Category: Life – The Midweek Magazine

After one year hiatus, following the outbreak of COVID-19 pandemic, the annual Life in My City Art Festival (LIMCAF) returned this year with a new lease of life and greater expectations. And part of the surprises at the festival, which was held online for the first time since its inception was the emergence of ‘Smudged Vision’, a seemingly simple rendition of a charcoal on paper drawing, which beat over 550 other quality entries to emerge the overall winning artwork.

Interestingly, the artist who did the drawing, Chichetam John Okoronta is a 24-year-old self-taught artist and Information Technology graduate of the Federal University of Technology, Owerri. He won the star prize of N500,000, but the award ceremony was however devoid of the usual fun fare no thanks to COVID-19 pandemic. In compliance with COVID-19 protocols, only 25 winners of the top 100 competitors were invited to physically attend the award night, which was held at the International Conference Centre, Institute of Management and Technology, Enugu.

Dr. Chijioke Onuora-led LIMCAF jury announced the following participants as winners of LIMCAF’s 14th edition in different categories. Ten other lucky winners were also added to the pack courtesy of the recently instituted Hitch Prize of N250,000 each, plus one year online training on how to digtalise art.

They included Abuja Zone’s Segun Victor Owolabi, for hisZ thread and nails on board work, titled “Resilienc”, (N250,000) for the Best Sculpture/Installation prize; Lagos Zone’s Adewuyi Olusola Samson Arojinle’s terracotta, “Deep Thought”, (N250,000) for the Best Ceramics prize; Abuja Zone’s Paul David Enyi’s “Safety” (N250,000) for the Best Graphics/Digital Art prize; Port Harcourt Zone’s Godfrey Godstime Uche’s print on wood board work, “How We Roll” (N250,000) for the Best Photography/Video prize; Lagos Zone’s Elizabeth Motorola John’s thread on board textile art, “The Chronicle”, (N250,000) for the Best Textile/Fashion prize.

Other winners were Enugu zone’s Samson Ejiofor’s wood sculpture “Played” (N100,000) for the Justice Aniagolu Prize for Originality; Auchi Zone’s Ismaila Jimoh Odera’s sculpture made with flat metal bar and bottle covers and titled “Ozi ema Apapa na nahe eza”  N150,000 (As you sow, so shall you reap) for the Pius Okigbo Prize for Technical Proficiency; Uyo Zone’s Umoren Edidion Akpanta’s mixed media sculpture “Save the Wild” (N200,000) for the Mfon Usoro Prize for the Best Uyo Entry; Lagos zone’s Ifechukwu Ugonabo Stanley’s oil on canvas painting Gold Mine (N150,000) for the Lawrence Agada Prize for the Most Promising Young Artist and Enugu Zone’s Abigail David-Ase’s installation made with noodle packs, titled “Unfulfilled Promises”, for the Vin Martin Ilo Prize for the Best Enugu entry.

Consolation prize winners included Abuja Zone’s Peter Eneji Ebem for his acrylic on canvas painting “Chronicles of Despair”; Auchi Zone’s John Adegbite’s oil on canvas painting “The Circumstance”; Enugu Zone’s Ahumaraeze Ekeoma Itah’s oil on canvas painting “Deep Thought”; Owerri Zone’s Chibuikem Benedict Okpala’s charcoal and graphite pencil on paper work “Puzzled Vision”; Ibadan Zone’s Isaac Ademola Ojo’s oil on canvas painting “What’s the Update?”; Lagos Zone’s Gbenga Samson Bakare’s acrylic on canvas painting “The Recycling”; Ondo Zone’s Temitope Oyeyemi Adewuni’s charcoal on canvas.

Chairman, LIMCAF Board of Trustees, Elder K. Uke Kalu, said the festival remaind “the biggest and most impactful art event in Nigeria’s today,” while acknowledging the contributions of major sponsors such as the Institute of Management (IMT), Enugu, the Enugu State Government, FirstBank Nigeria Holdings, MTN Foundation and the new gold sponsor Pinnacle Oil and Gas Limited.

Impressed by the new strategic partnership with Hitch, LIMCAF’s Executive Director Kevin Ejiofor said the partnership would encourage and promote art education, accelerating exposure for the young artists it seeks to empower. Hitch’s co-founder and CEO, Uche Onuora, said his organisation’s mission was to apply impactful technology to address severe education inequality.

For renowned Ghanaian artist and former University of Nigeria, Nsukka don Prof. EL Anatsui, his sponsor of top six winners to Dakar Art Biennale is constant and this year’s top six winners will join the previous edition winners on all-expenses-paid participation in the Dakar Art Biennale in Dakar, Senegal in May in next year. Anatsui pledged to continue his support of the annual event hoping that it “will become famous internationally and those emerging through it will help to make Africa proud on the world art stage.”

 

For seven days, stakeholders from the creative sector converged on Ado Ekiti, Ekiti State capital, for the 34th edition of the National Festival of Arts and Culture (NAFEST), to celebrate the nation’s unity in diversity. The event attracted no fewer than 25 states, including the Federal Capital Territory (FCT). Assistant Editor Arts OZOLUA UHAKHEME reports.

Few minutes into the closing of this year’s National Festival of Arts and Culture (NAFEST), there was anxiety among state contestants. It was time to announce the overall winner of the festival last Saturday. The build up to that moment was intense as states such as Rivers, Delta, Bayelsa and Ekiti were possible winners of the festival gong. Venue was Ekiti Parapo Pavilion, Ado-Ekiti.

‘And the winner is Ekiti State’…. And the crowd erupted into a thunderous celebration.

Governor Kayode Fayemi who made the presentation of the prize to Ekiti State representative said Nigeria was the winner at the festival and not Ekiti as a state.

“We are all winners and there is hardly a state that is not going home with a prize in a particular segment of the festival. Eventual overall victor has gone to Ekiti State and I don’t think it was done by any manipulation. We demonstrated the stuff we are made up and we gave a good impression of ourselves. I want to commend Ekiti people for their excellent job. I want to commend all the states for doing excellent jobs. For us, Nigeria is the winner here. Ekiti will be hard to beat in next year NAFEST in Lagos State,” Governor Fayemi added.

Rivers won the second position while Bayelsa and Benue got the third position. Delta and Nassarawa came fourth. The fifth position went to Ogun, Lagos and FCT.

Other winners were: Best costumed states: Rivers, Imo and Kogi; Largest contingent: Rivers and Bayelsa states; Best behaved and disciplined states: Yobe, Taraba and Sokoto; Most improved state: Jigawa, Gombe; Most creative design and innovative package: Ondo, Nasarawa and Kano; DG Gong for states outstanding support for children and women: Erelu Fayemi; DG gong for host state hospitality: Governor Fayemi; Best entrepreneurial state: Osun, Niger and Zamfara; Best in digital marketing of arts: Abia, Bauchi Plateau; Best in synergy and team work: Lagos, Rivers, FCT and Ogun; Most consistent states: Borno, Kaduna, Katsina and Benue; Traditional cuisine: FCT and Imo

The festival,which held between November 13 and 20, also featured non-competitive events, such as free skills acquisition and entrepreneurship roundtable. The roundatable had Ekiti State House of Assembly Deputy Speaker Hakeem Jamiu as its special guest; Miss Funke Awodiya, marketer of Iru and poet; Nuhu Wajiu of Ifrique Ecosystem, an environmentalist and Mrs. Bose Falegan, a restaurant operator who specialises in pounded yam.

Students of Mater Christi College, Ado Ekiti formed the majority of the audience at the session which lasted a few hours. The relevance of entrepreneurship in the empòwerment of Nigerian youths formed the thrust of the session held at the Conference Hall, Civic Centre, Ado Ado Ekiti.

National Council for Arts and Culture Director-General Otunba Segun Runsewe enjoined the students to be patriotic in all they do. “Nobody can build your nation for us. We are here to put you on track on how you can make your inputs into making Nigeria great. We are all stakeholders in the Nigeria nation,” he said.

Hon. Jamiu urged the students to have the desire to be employer of labour by being an entrepreneur, adding that this does not interfere with academic pursuit.

“Nobody is useless because there is inherent talent in everybody. What you need is to discover your talent and develop it. You can go to school but you must have skill and that will take you to places. Don’t depend on certificate  alone,” Jamiu said.

Awodiya recalled that for over four generations, her grandparents made ogiri and iru which are good food for our health.

She stated that during COVID-19 pandemic, she explored the health benefits of iru and how to make it acceptable. Those efforts, she said, gave birth to iru salad and responses were encouraging.

Why iru? You may ask. According to her, it takes care of stomach disorder, boosts immune system. It is preserved by smoldering.

“I later decided to take Iru Ekiti to everywhere which first came in smaller containers. From market feedback, I improved my products and distribution network using social media.

“If I have my way, iru should be packaged with biodegradable items like leaves. Interestingly my iru has gone far to countries I have not been to. Hope every part of the world will have iru in their homes,” Awodiya said.

For Wajiu who spoke on how to create wealth from waste such as water sachets and pet bottles, said his organisation used such waste items to make pave-lock and interlocking tiles to reduce environmental hazards. He noted that it is good for everyone to be conscious of the environment, which can be a good source of wealth. “There is wealth in waste. It can be transformed into reusable products,” he stressed.

Mrs Falegan who started the business of pounded yam in 1991 with her mother, said she made up her mind to follow the business because it is honourable to identify with such a business.

“We make use of different yams to make pounded yam. Challenges in the business are the effect of using firewood to cook. However, I trained my children to varsity through this business. It is a business of my choice,” she declared.

Like the roundtable, the Free Skills Acquisition programmes attracted a large turnout of participants especially youths and women who took part in beads making, hair tie making, shoe making, tie and dye, waste to wealth and sewing. All the training and materials were provided free by NCAC.

Earlier on Tuesday, kidnapping, terrorism and banditry dominated the themes of drama presentations by participating states.

Both Delta and Lagos states staged plays whose themes centered on insecurity, mirroring the unfortunate conditions in the country. Even the Niger State troupe whose own drama didn’t necessarily dwell on insecurity as theme, nonetheless explored wide ranging human misery, reflective of the prevailing conditions of life in Nigeria.

Bayelsa State explored the theme of disunity, hatred and greed for one another which are all banes of Nigeria and malaises afflicting the country.

Otunba Runsewe observed that in the last 20 years, “Our youths have imbibed foreign cultures. So, this is a platform for reawakening our people to tell them that we are rich and well endowed.”

According to him, one of the major fallout of the festival in the state is empowering the people of Ekiti State. “Most of the hotels in Ado-Ekiti are fully booked. People have had to be sharing rooms. It may interest you to know that the same thing happened in Canada – they had an event, but they didn’t have enough rooms. They had to build more hotels. So, we are now begging Ekiti people and saying to them: “Before we come back (for another NAFEST), please build more hotels.”

Speaking at the opening of the festival earlier in the week, Governor Fayemi called for the use of arts and culture in achieving social and political stability for Nigeria. The festival, which opened at the Ekiti Parapo Pavilion, Ado-Ekiti penultimate Monday has as theme, “Celebrating national unity in diversity.”

Fayemi said the critical state of Nigeria requires that efforts be intensified to revive the country’s diverse culture and enhance the potential of its arts for social and political stability.

He decried the country’s sole reliance on the performance of crude oil in the international market, which has continued to cripple the country. “Investing in culture is crucial to the general development of any society. Culture impacts on economic growth by strengthening social virtues, creating trust which facilitates relationships and inspiring motivation that stimulates entrepreneurship,” the governor said.

Dr Fayemi described culture as glue for uniting people because “it allows for various forms of talent expression.” He said apart from sports, NAFEST is another unique platform for the 36 states of the federation and the Federal Capital Territory to meet, showcase and promote Nigeria’s rich cultural heritage and diversity.”

He said Ekiti State is peaceful, hospitable, generous and has peace-loving people. “So many people who once came as visitors,” the governor said, “found out that Ekiti is one of the safest and conducive places to settle in. Many of them are today landowners in the state. Many have significant investments in various sectors of the economy. Many have also chosen to be our in-laws. So, beyond your participation in NAFEST and visitation to our amazing sites and heritage, feel free to see how well you can integrate yourself and feel at home with us.”

Fayemi congratulated the staff of the National Council for Arts and Culture and the Ekiti State Ministry of Arts, Culture and Tourism for their preparedness for the 34th edition of NAFEST.

He said the state has taken the development of culture to the realm of cultural re-orientation, attitudinal change and value orientation. “I am glad to inform you that our core cultural values as Ekiti people have now been included in our educational curriculum to be taught in primary and post-primary schools across the state. This is to let you know how much our government believes in culture as an instrument of change, capable of transforming our society and changing our socio-political and economic narratives for the better.

“Our willingness to host the 34th edition of this national fiesta is not because Ekiti State has huge financial resources or reserves. In fact, Ekiti State, like most states in Nigeria, is currently challenged by the imperative to manage conflicts of multiple financial commitments and very lean revenue income.

However, in spite of our meagre financial resources, our administration, in conscious determination not be deterred from achieving this long-time aspiration, decided to pursue the unique opportunity of hosting the festival, and here where we are to witness this glorious moment.”

The festival also  featured traditional board game, fashion competition, archery competition, children essay writing, children arts and craft, children story-telling and puppetry competition and traditional cuisines.

The governor assured all of a good time in Ekiti, adding “these include, but not limited to adequate security all around the venues of the events, the hotels and accommodation venues.”

 

For the umpteenth time, stakeholders in the visual art sector of the creative industry have strongly canvassed a befitting national edifice for the National Gallery of Art (NGA). But, this time, with a caveat that provides a minority status for the Federal Government in ownership and operation of the national gallery, which should be funded on a Public-Private Partnership.

Other terms for the realisation of the project include: to create a national gallery in compliance with the digital world; create programmes and activities to work with artists on a continuous basis; continuation of major intellectual discussions on the value of art towards building on those poor areas of our history; explore new areas for national collection growth and make significant investments in personnel and train human capacity of the industry.

These were among resolutions reached at this year’s National Gallery of Art Stakeholders Forum held in Lagos last Friday.

Guest speaker Omooba Yemisi Shyllon, who spoke on Beyond art preservation and promotion: Gallery edifice as a major drive for diversification of Nigeria’s economy, assured that Nigeria has the potential of attracting about six million visitors per annum to its national gallery of art, thereby generating an income of $56 billion per annum. To achieve this, the above recommendations need to be taken seriously with a view to showcasing the inherent economic strength and human creative resources of Nigeria into providing some significant inputs in the diversification of the nation’s economy.

“Such diversification, arising from building and enhancing our creative talents, towards generating the much needed inputs for the growth of our galleries and growing the export of artworks,” he added.

Omooba Shyllon said Nigeria remains in need of a national edifice to conserve and preserve the modern and contemporary artworks of artists. Some of these works, he said, adorn private galleries, homes of collectors, banking halls, reputable public buildings and institutions.

“The artworks of many Nigerian artists are thus lost in the long run and their impact remaining uncoordinated for public exposure, permanent exhibition and promotion. It is not an exaggeration to state that the lack of a national gallery edifice is a key retardant to the development of modern and contemporary art in Nigeria. A national gallery edifice being a public space for the unique and important collection of artworks over time for the public benefit, tell some coherent stories in paintings, sculptures, and photographs, spanning decades and reflecting how artists in our nation have lived and responded to the myths of religion, history and contemporary events, covering human forms and our unique cultures,” he said.

According to Shyllon, a national gallery edifice constitutes a living legend of Nigerian peoples’ cultural achievements as expressed in art forms and is therefore an estimable resource for understanding our world and heritage. He noted that a national gallery therefore owes a national responsibility to cater for and add to the national collection for display to the public, in advancing scholarly search and to promote enjoyment and understanding.

The founder Shyllon Museum at Pan Atlantic University, Lagos, stressed that ‘we cannot but clamour for a befitting edifice for a permanent exhibition of Nigerian modern and contemporary art that would attract millions of people and many more online.

Director General National Gallery of Art Mr. Ebeten William Ivara said the idea of this year’s forum is to use it as a platform to create awareness of building a befitting edifice for NGA, which has been a cardinal part of his agenda since assumption of office. “No country worth its salt can do without a world class structure as its gallery of art. Smaller countries in Africa like Zambia, Gambia and Zimbabwe have showpieces as their National Gallery of Art, which attract local and international tourists. The South Africa’s National Gallery of Art has been in place since 1930,” he added. Other discussants at the forum included Edosa Ogiugo and Bunmi Babatunde.

 

He was put in charge of drama while Akin Euba took care of music. Dapo Adelugba eventually directed Langbodo. “The FESTAC ’77 thing was quite an experience for me,” he said. “One was hoping that one would be able to use that experience in other things.”

At the time, his thought was on a follow-up festival. But the experience did come in handy as so many other appointments came his way. He was offered jobs in the industries and other sectors. While he turned his back on these, he could not hold back when the Vice-Chancellor of the University of Lagos approached him to assist in setting up the Centre for Cultural Studies. It was to last for one year but mid-way, he resigned due to differences with some of the university officials.

A few years later, he was called by the Minister of Information and Culture to chair the Review Panel on some cultural parastatals: National Theatre, Nigeria Film Corporation, Film Distribution Company, Copyright Council and two others. Present were one person each from the Army, Navy, Airforce, Police and two others from the Performing Musicians Association of Nigeria, (PMAN).

Before then, the Shehu Shagari government had appointed him chairman, Nigeria Film Corporation (NFC) – the first to hold that position. “I was the one with my protem secretary who got the land in Jos for NFC,” he revealed.

His appointment as artistic director, National Troupe of Nigeria in 1992 could be said to have been the icing on the cake. Only it fell short of what he says his panel recommended. “When our committee met, we called it the National Theatre Company of Nigeria. Why they changed it to a troupe, I don’t know,” he says.

His dream when he took the offer was to be able to have two to three productions going on simultaneously and to invite directors from outside to come and do productions. “It’s not the best but I’m coping,” he said. “I was trained as a stage manager so you cope with whatever you have.”

A staying spirit. It is what Oduneye fondly called Uncle B has in quantum. On a sabbatical some years ago, Professor J.P. Clark Bekederemo had invited him over to PEC Repertory Theatre to handle the season’s plays. Only six months after, J.P. Clark closed down the theatre.

I said what am I going to do? he recalled. He had six months which he did not want wasted.

He had a flat in Yaba, Lagos and friends came enticing him with all kinds of business propositions including buying and selling cement! But he had his mind on the theatre. So together with some young friends, he incorporated Diamond Productions. He made a big budget proposal which he sent to some companies for possible sponsorship of plays. Many people thought he was being too ambitious. But Nigeria International Bank finally come to identify with him. This marked the beginning of big-time corporate sponsorship of theatre productions. The play, Wole Soyinka’s Death and the King’s Horseman had a publicity blitz that swept theatre lovers off their feet. The National Theatre venue had full houses for the entire duration.

“We paid good money,” he said. The bank continued its sponsorship of plays for the next six years breaking only in 1998. “They’ve ruined it,” he lamented.  He was able at the time, however, to link up with another enthusiastic naturalised French playwright based in Maiduguri, Pierre Muenier. “He was giving me a monthly stipend to go through his works,” he said. Oduneye was able to direct some of the plays which were staged at the National Theatre.

On the play that has challenged him the most, Oduneye said: “I have been very lucky in the sense that I look for my own plays. Occasionally, if you challenge me with a play, I would accept it.” But he sees each play he is directing as a new adventure. “It’s like going on a tour,” he said. “When I pick up a play, I research, read up other plays by the playwright and anything the man had said. And that make every new play challenging.”  But Bishop Alaba, a play he adapted from an Australian playwright staged at the PEC Repertory Theatre and later at the National Theatre is about the closest to his chest. “It is a play gave me a lot of challenge because it went into the sciences, arts. I really enjoyed it.”

But the director is not so pleased with the way the artiste is being treated in Nigeria. “We are leaving our culture behind and we want to march forward. It is not possible,” he submitted.

His plan after the National Troupe assignment is, however, to establish “my own little institution – have a theatre, where productions can be happening all through. And then have young people around me in a small kind of academy.”

It was a dream he was still clutching, till he breathed his last…

Farewell, Uncle B.

Acclaimed author Ben Okri has expressed solidarity with fellow writers from Eritrea, as PEN International launches its annual day of imprisoned writer campaign, as part of activities marking its 40th anniversary.

Every year, on November 15, PEN kicks off its Day of the Imprisoned Writer campaign, highlighting the cases of writers who are imprisoned or facing prosecution and calling for urgent international action to release and protect them.

According to President of PEN Nigeria Folu Agoi, in a statement, “Okri is among those supporting PEN International’s campaign in 2021, with solidarity letters addressed to 12 Eritrean writers imprisoned incommunicado since 2001″.

Listing activities to mark PEN 40th anniversary, Agoi noted that PEN features of Maykel Osorbo (Cuba), Selahattin Demirtaº (Turkey), Rahile Dawut (China – Xinjiang), Mohammed Al-Roken (UAE), and the collective case of 12 writers imprisoned incommunicado since 2001 (Eritrea).

“Established in 1981 by PEN International’s Writers in Prison Committee, the Day of the Imprisoned Writer is an opportunity for the PEN movement to take action on behalf of writers in prison and ensure that they and their families are supported and not forgotten. PEN Centres and members worldwide advocate for the featured writers, with activities ranging from letter-writing and panel discussions, to press conferences and publishing their work. PEN’s supporters engage in activities such as raising awareness of their situation and taking action on social media, or in the form of donations. Writers send solidarity letters to their colleagues in prison or under threat”, Agoi stated.

The ”Collective case of 12 Eritrean writers”, he noted, is a collective case for Eritrean journalists, writers, poets and government critics who since 20 years ago have been arrested and detained without trial and with no contact with their families, lawyers, or doctors. They are Dawit Isaak; Amanuel Asrat; Said Idris ‘Abu Are’; Temesken Ghebreyesus; Methanie Haile; Fessehaye ‘Joshua’ Yohannes; Yousif Mohammed Ali; Seyoum Tsehaye; Dawit Habtemichael; Said Abdelkadir; Sahle ‘Wedi-ltay’ Tsefezab; Matheos Habteab.

Part of Okri’s letter, Okri described them as “heroes of humanity”, while praising their courage. For him, their struggles do not only speak to Eritrea alone, but the whole world. He wrote: “It is with a bold heart that I write you. Your cause has given us fire and courage. You have been in detention without trial or contact with the outside world for 20 years. You have been deprived of doctor’s treatments and the visit of your families. And you are enduring all this because you had the humanity and the love for your people to speak the truth about what is happening in your beloved Eritrea… You are its light and its hope. Your courage is an inspiration to us all. You fight for the most essential quality of the human spirit, which is freedom.

“We are holding candles for you in the Eritrean darkness. We will not let your names or your struggles be forgotten. We here at PEN INTERNATIONAL will go on making a big noise and raising a global racket till you are freed and every last one of you is accounted for. Keep going. Believe in life. And thank you for reminding us that liberty is a rare and precious gift …We will see you on the other side of the freedom rainbow. May the strength and wisdom of the angels of justice sustain you while the voices and petitions of our supporters and friends strive to free you.”

 

Globally,  tourism plays a vital role in various spheres of human development.  It is the economic  lifeblood of most developed countries. It is indeed, exciting to see that African countries like Nigeria are beginning to take more proactive steps to harness the vast potential of the sector.

Tourism enhances economic wellbeing and aids the state in boosting the  internal and external revenue generating system.  Many countries now run nonprofit making ventures that render services but that serve as tourism hub, like museums and other organisations. However, collaborating between private and public organisations help promote sustainable tourism industry for which Osun State could not be exempted.  Tourism can be used to create impacts in various sectors, like politics, economic and social qualities, or idea of any given society, groups or country.  The encouragement of any given state to embark on tourism development will far remove them from the danger of depending on mono-economic sector.  For example, Osun State is blessed with diverse raw materials and solid minerals , ranging from good vegetation, cash crops, good landscape, beautiful mountains and several tourist sites, such as water springs for which Erin-Ijesa in Ijesaland is chief.

 Historical background of Erin-Ijesa

According to oral tradition, the ancient town was discovered in 1140AD with diverse historical myths. The town was named after a woman called ‘’Akinla’’, the founder of Erin-Ijesa and  granddaughter of Oduduwa. The town was blessed with wonderful water springs that were falling from the seventh  floor of the mountain.  The native beliefs that the water falls was made by Olodumare (Supreme Being) as a sacred altar through which their soul could be purified.  At the top of the seventh floor of the hill springs water was a village called “Abake”.  The tourist always troupe to the site with the aims of visiting the spring’s site to catch  fun and  fetch the water that has supernatural healing power for their ailments and to purify themselves from their prevailing predicaments.

 Evolution of tourism in Ijeshaland

The origin of tourism can be traced to 1472, during the first Portuguese merchants’ arrival in Lagos for business purpose. The spreading of this tourism properly in Nigeria and all states made up in 1962, when a group known as Nigeria Tourist Association was set up. But the tourism board in Nigeria was set up through the promulgation of decree 54 of 1976 in which Osun State and other states of Nigeria was created through decree of 1992 which later became ‘’Nigeria Tourism Development Corporation (NTDC)’’ that gave room for the promotion, marketing, research and coordination of tourism activities across the country. In 1990, the agency came under the Federal Ministry of Culture and Tourism with the aim of giving support to the revenue generation for the government and to create job opportunity for different level of young school leavers, the artisan and clerical officers. This was applauded worldwide, especially by non-oil manufacturers as having to offer a good alternative to the global and the nation’s dwindling oil economy.

Impacts of tourism on economic development to both the indigenes and government

Besides leisure or cultural or religious pilgrimage to an interesting place, like Olumirin waterfalls in Erin-Ijesha, hold immense business, educational potentials for a tourist. Conclusively, the government needs to invest in the tourism industry and sites, Olumirin. In effect, tourism can help in job creation; to stimulate foreign investment for the community and the state. Tourism can also stimulate rural development for the community by investors, indigenes and the government; while bringing about unquantified infrastructural development.

 

A solo outdoor exhibition by Sodade Ayoola tagged “Visual narratives” opens on November 26 at Oke Odo Market, Lagos. The solo exhibition, an episode 2, is a series of outdoor painting and drawing of pepper merchants in Oke Odo market, Ile Epo Lagos. It is a follow up to the successful inaugural episode in October 29 this year at Mile 12.  The show will run from 7am to 7pm on Nov 26.

Ayoola a painter and one of the artists, who emphasise the need for creatives to do more outdoor drawings and paintings said the first episode was “a unique experience for most of the pepper merchants as the drawings were done in their presence, and most of them had never seen a painter paint directly from life.”

The second episode, Life Studies of Pepper Merchants of Okeodo Market, seeks to encourage other painters to embrace life studies, through visual narratives.

“This will also prompt upcoming artists to paint more in public rather than in their private studios” he said. According to him, “the visual narrative serves as a vehicle of enlightenment to parents and guardian of upcoming artists and the importance of art as a veritable, lucrative and unique profession.”

The painter, who loves to give back to his society, is now using this medium to publicise his free painting training worshop for anyone who is interested in painting and general art.

This exercise will be carried out on a monthly basis, as he will be painting in different locations in Lagos” in the presence of the general public.”

Ayoola studied (Painting) at Yaba College of Technology, Yaba and at the University of Benin, Benin City. He is a member of Society of Nigeria Artist (SNA).

He has won many awards and has exhibited in different parts of the country. He is a lecturer in the Department of Fine Art, Yaba College of Technology, Yaba and founder Sodaism Art Gallery.

 

In the last one month, the Ekiti State capital, Ado-Ekiti, has witnessed diverse stirring and impact-oriented activities that drew guests from across and outside the country. Their host? The prestigious Christ’s School! And like other set of its past students, the Class of 1967-71/73 (The Union Set) shook the town with thrilling activities to mark its graduation’s silver jubilee. The icing on the cake was celebrated Poet Niyi Osundare, writes EVELYN OSAGIE.

The Word is an Egg”, began Niyi Osundare, with his voice piercing into the evening sky at Agidimo Hills in Ado-Ekiti, the Ekiti State capital.

“I want to touch the world/I am possessed by an urge to touch the world/an urge keener than dawn’s breeze…to fling a bridge across the Sea/Tell every mountain a humble tale…to take passionate breath across the hill where voices remember their echoes…”

He was reciting a poem from his collection, The Word is an Egg, to a dazed audience of past and present students of the revered Christ’s School, Ado-Ekiti. It was at a variety night of re-union, poetry and revelries of the three-day event to commemorate the 50th graduation anniversary of the Class of 1967-71/73 (The Union Set).

The event  was both a  physical and virtual one that saw past students reflecting on the journey of the last 50 years. The current pupils have seen many distinguished individuals come and go but nothing prepared them for the heartfelt interactions of Osundare, in addition to reading two his poems.

Like other alumni, he took turn to offer few words of counsel to the young ones, even as they reminisced at the terrace of the school’s quadrangle.

“I can never forget Christ School. I can never forget the quadrangle memory.  Christ School is a citadel of learning; its light can never be hidden. Incidentally, I and the Union Set got to Christ School the same year. I came in 1967 for my HSC at Christ School before proceeding to the University of Ibadan and from there to other places. Our school has a very big name indeed so it is a challenge. Yes, that citadel on the hill so my present colleagues and our young ones, sitting there on the quadrangle, you carry a big heritage burden on your shoulders.

“We, as a people in Nigeria, have a short memory: what you, Dr. ‘Diji Akinola, and others are doing today is really to make sure that we do not forget. Please, make sure you make the name of the school great. Our country is in a mess today, but we are not going to be there forever. It is human beings that make and create and transform. To our younger colleagues: please make sure that in 30/40/50 years’ time, you too will be able to give something back. The foundation principles of Christ School, industry that is, hard work and  character,” Osundare said.

Osundare, who along with Ekiti State Governor, Dr. Kayode Fayemi, was honoured by the group for their contributions to the development of the society, cited Christ’s School as where his poetry voyage started.

“People often ask me, why I write: I write because I think I have some talent for writing, and even more importantly I write because I want to touch the world for the better. You mentioned Ben Tomoloju’s name: he is one of the important cultural impresarios in Nigeria today. He and I had performed on stage somewhere in Ibadan or Lagos. But, before then, it was Funmilola Olorunishola who performed my first Yoruba poem at the quadrangle. Standing at the art studio side, she performed it in 1967.

“A year later, I won my first-ever literary prize. I wrote that poem in the classroom closest to the studio. And it was Mr. V. A. Daramola who took it with him and put it in for the Western State Art and Culture Poetry Festival.  Three weeks later, he came back and it had won the state award. That was how it began. I can never forget Christ School,” he recounted.

 

A gift of archive/museum

Established by an English clergyman Archdeacon Dallimore as Ekiti Middle School in 1933, the name Christ’s School was adopted in 1936. The school has contributed greatly to educational progress and development in Nigeria, and is famous for producing notable Nigerian figures. Its past students are late Prof. Sam Aluko; renowned economist, late Prof. Kayode Osuntokun; former Foreign Minister, Bolaji Akinyemi; Christopher Kolade, late Justice Olajide Olatawura; Prof. Bolaji Aluko; HRH Oba Ayo Ilori-Faboro, the Olojudo of Ido Fagboro and Tolu Olukayode Odugbemi, among others.

“It felt just like yesterday when we were admitted into the prestigious citadel of learning nestled at Agidimo Hills – it was then one of the most crucial transformative journeys of their lives that has contributed to making them men and women of diverse accomplishments. Welcome to the revered Christ’s School,” said the chairman of the 50th anniversary planning committee, Dr. Charles ‘Diji Akinola, at the inauguration of  the school’s archive and museum donated by its members as part of  the anniversary’s activities on the programme’s second day.

According to him, the project, which was inaugurated by Fayemi, was attended by Speaker of Ekiti State House of Assembly, Rt. Hon. Funminiyi Afuye; Secretary to the State Government, Mr. Biodun Oyebanji, and former Deputy Governor of Ekiti State, Prof. Modupe Adelabu.

Akinola said: “The School Archive/Museum Project has been informed by the need to preserve this illustrious heritage. It is borne out of the conviction to re-enact and showcase the rich history and tradition of Christ’s School to the world. It is an honour to have Dr. Fayemi, a distinguished old boy, and other dignitaries join us in the inauguration and launch of the Phase II of the project, which will include equipping of the archive/museum and the construction of the Quadrangle Complex.”

At the inauguration, the governor, who recently returned five schools, including Christ’s School, to their original owners, noted that the move was yielding desired results by way of healthy competition among old students who are now making impact in their schools.

He called on old students to always give back to their alma-mater in order to ensure the continuity of development in the school. Describing the project as “invaluable”, Fayemi commended the Union Set of Class of 1967-1971/1973 for “choosing this project that binds us all”.

“And now that we have returned the school back to its original owner, the way old students are really competing healthily to give back to the school is something I find most remarkable; and my set is also involved in the competition as we have tarred the two roads in the boys and girls sections. I think the set after us did the old sick bay and now you are doing this. If we all give back little by little, we would not only rekindle what this place used to be, we would have a brand new school we would be proud to send our children back to,” Fayemi said.

For the set’s President, Ayodele Dada, who presented the Phase II of the project, “it will serve as a repository of diverse historical items that have defined and shaped the lives of the students and teachers of the institution across the ages.”

The event was followed by a night of revelry on the second day; and ended with a thanksgiving service at the school’s chapel. The set also celebrated its former teacher, 94-year-old Chief Francis Adebayo Daramola; while Evelyn D’Poet performed Osundare’s poem on the school and two of her poems.

 

 

It is an uncommon marriage to bring together brushstrokes and music. Such is the pristine collaboration of two vibrant artist(e)s – Chuma Anagbado and Gerald Eze.

The duo would be holding an exhibition-cum mini-concert next month.

One is dubbed “the master of lines”, the other, “the flute (Oja) master. While Anagbado is an artist and designer whose art is driving conversations on cultural heritage, particularly the Igbo oral traditions; Eze is a skilled musical artist and university don who plays 14 instruments.

Together, Anagbado and Eze are on a journey to redefine art collaborations with the groundbreaking project that seeks to document and promote Igbo oral musical tradition, particularly through the Oja and Ogene, among other local and contemporary musical instruments.

Through his Mbari Uno (House of Collaboration) platform, Anagbado is bringing together African thinkers, innovators, and creators/artist(e)s to partner on projects that promote, celebrate, and create projects that will  positively impact humanity. And one of such collaboration is the project with Eze.

“It is more than just an art project,” begins Anagbado, “we intend to showcase the traditional art which is painting alongside playing the music instrument to show the emotions of art.  We enjoin every creator out there to look for deeper meaning in whatever they do and carry an identity. We are really putting it out there that it is very important for people with like-minds to try working together: we can’t grow the culture when we are apart, we need to create a community which is what the collaboration entails.”

Like Anagbado, Eze also promotes and researches indigenous cultures through his music. Using the Igbo’s traditional musical instrument, particularly the Oja, Obuaka and other fourteen instruments, including Ogene, he is out to take the indigenous sound style of the Igbo to a new height so that people can follow his Oja sound.

“I have been exploring the Oja music which is one of the prominent Igbo instruments. It is often played in the Nollywood movies where people think Oja sound is only played during a tragic moment which is far beyond that. Interestingly, Chuma and I have a similar goal but in a different style, He does the Oja and Obuaka along with other instruments, based on imagination. I also play all these instruments.”

According to the duo, they met online few months ago and forged an alliance that gave birth to the exhibition.

“The collaboration happened naturally. We chatted and finally met  and the collaboration was born.”

They said their belief in the power of art in effecting true change was the major inspiration behind the project.

But Anagbado said: “I have always been a child of the culture; it took me time to realise that all I have been doing is streamlined in one direction. For example, the masquerade has a costume which is the fashion and the visual art. It talks and also has the audience which is a form of theatre; and also plays social roles which are such as checking society, controlling and policing the society.

“I am an analogue and digital artist with the ability to use any available tools to work. I like the smell of ink on paper, I like the digital colouring if you take away both tools, I will still use stone to draw on a rock/wall.

“In essence, both of us are rebranding our culture which is the Igbo culture. This is one culture that needs to exist and let people know about it through art, music and performances. If you look at my work you will find motives from different tribes and countries all this is down for the culture.”

 

The members of the panel looked at him. What he had just told them warranted his immediate dismissal. He was asked instead to step out while they consulted among themselves. Outside, the young man could not contain his restlessness. He knew the Royal Academy of Dramatic Arts, London did not toy with its laid-down guidelines which required everyone, no matter his status, to audition before admission.

All his life, however, he had spent reading science subjects. It was because of this that his parents sent him to England to pursue a career in medicine. But no sooner had he stepped onto English soil than he developed cold feet for medicine. Staying in a small place called Old Ham, he became involved with a theatre group called Old Ham Repertory Company.

When he moved over to Manchester, he spent almost all his time poring over theatre books at the library. The more he did this, the more he was determined to change his course. His mind went back to his younger days in Nigeria when the late theatre guru, Chief Hubert Ogunde, was a constant visitor to their home. A close friend of the family, he even married one of his nephews and always talked about the theatre on each call. His stories always kept him gaping.

Now he knew why. Theatre is his profession. Not medicine. He took the decision single-handedly. His parents were aghast on hearing the news. He had to leave Manchester and started roaming around Europe in protest. He did whatever he could lay his hands on, slept wherever he could find and occasionally pilfered to stay alive.

He was like a tramp. For one year, he lived on the streets of Paris without a future to look forward to. It was a carefree life. He mixed with street urchins and vagrants. Then one day an uncle of his ran into him and was shocked. They had been trying to locate him for a whole year and here he was almost in rags!

The uncle grabbed him, afraid he would resist. The young Bayo Oduneye burst into tears. Asked why he chose the kind of life he was living, he poured out his soul. “My uncle then spoke to my father who now said I could do whatever I wanted to,” he recalls now in his well-furnished National Troupe of Nigeria office at the National Theatre, Lagos, a mischievous smile on his lips.

He wanted the best, and the Royal Academy of Dramatic Arts was where he wanted to study his chosen profession – theatre. But he had little to offer in practical terms to the panel of interviewers! At the time, it was very difficult for any black person to get in there, even professionally proficient ones. He took a chance.

“I was going to be a medical doctor,” he began. “But something in me wants me to be in the theatre,” he had confessed to the panelists. “If you give me a chance to come in, I would be a good student.”

When he was eventually called in, he thought he would be told he had missed his way. To his amazement, they told him they were willing to give him an opportunity. “That was how I got in,” he says, excitement still in his voice.

At the Academy, he chose the behind-the-scene area of stage management. It is a specialised aspect of theatre that requires discipline and level-headedness. It demands meticulously taking down notes of the director’s blockings and liaising with the lighting designer, set designer, props man, make-up artist among others. In fact, once the play opens, the stage manager takes charge of the production as the director is deemed to have completed his task.

He was able to avail himself of the opportunity. “You see. I’m fortunate,” he says. “I can design, build my set, light and direct,” he says. The latter skill he actually studied at Carnegie Melon University, P.A., USA.

“After you have stage-managed two, three, four plays with three, four different directors, you begin having ideas of how it can be done,” he says. “Actually, I went into directing because of my first area of specialization which is stage management.”

Life was good for him in America after his course. He got a job as workshop director in an all-back theatre company in New Orleans. With good pay and other perks, he soon rose to become the artistic director. At the same time, he taught in two different universities.

But the urge to come home was stronger than the incentive to stay on in the United States. “Wherever I am, I hate to be in the minority,” he explains. Wole Soyinka had just left the University of Ibadan at the time. The Nobel laureate sent him a play asking him to prepare it for production. If there was any hesitation on his part, this completely removed it.

He returned to Nigeria to join the department of Theatre Arts, University of Ibadan. The play, an adaptation of Flicker’s work was the first thing he did. The success of the production on campus prompted it to be taken to the National Festival of Arts held in Kaduna. “It was very, very successful,” he recalls.

But the main challenge was his starting directing as a course in the department. He saw that students of Theatre Arts suffered from an inferiority complex unlike their counterparts overseas. Bayo Oduneye had to find a way around the problem. He sent the directing students to secondary schools in the town and others to their halls of residence to produce and direct plays which the lecturers went round to supervise. That way, many of the larger student population in the university, got acquainted with the hard task of play making. “It made a lot of the students to change their attitude towards theatre students,” he says.

His major launching pad, however, was FESTAC ’77. The event which was billed initially for 1975, had him directing Wale Ogunyemi’s play, Langbodo. All the universities were asked to bring a play each to the National Stadium for preview, from which a winning entry would be picked for Nigeria. Dexter Lindersay designed the lighting while Sumbo Morinho, the set. In Lagos, Langbodo was chosen from a myriad of others.

Then the playwright decided to direct the play himself!  A small consortium, he says was formed that went round auditioning. “I felt very hurt,” he recalls. “Because this was a play I directed and it won. Now I was being told I could not direct the play.” Bitter, he decided that when the festival opened, he would travel to England.

The coup of 1975 led by the late General Murtala Mohammed put paid to all the preparations for FESTAC ’77, as the new strongman said he had no time for such a fiesta. With the emergence of General Olusegun Obasanjo, however, FESTAC ’77 came back to the front burner and so did Oduneye. He just got to his office one morning and on his mail box was a letter from the organisers.

“You have been appointed director, International Secretariat of FESTAC ’77. You are to report immediately,” the letter stated.