Category: Life – The Midweek Magazine

In view of the challenges that persons living with disabilities, particularly the blind face, the Nigeria Association of the Blind (NAB) has called for more empowerment for them.

NAB decried the grim situation brought by the pandemic; it called for proactive interventions to better the lives of its members.

The group made the call during the commemoration of the International White Cane Safety Day at the National Women Development Centre, Abuja.

One aspect in dire need of the government intervention, according to NAB President, Mr. Ishiaku Adamu, is the access to learning materials in accessible formats for the blind and visually-impaired.

He said: “We call on the National Assembly to ensure quick passage of the new Executive Copyright Repeal Bill which has portions that are favourable to the blind and the visually-impaired.

“The Copyright Bill takes care of us and we are praying that the National Assembly will give us a Christmas gift this year by passing the Bill into law so that we can enjoy the beneficial provisions of a new Copyright Act.”

Lauding the President Muhammadu Buhari-led administration for the measures being implemented to improve the lives of the blind community and other disabled persons, he stated that more needed to be done to boost their welfare.

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Adamu said: “We also appreciate NCC for its support to the association. We are grateful for government’s interventions so far that have empowered the blind and disabled community, among which were the passage of the Persons with Disabilities Act 2016; Nigeria’s assent to the Marrakesh Treaty to Facilitate Access to Published Works for Persons Who Are Blind, Visually Impaired or Otherwise Print Disabled; and the ongoing effort to domesticate the Treaty in our national law by its inclusion in the Executive Copyright.”

The event drew stakeholders in the blind community and the Nigerian Copyright Commission (NCC) gave the commendations.

Also, the National President, the Joint National Associations of Persons with Disabilities (JONAPWD), Abdullahi Aliyu Usman, observed that more needed to be done to improve the well-being of persons living with disabilities.

NCC Director-General, Dr. John O. Asein, reassured the blind and the visually impaired persons of the commission’s continued support.  He said:  “The NCC will continually do everything possible to add value to all that you have been asking for, and ensure that the blind have access to reading and learning materials. The NCC is working with relevant agencies and stakeholders to ensure that every blind child in the country is given a fair opportunity to learning and reading books. The Commission will always stand with NAB to ensure that every blind child in the country, from primary school up to university level, is able to read using accessible formats.”

Other highlights of the events included a dance competition and presentation of white cane gifts to some needy blind and visually impaired persons.

The event was supported by the following organisations: the NCC; Disability Funds; UK Aid; Disability Rights Advocacy Funds; Christian Blind Mission (CBM); Action for Change and Empowerment (ACE); Inclusive Features; Sightsavers and the National Commission for Persons with Disabilities.

 

With the 26th United Nations Climate Change Conference opening in Glasgow on Monday, November 1, 2021, British Deputy High Commissioner in Nigeria, Ben Llewelyn-Jones, has called on the government and people to rethink their policies on carbon emission, environmental regulations and green energy adaptation. He extolled the role of artists in reimaging in their arts and the possibility of a world where there is less carbon emission, climate resilience as well as green economic recovery.

Llewelyn-Jones spoke at the opening of an art exhibition he hosted at his residence in Lagos, on the need to sensitise and mobilise young Nigerian artists and arts collectors on the effects of climate change.

The exhibition tagged Naija Climate Now; Race to Zero-Emission showcased the works of four artists on the theme Art for Climate Change. It was organised to engender ingenious responses on promoting climate change awareness, enhancing green economy recovery and low carbon development in Nigeria and the world at large.

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He said: “Climate change is a common concern for all countries. It’s an urgent and potentially irreversible threat. We are at a critical moment for the future of our planet. Temperatures are rising. Storms are raging and crops are failing across the world. Considering the impact of climate change and Covid-19 pandemic, building back a fairer, greener and more resilient recovery and safer economy should be a big priority of all governments across the globe, including the United Kingdom and Nigeria.”

“The 26th UN Climate Change Conference of the Parties or COP26, which the UK is hosting in Glasgow between October 31 and November 12 is an invitation for all of us to rethink our way of life. And we will use our platform at COP26 to focus this ambition.

“I am delighted to join my voice with other stakeholders including those present here today to make the call for positive change. I am particularly that I have the opportunity to encourage and support these young artists. I celebrate the finalists and artists who have worked hard to produce the artworks. This work aims to bring about behavioural change through arts and contribute to addressing the climate emergency,” he said.

He highlighted the strategy and narrative for COP26 to achieve its goal. They include collaboration, mitigation, adaptation and more importantly funding from international community.

 

 

For one week, the city of Lagos was agog with multiple celebrations of Felabration Festival, a yearly festival of music and arts, organised to honour the late Afrobeat progenitor, Fela Anikulapo Kuti, who died 24 years ago. From Freedom Park on Broad Street to Bature Brewery in Lagos and Abeokuta, the Ogun State capital, the events ran simultaneously. But, the bigger ball was at the New Afrika Shrine at Ikeja, Assistant Editor (Arts) OZOLUA UHAKHEME reports.

Few hours to the start of the grand finale of Felabration, every space at the New Afrika Shrine, Agidingbi, Ikeja, Lagos  has been filled. Even the VIP lounges at the back stage were not spared.

The celebration mood at the shrine peaked as musicians took turn to perform in honour of the late Afrobeat legend, Fela Anikulapo Kuti. Despite the down pour that night, fun-seekers continued to defy the rain to be part of the celebration.

Midway into the feast, precisely at 10.40pm, Fearless Energy Drink, the premium brand of Rite Foods, pulled a surprise. A gorgeously dressed lady in a silky flowing top over colourful Ankara long gown mounted the rostrum in the traditional Fela salute, all hands up.

Beside her was the award – a giant size recreated golden saxophone that symbolises Fela’s afro beat music. Behold the Rite Foods Brand Manager, Boluwatife Adedugbe, taking the Fela salute while eulogising the Abami Eda, saying: “We honour a man who came before his time, saw the future, fought collective battles most times alone, but, departed when needed most. Fearless Fela was the mouthpiece of the masses, fighting their battles, and, more often than not, lost so many precious possessions, which included his mother, the height of sacrifice for one’s country and fellow citizens.”

Adedugbe was not in a hurry to render a rare dirge for the man of the people, Fela.

“Although physically he is gone, philosophically, ideologically, creatively, innovatively, and fundamentally, he lives not just in our lives, but also in our talents and he continues to inspire us to be the best that we can be, without waiting for the approval of peers. He fought anti-progressive forces and always stood fearlessly as an enigma, a musical icon, one of Africa’s greatest export, musical and cultural ambassador.

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“His Kalakuta residence and the Old Afrika Shrine were home to everyone. Fela was selfless, accommodating, and passionate about the cause of the ordinary person. Abami Eda’s songs resonate with the plight of most Africans and the blacks in the Diaspora. So much so that we are unable to forget him. Today, we express our token of appreciation to a man who has left so much for us to thrive and remain fearless,” she recalled of Fela.

With that dirge, Fearless Energy Drink honoured the late Afrobeat king, Fela Anikulapo-Kuti, with a posthumous award as Fearless Man of Africa – Africa’s foremost talent with positive energy, a creative genius, intentionally different and a premium quality brand that resonates the value chain of the Fearless Energy brand. It was also for his musical prowess and the legacy the music legend left behind for posterity.

The Fela posthumous award is hinged on the story conceptualised by the Fearless Energy Drink, from its findings on courageous people in all spheres, including music, where the late Afrobeat king was pinpointed as Africa’s Most Fearless man, in ideas, performance, courage and leadership.

Fela was a megastar whose style of music continues to influence talents all over the world. Looking so magnificent and admirable, the posthumous award forms part of this year’s week-long Felabration events held from October 11 to 17, with the theme Viva Nigeria Viva Africa.

The significance of the award is connected to the market leadership of Fearless Energy Drink, which is the market leader in the energy drink sector and the Afrobeat star, as both depicting exceptionality in the sphere they represent. The positive energy of fearlessness, positivity, and can-do spirit of Fela Anikulapo-Kuti as a global icon and the world-class status of the Fearless brand and Rite Foods company, fits so effortlessly.

Managing Director Rite Foods, Mr. Seleem Adegunwa stated that the late Fela deserves honour for the impact he made in the music industry, having fought a good cause for the people through his songs. He said Fela resonates with what Fearless stands for, positive energy, courage, leadership, and can-do spirit that comes with Fela’s creativity and leadership quality, his pursuit for a better Nigeria and Africa in general.

Adedugbe, who later presented the award  amid ovation, to the founder of Felabration, Yeni Anikulapo-Kuti, Fela’s eldest daughter and younger brother, Kunle Anikulapo-Kuti, said the Fearless posthumous award signifies the importance attached to the life and times of the Afrobeat megastar.

She affirmed that the outstanding performance by the music legend that made the nation and Africa could not be unrecognised; hence the noble recognition was awarded to him.

Adedugbe, who was immaculate in her outfit for the night, did the Fela salute as Fela, also known as “Abami Eda” will do, as a tribute to the courageous musician and activist, after pouring encomium on him, not only as a great Nigerian but an African of high repute.

Receiving the award, Yeni Anikulapo Kuti, who was thrilled with the attractive symbol that signified his father’s greatness in his sphere of music genre and his giant stride in bringing about social change through it, expressed her joy for the very important recognition of her father’s effort.

She eulogised the company for refreshing participants at the event with its first-rate brands and the creativity introduced to make it more exciting. Yeni praised the Fearless energy drink brand, stating that the award was the best thing that has ever happened since the inception of the Felabration.

She stated that the award is significant because it is from a leading brand that has been promoting human and economic development, especially in the entertainment industry, which is a burgeoning sector of the economy.

Similarly, Femi Anikulapo-Kuti, Fela’s eldest son, an Afrobeat musician, commended the Fearless energy drink brand for sponsoring the Felabration as talented artistes energised by the leading brand came up with electrifying performances at the musical shows of the event.

Fela composed classical songs such as Suffering and Smiling, Sorrow, Tears and Blood, and Unknown Soldier as a form of political resistance against oppressive and dictatorial rule.

Others are songs against inhuman acts against Africans like Colonial Mentality, Teacher Don’t Teach Me Nonsense, Mr. Follow Follow, among others.

Through his music, he created a cultural crossroad that other parts of the world could connect with, against tyranny, for a better society.

The event’s highlight was the performance by D’Banj, who thrilled the audience with one of his hit songs, Top of the World.

Other exciting activities included an art competition, Afrobics dance competition, schools’ debate on the topic Covid-19 is a Blessing, a symposium themed The national question evolution or devolution with Femi Falana as the moderator/chairman,  among other speakers.

 

 

 

The Dirty Leap, a play by Dr. Olayinka Oyegbile will be presented to the public today at the Adam & Eve, a luxury shop on House 8, Isaac John Street, Ikeja GRA, Lagos at 10am.

Chairman/Chief Ecxecutive Officer National Drug Law Enforcement Agency (NDLEA), Brig-Gen. Buba Marwa (retd) will be the special guest while Dr. Oladipupo Olatunde Adetutu will be chairman of the event.

Chief Alani Akinde Okanlomo of Aworiland will be the father of the day.

The Dirty Leap, which is published by Kraftsgriots, is a drama on disillusionment and dystopia. It explores and exposes disenchantment at rural and national levels to elucidate  how, as a socially committed dramatist, the author engages with circumstances in Nigeria, particularly the bane of development and modernisation.

 

 

Ake Arts and Books Festival, a yearly three-day programme of culture and literature, will, for the second year, hold virtually from October 28 to 30, due to COVID-19 pandemic that continues to disrupt global businesses.

The festival is one of the initiatives of the Book Buzz Foundation Nigeria, which was founded by the award-winning author and poet Lola Shoneyin.

Supported by Sterling Bank Plc since 2018, this edition will feature book chats, panel discussions, performances, documentaries centring African and international writers and thinkers.

The theme of the event is: Generational discordance. According to Shoneyin, the Internet has exposed generational differences in almost every area of our lives on the continent. “From relationships, love and marriage; spirituality and religion; gender and feminism to politics and activism, the differences in perspective are glaring. Where earlier generations of Africans are anchored to their cultural identities, our younger compatriots see themselves as a part of a globalised world. It is easy to assume that our aspirations are poles apart but they are not. Africa cannot afford the luxury of endless culture wars. We must eschew the sensationalism and divisive influence of digital algorithms and find a more harmonious continental rhythm that allows us to talk to, and not past, each other,” she said.

The festival is also curating six intergenerational conversations on themes that impact our lives in real ways.

Managing Director/Chief Executive Officer Sterling Bank Plc, Mr Abubakar Suleiman said the bank has continued its partnership with the festival because the bank believes in the transformative power of education and the arts.

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He added: “Education is one of the five major sectors of the economy that the bank is presently focusing investment in under its HEART of Sterling programme. The other sectors are health, agriculture, renewable energy and transportation.”

The festival will feature book chats, panel discussion, film, music, poetry, Yoruba culture and interviews. Some of the book discussions will be: Bring Back Our Girls by Drew Hinshaw and Joe Parkinson; Lionheart Girl by Yaba Badoe; His Only Wife,” by Peace Medie; Formation: The Making of Nigeria from Jihad to Amalgamation by Fola Fagbule and Feyi Fawehinmi; Prince of Monkeys by Nnamdi Ehirim; An Ordinary Wonder by Buki Papillon, Butter Honey Pig Bread by Francesca Ekwuyasi; Born in Blackness by NYT columnist Howard French, When the Sky is Ready The Stars Will Appear by EC Osondu and The Sex Lives of African Women by Nana Dorkoa Sekyiamah; and The Teller of Secrets by Bisi Adjapon.

Discussions will also focus on The African Crime-writing, Conspiracy theories and Healthcare; Disability rights, repatriating Africa’s stolen treasures and a discussion moderated by Harper Collins’s (U.K.) Nancy Adimora which explores of This Our Country, a new collection of essays and reflections by 24 Nigerian writers.

Since its inception in 2013, the Aké Arts and Book Festival has featured new and established writers from the continent and its global diaspora to promote, develope and celebrate creativity, culture and the Arts on the African continent.

In 2018, the festival, which started in Abeokuta, the Ogun State capital, relocated to Lagos. It has been regarded as the largest yearly gathering of African writers, editors, critics and readers.

 

Oimiyan masquerade festival is as old as the people of Ogute in Owan East Local Government Area of Edo State. It is a yearly event celebrated from January to March on every Ogute market day.

It is celebrated to appease the gods of the land for their protection and provision for the people. Also, it is to wave off calamities, sickness, untimely death, disaster and bring peace, good harvest for the New Year. According to oral tradition, it is believed that the celebration of the festival helps to sweep out all evil likely to be experienced in the New Year.

During this period, people are not allowed to mourn their dead ones neither are they allowed to beat drums except those of the festival, which are dedicated to the gods. This is to honour the gods and anyone who violates the law is required to appease the gods with sacrifices of goats and other items.

The festival is usually transmitted from one age grade to another every four years. An age grade at Ogute is a group of people who have attained the age 40 and have been initiated into manhood. Age groups are  formed among children from within the space of three years. The most senior of the children (a male) is automatically the leader of the group. When they attain age 40 they perform the age grade celebration. It is for men and women, but it is only the men who perform the manhood ceremony after which they are administered into the masquerade cult.

Among the masqueraders that perform during the Oimiyan festival include Oweluwee, Aweeka, Odidi and Oliwevba.

Oweluwee: it is a great and mother of all masquerades and the most prominent among them. It comes out once a year at dawn, it is believed that it displace evil that is likely to happen during the New Year.

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When the masquerader is about to enter into its house, people with one request or the other are expected to pray and make vows, demanding what they want. It is believed that anyone who agreed without doubt usually receive that they request before the next festival. Prominent among their request is seeking the fruit of the womb.

Aweeka: This masquerader is a representation of a male child and the eldest of all the other masqueraders. People seeking male child is expected to present gift to the masquerader.

Odidi: This masquerader has a representation of a female figure carrying a black bowl on its head. When displaying, those seeking female child will give their offerings to it and pray that before the next celebration they will give birth to their female child.

The masquerader is also meant to punish offenders especially witches and wizards that offend the land through their diabolical means. They usually have their legs, hands and stomach swollen and it is believed Odidi fill up their stomach with water using the bowl it is carrying.

Oliwevba: This masquerader has a representation of twin figure (male and female) on its head. It is believed that those seeking twins when they present gifts to the masquerade and it crosses their head with his hands and prays for them, their requests will be granted and are expected to give birth to twins before the next festival.

Till date, Oimiyan masquerade festival remains one of the greatest festivals celebrated by the people of Ogute. It promotes unity in the community as indigenes of Ogute use it as a time for family reunion.

It is also used as an avenue for the people to learn more about their culture and tradition as the elders share stories, experiences and transfer stored knowledge about the festival.

 

• Ekwunazor is chief museum education officer, National Museum, Onikan, Lagos.

 

Origami, the ancient art of paper folding, has been linked to rational/sequential thinking and 3-D perception.

According to Origami experts, it has the power to improve learning, especially for students.

Although an ancient art, Origami has been said to have applications in modern classroom for teaching geometry, thinking skills, fractions, problem solving, and fun science.

In fact, according to President of OrigamiUSA, Wendy Zeichner, Origami, which has its deepest roots in ancient Japan, “can make an impact in today’s education, too”.

For the Origami expert, “it can be used in your classroom to improve a range of skills. The art form engages students and unconsciously enhances their skills. From geometry to fractions, problem solving and fun science, Origami has been found to strengthen students’ understanding of subjects, while improving thinking skills”.

She made the submission at the closing ceremony of the Origami Society Nigeria Fellowship, where she gave the keynote address.

With the mind of promoting  Origami, the society kick-started its maiden Origami virtual fellowship for students and professionals in the health, education, and the arts.

With the theme, Origami for sustainable development: The power of people and paper, Zeichner urged Nigeria and Africa to borrow a leaf from the ways the United States counterpart has been able to harness the art over the years.

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She pledged a continued and healthy relationship with Origami Society Nigeria.

The eight-week fellowship, which is the maiden edition, started in July, featured 50 fellows shortlisted from over 100 applications from across Nigeria.

According to the convener, Oluwatobi Sodimu, the Nigeria education sector has a lot to benefit from the art of Origami.

“It has the power to improve learning, especially for students. For us, the journey began back in 2020 at the height of the pandemic lockdown when we kick-started The Origami Therapy Challenge that earned me the Outstanding Nigerian at the first National Health and Art Conference (NACHON), an initiative of arts in medicine projects. You can use origami to determine the area by applying a formula to a real-world structure.”

His goal at the time was to bring succour and hope to Nigerians at a time when people’s mental health was most vulnerable, while ensuring that Nigeria and Africa tapped into its benefits.

Charging the graduating fellows that “with great power comes great responsibility”, he said they are saddled with the responsibility of utilising and spreading the joy of Origami.

As part of the fellowship, the society embarked on a physical outreach to a renowned Geriatrics Group in Mushin, Lagos, Regina Mundi home of the elderly. There, the seniors at the centre were introduced to the Japanese Art of Origami as an exercise to treat dementia, improve their mood and aid social interaction and renewed connection with their children and grandchildren.

Dr. Suiaiman AbdulFattah, Ejeh Blessing, Imoh Usoro, and Ugonna Nwakunor were recognised with awards for excellence, based on their remarkable commitment and leadership throughout the fellowship.

Some of the fellows shared their thoughts. For medical student, Ejeh,”Origami isn’t just about folding paper. The art uses the brain and your hands. I use Origami to give my mind a workout and to feel better when I’m down.”

Oladimeji Oluwagbemiga, lecturer, said: “This is the best thing that has happened to me in a while. Now I can analyse challenges and overcome problems by observing a template. Origami has sharpened my sense of observation.”

AbdulFattah, medical doctor, said:  “The fellowship brought out the artist in me. It connected me with people with beautiful minds. I’ve learned patience, mindfulness consolidation in interactions with people/patients using Origami.”

With 10 faculties from all over the world of Origami and six key classes, fellows were educated in Mental Health, aesthetics, art, peaceful coexistence, and Origami in Healthcare.

Some of the facilitators were Dr. Lizzie Burns(Co-Founder Origami Pulse Oxford U.K), Dr. Sarah Ness(Founder Art in Health Institute United States), Paolo Bascetta( renowned Origami Designer and Mathematician), Oyindamola Fakeye(Founder Soundmind Africa).

Oluwatobi Sodimu(Lead, Origami Society Nigeria), Seda Altay(Teacher and Ph.D. student Turkey), Toshiko Kobayashi(Founder Expressive Origami Therapy New York), Cheryl Gibbs (Origami Teacher S.A), Jooj Abreau (Guinness book of world record Holder and Artist S.A).

 

The three-day Quramo Festival (Qfest) ended at Eko Hotels and Suites, Lagos,  after featuring master classes, workshops, film and documentary screenings, panel discussions, book readings, theatre, spoken word performance, and the unveiling of the Quramo Writers’ Prize (QWP)  winner.

With the theme Transcendence: Words defying, Qfest2021 witnessed a large gathering of storytellers, playwrights, poets, and literary enthusiasts who came to explore the power of the arts of words, in relation to life in times of a pandemic and creativity, and discover ways to acquire that power.

The unveiling of the winner was the climax of the yearly literary and arts festival birthed from the Quramo Writers’ Prize. It aims to attract emerging and established literary enthusiasts.

The winner of the Quramo Writers’ Prize – Akinnimi Oluwaseun – brought the event to an end. Oluwaseun’s unpublished work entitled: Looking Glass Bullet, beat four other finalists Dark Spots Of Light by Ifeanyi Ekpunobi (2nd runner up), Fate of the Forlorn by Cynthia Nnadi (1st Runner up), In My Backwater Town by Ishola Hubaidat and Under the Aluminum Sky by Cynthia Chukwuma, to take home the N1million prize.

He will also have his manuscript published by Quramo Publishing.The top five finalists were commended for the quality of their manuscripts;  and according to the Chief Executive Officer/Executive Publisher, Quramo Publishing Limited and festival organiser, Mrs. Gbemi Shasore, QWP did not look for perfection but potential, adding: the writers did their best to tell our stories as Africans.

The judges for QWP were decorated. They included head of panel, Jude Idada, Lechi Eke, and Abubakar Adam Ibrahim.

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Q Conversation, which took place on day three of the festival, spotlighted renowned filmmaker Femi Odugbemi. The conversation was anchored by award-winning multi-talented artiste, Bikiya Graham-Douglas.

Odugbemi said the secret of his success was putting his all into any project he embarked upon and did not work for money but legacy. He stressed mentoring as key to success in the industry.

Calling for more investments in the arts, Odugbemi emphasised the importance of documentary films, noting that it is critical to industry since it gives one the opportunity to take a position on an issue.

His biggest fear in life, surprisingly, is disappointing his mother, who, he said, keeps impacting him with a sense of balance even at 83. “I hope to write a book about her,” he added.

The Masterclass on ‘The Fine Art of Creative Non-Fiction’, which succeeded the creative writing workshop, featured a panel of four writers: United Strates-based Helon Habila (Travellers), Silva Nze Ifedigbo (My Mind Is No Longer Here), Samuel Monye (Give Us Each Day), and Olusegun Adeniyi (From Frying Pan to Fire: How African Migrants Risk Everything in their Futile Search for a Better Life in Europe).

The session was followed by a panel on ‘The Power of Words’, and then, “Writing to the Future, Today’, focusing on children’s writing. At the end, performance poet, Solutionist Clementina of Poets In Nigeria (PIN) emerged winner of Quramo Festival of Words Slam and took home the star prize of N100,000 cash.

Other notable features of the festival, which had award-winning playwright and theatre director, Prof. Ahmed Yerima, as special guest, included special spoken word performance by Dike Chukwumerije.

Setting the mood right for take-off of the grand finale of Qfest 2021, renowned thespian, Edgar Joseph (Duke of Shomolu), urged individuals and organisations to support the literary industry to improve literacy and reading culture of Africans.

Highlight of the event was the screening of trailer of the latest Quramo production entitled, ‘The Loot and the Lost Kingdom: A Quest for Who We Really Are’.

The movie which will be released soon, narrates interesting tale of Africa identity through artefacts looted during colonial period, still scattered all over the world, as well as the growing momentum for their return.

 

After six months of  planning, the inaugural edition of On Display, a talk show designed to interrogate topics of global and national impact to inspire people through the arts, has kicked off at the auditorium of Alliance Francaise, Mike Adenuga Centre, Ikoyi, Lagos.

Created by the co-owner of Gallery at The Landmark, Mrs. Ighiwiyisi Jacobs, and organised by Gallery at The Landmark, the talk series was anchored on the art of storytelling.

In sync with the new consciousness by Africans to tell their stories, On Display provides a veritable platform for younger generations to drink from the wealth of knowledge of older and experienced people about the past and present.

Little wonder the organisers  anchored by Mrs. Ayo Mairo-Ese chose three specialists – Olufemi Akinsanya, TY Bello and Kola Tunbosun – to share experiences on Wielding power, the topic of the series.

As a spice to the outing, a performance by the guitarist Femi Leye and the painter Ini Abasi thrilled the guests to non-verbal communication that goes with wielding of power.

Interestingly, the session was meant to do justice to interrogating power and its manifestations, the various interpretations of power around African culture and, perhaps, the incremental change to the negative connotations associated with Africa.

Setting the tone for the discussants, Mrs. Jacobs said the format of the series was informed by the need to make heavy topic lighter for people to take in.

“I believe it is possible to do that and have engaging conversations that are life-changing in a format that it is easy to stomach. And that is what we plan to do every year,” she said, adding that the curator of the gallery Hannah Oghene came up with the theme, which became the overarching theme for this edition.

She recalled that the narratives about Africa were not only single side but handed down to us by the colonialists who were able to document them. This, she said, remained a big challenge to the growth of African culture and identity.

“Africa has been handed to us by those who were able to document it. It is time forAfricans to tell their own stories. Every On Display is going to be geared towards making sure that Africans start waking up to the fact that stories eventually become history. And we would pass that on to our children. Power is not truly owned. Power will always be seductive. It wants you to believe that you own it. Power uses as much as it is used. Power is not truly owned. As custodians of power, we must be ready to hand it over when the time comes. We want people to understand the nature of power and handle it with respect and be willing to hand it over. Power is transmitted through storytelling,” she said.

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For Olufemi Akinsanya, a renowned art collector, who spoke on why it is essential to preserve our cultural heritage through the arts, said great works of art help to perpetuate the extra ordinary achievements of peoples and their times and can inspire the living and future generations to aim higher, feel pride in their past and history; make them determined to make their own lives and times count too.

In his presentation, Looking at Nigerian traditional art, Akinsanya said Nigerians have long traditions of great artistic creativity, which have been intertwined into their cultural and social practices. He however noted that “these traditions were wilfully disrupted, and the people encouraged to denigrate many of their ancestral cultural beliefs, practices and artistic productions, which were erroneously branded as fetish.

“Many of the works of our ancestors reflected the things around them. The quality of their creativity ought to awaken us to our responsibility to preserve this heritage. These artworks are going out of fashion. Some are being destroyed because many are made of wood. Many of these works are leaving our shores. But the problem is that many of these works are not meant to be kept in museums.They would perish and the few we can find, we should collect them,” Akinsanya said.

Nigerian pop singer, photographer and philanthropist Toyin Sokefun-Bello (TY Bello) talked about her experiences with wielding power.

She recalled that when she started her journey, she didn’t have many people to look up to who were established photographers. But that the only way that they were able to make their way forward was to come together and collaborate. “In 2001, Kelechi Amadi-Obi, Uche James Iroha came together and we formed a collective called Depth of Field,” she said.

To her, rather than embracing her prowess and strength and what she knew how to do, the way that she fought to keep her space and won was to become a student again and learn. “I found out that the way I’ve been able to keep my space is to remain as a student and to remain in awe of the creativity, realising that the creative power is no necessarily mine but it’s a product of a gifting and also my personal experiences over the years and my ability to remain a child and learn.

“Another thing that I’ve found out that has really helped me over the years in finding my space and in owning my space has never been to walk alone. But I found out that I have found my voice as an artist more by collaborating with other people than I’ve ever done by doing anything by myself,” she added.

Cultural activist, Kola Tunbosun decried Nigerians obsession with the English language at the expense of   indigenous languages and called for attitudinal change backed by policies that can encourage the use of indigenous languages.

He identified the multilingual nature of the society as a very powerful asset that Nigerians had failed to tap into because of our suspicions of each other and the colonial carryovers and burdens imbibed adding that Nigeria has more than 500 languages, but the only official language spoken is English.

According to him, if local languages are well promoted, it is one sure way of providing a job as well as showcasing the nature of the country.