Category: Life – The Midweek Magazine

The relationship that exists between any going concern and its host community depends, to a large extent, on the rapport between the two. The relationship between the host community and the firm operating therein can be frosty or forward-looking. Being concerned about the condition of the environment in which it operates, helps a firm to be responsible. As important as Corporate Social Responsibility (CSR) is for the community, it is equally valuable for a company as “CSR activities can help forge a stronger bond between a firm and the host community” and makes the host community show interest in the safeguard of the firm in a manner that it regards it as communal property.

Mindful of these, Papilon Plastic Manufacturing Company empowered two schools in Ogun State recently. Papilon is a firm that has been in the manufacturing of plastics products in the past 43 years. On Monday, February 22, the Papilon visited the Nawar Ud Deen Primary Schools 1 and 2, Ijoko in Adodo/Ota Local Government Area of Ogun State with a truck loaded with water bottles, ballpoint, and other writing materials.

On arrival at the school, the pupils were excited as they had expected to receive free water bottles and other materials from the company.

The company was not only interested in distributing education materials, but also to improve the fluency and numeracy status of the pupils.

This, it did, through impromptu reading tests where some pupils were made to read publicly its vision, mission, and history.

Papilon’s evaluation of the pupils’ skills showed that the pupils are making strong progress in oral reading fluency and foundational numeracy. After that, packs of water bottles, ballpoint and other materials were distributed to the pupils and their teachers.

The head teacher of Nawar Ud Deen Primary Schools 2, Ijoko, Mrs Akinfaderin Mary expressed her joy over Papilon’s gesture.

“We appreciate the distribution of water bottles and writing materials to the pupils of our schools today. The gesture will go a long way in helping to meet certain needs of these pupils.

“Most of the pupils’ parents may not afford all the writing materials for them. It’s a good gesture that the Papilon came to give those items such as biro, water bottles, among others to them; and the children are very happy,” she said.

 

Business mogul and father of Nigerian tourism Chief Mike Amachree, has said despite the COVID-19 pandemic, difficulties in international travels and insecurity in some parts of the country, Nigeria is still an attractive destination to tourists.

Amachree said his position on Nigerian tourism prospect is drawn out of his interaction with some of his contacts and agents in Nigeria’s source markets in United States, United Kingdom, Brazil and the Caribbean. He said: “Our contact with partners from these countries show that many people are interested in coming to Nigeria. When I talk with my contacts, they will always show that they are interested in coming to Nigeria.

He stated that for Nigeria to continue to maintain this level of interest of potential inbound tourists, the country needs to do more for tourism. He called on business men to invest in tourism as there are so many opportunities there. “They could invest in hospitality business like hotels and resorts. There are also opportunities in transportation, tour operation, amusement parks and so on.

“The government should create the enabling environment through policies like making the process of obtaining Nigeria visa easy. Most of the inbound tourists always complain about the difficulties in getting visas to come to Nigeria. Tourism cannot grow if the tourists find it difficult to come to Nigeria,” he added.

The tourism mogul called on states to do more to develop sites in their areas. He said: “These sites are directly under the control of the states. While we are calling on private business men to invest in tourism, states should also be up and doing by investing in infrastructures to make the sites accessible and also providing the necessary amenities within the area the sites are domiciled.

Amachree, a former President of Association of Tourism Practitioners of Nigeria (ATPN), has been at the forefront for tourism development in Nigeria.  He has led the private sector advocacy for the creation of a stand-alone tourism ministry in Nigeria. He was a member of the launching committee of the Plateau State Development Fund.  He also has substantial investments in tourism in Lagos, Nasarawa and Rivers State through his Brooklyn Hotels chain. In River State, he also developed the Port Harcourt Tourist Beach and nurtured it into a major leisure and tourism hub in the state.

 

After a lull occasioned by COVID-19 pandemic, the International Conference Centre, Institute of Management and Technology (IMT) Enugu, venue of the annual Life In My City Arts Festival (LIMCAF), came alive recently when it hosted the first Art Fair organized by the National Gallery of Art, in collaboration with Department of Fine and Applied Art, IMT, Enugu. The fair, which is the third in the series of NGA organised Art Fair after Ahmadu Bello University, Zaria, and the University of Jos is featuring outstanding IMT School of Arts works by selected lecturers and students (including alumni) of the department. It will run till March 17.  Beyond the individual manifestations, the exhibition is an overview of the stylistic tendencies of the art school.

The artworks on display reflect the trajectory of the department and institute, which will turn 50 years next year. Expectedly, the works which are painting, sculpture, installation, photograph, textile, drawing and mixed media are of four generations of IMT Art School. The first generation being the earliest graduates from 1973 to 1982, the second generation between 1983 and 1992, the third generation from 1995 to 2005 and the fourth generation from 2006 to 2020.

Notable artists of the first generation that exhibited include Chike Nwaka, Fryde Oko, Essien Nsikak, Bona Ezeudu, Boniface Okafor, Tony Umunna, Nich Alude, Tochukwu Amano, Chris Afuba, Anene Nzekwe and Obiora Anidi. Those of the second generation are Cyril Nwokoli, Obi Ekwenchi, Fidel Udenta, Chris Ude, Grace Oji, Maria Mbelu, Innocent Okoye, Goddy Udeh, Bona Aka, Eddy Okolo and Obiageli Offor. The likes of Damian Onyekuru, Amaka Chime, Harold Ekpelibe, Uchay Chima, Nnaemeka Ilechukwu, Ibe Ananaba, Ikenna Ude, Chidi Chukwu and Klint Afam Igwemba belong to the third generation and those of fourth generation are Chukwuma Maduka, Ekene Ireagwu, Samuel Palmtree, Chidike Ihekwereme, Kennedy Ohanagorom, Chinenye M. Eze, Amazu Nzube and Nnamdi Udoka.

No fewer than 65 artists and about 105 art works made up of 28 sculptures, 18 ceramics, 42 paintings six photographs, five drawings, four textile designs and two computer Aided Graphic Designs are on display.

Director-General National Gallery of Art, Mr. Ebeten William Ivara assured that Nga is willing to work with all stakeholders to move the sector forward. He noted that the gallery has since completed the harmonisation of NGA Establishment Act  for Repeal and Re-enactment Act in collaboration with the Society of Nigerian Artists. “Our next stop is the national Assembly. I urge you all to join in this quest by NGA to become a revenue generating agency by impressing on members of the National Assembly to give the bill accelerated hearing for it to be passed into law.

“The benefits when this happens are immense. They include but not limited to the following: engagement of visual artists in urban and rural areas productively almost all year round to produce art works; explosion in studio practice; increase in visual art practice, entrepreneurship and mentoring; release of the much needed fund to reposition visual art as a viable discipline for young people to embrace and visual art will now contribute greatly to Nigeria’s GDP,” Ivara said.

Chairman of the exhibition opening ceremony, Elder Kalu K Kalu recalled that the collaboration IMT entered into with Life In My City Art Festival in 2016, has enabled the survival and unbroken consistency of LIMCAF’s annual festival, which provides a platform to showcase, reward and promote young artists from all over Nigeria.

“In the 15 years of its existence, LIMCAF has directly empowered over 1500 young artists and promoted and exposed them for the enrichment and growth of their careers. This year, for example, through the support of Emeritus Professor El Anatsui, LIMCAF will sponsor 18 young Nigerian artists from all over the country to attend the Dak’art International Biennale in Senegal. Others will receive training in various areas which are endowed by our sponsors,” he noted.

He therefore, called on DG of National Gallery to take advantage of the opportunity of the great impact which LIMCAF is already making in the development of contemporary art  in Nigeria from a grassroots catch-them-young perspective to advance his mandate. Director School of Art, Design and Printing Technology, IMT, Enugu, Dr. Okay Ikenegbu remarked that IMT was the ‘first Art School in Southeast NGA is collaborating with in this magnitude at this crucial time . Interestingly, IMT will be 50 next year.’

Present at the ceremony included Igwe Dr. Titus Okolo, Igwe Amorji Nike, Dr. Ferdinand Anekwe, Dr. Obiora Anidi, Mr. Kevin Ejiofor, Mrs Virginia Okegbe, Engr. Sunday Udeh, Dr. Okay Ikenegbu, Dr. Ayo Adewunmi, and Dr. Simon Ikpakronyi. Others were Mr. James Irabor, Mike Ayim, Mrs Vera Chijioke, Dr. Henry Achugbu and Mrs Pat Nkwocha.

The International Women’s Day is here again. As the world celebrates the contributions and achievements of women to societal development across diverse fields, the literati are not left out. The widely-revered matriarch of Nigerian literature Mabel Segun, turned 92 recently. The Association of Nigerian Authors (ANA), Lagos Branch, rolled out the drums to celebrate the nonagenarian in style. EVELYN OSAGIE reports.

A woman from a literary family

Like the marriage of the Sun and Dawn, the story of the development of Nigeria’s literature would not be complete without the matriarchs. The literary landscape boasts of exceptional matriarchs who are highly revered for making their marks at a time women’s access to education was almost non-existent. One of such women is Mabel Dorothy Segun.

The nonagenarian is a versatile woman, whose outstanding achievements in the fields of literature, broadcasting and sports have won her local and international recognitions, including Nigeria’s national honour which she was awarded in 2009.

Born in 1930 in Ondo town, the amazon of Nigerian literature comes from a highly creative family: the Aig-Imoukhuede family of Sabongidda Ora in Edo State. Her father, Venerable Isaiah Aig-Imoukhuede wrote the first Ora primer, a short history of Ora and was translating the Yoruba Hymn book into Ora when he died at the age of 39.

He had also composed the first verse of the well-known Yoruba song, lwe Kiko, inspired by his farming upbringing. Mabel’s father, who died while she was eight, had a great influence on her, particularly her creativity, as well as her siblings. Her brothers – Frank and Aigboje – are also creative writers. Also, her sister was a household name in the 1960s as a children’s television producer.

“The man was worth more than just a Reverend. He wrote “Iwe Kiko”. He influenced me and my brothers – Frank, the journalist and Aigboje, the former Managing Director of Access Bank.,” says Mabel.

 

A woman of many firsts

Mabel is a woman of many firsts. She is one of the first Nigerian female writers to write from the perspective of a modern metropolitan woman. She was a poet, short story writer and broadcaster, who also taught for many years. In 1983 she was listed in Men and Women of Distinction, published by Cambridge International Biographical Centre.

At the newly founded University College, Ibadan (UCI), she was deputy editor and advertisement manager of the University Herald with Chinua Achebe, her classmate, as editor. She began her literary journey writing poems. She contributed poems, short stories and articles to that pioneer students’ magazine. A short story, The Surrender, which she wrote in the year of her graduation, won the maiden edition of the Nigerian Festival of the Arts Literature Prize the following year, 1954.

Looking back, Mabel says: “I feel fulfilled as a writer. I have written for children. And I have written poetry.”

You can call her a writer with a heart of gold. And if you are wondering why, hear her: “I wrote poetry, and later I got diverted to children’s books because I wanted to raise the genre. I felt that it was a neglected genre.”

 

The matriarch and her books

In 2007, she was proclaimed joint winner of Nigeria’s most prestigious prize for Literature – the NLNG Nigeria Prize for Literature which was awarded for her children’s book, Readers’ Theatre: Twelve Plays for Young People.

Mabel has written, co-authored and edited several children’s books including the classic autobiography My Father’s Daughter and its sequel, My Mother’s Daughter, each of which has formed the subject of university theses and literary articles in Nigeria and overseas. She has published five books for adults including a poetry collection, Conflict and Other Poems, a collection of short stories published by Longman in UK titled, The Surrender and Other Stories, and a selection of her radio talks under the title, Friends, Nigerians, Countrymen, later retitled Sorry No Vacancy. Mabel’s stories and poems have been published in over 30 anthologies in Nigeria and abroad; and have been translated into German, Danish, Norwegian, Greek and Serbo Croat. Two of her children’s books have been translated into Swahili and Arabic.

Two years ago, when she turned 90, the nonagenarian was asked if she still writes and this is what she had to say: “If I don’t write, I won’t be alive, I still write. But it is painful when what you wanted to do has been interrupted so many times.”

She is one writer that has often advocated a conducive environment for writers. In her view, creating a good environment for creatives, like writers, would not only impact on education but also the reading culture of the young and children. “We are living in a most unnatural condition,” she says, “I am fed up with this country. Why are we not progressing: why don’t we have constant electricity? In the old days, we used lamps. Today there is no excuse at all. Nobody wants to be straining their eyes at a book before you can see what’s written there. But we have gone back to it. It is a pity. I wonder when it will change.”

 

A matriarch of sports

Incidentally, she is the first Nigerian woman to play table tennis. Mabel became an honorary male by entering for Men’s Singles tournaments and was awarded the University’s Table Tennis Half Colour. From her teens, Mabel has always been athletic as far back as her days at UCI, which is now the University of Ibadan (UI) where she was admitted in 1949. For this she was called, “tomboy”. “it pleases me now to see women refereeing men’s football, women doing pole vault, women doing all sorts of things. In those days, they said women couldn’t go up. I was swimming, canoeing, playing table tennis, shooting birds at Obalende, which was a bush then. Nobody lived there. I did all the things that men did and they called me a tomboy.”

 

Mothering another literary amazon

From a literary family, Mabel has also raised a literary amazon in her own right – her daughter, Omowunmi. Omowunmi’s first piece of writing was a poem titled Crossing a busy street’ written at the age of 12 and published in Under the Mango Tree: songs and poems for primary schools edited by Neville Grant and Mabel Segun.

The adage “Like mother, like daughter” best describes both writers. My book, The Surrender And Other Stories (1995), Mabel said “is dedicated to my favourite daughter, Omowunmi, who happens to be my only daughter,” Mabel says.

While in her case, Omowunmi says: Third Dimple, my first novel, is dedicated to my mother.”

In 1991, her novel The Third Dimple won the Prize for Prose awarded by the Association of Nigerian Authors (ANA). The same book was shortlisted for the Commonwealth Writers Prize in the category ‘Best First Book’ (Africa Region).

Omowunmi, who is referred to as writer-activist, writes stories for children, written during the period she volunteered for Amnesty International Nigeria, reflect her passion for human rights. She also co-edited an anthology of short stories by Women Writers of Nigeria (WRITA), Breaking the Silence (1996) and Ibadan Mesiogo: a celebration of a city, its history and people (2001).

 

Literati celebrates its Matriarch

Mabel turned 92 recently. And to commemorate her birthday, ANA Lagos Branch, led by the chairman, Mr Ifeanyi Avajah, held a literary party in her honour in Surulere. The event was attended by her daughter, Omowunmi and other family members; the Chief Executive Officer, African Refugee Foundation (AREF), Mr. Olujimi Olusola and his team and ANA members, among others. Guests took turns to read from the works of the celebrator; while saxophonist OyinSaX (Oyin Ogungbade) entertained them. The nonagenarian was clearly elated and danced gracefully to the music to the ovation of the guests.

Moved by the gesture, Omowunmi said: “I don’t even know where to start from. But I was blown away by the approach of the chairman of Lagos ANA. I really appreciate what ANA has done, including ANA as a body nationally. They have really treasured my mum.

Speaking of her mother, her daughter said: “Sometimes when you live with a treasure, it’s difficult to forget because to me she is just my mother but to everyone else she is a treasure. I treasure her, mind you. We’ve grown up and been through a lot together. We are more like sisters than mother and daughter. And I know that my mum is really pleased.”

At 92, her works continue to inspire the pen of many of us, younger writers, according to Mr. Avajah. “We truly appreciate our Mama Mabel. Her contributions to Nigerian literature are noteworthy. Also, she was a founding member of ANA.”

 

 

As part of its contributions to empower and engage Nigerian youths at this crucial period of electioneering, Kininso Koncepts Production, a creative/cultural hub has concluded the production of Fix Politics, a social campaign film originally written by Dike Chukwumerije. On Friday, it will be screened before a selected audience in Lagos as part of preview session before its formal release.

The film, which was shot last year, focuses on issues of governance, election, education, poverty, corruption, tribalism and a host of others. It features season actors and veterans like Bimbo Manuel, Jude Chukwuka, Efe Paul Azino, Francis Onwochei, Segun Adefila, as well as Nollywood fresh and finest cinema faces such as Sambasa Nzeribe who featured in blockbuster cinema movies such as Wedding Party, Slow country, Tope Olowoniyan in King of Boys2, Caroline Igben popularly known for her instagram skits with Mr Macaroni and Nasboi, Emmanuel Anya, Olasunkanmi Adebayo, Nnamdi Agbo, Precious Eminue and popular Instagram comedian Eriaka Edgar.

According to a statement by Kininso Knocepts Production, Nigeria is at its election season and as a timely project, Fix Politics aims to ‘sensitise and create awareness for the citizens particularly the youth and the government on the part they must play as stakeholders to curbing these issues and if we must, start now.’

Fix Politics is a social campaign using art as vehicle to reach the audience.

The production of Fix Politics was achieved through the support of Centre for Information Technology and Development (CITAD); a Non- governmental and non-profit organisation that focuses on the use of information and communication technologies for development and promotion of good governance and MacArthur Foundation which supports creative people, effective institutions and influential networks building a peaceful world.

In the last 10 years, , Kininso Koncepts Production have produced theatre and performance contents for corporates and NGO’S/CSO’s on major issues such as domestic violence, rape, insurgency, child marriage, justice and security, peace and reconciliation, health and safety, anti-corruption, malaria, human rights and gender equality. These works have served as catalyst for social orientation especially as it concerns Nigerians and youths.

Imo State’s biggest traditional festival, Ikeji Festival of Arondizuogu may not hold this year  following alleged breach  of contract between organisers, Arondiuzogu Patriotic  Union (APU) and a marketing company, Elveden Resource Nigeria.

Elveden has threatened to drag APU to court and stop the festival if the contract issues were not resolved soon.

The company said it had on December 29, 2019, entered into a consultancy service agreement with APU for marketing, branding and repackaging of the festival for four years (2019 to 2023).

According to the Creative Director, Elveden Resource Nigeria, Mr. Ikenna Anene, having entered into agreement, the company had spent money in marketing, promotion and publicity of the festival, first in 2020. However, the Federal Government’s suspension of inter-state travels and all gatherings as a result of the COVID-19, forced the festival to be postponed in 2020.

He said in 2021, however, with a new APU executive in place, without having any form of discussion with the company, the new exco decided to jettison the contract APU entered with Elveden Resources Nigeria.

Anene said: “Why we are resorting to the law court is that they have not agreed to come to the table and discuss with us.After the agreement was signed with APU, we have spent so much money on the Ikeji project. So, if they do not want to discuss with us to resolve whatever issues that are there…It is not a must that we  are the ones that will handle the festival, they can refund  the money we have spent on the project and let us go our way.”

Asked if the new APU leadership had acknowledged the contract agreement, he said: “Of course there was a document that was signed. They have acknowledged that but what they are saying was that they were not comfortable with the agreement signed by the former exco of APU. They acknowledged the agreement but were not ready to enter into negotiation with us. They should pay us off for what we have expended and we will go away.

“We started engaging them even in 2021, before the 2021 Ikeji festival. We didn’t want to come out to say anything. We wanted to show them that we were ready to negotiate, but their going ahead to hold the 2021 Ikeji festival was a clear violation of the agreement we entered with them.  So, that is why we decided to take this action of stopping the 2022 edition.  So, if they don’t come to the table to negotiate, we will go to court for the agreement to stand.  This might also include asking that the festival be suspended until these matters are resolved.”

In his reaction, Secretary of APU Mazi Chinedu Okpareke said: “Yes indeed, there is an issue. We are trying to get information from the former administration with some anomalies. I’m sure you’re a Nigerian. I’m sure you know how things may be done. I am not trying to be categorical, but we want to sort some explanations from the former administration we took over from.

Four new generation galleries featuring about 19 artists’ works of art will converge at this year’s NXT.ART FAIR 2022, an artistic festival designed to consider the current moment while exploring a future experience for Africa and her Diaspora..

The galleries are drawn from Nigeria, Germany, Ghana and United States.

Organised by Africa NXT, the fair which will open between February 27 and March 4 at Landmark Event Centre, Lekki, Lagos, is dedicated to new innovators, as well as focuses on contemporary aspirations and future realities.

According to the fair director, Ugonna Ibe-Ejiogu, “The NXT.ART space will showcase contemporary art from galleries in Africa and the African Diaspora, and is designed to focus on the distinctive and connective themes in Black culture. NXT.ART has partnered African Digital Art to host a Digital Gallery co-curated by Ugonna Ibe-Ejiogu and Somi Nwandu.”

Ibe-Ejiogu, who is also the founder Yenwa Gallery, disclosed that the NXT.ART FAIR will include curated section with  the theme Here & There, which is about contemplating present dreams and future realities. “Here & There is then, now and everywhere. It is a journey of reimagined space- physical, psychological and conceptual. It considers this moment and explores a future experience for Africa and her Diaspora,” Ibe-Ejiogu added. The NXT. ART, a five-day experience also has a gathering tagged Curated Convos featuring local and international artists, curators, collectors and investors.

With galleries from Nigeria, Ghana, Berlin, and the United States expected to exhibit a rich display of artworks of Nigerians and other African artists, the fair sets to explore a new conversation around the universal experience of black culture.

According to Tony Agbapuonwu, an artist and one of the panelists of the curated conversation, NXT.ART fair is an attempt to create a platform for a strong cohesion for African artists, while exploring a collective sense of black identity.

“We saw what happened during the pandemic and the whole protest of Black Lives Matter and how that translated into the EndSars movement. So, I think what we’ve come to see among Africans and even African in the diaspora is that we’ve all come to realise that our reality is universal. I think right now the conversation is moving from just seeing yourself as a Nigeria or even as an African, but then seeing yourself as a black person,” he said.

For Somi Nwandu, a digital artist and partner of the fair, the art fair is a unique experience in the art space not only because it will be providing an opportunity for emerging artists in Africa, but also explore the attempt of a fusion of art and digital technology.

She said: “This inaugural fair was included in the African NXT tech conference. And I believe what I’m trying to strive into with this art fair is to bring to the forefront new media and the digital art experiences that we have in the African art space. Tying in the technological aspect of art in the African space is what I want to bring to the forefront as the vision for this art fair. So, it will include different shades of what’s advanced in the new media space as well as art industry in Africa.””

In showcasing a fair of rare standard and quality in Lagos, NXT.ART’s advisory and selection committee has been carefully chosen to comprise of prominent art collectors and curators in Africa and the Diaspora. The committee screened and selected the galleries being featured in the fair. Its members include Director, Yemisi Shyllon Museum of African Art Lagos, Mr. Jess Castellotte, Executive Director, Museum Of Contemporary African Diasporan Art Mocada (United States, Amy Andrieux, CEO and Founder Liberty and Justice, Liberia, Chid Liberty, Director and Curator Video Brasil Cultural Association Brazil, Solange Farkas,  External Affairs Coordinator Smithsonian Museum of African Art (Dubai) Somi Nwandu,  Founder, African Digital Art (Kenya) Jepchumba, CEO and Founder DOII Designs, Nigeria Ifeyinwa Ighodalo, Co-Director of the Africa + Modern and Contemporary Art Department Piasa ,France Olivia Anani Lawyer and Member Society for Art Collection, Nigeria Ifeyinwa Momah

Participating galleries include Gallery At The Landmark (GATLDMK) Lagos, June Creative Art Advisory (JCAA), Lagos, Forme Femine Berlin, and ADA NFT Gallery, USA. These galleries will be featuring works by Isaac Emokpae, Ighiwiyisi Jacobs, Yadichinma Ukoha-Kalu, Laja Oladotun, James George, Joseph Ogbeide, Musa Ganiyy, Ebuka Pascal Agudiegwu, Chinwe Chigbu and Yewande Oseni. Others are Afroscope (Ghana), Ike Slimster (Nigeria, USA), Martin Ndere (Kenya), Qaadira Ihsaan (USA), Kevin Karasha (Kenya)  and others.

MahlÔt Sansosa (USA), from Nigeria, Ghana, Berlin, and the United States

geria, Ghana, Berlin, and the United States

(South Africa), Hakeem Adam (Ghana) and Omololu Johnson Ayodeji (Nigeria). NXT.ART Fair 2022 curated conversation will be feature panelists such as Prof Peju Layiwola, Olivia Anani, Ayodeji Rotinwa; Niyi Okeowo, Jepchumba, Oyindamola Fakeye, Tony Agbapuonwu and Fisayo Bakare.

Title: International Law, Policy…

Author: Michael A. Abiodun

Reviewer: Yemi Adebisi

Publisher: Grecian Limited
Pagination: 124

Recently, the world was thrown into another session of confusion as the dreadful COVID-19 pandemic graduated to emerge a new variant called Omicron, popular as the ‘virus of concern.’

Before then, several institutions, scholars and world-class analysts have lent their voices on the arbitrary sequence of the spread of the virus and its attendant rate of mortality. While some stakeholders are believed to have imposed their primordial sentiment on other citizenry, politicising the physiognomic reality of the disease, others appear to have been jittery about the policies and literature of COVID-19.

Dr. Michael A. Abiodun, the author of the book under review, International Law, Policy Questions And Perspective Contentions On The Pandemics Of COVID-19 And Chinese Loan Agreements With African States, has used his prowess to educate the world about the myths and realism of COVID-19, including legal, moral and counter-arguments against Chinese commercial loan agreements with African states.

Holistically, the revered scholar, in the 10-chapter book treats such topics like meaning and origin of COVID-19; etymological claims and counter-claims on the disease; COVID-19 and what international economic law says about national, regional and world economies, and then, the international humanitarian law before and at the wake of COVID-19 pandemic.

Other important issues discussed are international law: the principle of ‘international minimum standards’ and the ‘national treatment’: how the Republic of China treats the people of African descent and citizens from other nations of the world in the era of COVID-19 pandemic; an examination and cross-examination of COVID-19 in the light of international human rights protection; abuse of fundamental principles of international law/territorial sovereignty by China’s takeover of several African countries, among others.

Apart from the artistic design of its cover, the book begins with the author’s prefatory statements, which go beyond mere reading for pleasure but rather pivots and curates basic philosophical principles which make the book to be more reader-friendly.

An example of such statement on page 21 says, “If the sudden emergence of coronavirus pandemic is yet to teach nations, engaging leaders and players in the business and financial worlds any sense about learning the unknowns and the knowns unlearnt in a more diversified fashion, and unlearn in anticipation the knowns previously learnt, then the worthy gains of any sudden pandemic can only remain the lot of a few. Then that novel idea to drive the world to witness the next transformation will remain a mystery and a mirage. Then leaders of nations and business moguls will gain the rewards of confusion and losses alone.”

In this potable but loaded book, the author emphasises that what makes the COVID-19 pandemic special is how it takes place in an unprecedented backdrop when the interconnectivity and interdependence between people, countries and continents are so deep.

“The pandemic reminds us that we need to stay humble in the face of disasters. Any country or individual, regardless of geography, fortunes or political ambitions, is equal. The novel coronavirus crisis rips off all fanciful illusions and superficial things and displays the lasting value of human life.

“We all have to admit that the COVID-19 pandemic has shown us examples that lack humanitarianism. This may be due to the chaos caused by the spreading threat. However, such lack of humanitarianism seems to be deep-rooted. This is because of some countries and their ruling elite’s incurable egoism. Those who proclaim themselves as moral leaders with democratic traditions did not unite all parties to seek mutual understanding. Instead, they started to act according to the law of the jungle, regardless of etiquette rules and ethical constraints.”

Abiodun also argues that some Western countries have and are still continuing in the distasteful attitude of politicising humanitarian issues and trying to use the pandemic to punish the governments they dislike.

“If not, how could we explain that these Western countries, which always talk about respecting human rights, do not want to give up their one-sided economic sanctions on developing countries (at least before the global pandemic situation is eased)? Indeed, such sanctions have weakened ordinary people’s ability to exercise their social and economic rights, causing serious difficulties in protecting residents’ health and hitting the most unprotected people.”

The novel coronavirus, in the words of this author, “spread so rapidly that it has changed the rhythm of the globe. Whether from the perspective of a single country or multilateral levels, the solidity of international relations has been put under test. The most obvious consequences include economic recession, a crisis of global governance, trade protectionism and increasing isolationist sentiment.”

He stressed that there is a need to carry out a comprehensive evaluation of the world’s ability to maintain stability when faced with similar challenges in the future, “after we overcome the pandemic.”

In this context, Abiodun accuses China of striving for global leadership, and that it has the economic clout to realise its vision.

“In 2020, the Chinese embassy in Nigeria was forced to deny plans to seize any of Nigeria’s national assets amid local debates over the possibility of ‘losing’ sovereignty to China over bad debts. The scale of China’s lending to African countries as well as the Asian giant’s motives, which have been described in some quarters as ‘debt trap diplomacy’. The solution for this may not be in China-bashing but in African leaders finding smart ways of benefitting from the relationship with China and also developing ingenious ways to profit from the rivalry between China and her traditional allies.

“In doing this, African leaders should bear in mind that China, like the continent’s former colonial masters and others, is in Africa not as Father Christmas but to advance its interest.”

Written in lucid language, the book is educative, expository, historic and refreshing.  It is, therefore, recommended to all students in both secondary and tertiary institutions of the world, scholars, lawyers, administrators, health personnel and politicians.

Abiodun, a prolific writer and author of about 19 books has a master’s degree (LLM) in International Commercial Law from the University of Aberdeen, United Kingdom. He has also undertaken his Ph.D. in Human Rights, Security and UK Anti-terrorism laws from the same institution. Abiodun, who has proven to be an authority in this subject based on his academic echelon and professional exposure, is currently an attorney as well as a federal prosecutor, demonstrating both prosecutorial and academic excellence in matters relating to International Law and Counterterrorism. Incidentally, he is a blind man!

From modest beginning as a self-taught young cartoonist, Moses Osawe engraved his name from a relatively unknown creative to one of the leading cartoonists in the Nigerian media industry in the 70s and 80s. Assistant Editor (Arts) OZOLUA UHAKHEME writes.

Without a formal training in fine art, Moses Osawe, who just finished his secondary education at the CMS Grammar School, Bariga, Lagos, walked into the Daily Times newspaper corporate headquarters. It was then on Kakawa Street in Lagos and he had with him a bagful of his strip cartoons.

Prompted by an old wood carver and friend of his father, young Osawe found his way through the security and other protocols and met with Editor of the Lagos Weekend title, Mr. Clement Okosun and later, Editor of Evening Times, Mr. Martin Iroabuchi. His mission, though unsure, was to feature his cartoons in any of the publications under the Daily Times stable. That was in 1973.

“One of the carvers saw those drawings and asked: did you do this? I said: “Yes”. He said take them to the Daily Times office. They are not different from what I see in the cartoon pages. That was how I started freelancing as a cartoonist at Evening Times in October 1973,” he recalled.

Growing up as a little child, Osawe was always with his pencil and paper drawing and sketching figures and images. His father used to buy newspapers such as Daily Times, Sunday Times and Lagos Weekend for the family to read. It was an assignment of a sort for the children in particular. With that exposure to newspapers at an early age, Osawe started falling in love with cartoon strip particularly that of Jossy Ajiboye, Dele Jegede, Okpaku Gabriel, among others.

Interestingly, years later, he became a junior colleague to those master cartoonists he admired as a little child.

Osawe’s first cartoon was published on Page 3 of Evening Times‘ maiden edition of October 17, 1973, a page he retained for many years.

“On that day, the Editor told me: ‘You will be paid four naira everyday your cartoon gets published.’ After that day, it was like I had become an instant celebrity. I was too young to appreciate the money that was coming my way. The editor told me that I could have an office in their studio room. And if I wanted to be drawing from home, he didn’t care where I did it.

‘’I became an envy of the whole Daily Times staff because I only showed up on Saturday to collect my vouchers. In fact, some hated me for that, honestly. The cashier would pay me the money every Saturday and I didn’t wait for salary,” Osawe said of his new life in the newsroom. His two characters-Pa Johnson and Gabriel-were ousehold names among lovers of cartoons.

Four months down the road, Chairman Daily Times, the late Alhaji Babatunde Jose called Osawe to his office on the third floor, which was an honour then for any outstanding journalist to be called to the chairman’s office. He gave Osawe Daily Times diary and an engraved pen, saying: ‘You will go places’.

According to Osawe, the chairman’s commendation was not just in appreciation of the drawings, but the story lines that were timely. “In was like recording history in strokes. The two characters I created were able to etch their ways into the minds of the reading public. I became a small celebrity. Every year, Daily Times would give me a package of gifts until 1976 when my parents advised me to go back to school before fame got into my head. I was working full-time with Nigerian Breweries in Iganmu earning fabulous salary. So, it didn’t interfere with my freelancing with the Evening Times,” Osawe said.

His quest for higher education took him to Accademia di belle arti, Pietro Vannucci, Perugia, Italy in 1976 where he bagged a Bachelor’s Degree in Fine Art. On return to the country for the compulsory one year National Youth Service Corps in Akure, Ondo State, Osawe made a return to Daily Times for employment. That was not to be.  He was told there was an embargo on employment by the Federal Government.

Though shocked by the response, he remained undaunted as he explored other possible options. With the approval of Tony Momoh, who was General Manager Daily Times,

Osawe registered a monthly comic magazine, Fun Times in partnership with his friend, David Lasekan (aka Benbella) in 1984.

“The cover price of the magazine was one naira per copy. The first edition came out in October 1984. We started with 50,000 copies and they sold out in 48hours. After a year, I kept reminding Lasekan that we were not staff of the paper. Though they gave us big air conditioned office. I was the Editor and Lasekan was Production Editor,” he said.

The relationship between Osawe, Lasekan and the Daily Times management went sour when dirty deals over the magazine circulation figures became controversial.

For the fact that the duo were not on salaries, but ‘royalty’ from sales each month, Osawe began to be curious about the numbers of copies distributed and sold.

“I saw that a whole year, they would sell between 48,000 and 50,000 copies every month. And we were only paid 10 percent of the proceeds. They did not call it salary. It was royalty. That was what they were giving us. In fact, I became an alcoholic because I wasn’t sleeping due to production demand.

“So, one day, I said I am fed up. I told them I was not going to continue drawing cartoons if we don’t sell more than 48,000 to 50,000 copies every month.  They didn’t believe me. I decided to carry out investigation because any time the sales figures came; Benin City was one of the highest selling areas. So, one day, after the magazine was released to vendors, I drove from Lagos Printing Press to Benin City office. I asked the manager, ‘How many copies did you get?’ He said 5,000 copies. I went back to Lagos. I just wanted to use Benin as a case study. So, I waited for the trucks and circulation staff to start returning to the office. And they returned with hundred percent sales. I then asked how many copies were sent to Benin City office. They said 2,500 copies. That was when I knew that we were being shortchanged. This led to how I left the Daily Times,” he recalled.

After confronting the Marketing Manager and the General Manager with the conflicting reports on circulation and sales reports for that day, Osawe felt time was up to throw in the towel.

“I called my colleague and told him what I found out. He rebuked me saying you investigate too much. I said what? I said don’t you realise that they are giving us 50 percent?  But after two years, they gave us a Passat car each to keep us quiet,” Osawe said, adding that he however urged his partner (Lash) to support his move in order to get better royalty, which they never got.

Eventually, Osawe walked away from Fun Times leaving Lash behind, who according to him, was later shown the door because the sales dropped drastically.

“In 1991 January, I left for the US for the first time. I started hearing story that they have thrown Lash out of the Daily Times because from 40,000 copies they were selling, it dropped to 15,000. So, they gave him three months to perform. The management did a market research and found out that it was the content I removed that affected the sales. So, they asked him to leave,” he recalled.

On his fond  memories of his first two years at Daily Times, Osawe said: “The first two years of Fun Times was glorious. It was a magical period of my life because it was like I was a toast in the whole Agidingbi, especially when the news had it that I was making hundred percent sales. To the extent that some companies were interested in buying pages. The demands were more than the sales. We were shoulder-to-shoulder with Ikebe of the News Times then. So, these first two years, 85 and 86 were the most beautiful periods in my life. Women were following me. In fact, I had to use my sense. You know, I was a handsome man with my afro hair style. I was always well-dressed. I’ve always loved nice cars. And God has always made it possible for me to acquire different cars.”

Can the scars and sad memories of the Trans-Atlantic slave trade ever be forgotten centuries after it ended? Maybe not as enslaved communities in Africa experienced massive regional and interregional displacements, disruption of social and political life, dehumanisation, impoverishment and economic marginalisation as well as the confiscation of their freedom and dignity. One of the accomplices’ roles in the illicit trade is the focus of a book Vothuno: Chief priest of Badagri, by former Permanent Secretary, Lagos State Ministry of Tourism, Arts and Culture, Mr. Babatunde Olaide-Mesewaku, Assistant Editor (Arts) OZOLUA UHAKHEME reports.

Despite the small-size audience at the presentation of Vothuno: Chief Priest of Badagri to Lagos State Commissioner for Education Mrs. Folasade Adefisayo, appreciating the relevance of history and culture and the survival of Nigeria’s indigenous languages was however not lost.

From recounting sad memories of slavery in Badagry to worries that some indigenous languages are facing extinction and the consequences of this to generation of humanity, the book presentation rekindled hope for the promotion of Nigerian languages in government schools. Venue of book presentation recently was the Conference Room, Ministry of Education, Alausa Ikeja, Lagos.

Mrs Adefisayo, who decried the dehumanisation of Africans during the slave trade, said Africans have no reasons to be ashamed of its culture, adding that they were majestic people before the colonisation by the Europeans. She urged Nigerians to contribute to the changing of the narrative for future generations.

“We ought not to be ashamed of our language and of our culture and people. Because our people were majestic before somebody came to colonise us. So, I believe that this book is hopefully one of the ways we’ll be able to change the narrative for this generation.

‘’We are not animals and even before the white man came, we had our culture, our way of life, our food, our religion, our social structure. But, we have thrown everything away now; we had better be careful,” she warned.

The Commissioner assured that by reading the book, Nigerians should be able to change the narrative, adding that it is particularly important that ‘Nigerians start to write a story from our point of view.’

Commending the author for his unflinching support and passion for the preservation of Nigeria’s culture, Mrs. Adefisayo noted that ‘we have to start changing the narrative. So, I’m very glad that we are talking about this. And I thank you very much sir because in opening our eyes to this narrative, we are getting what we should, to understand who we are.’

According to her, it is clear that the book tells the other side of the story, how and why the culpability of our people in the slave trade. “How could you sell your own children to the extent that you only have one child left? So, how culpable were we in selling our own brothers and sisters into slavery and for 400 solid years? Think about it. For 400 solid years these people were in bondage,” she wondered.

On the consequences of slavery on Africans, she said: “But its effect is still there today. Can you imagine that all those African-Americans, if slave trade never happened, they would have been here. That means we sold our best out. They have to be strong and young people that we sold out.”

Permanent Secretary in the ministry, Mr. Abayomi Abolaji said the book has the support of Lagos State government and will be distributed to all schools and agencies within education sector, as well as the districts.

He added that the ministry will ensure that the books get to appropriate quarters including library board. “So that it will be handy for us when we talk about our culture,” he noted.

Volthuno… was first published in UK in 2014, but the price was very prohibitive and unavailable to Nigerians except those who bought online via Amazon. This challenge prompted the author in 2020 to approach Governor Sanwo-Olu for support to get the book republished in Lagos and make it available to Lagos public, especially students.

Olaide-Mesewaku described the book as a mix of historical fact and fiction, using Badagry as laboratory for the experiment of the slave trade that occurred in Africa.

“Slave trade plagued Africa for more than 400 years. So our economy, our civilisations were completely stagnated and destroyed. But, efforts in the past have not really pointed to the fact that this history should be preserved. What I have done in this book is to preserve history, which has become our heritage that should not be forgotten. We have the Holocaust of the Second World War in which only six million Israelis were killed. But, in terms of slave trade, lets look at it from all perspectives. Talk of the number of years, talk of the number of people and we will be talking of a plague that ravaged Africa and killed more than 30 million people.

“In major cities of the world, there are Holocaust Museums to educate humanities that what happened to Israelites should never be allowed to happen again. But in Africa, there’s nothing like that. That’s the reason why we have to preserve this history,” he said.

Continuing, he added: “The story of Vothuno is very scintillating because in the process of protecting his religion and his slave trade in Badagry, Vothuno got himself entangled. His only child that remained was sold into slavery. That was part of the evils of slavery. And it was a fact. That’s what happened in Africa. I said Badagry was a laboratory for this experimentation. So all that happened all over Africa were recorded and captured in the book. Vothuno got himself entangled with the missionary to the extent that his only son was converted to Christianity, which was really a problem. His traditional religion worshippers had to give him a deadline to produce his only child because his child was to be initiated few days before the conversion.”