Category: Arts & Life

  • Honour for unsung heroes

    Honour for unsung heroes

    As a way to honour unsung heroes and recognise the continent’s most impactful humanitarians, organisers of the African Humanitarian Awards 2025, have lined up activities for its maiden edition holding in Lagos in January next year.

    The launch of the awards in Accra, Ghana organised recently by a Lagos-based magazine, Elgee Info Media, attracted key players in Ghana’s humanitarian sector.

    The awards ceremony, which will span two days in January 2025, will be a landmark celebration of those making a difference across Africa. The first day of the event, January 26, is dubbed Humanitarian Day and will feature Africa’s largest humanitarian fair offering practical support to the continent’s most vulnerable populations. NGOs from various sectors will participate, providing free services such as wheelchairs, eyeglasses, medicines, food and clothing to the needy. The second day, January 28, will culminate in the grand awards ceremony where individuals and organisations excelling in various humanitarian fields will be honoured.

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    Categories include Education, Healthcare, Poverty Alleviation, Empowerment of Women and Girls, Environmental Sustainability, Peace Building and Conflict Resolution, Humanitarian Innovation, amongs others. A special Lifetime Achievement Award and recognition for companies with humanitarian achievements are also among the highlights.

    Founder and Chairperson African Humanitarian Awards, Samuel Akinyemi, hinted the importance of recognising those who have shown exceptional selflessness, resilience and compassion.

    “In these challenging times, celebrating those who are making a positive impact is crucial. Their work not only changes lives but also serves as an inspiration for others to act in the spirit of Ubuntu—our shared humanity. This event aims to shine light on Africa’s unsung heroes who are creating ripples of positive change across the continent,” Akinyemi said.

    Nominations for the awards are currently open and will close on October 30, 2024. Interested individuals are encouraged to nominate deserving candidates by visiting the official website, www.africanhumanitarianawards.com.

    Organisers say the ceremony is expected to draw high-profile participation, with African First Ladies among the notable attendees. Confirmed guests include the First Lady of Nigeria, Her Excellency Senator Oluremi Tinubu; H.E. Dominique Quattara, First Lady of Cote d’Ivoire; H.E. Rebecca Akufo-Addo, First Lady of Ghana; and H.E. Jeannette Kagame, First Lady of Rwanda, among others.

    A panel of distinguished experts will oversee the selection process, ensuring that the awards are granted to the most deserving recipients. The event, which will hold at Eko Hotel and National Stadium, Surulere, Lagos, promises to be a gathering of influential figures from across the continent, including government officials, philanthropists, corporate leaders, and international dignitaries.

    The African Humanitarian Awards 2025 aims to foster partnerships and collaborations that promote sustainable development across Africa, highlighting the innovative solutions being championed by individuals and organisations dedicated to improving lives.

    The public is invited to join the conversation on social media using the hashtag #AfricanHumanitarianAward and to submit nominations through the official website.

  • Guide to public affairs reporting

    Guide to public affairs reporting

    Title: The essentials of public affairs reporting

    Authors: Hassan Biodun Suleiman and Mukaila Olabamiji Sanusi

    Reviewer: Mohammed Shosanya

    Pages: 96

    Publishers: LASU Press

    The essentials of Public Affairs Reporting by Hassan Biodun Suleiman, PhD and Mukaila Olabamiji Sanusi, is an insightful guide aimed at equipping journalists with necessary skills and knowledge to effectively cover public affairs. This review covers the book’s key elements, structure and contributions to the field of journalism.

    The book provides a detailed exploration of Public Affairs reporting, focusing on the critical aspects of covering government activities, political events and public policies. It emphasises the importance of accuracy, objectivity and ethical considerations in reporting. Suleiman and Sanusi draw on their extensive experience in academics and journalism to present a guide that is both informative and practical.

    The book also explores the dynamic interplay between media and government, highlighting the journalist’s role in promoting transparency and informed masses.

    Endorsed by Rotimi Williams Olatunji, a professor at Lagos State University, the book is recommended as essential reading for students in C ommunication and Media Studies Programme. This endorsement, along with the authors’ extensive experience, adds credibility to the book’s content and its potential impact on journalism education in Nigeria and beyond.

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    In summary, it is a well-rounded guide that combines theoretical insights with practical advice. It focuses on ethics, detailed examination of Public Affairs and the importance of a journalist’s role in democracy. This makes it a must read for journalism students and professionals, dedicated to enhancing their craft while contributing to an informed society.

    The book is structured into seven chapters, each focusing on different aspects essential for public affairs reporting. The first chapter, ‘Public Affairs’, provides an overview of the field, explaining the importance and scope of public affairs journalism. It highlights the role of journalists in informing the public about government activities, policies and issues affecting the community. The second chapter, ‘Nature and Scope of Public Affairs Reporting’, includes coverage of local, state and federal government activities, legislative processes, elections, political parties and policy decisions.

    Meanwhile the third chapter, ‘Sources of Public Affairs Reporting’, delves into the methods of sourcing and researching information for public affairs stories. It covers techniques for gathering reliable data, conducting interviews and verifying facts. The fourth chapter, ‘Media and Promotion of Government Policies’, explains how the media serves as a crucial channel for disseminating information about government policies to the public by providing comprehensive coverage of policy announcements, objectives and potential impacts.

    The fifth chapter, ‘Ethical Considerations In Public Affairs Reporting’, highlights the importance of maintaining impartiality and objectivity. Journalists must present information without bias, providing balanced perspectives and avoiding favouritism or undue influence from political or corporate interests. This chapter expatiates more on transparency and accountability as well as how transparency in the reporting process is crucial for building trust with the audience.

    The authors advocate for journalists to be clear about their sources and methodologies, explaining how information was obtained and why certain editorial decisions were made. However the sixth chapter ‘Public Affairs and National Interest’ delves into how public affairs reporting can enhance public awareness through comprehensive and accurate reporting.

    It also states how the community can be actively engaged through outreach programs, investigative reporting on local concerns and initiatives that fosters a deeper understanding of the issues affecting the public mood. By incorporating these practices into their work, journalists can demonstrate a genuine respect for the mood of the public, fostering trust and transparency in their reporting and contributing to a more informed and engaged society. However the seventh chapter, ‘Freedom Of Information Act (2011)’ the Act which was signed into law by former President Goodluck Jonathan in May 2011 is designed to make public information freely available,  ensuring transparency and accountability in government and public institutions. The book outlines a clear procedure of making information requests, including written applications.

    The book is characterised by clear, concise language that is accessible to both beginners and experienced journalists. The authors used precise diction appropriate for academic and professional contexts which enhances the books readability. The logical structure, with well organised chapters and practical examples aids in comprehending complex concepts. This blend of straightforward language and practical application makes the book highly readable and useful for mastering public affairs reporting.

  • Bountiful harvest holds at National Museum

    Bountiful harvest holds at National Museum

    A solo art exhibition of paintings Ikore (Harvest) by Dr. Aderinsoye Aladegbongbe will open on Saturday September 21 at the National Museum, Onikan, Lagos. The exhibition is expected to feature works in plastopaint rendered in oil and painting paste, mixed media, acrylic and poster colours, printing ink and gouache, acrylic on paper and acrylic on canvas.

    The opening ceremony of the exhibition will be chaired by Otunba Akinbowale Akin-Olugbade while Moses Ohiomokhare is curator.

    According to Dr. Aladegbongbe, art teacher at the School of Arts, Design and Printing, Yaba College of Technology Lagos, the exhibition is a fall-out of a research he carried out on Ijesu Festival at Ilara Mokin, in Ondo state during his post graduate programme. 

    The works on display are Excitement and anticipation towards harvest, Peace and joy of harvest, Dance of the high command, Colourful performance during Ijesu festival, Tribute to the God of harvest, Culture and nature in essence, Workshop of harvest, Dialogue of the duo adherent, Symphony of forms, Sight of land, Bond in harvest and Bountiful harvest among others. Many of the works are in series.

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    He said he was fascinated by the paraphernalia of the festival’s initiates and the different arms of the festival celebration, which he said, has the rites before the rites, during the festival and the rites after.

    “And those rites involve different groups and people. So, I tried to investigate the paraphernalia, what they were, their object of sacrifice and things like that.  I felt that I should push it further.

    Having the knowledge of plastography, looking at Baba Bruce’s works and also the works that Dr. Kunle Adeyemi did, have been to Agbarha-Otor  workshop twice, that gave me the lead way to investigate the paraphernalia further with the use of plastography. 

    But then I looked it further to achieve plastopaint, a process whereby you get your images, which is now the paraphernalia of embellishment for those various rites and the topography of the community,” he said at a preview of the exhibition.

    In the foreword to the exhibition brochure, Dr. Kunle Adeyemi said of the exhibition: “Ikore” (Harvest) by Dr. Aladegbongbe in the annals of documented solo exhibitions will be difficult to be ignored particularly his research, technical maneuvers from his Ph.D studies in the use of lines, forms, symbols and colours. The dynamics of his pictorial compositions are filled with actions and non-static gestures signaling a newness of creative consciousness, of action packed real live theatre of a film show. Undeniably, his works take their— roots from the seamless local stories, dialogues and other range of compositional phrasings, as well as the razzmatazz of liquidized dripping colours under the tendering effects ennobling brush work he  christened plastopaint

    Aladegbongbe’s collection on show is provoking the visual sensibilities of art enthusiasts and collectors alike to appreciate the cumulating quality of this life-sustaining process that nature has endowed mankind. Naturally, Ìkórè (harvest) is the time for the congregation of the people to celebrate the long season of toiling that preceded the harvest. It is a time of rewards and a time to appreciate God for all He provides the world.  Ikore will run till September 28.

  • Eda Aye, The strange encounter for unveiling

    Eda Aye, The strange encounter for unveiling

    A United Kingdom-based Nigerian cleric, Reverend Wisdom Akinpelu has announced plans to release two Christian drama series in Nigeria by October 2024. The series, titled Eda Aye (The Mankind) and The Strange Encounter, aim to educate viewers on the importance of purposeful living and a Christ-centred life.

    According to Akinpelu, the 13-episode series will explore themes such as sexual immorality, ethics, guilt, reconciliation, and redemption, while maintaining African culture and showcasing Bible solutions to complex human problems.

    “Eda-Aye” follows the lives of five individuals as they strive for success and peace, only to face overwhelming challenges that push them to the brink.  Their relentless pursuit of solutions leads to the uncovering of hidden secrets that ultimately provide them with the relief they desperately seek.

    “The Strange Encounter,” on the other hand, revolves around counseling sessions where characters grapple with their choices, exploring themes of temptation, guilt, and the struggle for redemption.

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    One of the issues addressed in this movie is the negative influence of pornography on the lives of many youths and adults alike.

    Akinpelu, a graduate of the University of Cumbria and a current law student at the BPP University Law School, stated that the films aim to beam a spotlight on the destructive effects of pornography and encourage viewers to seek the right way out of addiction.

    He noted that the release of these drama series is expected to make a significant impact on Nigerian audiences, providing a unique blend of entertainment and spiritual guidance.

    “Maintaining and showcasing African culture and in the process using drama to declare the bible solutions to complex human problems thereby creating a peaceful and prosperous society where everyone lives a fulfilled life is paramount.

    “Eda-Aye is a gripping narrative that explores the complex interplay of ambition, morality, and the supernatural, set against the backdrop of personal and spiritual battles.

    “The film follows the lives of five individuals as they strive for success and peace, only to face overwhelming challenges that push them to the brink. Their relentless pursuit of solutions leads to the uncovering of hidden secrets that ultimately provide them with the relief they desperately seek.

    “The Strange Encounter also revolves around counselling sessions, where the characters grapple with their choices, exploring themes of temptation, guilt, and the struggle for redemption.

    “One of the issues addressed in this movie is the negative influence that pornography plays in the lives of many youths and adults alike and we plan to let these films speak to these social issues.

    “Whether we like to admit it or not, many in the church and outside it struggle with addiction to pornography and we want to shine a spotlight on this so they can see how it is destroying lives and seek the right way out of it,” Akinpelu was quoted as saying.

  • Retirement as boost to creativity

    Retirement as boost to creativity

    On August 13, Dr. Kunle Adeyemi, 65, former Dean School of Arts, Design and Printing, Yaba College of Technology, Lagos formally retired from the services of the College. But, his retirement was marked with two solo exhibitions that ran back-to-back at two venues in Lagos as well as a conference on the artist, his art and messages. Assistant Editor (Arts) OZOLUA UHAKHEME reports.

    In a rare fashion, the former Dean School of Arts, Design and Printing, Yaba College of Technology, Lagos, Dr. Kunle Adeyemi transited from being an art teacher to full time studio artist with unprecedented two solo art exhibitions held simultaneously in two venues in Lagos. First was his last solo before retirement from service on August 13 at the Grillo Gallery, Yabatech, followed by a post-retirement exhibition tagged Resounding Echoes: Memories, Retrospect and Vision at the National Museum, Onikan Lagos on September 8. Dr Adedayo Benjamin Laniyi was chair person of the occasion while Dr. Bukola Bello Jaiyesimi was curator of the exhibition.

    In fact, there was no better way to round off a prosperous career as a committed art teacher and studio artist than such solo exhibition that was followed by a committee of friends-organised conference celebrating the ‘man, his art and messages’ on August 29.  

    Penultimate Sunday, Adeyemi offered no fewer than 68 artworks of various media-a unique style of art that focuses on the synthesis of printmaking and painting techniques described as ‘paintographs and paintocasts.’

    The bulk of the artworks at the on-going exhibition, Resounding Echoes: Memories, Retrospect and Vision which runs till tomorrow features works that reflect Adeyemi’s encounters with masters such as Yusuf Grillo, Solomon Wangboje, Kolade Oshinowo and Bruce Onobrakpeya. His participation in local and international art residencies and workshops has also enriched his skill and capacity as an artist.

    Of the artworks on display are Symbols and motifs (Omo lere aiye), Flow of wealth (aje), The king’s crown (ade oba), The bountiful harvest, Japa syndrome series, Forest cape in the tropic, Talking drummer, In the name of God and The wheel of fortune.

    A common thread that also runs through the collection is the artist’s bold and continuous experiment with varied media, thus breaking new grounds in the application of different art materials. Literarily speaking, Adeyemi is a complete artist with a strong touch of creativity in every medium he engages. You cann’t box him to a particular medium as he continues to explore and exploit all the various media to enrich his repertoire. With a sound knowledge of graphic design at the onset, he embraced painting, mixed media, print making and emerging as a master of them.      

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    The collection also includes some contemporary mixed media works, paintings, and prints that capture mythical and poetical scenes of Nigeria’s rich biodiversity. From traditional setting to landscape, spirituality, vegetation, semi abstract forms and human figures, the artist demonstrates his competence in handling diverse subjects irrespective of medium and theme.

    Instructively, Adeyemi’s persona reflects in his treatment of colours in most of his paintings. He is not on the loud side of colour pigments, yet his messages are never lost to such colour scheme. 

    Without doubt, Resounding Echoes: Memories, Retrospect and Vision is a holistic package that addresses the sublime as well as serious issues in the society, ranging from religion to social, political and economic commentaries using various media. 

    But more importantly, Adeyemi continues to drink from the rich Yoruba culture, which forms the core elements of his motifs. Artworks such as Symbols and motifs (Omo lere aiye), Flow of wealth (aje), The king’s crown (ade oba), and The bountiful harvest are testaments to his connectivity to his roots.

    However, he is not oblivious of happenings around him hence some of his works serve as record of major events for posterity. His Japa syndrome series are good examples of his reactions to developments around him.

    Adeyemi’s thematic renditions are in four classifications:  (a) Naturalistic cum semi-abstraction where religious, mythological, historical, literary and everyday life is expressed. (b) abstract expressionism with much of visual impact than storytelling: (c) the third is the Iconic cum expressiveness which displays distorted prompt imageries and colour; (d) the fourth category is geared to create subtle poetry specifically for contemporary enlightenment rather than relating them to meanings. Yet, there are three giant size portraits of two men and a woman that spice up the collection.

    Adeyemi who has held over 26 solo exhibitions and more than 120 group exhibitions locally and internationally said of his artworks: “My subject matter, composition, forms, colors and context are derived from the immediate environment of the Yoruba in Southwestern Nigeria. Most of my themes and titles reflect indigenous African concepts, and modern ideas expressed in modern contemporary language.

      “My explorations in paintograph and paintocast brought about innovations into art practices and art vocabularies which is a significant development and contribution to Nigerian contemporary painting and printmaking. Paintocasts is a synergy forming the synthesis of painting and printmaking traditions, a combination of the required technique, skills, methods and materials from the two artistic genres.

    “In the words of Egonwa, ‘paintograph and paintocast are a procedural transliteration of techniques of one into another… a sort of collaborative possibilities between the visual art, science and technological discipline hitherto thought to be impossible”.

    Adeyemi may have stepped aside from classroom officially, but his studio in Mushin will continue to serve as an alternative and credible creative forge for many including interns and youths in the neighbourhood who have passion for art. 

    According to report, ‘Adeyemi shoulders the burdens of some of these youngsters by providing free training and material supplies. His philanthropic activities cover donations of cash and gift items to the

    church and communities. He also has donated some of his artworks to orphanages and homes where they continue to serve as succour for the depressed.’

    A forth night ago, Adeyemi was also celebrated by his colleagues and friends in the art. Tagged Kunle Adeyemi @65 retirement celebration, the conference/exhibition was held at the Yusuf Grillo auditorium of the College featuring a lecture by Dr. Kunle Filani and performances by Ondo-based cultural troupe, Tijo-Tayo Group.   

    In his remark, Rector Yaba College of Technology, Engineer Ibrahim Adedotun said despite Adeyemis’s formal disengagement from the services of the College, he still remains with the College in body and spirit. “We so much enjoyed his service and we find it reluctantly to allow him go. It is very rare to find ne who combines academic with professional practice. If you ask me to nominate a name for the next Minister of Arts and Culture, I won’t hesitate to mention his name,” he added.

    Former Deputy Rector of the College, Kolade Oshinowo who was Adeyemi’s art teacher at the College, said Adeyemi has been very close to him even as a student adding that he was the only student that drove his car then. “He is an Omoluabi, but all that is being threatened. He is hardworking, humble and you feel his presence anywhere he is. He is an epitome of excellence,” Oshinowo noted.

    In his keynote paper titled Kunle Adeyemi: The Man, His Art and His Message, Dr. Kunle Fiani described Adeyemni as a humanist, astute administrator, diligent scholar and impressive artist adding that his scholarship is also rooted in critical artistic expositions. “With a deep sense of art historical knowledge and a comprehensive understanding of art criticism, there is no iota of doubt that when Kunle Adeyemi’s artistic oeuvre is subjected to the rigours of critical analysis and compartmentalization, he qualifies to be described as a Yoruba Artist more than any other artificial sobriquets.

    “Adeyemi’s artistic thrust rests on a delicate balance of a creative tripod namely that of (a) iconic materials and methods, (b) Yoruba subject matter as content and (c) Yoruba images as art forms. Aside the painting pigments that are fabricated from modern industries, the Printmaking materials used. Some of the listed scholars of Yoruba aesthetics further explored the Iwa-lewa philosophy to situate creativity as an embodiment of aesthetic completeness. This is similar to the biblical concept that says whatever is created by God is good,” he said.

    According to Filani, Adeyemi imbibed the prevalent moral values of the time, which were largely embedded in the Omoluabi principles. Ondo town was a land of culture and tradition. He stated that s a culture-specific artist, Adeyemi’s thematic explorations are often rooted in Yoruba subject matter. The themes, he said, could be royalty, merry-making, fashion, religious worship, masks, festivals, and daily activities. “Adeyemi, as a naturalist painter, will depict the images as representative of cultural settings. He enhances the Yoruba identity through the infusion of related forms, and motifs. Adeyemi is an adherent of cultural aesthetics. He believes that an artist who lives in cultural settings must, of necessity, be an advocate of the environment that shaped his intellectual and creative views,” Filani added.

  • Biu to Lagos: An Adventurous journey to honour Dr. Bukar Usman

    Biu to Lagos: An Adventurous journey to honour Dr. Bukar Usman

    By Bala Ibrahim Mohammed

    This is my account and experience about a journey I undertook to attend the investiture of Dr. Bukar Usman as an Honorary Fellow awarded to him by the Nigerian Academy of Letters at the University of Lagos on August 8th, 2024.

    At 5:40 a.m., my alarm woke me up, coinciding with the early morning prayer call from the mosque. I woke up from bed, performed my ablution, and headed to the mosque to observe the two Raka’at morning prayer. Afterwards, I returned home, took a bath, got ready, and set off for my journey. My family bid me farewell as I departed.

    My friend, Engineer Nuraini, whom I had notified earlier to assist and drop me off at the motor park, was ready and waiting. I placed my bag in the car, and we drove straight to the motor park, approximately 3 kilometers from our house.

    I called my cousin, Madina Mamman, whom I was traveling with, to hurry up so we could catch the first bus, commonly referred to as “Turn one” by the people at the motor park. Typically, after the first bus departs, the second bus struggles to fill up.

    We departed Biu Motor Park at 8:15 a.m. to begin our journey, after spending about two hours waiting at the park. Before leaving, I noticed that the front rear wheel was making an unusual sound, which I brought to the driver’s attention. He assured me that there was no problem, although he mentioned that the original bus had an accident and was beyond repair. The engine had been removed and placed in another bus body, which was the one we were traveling in.

    Our journey progressed smoothly until we reached Gombe, where the driver needed to refuel. We stopped at a filling station in Tumfure, a busy commercial area along the NNPC depot. Some passengers disembarked to stretch their legs, and once the fueling was complete, the driver honked the horn to signal that we were ready to continue. We all returned to the bus and set off again, cruising at a speed of 100 km/h, as indicated on the speedometer. However, the road was in poor condition, with potholes that forced the driver to slow down to avoid accident.

    Our next stop was Alkaleri, a town 70 km from Gombe, where most motorists traveling on the Bauchi-Gombe Road stop to eat, refuel, pray, and stretch their legs. The town has numerous food vendors, restaurants, suya spots, and fruit sellers, as well as filling stations. We spent about thirty minutes there before the driver called us to board the bus again. Since there was no conductor, the driver closed the door himself once we were all seated.

    After passing through Gombe, we headed towards Bauchi, but the roads were in terrible condition, forcing our driver to slow down. We soon noticed that the gear clutch was not functioning properly, making it difficult to change gears. The driver had to turn off the engine, shift the gear manually, and kick-start the bus to get us moving again. This significantly delayed our journey, which normally takes less than thirty minutes but took us over an hour to complete. Finally, we arrived Bauchi and stopped beside the Federal Government Girl’s College Bauchi gate, where the mechanics specializing in Ford Galaxy buses are based.

    The mechanic arrived and confirmed that there were air leakages in the clutch pot, which needed to be bled and tightened so we could continue our journey. After bleeding the air, the driver was asked to pump the clutch, but the issue persisted, and the gear wouldn’t move in the desired direction. We requested that the mechanic contact his master to come and assess the clutch problem and provide proper advice, considering our long journey from Bauchi to Abuja.

    Upon the master’s arrival, he inspected the clutch and discovered that the fault wasn’t just air leakage but also a malfunctioning release bearing, which prevented the gear from moving correctly. The release bearing needed replacement, requiring the gearbox to be separated from the engine, a process that would take at least two and a half hours, as estimated by the master.

    I checked the time and saw it was 2:15 p.m.; if completed as scheduled, the repairs would finish around 4:30 p.m. We decided to proceed with the repairs, as we intended to continue our journey through the night to reach Abuja. All the male passengers assisted the mechanics to ensure the bus was fixed within the time frame. Teamwork played a vital role, and we completed the repairs as agreed. We took a break to pray Zuhr and Asr, and by 4:25 p.m., the work on the bus was finished, and we were ready to continue our journey.

    During the repairs, dark clouds gathered, indicating an impending heavy rainstorm, which meant we would be traveling in the rain. We departed Bauchi at 4:35 p.m., heading towards Jos, the Plateau State capital, 120 km away. As we approached Buzaye, a village 21 km from Bauchi, the driver maintained a speed of 100 km/h. Suddenly, a dog appeared on the road, but the driver, Adamu, didn’t seem to notice it. I chose not to distract him, but he eventually saw the dog and decided to hit it to avoid a fatal accident. The dog was struck by the front bumper grill and died instantly. However, the collision damaged the bus’s radiator and front bumper, causing all the water in the radiator to leak out.

    The leaking radiator needed to be repaired before we could continue our journey. Although it was raining and already night had fallen, around 7 p.m., we were fortunate to have a driver whose house was near where our bus stopped. He kindly assisted us in temporarily fixing the radiator so we could continue our journey and have it properly replaced or repaired at our destination. Before we could fix the radiator and resume our journey, it was 9:00 p.m. when we left Buzaye village, heading towards Jos.

    During our journey, we noticed that the engine temperature was rising, so we stopped to investigate the problem. After stopping, we discovered that the radiator was leaking again, so we refilled it with water and continued our journey, as time was of the essence. The journey was arduous, and we had to stop at intervals to check for leakages and refill the radiator before proceeding. Unfortunately, there were no major towns nearby to provide a lasting solution to the radiator issue.

    We arrived at Magama Gumau, a town where motorists divert to Kaduna from Bauchi without passing through Jos. There, we searched for a radiator sealant to block small leakages. We found a special powder in a tube that, when poured into the radiator, would seal the holes. Although the rain was heavy, we managed to apply the sealant, enabling us to continue our journey. We moved slowly, without much speed, to ensure we reached Jos. We arrived around 11 p.m., only to find that a curfew had been imposed earlier that afternoon.

    Due to the curfew, the driver tried his best by speaking with security agencies and explaining our situation. They assisted us in passing through, as we were on transit. We continued our journey from Jos to Abuja, passing through Forest and Akwanga. The journey continued in the rain, which became heavier than before we reached Jos. The bus’s headlights could not provide clear visibility, so we advised the driver to drive slowly. Other cars and trucks were also moving slowly due to the terrible road conditions and potholes. A J5 bus was ahead of us, so we told the driver to follow it, as its headlights offered better visibility, despite the bad road.

    As we approached the last military checkpoint before Forest, a junction for motorists heading to Gidan Waya (Kaduna State) and Akwanga (Nasarawa State), we noticed it also served as a small market where food, drinks, and fruits were sold to motorists on transit. The military personnel checking the motorists usually called the drivers one by one, as there was only a single lane used by both incoming and outgoing motorists. When the J5 bus was called by the military personnel using a torchlight, our driver maneuvered to the side of the J5 bus but unknowingly climbed on stone barricades, causing damage that led to the breaking of the bus’s bottom plate and the spilling of all the engine oil.

    After passing the military checkpoint, the accident occurred around 2 a.m., during heavy rainfall. We advised the driver to place tree branches and leaves on the road to signal to oncoming motorists that the bus was faulty, to avoid an accident. He followed our advice and then fell asleep inside the bus. We began thinking of a way out, considering the danger of the road at that time of night. I prayed for a solution and asked my cousin sister, Madina, to join me in finding another car or truck to Akwanga or Abuja, at least to leave the danger zone and continue our journey in the morning. She agreed, but expressed concern about our luggage. I assured her we would retrieve them from the back of the bus.

    I ventured out into the heavy rainfall and stood by the bus on the main road, raising my hand to passing motorists for assistance. Although several vehicles passed without stopping due to the dangerous terrain, a Hummer bus eventually slowed down and asked where we were headed. I replied, ‘Abuja,’ and the driver asked how many of us there were. I said two, and he stopped. I asked Madina to quickly board the bus while I retrieved our luggage from the booth. Once we had our luggage, we were asked to sit at the front of the bus with three others, and the driver took off.

    After the driver started the journey, we realized that there were no passengers in the bus, only cows arranged inside from Gombe to Abuja. When I asked, the driver explained that it took several days to get a turn at the motor park, but by visiting village cow markets, he could get loads or animals to transport to different destinations after the market closed. The driver was cautious, driving through heavy rainfall until we reached Keffi, where he stopped to see someone. I had earlier informed him that we had booked bus tickets from Abuja to Lagos with a 6 a.m. departure time.

    After meeting his friend, we continued our journey, arriving at Mararraba motor park by 6:10 a.m. The bus we booked had already been boarded by all passengers, as boarding started at 5:30 a.m. and departure was scheduled for 6 a.m. The bus company had called us several times to inquire about our whereabouts, but I told them we were approaching Utako, where their motor park was located. We took a taxi to speed up and meet the scheduled time, as we were already running late. A 30-minute grace period was added, allowing us to catch up. We arrived at Utako by 6:40 a.m., and all passengers were seated, waiting for only the two of us. We boarded the bus, and the driver started the journey from Abuja to Lagos.

    As we settled in, I apologized to the other passengers for keeping them waiting. We slept off due to lack of sleep since the previous day. At Lokoja, we stopped to refuel and stretch our legs. All passengers disembarked to eat, ease themselves, and pray. We spent about an hour there before continuing our journey. At Owo, we stopped again to buy fuel for the trip to Lagos. Some passengers informed the driver that they would be dropping off at Ibadan, the Oyo State capital. As we reached Ibadan, around four passengers disembarked at different locations. It was already night, so we proceeded straight to Lagos from Ibadan. Upon arriving in Lagos, Jibowu was the final bus stop, where everyone disembarked.

    The hotel reservation made for us was conveniently located near the Jibowu bus stop. We walked to the hotel, entered, and inquired about our reservations at the reception desk. We were provided with our room card keys, and the waiters escorted us to our rooms, where we settled in, took baths, and prayed before heading to the restaurant for dinner. At the restaurant, we met other invitees of Dr. Bukar Usman, including Bashir Yahuza Malumfashi, a writer for the Daily Trust Newspaper, Deborah C. Uzoma, Hassan A. Kangiwa, Faizah Muhammad Sajo, and several others whose names I couldn’t recall. We all came from various destinations across the country and enjoyed a wonderful dinner and conversation until around 11 p.m., when we retired to our rooms to rest for the next day’s events.

    I woke up early, took a bath, and dressed before heading to the restaurant, where I met other invitees having breakfast. I placed my order, which arrived promptly, and then joined the others to board the bus waiting to take us to the venue at 8:15 a.m. We arrived at the University of Lagos venue for the event, where the award recipients were registering at the entrance of the J.F. Ade. Ajayi Auditorium. The ushers guided us to the auditorium, where we took our seats. Upon entering, we met Dr. Usman chatting with Professor Asabe Kabir Usman (also a recipient of the award) and her husband. We exchanged greetings, and Dr. Usman warmly welcomed us to witness his investiture as an Honorary Fellow by the Nigerian Academy of Letters.

    The event began at 10:00 a.m. with the conferment of Regular Fellowship on Professor Asabe Kabir Usman, who was scheduled to receive the award in 2023 but couldn’t attend due to health issues. The Nigerian Academy of Letters does not confer awards in absentia, so the event started with her conferment. Ten professors were conferred with Regular Fellowships for 2024, three professors received Overseas Fellowships, and the NAL Award of Excellence in Humanistic Practice was awarded to Chief Mrs. Nike Monica Okundayo, Zeb Ejiro, and Emem Misodi Isong. The only two doctors among the professors, Dr. Bukar Usman and Dr. Wale Okediran, were conferred with Honorary Fellowships by the President of NAL Professor Sola Akinrinade. After the investiture, Dr. Usman delivered a speech on behalf of the Honorary Fellows.

    At the conclusion of the event, the President of NAL requested that all recipients and invited guests exit the auditorium for a group photo. The exit was done in an orderly manner, with the high table leading the way, followed by fellows and then invitees. Many pictures were taken with well-wishers, families, and friends of Dr. Usman. We briefly met Henry Akubuiro, who was introduced to us by Dr. Usman, although I had read most of his book reviews on Dr. Usman’s write-ups. Henry Akubuiro, a journalist with The Sun Newspaper, didn’t stay long and left shortly after. After all the pictures were taken, Dr. Usman granted an interview to a reporter named Kabir Yayo Ali from the Daily Trust newspaper, and we all departed back to the hotel.

    Upon returning to the hotel, the receptionist asked us to proceed to the restaurant for lunch. We all went straight to the restaurant, placed our orders, and chatted among ourselves while waiting for our food. After lunch, we continued chatting until everyone decided to take a break and rest. We all returned to our rooms to relax. In the evening, we gathered again at the restaurant for dinner, where five of us – Bashir Yahuza Malumfashi, Hassan A. Kangiwa, Madina Mamman, Faizah Muhammad Sajo, and myself – continued chatting until around 10 p.m., when we exchanged contact information, knowing we would be departing for our various destinations the next morning.

    We were ready by 5 a.m. the next day and met Madina at the reception, where we handed over our room card keys and informed the receptionist that we were checking out. Our return tickets to Abuja were scheduled for 5:30 a.m., so we quickly made our way to the Jibowu bus stop, where our bus would depart Lagos. Upon arriving at Jibowu, we boarded our bus, and the journey to Abuja began. The journey was smooth, with stopovers at various points where passengers could eat, drink, pray, and use the restrooms while the driver refueled the bus. The bus arrived in Abuja around 8 p.m., and we dropped off at Wuse, where Madina took a taxi to Kubwa, while I joined a taxi heading to Jabi. After reaching Jabi, I called Madina to confirm if she had arrived safely in Kubwa, and she confirmed that she was home.

    I checked into a hotel in Jabi, freshened up, and rested until the next morning. I then called Madina to suggest that we take a day’s rest in Abuja before continuing our journey to Biu on Sunday, and she agreed. I went back to sleep until the afternoon, when I woke up, took a bath, and visited my friends. We spent time together until around 9 p.m., when they dropped me off at the hotel and left. I slept early to get enough rest for the journey ahead.

    The next morning, I woke up at 5 a.m., got ready, and confirmed with my friend’s driver, who would take me to the Mararraba Motor Park, that I was ready. I checked out of the hotel, met my friend’s driver, and we drove straight to the motor park. Madina was already there, but the first bus was fully booked. We paid for two seats on the second bus, which was loading passengers. By the time it was full, it was already after 9 a.m. We loaded our luggage, boarded the bus, and left the motor park by 10 a.m.

    We stopped in Bauchi to refuel and took a break to eat and pray. The journey continued until we reached Gombe around 7 p.m., where some passengers disembarked. We arrived in Biu at 11 p.m. The military personnel had closed the checkpoints, but our driver and other drivers persuaded them to let us pass. We entered the town, and the bus dropped us off at the motor park junction, where we offloaded our luggage. My friend picked me up, and we went with Madina to her house, where we dropped her.

    In conclusion, this journey was memorable, as I met various personalities, some of whom I had only read about. I was pleased to have traveled such a long distance by road and attended my Uncle Dr. Bukar Usman’s investiture as an Honorary Fellow of the Nigerian Academy of Letters. I thank my uncle, his wife, Mrs. Dupe Usman, and their children, Hadizat Omolola Usman and Zara Oreoluwa Usman, for making this trip possible. I also extend my gratitude to Bashir Yahuza Malumfashi, Hassan A. Kangiwa, Deborah C. Uzoma, Faizah Muhammad Sajo, and all other well-wishers who graced the occasion. Lastly, I appreciate my cousin sister Madina Mamman, who traveled with me from Biu to Lagos and back. We look forward to more awards for our uncle and father, Dr. Bukar Usman, for his selfless service to humanity.

    • Bala Ibrahim Mohammed a former banker ­­­­­­­
  • Journalist wins N1 million dining voucher at Chinese mooncake festival

    Journalist wins N1 million dining voucher at Chinese mooncake festival

    A journalist was among the lucky winners at the weekend Chinese mooncake festival held in Abuja.

    Michael Olugbode of ThisDay won a million Naira dining voucher.

    Olugbode also won two bottles of exotic spirit in another draw for those with WeChat.

    The Mooncake Festival, one of the popular Chinese Festivals was organised in Nigeria to promote and strengthen the people-to-people relationship between China and Nigeria.

    The event which was held at the weekend in Abuja at the magnificent Chinese Silk Road Restaurant located in the Central Business District, Abuja, was organised by the China General Chamber of Commerce in Nigeria in collaboration with the China Cultural Centre and the Chinese Embassy in Nigeria.

    The prizes won include electronic devices, TV boxes, dining vouchers, and health products among others to Nigerians and Chinese who were guests at the occasion.

    The ThisDay correspondent seat number 59 was picked for the ultimate prize of the N1 million dining voucher as the last raffle for the seat after other prizes had been picked.

    He was later picked again for another raffle registered with WeChat which saw him going home with two exotic bottles of spirit.

    Speaking on the prizes, Michael Olugbode told journalists at the event that it could only be divinely arranged as he was already contemplating leaving for home after almost all the prizes had been won and the event was so dragged.

    He said: “Something just kept urging me to wait till the very end especially as I had some colleagues that I needed to pick in my vehicle.

    “It was great winning the voucher and I must thank the Chinese Embassy, Cultural Centre, China General Chamber of Commerce in Nigeria, and the Silk Road Restaurant for the two prizes. In fact, they have by this made me an ambassador of Chinese Culture and the Mooncake Festival.”

    The Mooncake Festival, one of the popular Chinese Festivals was organised in Nigeria to promote and strengthen people to people-to-people relationship between China and Nigeria.

    Speaking to journalists on a sideline of the event, the Cultural Counsellor of the Chinese Embassy in Nigeria, Li Xuda, said the festival was one of the most important holidays in Chinese culture for the past 3,000 years.

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    He added that the festival represents the harvest season and the idea that hard work leads to a fruitful result.

    He said: “Today’s celebration is very important and meaningful because the Mid-autumn, also called ‘the Mooncake Day’, is one of the most important Chinese traditional festivals.

    “In this festival, we celebrate family reunion, friendship, and togetherness; like the popular proverb in Nigeria, united we stand and divided we fall.

    “To stand hand-by-hand, shoulder-to-shoulder, we will create a better future that belongs to our people and benefits our two countries.”

    He added: “In the future China, and Nigeria, will work together to promote our tangible and intangible cultural heritage and further strengthen our cultural exchange and cooperation.”

    Li also noted that the festival was often celebrated annually on the 15th day of the eighth month of the Chinese lunar calendar, usually in September or October, when the moon is very full and the size is bigger.

    The mooncake festival or the Mid-Autumn Festival became an official celebration in China during the Tang Dynasty (618-907 CE) but there isn’t one single answer to the question of when and how the annual event began.

    Many believe the fete was first mentioned in the “Book of Rites,” a Confucius classic on bureaucracy and rituals written more than 2,400 years ago.

    It was described as a day for emperors to celebrate the year’s harvest by giving offerings to the moon and hosting a great feast.

    Today, the Mid-Autumn Festival is an incredibly important family gathering – it’s when “people and the moon reunite to form a full circle,” as an old saying goes.

    Like many cultural celebrations, the Mid-Autumn Festival is shrouded in myth. One of the most beloved – and tragic – pieces of folklore tells the story of how a woman named Chang’e became the moon goddess.

    According to the legend, after mythological Chinese archer Hou Yi courageously shot down nine surplus suns – leaving only one, in effect protecting the world from being scorched completely – he was given an elixir from heaven as a reward.

    Hou Yi’s wife Chang’e drank the elixir while protecting it from a greedy apprentice, but became so light that she floated to the moon.

    Missing his wife, Hou Yi prepared a feast every year on the day when the moon was at its fullest, hoping to get a glimpse of his wife’s shadow.

  • Octo-rain exhibition to host over 40 works

    Octo-rain exhibition to host over 40 works

    Israel Benaimasia is a fine artist who worked with National Gallery of Art for many years. Now in retirement, he is the chairman of the 2024 Octo-rain group exhibition of Society of Nigerian Artists (SNA) Lagos State chapter. In this encounter with Edozie Udeze he states why and how the exhibition will go and the benefits members usually garner from the show.

    As the chairman of this year’s Lagos chapter of Society of Nigerian Artists group exhibition, what were the criteria used in choosing participants?

    The basic criteria for participation in October Rain are – participants must be members of the Society of Nigerian Artists.

    Participants must be financially up to date with their payment of dues and any other sundry levies that they are obligated to pay to the society. They are also mandated to pay a participation fee for the exhibition.

    The other criteria are as follows

    Submission of (Artist’s Bio-data e.g artist name, picture, artist statement and WhatsApp number) work details (Title, medium, date).

    All works to be hung on wall should not be bigger than 30 x 24 inches. (2.1/2 x 2 ft)

     This emphasis on size was introduced this year in order to create sufficient space on the walls to permit as many artists as qualified to be able to exhibit. This is because in the past there were no size limitations leading to a bit of chaos sometimes when we would run out of space on the walls to hang some works as a result of the larger art pieces taken up the limited available space on the gallery walls.

    So we decided this time around to give every participants an equal and fair chance.

    So with this policy in place we hopefully don’t envisage a situation where we will run out of space to hang up any work.

    With respect to the exhibition catalog, all written profile are limited to 250 words.

    It may interest you to know that October Rain  this year is dedicated to the worthy celebration of Professor. Bruce Onabrakpeya, for his tenacity, consistency and total devotion to sustaining the tempo of art practices while giving credence to the befitting image that Nigerian art now enjoys globally.

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    The works to be exhibited will all be juried, the jury comprising of select members of the October Rain 2024 Committee, some members of the SNA Exco led by the Society of Nigerian Artists (SNA Lagos) chairman, Kolawole.K.Olojo – Kosoko and the CEO’s of the partnering galleries. This is to ensure that there is no compromise in the standards and the quality of works to be presented

    What other programmes has the Lagos SNA executed this year for members?

    Under the able leadership of the chairman of the Chapter, Prince. Kolawole.k. Olojo – Kosoko,his vice chairman Mrs. Ayoola Omovo, Mr.Andrew Akinbodewa and the rest of the very enterprising team, the society was able to enroll members in the ILERA Eko Lagos State Health insurance Scheme.

    They were able to secure free workshop/scholarship for select SNA Lagos members (offered by the Bruce Onabrakpeya Foundation Agbara – Otor, Delta State.) 2024 as well as the previous year.

     Some of the programmes include: Crowd funding for our members in distress.

     Partnership with Lagos Continental Hotels. Co – hosting of Art Salons in the Hotels, Gelede Rebirth festival collaboration with Igbobi – Sabe Kingdom and the Yaba College of Technology, Art commercialization seminar. Just to mention a few.

    And to buttress on the point of the welfare of our members I must point out that the welfare of members is something that is taken very seriously by the current chairman, and something that happened about two months ago buttresses this point. We, some members of the executive council and I, paid a courtesy call on Professor.Bruce Onabrakpeya at his studios in Munshin to officially inform of the society’s intentions to celebrate him at this year’s Octoberrain exhibition. We were on our way out from the premises when the chairman Olojo – Kosoko requested that we go and visit one of the society’s aging members, a man who is a contemporary of Professor Bruce Onabrakpeya, no one had heard anything from this man in a long time and  the chairman was worried about the welfare of the man. And so he wanted us to pay the man a visit, therefore instead of going to our various homes, we headed to the Ojodu area of Lagos where he lives. We had no address or phone number to help or guide us to him, all we were given by those who saw him last (and which was several years ago ) were vague directions to the street where his house was located.

    This made trying to locate the house and man quite a herculean task; so we went from one street to the other asking for this man ,who we had been told had worked as a school principal. It was late evening, we were all tired ( and hungry). The search was hard and tedious but the Chairman insisted that we must see the man that day and find him. We did after several hours, I think our description of him as a former principal helped in tracing him. However the man we saw was a shadow of himself, he was old, lean disheveled and a shadow of the well – sort – after – Artist ,that he used to be, we learnt that he had lost his wife and several children and was therefore not getting the kind of care that a man his age deserves. To cut the story short the Chairman in his usual characteristics has taken up the  challenge of rehabilitating him.

    What does Octorain exhibition mean to visual artists in and around Lagos?

    It’s a very big deal, it’s the visual art show of the year in the country; as the biggest annual event of the society. For those who don’t know, the Society of Nigerian Artists (SNA) is to the Nigerian artists what the Nigerian Bar Association (NBA) is to the Nigerian lawyer, it’s like what the Nigerian Medical Association (NMA) is to the Nigerian medical doctor. 

    So the SNA annual show can be likened to the NBA’ annual National Congress or the Nigerian Medical Association’s annual convention.

    It’s something that all Nigerian artists look forward to every year.

    So like I already said ,it’s the biggest visual Arts show of the year, it’s one art show that art patrons, collectors, connoisseurs, art institutions and art enthusiasts in general look forward to every year.

    OCTOBER RAIN is the only show of its kind which features icons, giants, the most sort after contemporary artists as well as the emerging artists all in one space.

    As you may well know, all the artists by virtue of their belonging to different schools of thoughts; come with their individual artistic or creative tendencies to the assembly. So you see colorists, illustrators, impressionists, expressionists, minimalists and so on and so forth.

    The joy of being in the midst of people who share a common passion is also there.

    These are some of the significance of the October Rain Exhibition.

    In what ways have Lagos SNA members gained from this yearly group exhibition?

    The gains derived from the annual group exhibitions by SNA members are tremendous    (please note that I said SNA members) because the show is not limited to SNA Lagos members alone, the exhibition over the years has become so successful that it attracts participants not only from Lagos State and other states of the federation but we also have members participating from the Diaspora.

    However to answer your question much more directly,

    I would list them as follows; every participant gains mileages in terms of exposure to the galleries, the big patrons, sponsors as well as other movers and shakers of the industry.

    The show is a morale booster for the emerging artists and up – and – coming artists to showcase their skills on the same platform as the giants of the industry.

    It’s an opportunity for participants to be part of a unique historic catalog for Nigerian artists of different times and era. Then of course it affords them an opportunity to sell their works and be able to fund the production of new work.

    What is the venue of this year’s exhibition and how many artists are involved?

    We are partnering with two visual arts galleries, namely The Gemini Gallery, Onikan Lagos and the Tim & Carol Gallery, Ikeja. Lagos.

    So far we have received around 40 works   (with more still coming) but ultimately we are looking to exhibit fifty or just a little over fifty works. Our goal however is not in the extent of the numbers of entries for exhibition but rather in the quality of works to be exhibited.

  • O’DA Art presents ‘ÀWA’

    O’DA Art presents ‘ÀWA’

    The ‘ÀWA’, exhibition which opened on 3rd September and to end on 30th September is featuring amazing works of Nigerian artists, writes Edozie Udeze.

    O’DA Art is pleased and honoured to present, ‘AWA’, an exhibition featuring works by Visual Artists, Simon Ojeaga and Daniel Olumide. This show marks the very first exhibition of artists represented by  O’DA Art Gallery.

    ‘AWA’ is about “Us”. It offers a layered exploration of youth in contemporary Nigeria, delving into various characteristics and personalities found in local communities. Through the work of visual artists, Simon Ojeaga and Olumide Daniel, we see the individuality and independence of being young, while revealing how cultural traditions, particularly those derived from African heritage, can be a thread that connects various customs and lifestyles across the world. Here, art becomes a visual link portrayed through figuration and portraiture..

    Inspired by the everyday life of young adults in Lagos, Daniel Olumide’s work is a celebration of growth and empowerment, portraying youthful characteristics, personalities and emotions in liminal spaces. In “Hopeful eyes”, Olumide presents a close-up of a boy gazing intently at the viewer. With light and shadow playing across his face we are drawn to the intensity and vulnerability in his eyes. His expression is intense and contemplative. The use of bold brushstrokes and earthy tones create a feeling of rawness and introspection adding an almost tactile quality to the work and allowing the viewer to get a sense of the weight of his thoughts and emotions. “Ambivalence” also portrays a young man with a more enigmatic gaze, looking slightly away from the viewer. The strong contrast between the highlights on his face and neck emphasising the angularity of his face plays to his youthful exuberance and energy. The shadow cast behind him, sharp and defined, adds a layer of mystery and complexity while suggesting a deeper narrative. Cumulatively, we see the quiet strength and introspective nature of the subject. Olumide demonstrates his ability to convey depth and vulnerability, using the power of portraiture to connect with the viewer on an intimate level.

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    Simon Ojeaga explores the complex inner workings of a living being, delving into the journey of self-discovery, identity and generational dialogue. Using a technique coined as “Fractellations”, a painstaking process of painting repeated singular patterns of acrylic to create a detailed visual balance, his process combs through one’s personality where minuscule dots of distinct features, mannerisms and becoming an expansive composition. “Wacko, Sleight of Hand” depicts a single figure in four different positions, reflecting the multifaceted nature of adolescence–fluid and unpredictable. Much like the skillful precision of “sleight of hand”, the work hints at the delicate balance required to navigate growing up in a seemingly chaotic world held together by the unnoticeable thread of collective/communal strength and guidance. In “Warm Hands”, featuring a group of male figures with bodies melting into one another in a unified green hue and their hands painted in a distinct brown, he not only symbolises togetherness and interconnectedness between the figures but the hands are a constant reminder of divine touch—purification, judgement, and power transfer, emphasising a sacred bond that unites them. With deep-rooted belief in the interconnectedness of all things and the inherent beauty found within the complexities of human existence, Simon Ojeaga celebrates the diversity of human experiences while emphasising the common threads that connect us all. He presents a philosophy of interconnectedness and exploration, inviting viewers to explore the depths of their humanity.

    Visually, Ojeaga and Daniel create a seamless juxtaposition, where their distinct techniques and themes converge in a cohesive dialogue. ‘AWA’ reveals how, despite our differences, we share commonalities in our experiences. This exhibition is an exploration of how the diverse elements of our existence come together in a beautiful, shared movement—a community where we understand connection, and the essence of what it means to be human. The exhibition lasts till 6pm everyday

  • Abdullahi and Nigerian literary pantheon

    Abdullahi and Nigerian literary pantheon

    BOOK REVIEW

    Title: Denja Abdullahi: New Perspectives

    Author: Ezekiel Fajenyo

    Pagination: 700

    Publishers: Orpheus Literary Foundation

    Reviewer: Dr Haruna  Penni

    Perhaps, the dramatis personae himself puts it more succinctly when he described Ezekiel Fajenyo’s review of his works as ‘a compendium of critical annotations of my literary offerings from the first book in 2001 to the latest which came out in 2019,while also examining my critical thoughts and  praxis in the arts and culture sector.’

    This intellectual incursion into Denja’s literary praxis from Fajenyo’s  New Perspectives, could not have come at a more opportune time than now that he  is indeed winding and transiting from  all his administrative positions into a renewed perspective. He is going back to research; teaching and community service after his cessation from both the Association of Nigerian Authors (ANA) and the National Council for Arts and Culture (NCAC) were he held forth as the Jagaban of the arts for decades and FGN Director of Performing Arts.

    This dedicated work by Fajenyo on Denja’s oeuvre therefore gives us a refreshing and dynamic insight into his creative impulse while at the same time celebrating the rich tapestry of his imagination, Truly, poetry as Denja’s first love has the unique ability to capture the creative spirit of the human mind and its condition, while softening his existential dilemma through ideas from within as observed by UNESCO.

    Canonising Denja to the literary pantheon, Emeritus Professor Femi Osofisan noted that otherwise, Denja needs no introduction in the world of Nigerian literature but his fame  rested more on his activities within the Association of Nigerian Authors. He then pointed-out that because ‘not much have been written before now about the real essence of Denja’s contribution as a creative writer or as a thinker in the field. His status and achievements as a literary craftsman have been somewhat dimmed by his activism and not subjected to sufficient serious critical assessment. That is why we must welcome Ezekiel Fajenyo’s Denja Abdullahi: New Perspectives.’

    The work captures all the books written by Denja Abdullahi (excluding the latest love poetry titled LoveSongs in a Pandemic during his 55th birthday cum literary soiree held on 24th August 2024 at Adam Pages Bookstore, Abuja. Fajenyo added as well his presentations at conferences, seminars, workshop, in newspapers and magazines and contributions in anthologies. All of them number over 350 interviews, features, literature, arts and culture talks.

    Some of the works, Fajenyo covered  in his critical analytical reviews includes Mairogo: A Buffoon’s Poetic Journey Around Northern Nigeria(2001) Abuja Nunyi: This is Abuja(2008) The Talking Drum(2008), A Thousand Years of Thirst(2011) Hajj Poems (2014) Others are The Road to Bauchi and Other Poems(2019), Death and the King’s Grey Hair(2016) Truce with the Devil(2014) and  Fringe Benefits(2014).

    No doubt, Denja’s ascension despite coming from a state polytechnic teacher tucked in faraway Birnin Kebbi in the 90s attest to his unwavering commitment and  profound determination to create a niche in the field of poetry, play, ANA leadership, and NCAC directorate. It is a further testament to the strength of his indomitable soul as he had succeeded in navigating the murky water to conquer all the various man-made and natural challenges placed on his path to stardom.

    As it is, we are three of a kind. There is a rather interesting poetic rendezvous between us – the author, protagonist and the reviewer. Fajenyo introduced me to ANA in 1994 during an arts personally programme with the Newsline Newspaper of Niger State, while I registered Denja into FCT ANA in 1998 when he assumed duty  in the NCAC Hqrs in Abuja, though his ANA activism started when he founded a chapter of ANA in Birnin-Kebbi in the mid 90s. Fajenyo and I both hailed and domiciled in NRC quarters Minna, while Denja and Fajenyo are both Second Class Upper, English Degree B.A. certificates holders from prestigious Nigerian universities after their secondary school studies in Ilorin.

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    Denja also happens to have taught in my alma mater – the former Polytechnic of Sokoto State Birnin-Kebbi decades after I have finished my higher school studies there. And Fajenyo is my brother in a way as we are both family friends back in Minna especially now that he is away in Lagos. I feel am responsible for his family’s placement. As for Denja, I goaded him in the 2001 ANA National Election Convention in Port Harcourt, into ANA leadership, after B.M. Dzukogi turned down my overture to him saying he was bidding his time, He too is a family friend in Minna.

    No doubt, all reviewers of this Denja’s collection unanimously agreed that Fajenyo paid the utmost concentration on Denja’s Magnus Opus from the first book, Mairogo which earned him Honuorable mention in the ANA/Cadbury Poetry Prize in the year 2001. This was followed by the play Death and The King’s Grey Hair which had been performed in several theatres and universities across the country and was a finalist of the Nigeria Prize for Literature in 2018. It is worthy that this writer was the first person to review and publish on Mairogo in the Ibrahim scheme edited literary pages, Writestuff, of the New Nigerian Newspaper of those days

    I quite agree that nothing can stop anyone from writing except self-doubt and indiscipline as everyone has an innate creative sparks, and creativity is ninety percent perspiration. Fortunately, this is not a quality that is wanting in Ezekiel Babatunde Fajenyo as his only impediment is the pressure of time. It is the fear of that interval that drives Fajenyo to stretch himself day and night to write in very great details on subjects after his heart. No wonder, this literary excursion on Denja Abdullahi flows from his admiration for the dramatis personae’s writings.

    Actually, it may not have been easy for both of them as the duo are English literature graduates and authors. I can imagine the efforts and time it took the celebrant to put in his own updates to this work. They were both Institute of Authors (IOA) recipients of the 2022 World Poetry Award for promoting the genre as a means of communication across borders and cultural barriers.

    Fajenyo’s work on Denja compliments the 2021 published festschrift in honour of Denja edited by Ezechi Onyerionwu et al titled Of Foot-Soldiers and Hybrid Visions in which this reviewer also featured.The festschrift written by over 65 persons contrast sharply from Fajenyo’s work in the sense that Fajenyo’s single-handedly concentrated and covered all the books published by Denja which traverses periods, genres, locations and characters. These include Denja’s foray into poetry, play writing, festivals curation, speech-making and conference paper presentations as well as fiction which were all written in his 32 years career in Government and NGO services.

    Also writing the Foreword, Prof Joe Akawu Ushie of the University of Uyo stated that, Denja Abdullahi: New Perspectives is a welcome addition to the further elucidation of the “mystique of Denja Abdullahi.” This he did by positioning Denja as an accomplished creative person, poet, playwright and as one of the writers that define the third generation of Nigerian writing, which he did due to his overarching and somewhat larger-than-life image as a literary activist. He further lauded  the  Author’s overriding objective of throwing sustained critical light on the works of authors like Denja Abdullahi towards canonising and establishing their places within the context of a flourishing literary tradition.

    Giving a bottom line of Fajenyo’s excursion on Denja’s oeuvre, the eleven chapters are devoted to a close analysis of each of Denja’s texts, unpacking the poetry collections for their thematic exploration and literary style, and examining the plays in the areas of characterisation, technique and mood. Thus, as a result of this magnifying glass approach by Ezekiel Fajenyo, the texts are made simple and accessible to the readers and the writer’s ideological stand and unique literary style are cleaned of all ambiguities.

    Ezekiel Fajenyo in the book presents Denja Abdullahi as a model for other members of the third generation of poets and playwright. Even his co-authored, recently released e-novel, Luckdown: Eros, Cupid and Other Things In The Time Of The Coronavirus Pandemic, which has recently transmuted into Lovesongs in a Pandemic is gainsomely experimental and far reaching in the aesthetic marriage of fiction and poetry. It is hoped that more critical attention will be paid to the many significant works being untiringly produced by members of the third generation of writers.  Denja Abdullahi has indeed blaze the trail to make all of us very proud.

    Displaying his gratefulness Ezekiel Fajenyo acknowledged the full support of the protagonist personae in supporting the project in view of his total loyalty to its fruitful execution as well as his partners such as Paul Liam, Yabagi Abubakar Akota, Sunday Inubiwon, Ezekiel Agbadagri and Benjamin Olugbenga, Professor Samuel Atechi, Patrick Iwelunmoh; and to Mike Ekunno for the editorial work on the manuscript. He also lauded this reviewer for being the first to expose him to Denja’s writings.

    He dedicated the work to Professors Femi Osofisan, Niyi Osundare, ‘Lanrele Bamidele, Mabel Evwierhoma and Dr Wale Okediran for the touch of grace. Professors Dapo Adelugba, Samuel Asein, Harry Garuba, Kayode Anifowose, Dr Stella Oyedepo, Chief Wale Ogunyemi, Chief Uche Ezechukwu, Mr and Mrs Ransom Akale, Usman Idris Gwarjiko, Simeon Oguntominiyi, Jide Fashikun, and Sunday Abraham Peters,r Mohammed Kele, Mohammed Sani Yusuf and Abdullahi Ismaila.

    In the blurb Prof Osofisan congratulated Ezekiel Fajenyo for this exciting pioneering work, while Prof GMT Emezue of Carnegie Corporations of New York believed that the work capture the ethos of contemporary Nigerian society through the evocative lens of Mallam Denja Abdullahi. As critic Ezekiel Fajenyo rightly observes, the unbridled pathos that underlies most of Denja’s thematic thrusts is foregrounded in the emotive images as well as stylistic maneuvers that he deploys towards the treatment of all his subject matters.

    In my assessment in the blurb, I pointed out that  the book is also an attempt to deconstruct the works of a former president of the Association of Nigerian Authors, who has been the most celebrated and misunderstood but had at the same time enjoyed a robust regime of literary excellence in the authors’ body, while Dr. Olatunbosun Taofeek, says “ From the creatus of one of the best in the third generation of Nigerian writers comes a compendium of aesthetics and literary exigency on Denja Abdullahi’s odyssey spanning across decades.”

    Ezekiel Fajenyo is an award-winning, Lagos-based Nigerian poet, novelist, literary critic, journalist, editor, essayist and short story writer. He has, over the years, performed also as a media consultant and public affairs analyst. His published works include novels, textbooks, biographies, critical works an poetry and stories in anthologies. These includes Night of the Godmothers (1990), The Bandaged Candles (1991), The Writings of Abubakar Gimba (1994), Golden Footprints of a Mandarin (Co-authored, 2002), Abubakar Gimba: Perspectives On His Writings and Philosophy (Co-authored, 2008), Rasheed Gbadamosi: The Man and His works (2009), A Critical Study of Dzukogi’s Writings (2010The Writings of May Ifeoma Nwoye: A Critical Literary Analysis (2019)

    Dr Haruna  Penni, FIPA, FIMC, fANA is the founding father of FCT ANA. He is on 08034299585, hassanpenni@gmail.com