works that drew inspiration from his qualities and contributions, his persona meant something different to each artist.

With the theme, “Holding On”, the auction was heralded by notable names in the industry, such as Dr. Kunle Filani, Tola Wewe, Mufu Onifade, Ayoola Mudashiru, Idowu Sonaya, Gbenga Ajiboye, George Ogunjobi, John Onobrakpeya, Olushola Obayan, Adeola Balogun and Victor Asowata.

Also on the list were Adubi-Mydaz Makinde, Ogochukwu Ejiofor, Oluwafunmilayo Arabambi, Chibuike Ifedilichukwu, Lawrence Edessy, and Bolaji Bashiru, among others.

“We need serious emancipation in Nigeria. And this is the right time. As we are planning to choose with our PVC, we need to think right. Let’s look for that role model to take Nigeria to its promisedland. It doesn’t have to be about ethnic groups or religion. All we need is freedom in this country and that should be our aim.

“At this time in Nigeria that we’re trying to move away from the current administration to the next, it gives somebody an opening to set Nigeria free from the oppression and insecurity. Even as a foreigner, so far you stay in the country. I wanted to be part of it because it is all about Mandela and he’s iconic all over the world and not only Africa,” the immediate past chairperson, Society of Nigerian Artists, Lagos Chapter), Mr. Sonaya, whose works were in the auction.

His work in the auction is a sculptor, entitled: Madiba: hero for freedom. “It is a saviour expression of Christ with a portrait of Mandela being captured in the frame. When you look at that work, you’ll see smiling and it connotes hope, confidence, determination and freedom for everybody,” he said.

”The courage to take on the burden of freedom and the pat  ience to pay the price was daunting to my young mind,” began CEO of Artgidi Limited, Rufus Ashiru, who is also a veteran multidisciplinary artist and certified art auctioneer. ”Mandela taught my formative mind that it is always best to give so others can live. It is vital for us as a nation, especially as we approach the polls in 2023. Such exemplary qualities are rare and are most needed to build any nation.  Our leaders should also align with the ethos of leadership that has made Mandela’s leadership and politics legendary.

‘’But Mandela was not alone in the struggle, he enjoyed the unrelenting support of his fellow citizens, this is also why the Nigerian electorate should embrace the spirit of supporting good governance coming all out to vote and choosing to vote for candidates with a heart for the good of the citizenry, particularly the common man on the street. And that is the statment the 20 artists, including myself, who are auctioning their 24 works ar out to make in this maiden edition, ” For Artgidi Chief Technology Officer, Olatimehin, Artgidi’s vision is to use art as a medium not only to celebrate Mandela, but “to also inculcate his lifestyle of patriotism into the citizens of our own dear country which is why we are determined to hold this event every year.

“Mandela is an icon and a legend, he lived an extraordinary life that is worthy of emulation, he stood for freedom, equal opportunity, selflessness, reconciliation, forgiveness, and unity.

“He is a noble son of Africa, and we can all take pride in his achievements and a clue from his character at such a time like this when Nigeria is about to go to the polls to elect a new leader,” he said.

For Mudashiru, a painter and originator of HULAH MOTIFS (HULAISM) style of painting, his three works for the auction – “Flowing with the tide”, Active service and “Focus” – are all centred on the icon. ”I was excited when the organisers chose to honour Mandela through the auction with the theme: “Holding On”. The person of Mandela speaks volumes. And my works speak on what he represents. I looked at Mandela as a figure of resilience and commitment to the development of humanity. Despite what he went through, he didn’t give up. My work, “Active service”, praises Mandela’s ability to serve his people even in old age and he gave his all.  He was very sacrificial. That’s why I believed active service was very relevant to Mandela’s course. Also, Mandela was focused and kept at it; and he is today celebrated as a legend.

The work “Focus” is a mixed media, paired with photography. You’d see a hand focusing on an eye as you would a camera but it focuses on an eye.

Donating to humanity

Drawing inspiration from the selflessness, participating artists are also donating a minimum of five per cent from the proceeds of each of the works, which has been submitted for the auction.

In the spirit of selflessness, the CEO stated that part of the proceeds of sales from the auction will be donated to Funda Wazi Foundation, an organisation owned by the late Rosemary Simangele Nomthi Odukoya who was until her death, an educationist, life coach, writer, and senior pastor at the Fountain of Life Church and a South African. Funda Wazi foundation provides child-friendly and relevant resources and tools for children and adults that will assist them to learn and know how to address and control social challenges affecting children with a particular emphasis on child abuse.

“It has been inspiring. It is comforting to know that we are not alone in this quest of giving to build humanity. ArtGidi, which currently has over 260 artists of different carder registered on our platform with total value of non-auction artworks estimated at over half a billion Naira. Indeed, Artgidi.com is out to build an ecosystem where the world becomes the playing field of every creative person in Nigeria and Africa at large. It is another channel to display and export the best of Nigeria and Africa to the rest of the world. And there are lessons to draw from this maiden edition that would enhance it subsequently,” Olatimehin said.

Makinde, a visual and expressionist artist, is proud to be part of the platform that is giving back to humanity. “I’m a stranger to art auctions and donations. Art is all about giving: we give our time, our talents and our deepest thoughts. Selflessness is one of the legacies of Mandela and he did it for 27 years.”

For one who has done so much for his constituency and beyond, there is nothing more worthy than to ask the Almighty to continue to bless the person to do more.

That exactly was what the Christian community in Surulere did for the Speaker, House of Representatives, Femi Gbajamiala, popularly called Gbaja, who recently clocked 60.

Tagged Praise and Worship session, the event held at the Tennis Court, Mercy Eneli Close in Surulere witnessed a non-denominational gathering of Christian faithfuls and other well-wishers who sang and prayed for more grace and wisdom for the Speaker to continue to steer the ship of the state for the betterment of the populace.

Though, Gbajabiamila was not present at the occasion, a happy Secretary General of the South-East Heritage Foundation Uzor Silas, organisers of the prayer session, explained the reason for the gathering. He said: “We gathered all these Pastors and General Overseers today just to pray and pray, and continue praying for Femi Gbajabiamila. The good work he has been doing needs to be acknowledged and the only way we can do that is to gather and pray for him as he clocks 60 today.”

He further added his expectations in Surulere Local Government Area.

“We are looking forward to having a digital local government in Surulere. I am saying this because of the way things are going because of the kind-hearted person God has given us in person of Femi Gbajabiamila.

“A local government where once you live in Surulere, all your data will be digitalised, once we click into the system, we know your address, your job, your data and every other thing about you.

“Can you see the way people have come around to join us in the prayer session. Most of these people came voluntarily not because they were bribed to come.

It is because of the good work Femi Gbajabiamila has done so far, and we strongly believe that Surulere Local Government will continue to improve as far as he is there.”

In attendance at the event were the APC Chairman Fuad Laguda, Prof Augustine Agugu, Bishop Mary Ajisafe who represented CAN, Chairman of Surulere Local Government Area, Mr. Suleiman Yusuf and many others.

The founder of 1952 Africa Ejike Egbuagu has said that the company’s vision is to raise local artists and support them to the level of international artists  the world look up to.

Egbuagu made this statement during the official gallery launch of 1952 Africa on Friday July 1, in Lekki, Lagos.

He noted that while Africa art is old as humanity, not much is known about the African artist which is why the 1952 Africa is giving undiscovered African creative talents an opportunity to be seen, heard and celebrated through the platform.

Egbuagu noted that the platform which already has five residencies is a private space dedicated to raw and authentic African art, culture and history supporting all forms of artistic expression out of Africa and is not profit oriented.

“1952 Africa is a creative incubator where we support creatives by empowering them with knowledge, finance and networks. We give them access to markets that they never would have had, we help them go beyond the limits that Nigeria and Africa creates. Our vision is to put local artists on the same plainfield as the artists we grew up hearing about in Italy, Netherlands and England who’s works move for millions of dollars without even being so different from ours and our vision is to connect the current population with the true history of the Africans.

“In the past, we valued artistic creations over Gucci belt and Mercedes but now we think Mercedes and Loui Vitton bags are worth more than the God given talents that transforms into things that we create.

“Its not really just a residency or a space where artiste just come and paint it’s really about empowerment so that we can compete and we can go back to the way we were as Africans before we forgot our history.”

Egbuagu explained the process of entry for the five residencies of 1952 Africa. He said: “It was very experimental, we were after going people and we decided to communicate in the way young people communicate, so we put of a call for artists on social media and we got hundreds of entries in 48 hours and for us that was an indication that there is a creative space that needs support and it was a very difficult process to filter down from 500 entries to just the five that you see here.”

One of the resident artists, Ntiense Tom Udom, expressed hope to gain more knowledge, network and become a better artist through the platform.

Title:         Running on waters

Author:      Nnabuife Esther Chikodi

Reviewer:   Babs Jules

Publisher:    Red Letter Crib Signature

Pagination: 2022        

We have read myriad poems and learnt from the juggernauts of poetry about the threshold of human longings and the energetic pull of the happenings in life. Esther went neck deep in accentuating the inhibitions to how men can find their nautical points. As in the scriptures, the word, waters, imply troubles. Man in his adventure on earth must ply the alleys of tortuous circumstances and would always flip his coin for a better lot. As men before us have laid their own cause for our own justifications, we expect the intent of man to find his own forage in the multitude of hustles in life should not be relegated nor undermined.

Esther touched several themes of human experiences and brought to fore the cases of maladministration and impunity in her country. She confronted the dead beat political system and the fundamentals of statecraft. She had a pain for those who have refused to throw in the towel. All those who have decided to flow like a light current against all odds. Those whose faith of becoming exceeds the logjams of encumbrances in their path.

In the poem , In the name of our father, Esther called out the excesses of state actors and how they connive with non-state actors to perpetuate acts of impunity against their own populace.

She wonders at the antithetical dive of her country in the light of political postulations. Men like Hobbes and Locke have emphasised the tendency of a state to capitulate if they can’t uphold the system with fairness and ingrained tenets of accountability and honesty in the administration of justice so the whole citizens can be persuaded about the sincere will of the government to see things work in the country. She also exposed the inclination of the so- called men of God to matters of debauchery and evil concupiscence in the poem, crossed hands: fingers dipped in an avalanche of shame bodies adjacent a mirror of shortcomings legs hanging on the guard rails of superfluities before his holiness thrusted his schlong in her backside protrusion they both broke desire into fantasy; drunken as they go long shallow and half way deep ; then they thought of more distraught disciples to be ferried and commissioned into the cave of ogres, in the name or our father Amen and Amen.

In the fifth line, the poet sees the persona in the poem as an object of abuse who has become entangled in the merits and gains of the abuse and had resorted to simmering in the abuse, in order to float in the exquisite shimmering of the gains she has acquired as a result of the abuse.

This begs the question of if the abused is really not comfortable with being abused or they become less bothered once the costs are less than the benefits. Or just to re-echo the shrill of stockholm syndrome. Or people’s dalliance with the drama triangle. The persona in the poem used what she got from a once helpless point to become a stag just to have access to all the luxury the abuser can afford her. In the poem , Kitchen sink, Esther used the kitchen sink to narrate human ordeals as how things as simple as home utensils can help us navigate certain things in life and bring to the fore, the many appearances of human helpless conditions.

Chikodi, in the poem,  meeting Lucy, she wrote about a poor girl whose only hope for a meal to sustain her family was to go out there and do whatever she can to grab something for her parents. The poem reads :

Her aquiline nose shone like gold under the yellow sun as her scented body sway to the benevolence of the afternoon breeze, her hands, acutely stretched, as she bumped into bystanders to risk her luck for a meal a day some shush her away while others are kind enough to gift her a dime. Lucy had her smile nevertheless, born of a blind father and a deaf mother, Lucy had to grow up fast to meet their daily needs, O poor Lucy with a belly full of sweet-sore stories.

The last line narrates the helpless condition of Lucy and how she, by a streak of confidence, would cajole people to help her make ends meet. Her parents were disabled and she ignored her self importance and every form of pubescent arrogance and rather than loaf or descend into inglorious money spinning activities, she held the bill by the horn , and would rather go seeking for alms than perish in silence.

In the poem, the wedding, the persona in the poem was quite interesting ; as the poem reads thus: The wedding Behind my window, the Danish decor sat in the distant playground, I could see it by my window, a hectare of land garrisoned by potsherds and lawns, the bride lingered in her overflowing dress sandwiched by the wedding cake before the groom lashed out, high as a kite,

the cake fell off a din followed before the bride took to her heels,

What a shame that humans place shame on humans. The poet showcases a wedding party that ended in turbulence as a result of an irresponsible groom who still got inebriated and made out with another woman before his wedding and caused havoc on his own wedding day. The exquisite danish cake was a metaphor for a luxurious and well planned wedding and yet in spite of the shimmering appearances, the wedding still ended in a fiasco. Esther’s offering is robust and eclectic and is a great addition to the culture collective in the globe.

There couldn’t have been a more auspicious time than now for Lagos State to host this year’s National Festival of Arts and Culture (NAFEST) holding in November. As host of its maiden edition in 1970, Lagos State is poised not only to use the festival to galvanise Nigerians and promote unity in the country, but also to mend the broken psyche of the populace.

Lagos State governor Mr. Babajide Sanwo-Olu has therefore implored Nigerians to see their diversity, ethnicity and religious tolerance as an opportunity to unite without allowing politics and other things to divide them. “We believe that bringing the NAFEST Festival to Lagos at this very difficult time in our country would be used as a means to galvanise the country. The NAFEST 2022 in Lagos by the grace of God will be used to heal this country. It will be used to bring together our diversity in unity,” he said.

Governor Sanwo-Olu spoke when the National Technical Committee of National Festival of Arts and Culture led by Director-General, National Council for Arts and Culture, Otunba Olusegun Runsewe, paid him a courtesy visit at Lagos House, Ikeja last week ahead of the NAFEST. Theme of this year’s festival is Culture and peaceful coexistence, which is a direct response to the current security challenges facing the nation and the need for sustainable peace, social harmony and national unity.

He said: “If sports can bring us together, arts, culture and entertainment can do better. And if we do it and package it very well before we go into the general elections in 2023, we would have used that platform to heal the country. We would have used it for people to see that we don’t have any other place to go to. We have a responsibility to fix it (Nigeria).

“We should see the NAFEST not just as a festivity but as an opportunity for us to come together, heal and project unity for our country. And ensure that if we can go into next year with all of the tribulations and fears that we have; we will suppress them, surpass them and have elections that will be free, and peaceful, and we can build a better and bigger nation that would be the envy of the world. That is what I am looking forward to.

“Let us see our diversity as an opportunity to unite us. Let us see our ethnicity as an opportunity to unite us. Let us see our religious tolerance as an opportunity to unite us. We should not allow politics and other things to divide us. I am a strong believer of arts, culture and entertainment as a unifier and simple language that knows no tribe, ethnicity and religious bias.”

Governor Sanwo-Olu said Lagos will continue to be a pride for all and a rallying point for Nigeria.

“For us as a government, it is really about ensuring that we can use every breath that we have to better the lots of our people; that we can use the opportunity God has given us to recreate a tomorrow for citizens and we can only do that by ensuring that everything that has to do with good governance is the things we are doing.

“Lagos will open its arms to ensure a spectacular and hitch-free event and most importantly ensure that we can heal our country; we can stop the bleeding in the country and we can use it (NAFEST festival) as a platform to unite Nigeria,” he added.

He also disclosed that Lagos State apart from hosting the NAFEST in November, will also commission the biggest and best African museum, the JK Randle Museum for Arts and Culture and host the United Nations World Tourism Organisation and art exhibition in November.

Speaking earlier, Runsewe praised Governor Sanwo-Olu’s commitment to promoting tourism, arts and culture, noting that the decision of the government to make Entertainment and Tourism a fifth pillar in the six-pillar THEMES developmental agenda for Greater Lagos was commendable.

He noted that no development could take place in Nigeria without Lagos State, and called on Nigerians to join hands with Lagos to move the country.

He said the festival taking place in Lagos in November would be used to unite the nation and preach love among all the citizens of the country.  According to him, this year’s nafest must be used to propagate, project and enact the fact that peace is the foundation for the growth of any nation.

“Without peace, there can be no social harmony or conducive environment for meaningful elections and the result will be chaos, violence, anarchy and retrogression in the society. That is why we shall be coming to EKO NAFEST to preach peace, enact peace, dramatise peace, propagate peace and promote peace,” he stressed.

In a communiqué issued by the National Technical Committee of NAFEST, November 7th to 13th was adopted as date for EKO NAFEST 2022.The communiqué also urged states and stakeholders to mobilise interests to sustain the various national cultural programmes so that government can understand the importance of the sector to national development.

It added that government and the legislature at all levels should as a matter of urgency put proper legislation in place to accord culture its proper place within the framework of national development.

“Government at all levels should make more budgetary commitment to cultural and tourism promotion as a tool for enhancing national unity, improving employment generation and promoting international relationships.

“The need for more synergy and cooperation between Cultural Agencies for greater and more sustainable gains was emphasised, with particular reference to CBAAC’s Memo concerning the 45th Anniversary celebration of FESTAC ’77,” it said.

Participants also called for the reintroduction and teaching of Nigerian History, Fine and Applied Arts in our school curriculum as a means of understanding and appreciating the Nigerian brand, encourage productivity and an all-round development of youths.

“There is need for all Art Councils across the nation to begin an urgent and proper archiving (electronic and all otherwise) of our cultural practices so as to separate the spiritual from the performative available for public consumption, as this is key to growing cultural tourism business in Nigeria,” the communiqué added.