Category: Arts & Life

  • Celebrating Cross River north heritage

    Celebrating Cross River north heritage

    • By Oluwashindara Oso

    Cross River State Ministry of Tourism, Art and Culture in partnership with France-based curator Bose Fagbemi has started an Urban Art exhibition at Ogoja Council Hall, Ogoja  last Sunday . The event will end on September 30.

    The exhibition, which will feature 15th to 21st-century artworks from the districts of Bekwarra, Obudu, Yala, Obanliku and Ogoja, aims to showcase the rich culture of the North Senatorial Districts of Cross River State.

    While Calabar is a well-known tourist hub that has witnessed significant developments over the years, Obudu with its beautiful plains, hills and the famous mountain resort is an emerging tourist haven among the districts in the northern part of the state.

    Obudu is also home to renowned sculptors, monolith experts, textile makers, and ceramists. The area is famous for its distinct attire, rich food culture, especially yam, and the elaborate New Yam celebration.

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    The exhibition will highlight works of artists such as Okon Ukpong, a renowned sculptor known for the Bull Head at the Obudu Ranch and the giant hands in Calabar, who hails from the district. Others are Eric Okah, Jerry Unimke, Rhoda Akaegbu, Ndem Kingsley Ette, Okpok Ekong  Okon, Erasmus Onyishi, Nje John Agbor, Umana Nnochiri and Blessy Bassy.

    The districts in focus also boast diverse languages and rich cultural heritage. The exhibition will also feature notable figures such as the Benin princess and Prof Peju Layiwola, who represents the Benin Kingdom and builds a connection to Oba Ovonranwen N’ogbaisi. The Owan Igede community, with ancestral links to the Owan people of Edo State, will also be represented.

    The event aims to build a bridge between these districts and other parts of Cross River State, coinciding with the peak period of the New Yam celebration, the beginning of the Carnival dry run, and preparations. It will merge these cultural festivities with institutional art from some of the best lecturers from the three higher institutions in Cross River State.

  • ‘Domestic tourism is new bride’

    ‘Domestic tourism is new bride’

    Tourism Minister Lola Ade-John has described the nation’s tourism industry as a potent driver of job creation and economic diversification. She said Nigeria is blessed with an abundance of natural and cultural resources – from pristine beaches and lush rainforests to rich historical sites and vibrant cultural heritage. She added that these assets, if harnessed effectively, can be transformed into a goldmine of opportunities.

    The minister, represented by the Special Adviser on Medical Tourism, Mr. Kelvin Ikegwuonu, stressed that tourism when strategically developed, has the power to generate employment across multiple sectors. “From hospitality and transportation to arts and crafts, the ripple effects are far-reaching. It can be a lifeline for our teeming youth population, offering gainful employment and entrepreneurship avenues,” she added.

    She spoke at the unveiling of Destination Nigeria Governors’ Tourism Conference with the theme: Tourism as a Catalyst for Job Creation and Economic Diversification: A Call to Action for Nigerian Governors, organised by CEO Travelogue Communication, Ayo Omotoso in Abuja recently.

    Former Director-General, Nigeria Tourism Development Corporation (NTDC), Sally Mbanefo, called for the localisation of Nigeria’s tourism industry, saying the time has come for stakeholders to appreciate the country’s rich and abundant tourism potential to grow the economy.

    She praised the Federal Government for the creation of the Ministry of Tourism, which she said Nigeria could use as an avenue to rediscover the tourism sector as a money-spinner for the country.

    Mbanefo, however, called on stakeholders in the tourism industry to give the minister and the ministry every support they need to succeed.

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    “What we need, as I stated before I left (NTDC), is for us to come back to domestic tourism. With the state of the economy, people don’t have money to travel. This is the time when we should appreciate what we have. And we’re lucky that the government has given us recognition. This is something we were fighting for. We were under communication when I was there.

    “This is a good step in the right direction, and it is the job of the government to create an enabling environment where tourism operators can operate. The Ministry of Tourism is just settling down, and I think the private sector should reach out to them and give them the support they need. The Nigerian tourism operators are so resilient. They don’t give up; they keep on moving and pushing. One day, the wall would break,” she noted.

    Reacting to security challenges in the country, she said security is a state of mind and has a broader sense, stressing that Nigerians must be connected to their roots in order to boost local tourism. “It’s also the culture of creation—the culture of appreciating where you come from. The culture of going back home and grass-rooting yourself and finding out where you came from. A community without a culture has no history. We just need to go back to the basis,” she said.

    Omotosho urged the government, especially the Nigeria Governors Forum, to give the tourism sector the necessary push to succeed as well as use the media to project Nigeria’s tourism to the outside world.

    “It is essentially to use the media to project tourism positively in Nigeria. It’s also to discuss various issues surrounding tourism development in Nigeria. This is not the first of its kind. We have been doing it in Lagos, but we are having it here in the city of Abuja for the first time so that we can communicate directly with Mr. President. I want to thank President Bola Ahmed Tinubu for listening to the yearnings of the stakeholders in Nigeria by creating the stand-alone Ministry of Tourism.

    “And ever since that time, the Honourable Minister, Lola Ade-John, has been very active in promoting domestic tourism through a community-based approach in all her policies. Today is another way and dimension of unveiling executive tourism MICE, the first of its kind in Nigeria.

    “We are a population of about 250 million established as a corporate country in 1960. Ever since that time, we have not seen what we’ve seen here today. You can see that the stakeholders are happy and they’ve endorsed it which is Destination Nigeria Governors Tourism Conference.

    “We are partnering Nigeria Governors Forum (NGF) and through them, we can reach out to other governors because we know there are governors who are tourism-friendly in Nigeria. But we want to incorporate all 36 states and the FCT into this project because tourism is life and is like politics.”

  • Ajaga: unveiling hidden truths about clergy men

    Ajaga: unveiling hidden truths about clergy men

    Like the golden fish, fake and randy religious leaders, Christians or Muslims, no longer have hidden places as Adenike Odubawo, who doubles as producer and lead character, unmasks these dubious leaders in her thought-provoking new movie, Ajaga (The Joke). The 90-minute faith-based movie, which is due for premiere in cinemas in Nigeria and Ghana, on September 6, is a rare departure from the usual treatment of religious/moral issues. It is a breath of fresh air different from the regular approaches.

    At its recent press screening at the Silverbird Galleria, Victoria Island, Lagos Ajaga (The Joke)-the burden of love and humanity, speaks truth to power and men of God while taking the audience on soul-searching voyage exploring the themes of deceit, heartbreak, exploitation and sexual abuse surrounding the body of Christ, especially.

    It features cast such as Francis Onwochei, Tope Olowoniyan, Carol King, Jaiye Kuti, Tomiwa Sage, Lola Smart, and Tory Thompson, among others. The movie is directed by Remi Ibinola, while Yemi Olanrewaju is Supervising producer.

    Ajaga delves into the dark realities of power and influence, shedding light on the pervasive issue of child abuse and ways in which some advocate of sainthood exploit women and children for their own gain. Through its unflinching narrative, the film challenges viewers to confront this uncomfortable truth and sparks a necessary conversation about the role of faith in our society. The film is a call to action urging viewers to question the status quo and demand accountability from those in positions of power.

    Unknown to Adenike, who acted Pastor Bolusefe, wife of Pastor David (Femi Jacobs), of True Heart Christian Assembly, she later discovered that her husband has been sleeping with their two adopted daughters. The shock and disappointment led Adenike to seek redress insisting her husband must take responsibility for his actions.

    She said she was inspired to write the story by God and most especially the undying desire to answer a long time questions on why some men of God, regardless of their faith or religion, don’t take responsibility for their transgression such as sexual abuses.

    “I just want to see the home front what does it look like, especially when it is repetitive and it happens all the time and I just want to know, how is the woman taking it? Most of the time, we never hear the side of the story from the wife. Is she okay with her husband? Is she happy with the victims? How is she taking it? Is she on the side of her husband?

    “I decided that it was not going to be a redemption story. We have always seen faith- based stories that are usually around redemption. You see the man of God go through restitution (forgiveness) and this has to be different.  How about the man take responsibility for his actions and give the victims justice instead of keeping them quiet… and that is why I wrote this story,” she said.

    Elated by the responses at the first screening of the film, Adenike recalled that playing a dual role of producer and lead character was the most challenging task she has undertaken in her acting career. “It is the most tasking and it was hard because the story is quite delicate and we filmed on a large scale. Handling that and having to switch to become the lead character, was very tasking but thanks to my director who always queue me in,” she noted.

    According to the film director, Remi Ibinola, Ajaga is a story that everyone can relate with which ‘we hear about all the time and we know these people and they never pay for their crimes. It is a story that teaches us that such pastors should be made to pay for their evil acts.’

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    For Supervising Producer Yemi Olanrewaju, Ajaga a story on domestic violence, sexual abuse, which every right thinking person will be concerned about in the society. He stated that it is important that ‘we see the story from the angle of the woman that is truly affected and see the pain that they go through.’

    “We felt it is a great thing to tell the story when most victims are usually cowed. This may be because the perpetrators are leaders in the society or well-meaning and highly placed people in the society who feels that they are untouchable. We also felt the need to do a good story that we can relate with from different circles. We felt using pastoral cases in the society would attract the attention of more people and speak to their hearts.

    We have corporate organisations where these things have happened and they have dealt with it in most cases.

    “But, when it comes to religious circle, people shy away from talking about it. People pitch tents because they love the man of God so much and they revere him and he can do no wrong. First and foremost, they are human beings before they became men of God. Men are fallible, it wasn’t as if we are directing at anybody but we just felt that a lot more people will relate with it. We needed to see from the angle of the pastor’s wife because most times, nobody hears the wife’s state of mind, they are usually silent because they want to protect their husbands, their family as well as the church,” he added. 

  • Akpabio’s CoS Okonkwo extols literary Icon Christopher Okigbo

    Akpabio’s CoS Okonkwo extols literary Icon Christopher Okigbo

    Barr Sylvester Okonkwo, the Chief of Staff to Senate President Godswill Akpabio, has extolled the virtues of literary icon, Professor Christopher Okigbo, saying he was not just a poet but a cultural icon whose voice echoed the struggles, aspirations and spiritual yearnings of a people.

    Okonkwo was a guest at the Uyo Book Club, August reading session in honour of Professor Christopher Okigbo on Saturday in Akwa Ibom State.

    Okonkwo conveyed greetings from the Senate President and his solidarity with the aspirations and contributions of the Igbo nation, history and intellect. 

    “He has asked me to convey his deepest admiration for the man we celebrate today, a poet whose words continue to resonate across generations.

    “It is indeed an honor to stand before you today, in this hallowed gathering of intellectuals, poets and literary enthusiasts as we come together to celebrate the life, legacy and works of  a colossus in the literary world and my beloved Brother Christopher Ifekandu Okigbo. 

    “Christopher Okigbo, a name synonymous with profound introspection and lyrical mastery, was not just a poet but a cultural icon whose voice echoed the struggles, aspirations and spiritual yearnings of a people. His work remains a beacon of intellectual rigor and artistic excellence, reminding us of the power of words to shape nations and define destinies.

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    “Ali Mazrui, in his insightful work “The Trial of Christopher Okigbo”, remarked that Okigbo was “a martyr for an egalitarian society.” Mazrui recognized that Okigbo’s quest was not merely artistic; it was deeply rooted in the desire for a society where justice, equity, and truth prevail. Okigbo’s life and works were a testimony to his unwavering commitment to these ideals and in this, he continues to inspire generations.

    “Before you, mother Idoto, naked I stand,” begins Okigbo’s *Labyrinths*, one of his most celebrated works. This line is more than an invocation; it is a return to the roots, a symbolic homage to the eternal, spiritual essence of the African soul. It is this essence that Okigbo so masterfully captured in his poetry, a deep reverence for the metaphysical, intertwined with the raw realities of his time.”

    Okonkwo maintained Okigbo is seen as the embodiment of the Igbo spirit: unyielding, introspective and profoundly connected to the land and its people. 

    “His poetry was his weapon and he wielded it with unparalleled skill, challenging the status quo, questioning the very foundations of society and advocating for justice and equity. It is no wonder that his works remain an integral part of African scholarship, studied and revered in academic circles across the globe.

    “The passage is seamless; beyond our dearest sorrow, the silence is unbroken…” These lines, drawn from his Elegy for Alto, capture the profound sense of loss and the enduring pain that marked the turbulent era in which Okigbo lived. Yet, even in his elegies, there is a powerful affirmation of life, a recognition that from sorrow and silence, we must find the strength to forge ahead, to build anew,” he stated. 

    He stated further that Christopher Okigbo’s contributions to scholarship are immense. “His works are not just poetic expressions; they are deep philosophical treatises, exploring themes of identity, spirituality and the human condition. His poetry stands as a testament to the intellectual prowess of the Igbo nation, and indeed, the African continent. 

    “Okigbo was a true custodian of our cultural heritage, blending indigenous rhythms and idioms with modernist techniques, thus creating a unique voice that spoke both to the local and the global.

    “In Okigbo’s Heavensgate, we find a pilgrimage of the soul, a journey through the labyrinth of existence, seeking meaning in a world fraught with contradictions. His work challenges us to confront our realities, to question our paths and to strive for a higher understanding of our place in the universe. It is a call to introspection, to reconnect with our roots and to find strength in our heritage.

    He emphasised that the President of the 10th Senate, is an ardent admirer of Okigbo’s works, and believes that celebrating Okigbo, is to celebrate not just a poet, but a visionary, who saw the potential for greatness in our nation and our people. “Okigbo’s life was tragically cut short, but his legacy endures, inspiring generations of writers, thinkers and leaders.

    “As we reflect on the profound impact of Christopher Okigbo’s work, let us also consider the role we must play in nurturing the arts and scholarship in our society. The President of the Senate, His Excellency Godswill Akpabio has always championed the cause of education and cultural preservation, recognizing that a nation that forgets its poets, its artists, and its thinkers, is a nation that loses its soul.

    “As we stand here today, let us remember the words of Okigbo himself: “We carry in our hearts the fire of our ancestors.” This fire is the eternal flame of wisdom, culture and resilience. It is our duty to keep it burning, to pass it on to future generations and to ensure that the legacy of Christopher Okigbo and  countless other luminaries of our land is never forgotten,” he concluded.

  • My obaship is God-ordained  – Oluwo of Iwo

    My obaship is God-ordained  – Oluwo of Iwo

    The Oluwo of Iwo land in Osun State, Oba Abdulrasheed Adewale Akanbi rules his people with ease and the kind of love associated with a populist king. He is a man who derives his power and wisdom from God who made him king. All around him in Iwo, people want to see and feel his impact more and more every day. In this interview with Edozie Udeze in his palace in Iwo, Oba Akanbi makes it clear that power, kingship, wisdom to rule;  to touch people’s lives and sustain an everlasting legacy belong to God who gives kingship to whom he prefers.

    The Oluwo of Iwo is the paramount ruler of Iwo land. He is His Imperial Majesty Oba (Dr.) Abdulrasheed Adewale Akanbi. He is an enigmatic custodian of the people. An urbane and charismatic ruler of his people, Oba Akanbi is a reporter’s delight. A visit to his palace showed him as a traditional ruler who is receptive to people. He is someone who is not just at home with his subjects but also amenable to their everyday needs. His simplicity was demonstrated with vigour and joy, as he welcomed the reporter and got set immediately to tackle questions on the role of traditional rulers and what they must do to keep the cultural values and properties of the people together for the sake of posterity.

    No doubt about it. The Oluwo is a student of history, indeed very vast in cultural and traditional responsibilities of kings to their people. A repertoire of knowledge, he answered questions with accelerated ease, delving into facts, refreshing history and drawing attention to the issues that mattered and will continue to matter in the affairs of traditions and the people in more years to come. Besides being the paramount ruler and head over other 35 Obas within his area of jurisdiction, Oba Akanbi is a first class traditional ruler in Osun State and far beyond.

    But what is the role of traditional rulers, obas and kings in ensuring that the cultures of the people are kept sacrosanct as the world keeps evolving in a frenzy? “Yes, the king is like God. When you see him you see God. He is the custodian of the people, a bridge between them and God. It is God that makes someone a king. If God says you will sit on the throne, yes, you will sit on the throne. This is the case here. I fought so many battles, faced so many oppositions, before God finally chose me. It is not usually for the feeble-minded. So we have to keep the people together to ensure we stick to the cultures of the people. You see here, I have about 35 other obas under me. I am the one that crowns them. That shows you how vast, how large the Iwo kingdom is in the annals of Yoruba history. It dates back in time; it is part of history. It is part of heritage in Yoruba cosmological inheritance.

    In Yoruba land, we have two areas, two kingdoms that speak the original or what you may call central Yoruba language. They are Iwo and Oyo. For you to know the Yoruba language very well, the one that is generally accepted in texts, in books, even in the translation of the bible; it is either Iwo or Oyo dialect of the Yoruba language. It is part of history; it is part of what God has given to us. Most Yoruba musicians who sang before now had to learn these two identical dialects to be able to sing songs that were generally receptive to the people. One of the examples is King Sunny Ade, a man from Ondo, whose local version of the Yoruba language couldn’t have got him to the heart of the people if he did not use the Iwo or Oyo Yoruba to sing. There are many more examples.

    In other words, Iwo and Oyo have contributed exceedingly to the cultural emancipation and evolution of the Yoruba nation. Ibadan is also one of them. In terms of civilization, education, prospering Yoruba modern heritage beyond bounds, Ibadan has done well. Not in terms of the language itself. But during the 19th century Yoruba wars, Ibadan became a buffer, standing against the enemies of the people. Ibadan land is not just vast and large; it is also a legacy that the Yoruba people are proud of. Ibadan people are warlords, great warriors. They have contributed to the growth and development of Yoruba people generally.

    But for us here we are the paramount source of obaship in Yoruba land. We are the source even more than any other place. So this is the source (he said, pointing to the stool). The culture is strong – in the way we dress, what we eat, the way we greet and demonstrate love for one another. They are all different. In terms of local gods, we have them plenty. We have ogun, orunmila, and sango and others. We have sango which is from Oyo. Some people believe in all sorts; in rivers, in trees, in mountains and so on as sources of power and belief. But we do not want to mix what is culture with what is tradition and then impose religion or belief on people. That is one thing I do not do, and I do not want it to happen in my kingdom”.

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    Oba Akanbi believes that for whatever reason, and in all intents and purposes, people’s beliefs should be personal to them. And no one should force somebody to worship a god he does not believe in. He says further, “Idol worship is universal. People have the right to worship what they believe in. Before Europe encountered God, they worshipped all sorts. There was the sun god, the moon god. Even the Romans had their own source of worship. So as a king I am not involved in your belief… it is your right. But do not come here to impose your own on me. No, it will not work and I won’t accept it. Many people are saying the king must worship idols. Oh no, no, I say no to that. Not me. I cannot worship idols. How can I be God’s own representative and then worship idol? I worship God Almighty. He is the real king. He makes kings as well. He is the King of kings, Lord of lords. The first people he recognizes are the kings. We are his messengers on earth. We occupy the throne he has given to us to occupy on-behalf of the people”.

    The Oba’s total submission to God in all things is indeed incontrovertible. He reflects more as he says, “We take messages from God and then pass them across to the people. We are his mouthpiece before the people. So kingship and deity, they have nothing in common. You deify anything you want. But God is God. He has no equal. He has no contestant. Then when you know you are his representative on earth and he has put you on the throne for others, why would you go and worship a deity? The mistakes of our fathers therefore should be corrected by their children. We cannot continue to live in the past, believing in what is not. Our forefathers lived with all sorts. But today most of those things are no longer acceptable. This is why I am different, different because I have come to make some changes that are good for my people, for the throne itself”.

    The Oluwo is passionate about foods. “Yes, here in Yoruba land, we have our foods. But only amala is basic and peculiar to us as a people. Amala is our food, it is our heritage and we cherish it so much. We have varieties of it – white and black, and it goes mainly with ewedu and gbegiri. I do not know of any other people that love ewedu the way we do. It is a special soup in Yoruba land and full of medicinal powers and healing ingredients. Our foods also say who we are and how much we cherish what is ours. Ila (okro) soup is ours too. We have also drums, different drums that have different messages for us. As a king, if a drum beats in my palace, I am able to decode the message immediately.

    Whether it is gbedu or bata, the language is usually known to those who are made to understand what it is saying. Before a visitor comes in here the drum will announce his presence and I will quickly understand who that person is and what his intentions are. The drums are very essential to the issues that bind us together as a people. It is very essentially relevant in the palace, in the life of the king. The drum wakes me up in the morning. The drum talks to me. But when it comes to idol worship, it is an entirely different thing. It is a taboo for a representative of God to then bow to an idol. It must be a taboo. It should be a taboo. You should worship He that made you a king. All kings therefore must be answerable to God, for God Himself is the Almighty King.

    As God Almighty, He is a jealous God. He does not like it when you equate Him with other gods or worship Him alongside other deities. He is the real King. He does not like rivalry. This is not my forefather’s throne. It is God’s own throne. He is the giver of life; giver of all things good. He is the one that protects, sustains and provides. He is the one that gives you the wisdom to rule, to shepherd his people. He is the real source of power and majesty. So he appoints someone to be on throne. In fact, the name King belongs only to Him and to Him alone”.

    The way Oba Akanbi eulogizes God’s kingship on earth is highly informative and instructive. He goes on again; “There is no other king but God. The name kingship, the root of it all, all belongs to God, the maker of mankind. So when you hear a king, he is an earthly representation of God Himself. Then, if that is the case, will you now create a rival with that kind of person? No! So anything you are worshipping that is not God, the king will be the first to talk against it, to talk you out of it. Anything that is not giving glory to God that is not of God, the king will be the first to go against it or those engaged in it. Even though your subjects are worshipping other things, it does not matter. You should be the one to tell them to desist from it.

    My own belief is a personal thing, not because I am a king but because I know it is God that I worship, that I believe in. There is no deity or idol that emanated from the palace. The kingship is a plain, clean God-inspired institution. Today I am here to right the wrongs of our forefathers. It behooves on me to do so and that is what I am doing. That is why it is an abomination for a king to worship deities. You can be a babalawo or baba ifa, which one is greater? Which king will remove himself from the throne and then says I want to be babalawo, baba ifa or such? No, that will be belittling the pride and the crown God has given to you. Ifa wants to be king but he cannot. If he wants to do divination with Ifa where will he sit? He cannot sit on the throne because the throne does not belong to him. He does not merit or deserve or have any right to the throne.

    I am therefore greater than any god, small god. As soon as I become king, I am greater than them all, all the gods, deities. I am not their mate. A king is not the mate of idols or gods or deities that people worship. When a king holds on to God Almighty, you do not need any other to keep you safe from the throne. Even wisdom is with you as king when you trust in God to solve all your problems. For one with God is majority, guided and guarded by God’s wisdom and power and providence”.

  • Journeying with her – 2 (Short Fiction)

    Journeying with her – 2 (Short Fiction)

    By Edozie Udeze

    “Well, if you must know, I am Tobenna”.

    “Tobenna, aw, good name. And you don’t have a surname?” she said mocking me to my face. “May be your mother had you all alone. You, a test-tube baby?”

    It was my turn to laugh, punching her cheek playfully.

    “All right. I didn’t come from the moon. I answer Bosah, as a way of escaping from the law”. Then I looked at her face and knew she was amazed.

    “You’re a special ‘aro’ case, Mr. Tobenna Bosah”. After a while, she added, “By the way that’s an Onitsha name. Are you from there?” She asked, pressing her ear.

    “Well, not exactly. I am from somewhere close to it. Sort of a neighbouring village”.

    “All na the same jo! Her eyes were full of ridicule. “Whenever I meet people like you, I am on my guard”.

    “That’s unfortunate. Why must you do such a silly thing?”

    “You call it silly? You see, as a lady, I dread Onitsha boys. They are dreadfully fast guys”. She shrugged her shoulders, making her mouth pout somewhat to show her distrust and disgust.

    “I see. Is that why you do not want to tell me who you are, and why you are this argumentative?”

    “You’ve come again. Helee!! My name is Obiageli Okonta. My town is Umunede.

    You know where it is, don’t you?” I did quite all right. I only nodded my head. My mind was preoccupied. It’d just dawned on me that my new acquaintance would disembark at Umunede, just on the way to Onitsha. Few kilometers away.

    Even before we finished descending the Abudu hill, we were both exhausted. She’d dozed off. I was soon to join in the mass nap which had beset the passengers in the bus.

    At Umunede, Oby had taken her leave but not without asking me to drop her a line as soon as I got back to Lagos. I looked at her address on my laps and smiled. If I’d ever get to remember. Talking to her, though, was just a filler for the long, tortuous trip from Lagos to Onitsha. I quickly squeezed the address and threw it away.

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    She had served her own purpose and now I should look forward with a lot of hope and beatitude.

    Our stop-over at Umunede for lunch was brief and business-like. The driver was in no mood to waste his time. His target was to get to Aba in record time.

    I felt the warmth glowing in me as I reached home. It wasn’t until shortly afterward that I realised what the trip would really mean to me. By that time, I had already told myself that I would be careful not to prick on the conscience of my uncle, Joe and mama. I would continue to oversee our Lagos end of the Village News until when it was time for me to retire home. Maybe, in twelve years time.

                    Or perhaps, shorter than that. It all depended on time, though.

    I had a feeling my mother would frown at the proposal, but if there was no option, she would accept it. All she needed to do was to allow me agree on something that would make me happy. That idea broke the ice. Promptly, I began to smile to myself. I had got the answer to my predicament.

    This bright idea filled my mind when the bus dropped me at Onitsha. While disembarking, I waved farewell to the few friends I had made during the tour. It was always the routine. Always when people undertook journeys, they would make friends, and then part ways. In that order..

  • Ebuka: A rising voice in gospel music

    Ebuka: A rising voice in gospel music

    By Ojochenemi Ojone Priscillia

    Ebuka Emmanuel Hillary, popularly known as Ebuka Songs, is a talented Nigerian gospel artist making waves in the music industry with his soulful voice and inspiring lyrics. He is also known for his distinctive spiritual chants, and his music is a testament to his passion for gospel and his desire to uplift and motivate his audience.

    With songs like “I Will Pray,” “New Generation” (feat. Moses Bliss), and “Jesus Oh” (feat. Moses Bliss), as well as other standout tracks like “Soaked Worship” and “Midnight Cry,” Ebuka showcases his ability to craft spiritually uplifting and heartfelt music. His vocals are emotive and sincere, pouring his heart into every song.

    In “New Generation,” his collaboration with Moses Bliss, Ebuka talks about God raising a new generation of men and women who will serve Him wholeheartedly. The song is a call to action (especially to the youths of this generation), urging listeners to embrace their purpose and fulfill their destiny in God’s plan. Ebuka and Moses Bliss trade vocals, creating a powerful and uplifting anthem that resonates with listeners of all ages.

    Ebuka Songs has carved a niche for himself in the Naija worship genre, creating music that resonates deeply with his audience. His unique approach to worship music is characterized by his ability to skillfully alternate between slow, soulful rhythms and upbeat, energetic beats, creating a captivating listening experience.

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    His vocals are heartfelt and emotive, conveying the intensity of his worship and passion for God, and his ability to seamlessly transition between slow and fast tempos makes his music appealing to a wide range of listeners.

    In “Jesus Oh,” his collaboration with Moses Bliss, Ebuka expresses his overwhelming gratitude for God’s love. The song is a beautiful expression of devotion, with Ebuka’s powerful vocals and heartfelt lyrics capturing the essence of his worship experience. He sings about the transformative power of God’s love, acknowledging the impact it has had on his life.

    Through his music, Ebuka aims to inspire and encourage listeners, offering hope and positivity. As a rising artist, Ebuka’s music is likely to continue growing and evolving, exploring new themes and styles. With his unique sound and inspiring message, Ebuka Songs is definitely an artist to watch in the gospel music scene.

  • A literary soiree in Abuja

    A literary soiree in Abuja

    Suraj Attahiru writes on a literary gathering in Abuja recently where Mallam Denja Abdullahi, poet, playwright and culture technocrat presented his latest books to the public. It was a literary gathering of who is who in and around Abuja.

    The recent literary soiree hosted by the Orpheus Literary Foundation at Adam’s Pages Bookstore in Abuja on August 24, 2024, was much more than a simple gathering of literary talents; it served as a pivotal moment in cherishing and upholding the cultural heritage of Nigeria. The central theme of the event, “Curating Cultural Production: The Public and Private Sectors’ Perspectives” gave fillip to analyzing the contributions of the celebrant to both sectors as primarily an officer of 30 years standing in the public sector having recently retired from the National Council for Arts and Culture as a Director and also being a relatively recent past president of the Association of Nigerian Authors (ANA).

    The evening began with  a Book Signing Session that transcended mere signatures and book exchanges. It provided a platform for attendees to immerse themselves in the world of the featured author, Denja Abdullah,  who presented two new books to the house; one a poetry chapbook  written over a period of time during the Covid-19 pandemic titled Lovesongs in a Pandemic  and another book on his body of works written by Ezekiel Fajenyo  with the title Denja Abdullahi: New Perspectives. In the session moderated by the literary agent, Ms Salamatu Sule, Denja had the opportunity to talk about what inspired him to write about love during the pandemic. It happened that there was a literary collaboration between Denja Abdullahi and Ify Asia Chiemezien, a female writer of romance stories  during the pandemic lockdown that resulted in the series of love poems by Denja bothering on marital dynamics as impacted by the lockdown. The other book came out of about five years of research on and critical study of all of Denja Abdullahi’s works by the literary scholar and biographer, Ezekiel Fajenyo.

    Following this engaging start, a panel discussion unbuttoned, graced by Abuja   literary luminaries like Dr. Kabura Zakama and Mr. Mike Ekunno, who articulated the crucial linkage between culture and creative expression, emphasizing the indispensable role of cultural preservation in shaping narratives and fostering literary endeavors.

    Dr. Kabura Zakama, in his eloquent discourse, articulated a passionate plea for the preservation of cultural influences in creative writing. Drawing from the composition of his native Bura culture, he extolled the timeless significance of age-old traditions such as song, dance, and communal festivities, emphasizing their role as pillars in the foundation of celebratory events. Dr. Zakama’s impassioned advocacy against the erosion of cultural heritage rang strongly, highlighting the detrimental impact of external forces like religion and western education on the richness of Nigeria’s cultural heritage. On his part, Mike Ekunno emphasised the need for literary works to be well edited and produced before their releases for public consumption. He illustrated what it took him to wade through the other book , a 700 pages turner, on Denja Abdullahi’s works before its release for production. He also stated that with the issue of cultural production, the public sector hardly plant or nurture but they are quick to harvest what has been worked on without assistance by the private sector.

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    The illustrious presence of figures like Dr. Bukar Usman, Prof. Udenta O. Udenta, and Hajiya Hafsat Abdulwaheed at the literary soiree added a layer of distinction to the event, amplifying the spotlight on the importance of cultural legacy preservation. The captivating mini Afro-Dervish performance by Hussain Zaguru AbdulQadir stirred the cultural authenticity debate of the evening, infusing the affair with a unique vibrancy that mirrored the essence of Nigeria’s diverse heritage.

    Beyond the surface revelry of the event, the essence of the gathering evoked with a profound acknowledgment, the invaluable contribution of cultural preservation to the vitality of Nigeria’s artistic landscape as evinced by Denja Abdullah’s dedication to storytelling – a dedication evident in works like Mai-Rogo and Road To Bauchi, which serve as testaments to a heritage preserved. Denja’s extensive literary repertoire, spanning over thirteen books across various genres, highlights the enduring legacy of storytelling and the consistent commitment to cultural preservation that continues to fuel his narrative journey. even after quitting high offices in both the private and public cultural sectors.

  • Kakande’s A murder of hate reveals deep-rooted love, hatred, others

    Kakande’s A murder of hate reveals deep-rooted love, hatred, others

    AUTHOR: Yasin Kakande 

    PUBLISHERS: Black Writers Ink LLC

    PAGINATION: 295

    REVIEWER: Jaiyeola Olatunbosun. 

    A MURDER of Hate is a fiction story literally put together that touches on love, hatred, neo-colonialism, cultural imperialism, military brutality, dictatorship and vengeful racism. 

    The author, Yasin Kakande, brilliantly sets out and blends the story of the Africans in diaspora and those on the continent and how their former colonial masters regard Africa and Africans coupled with  how African leaders treat their folks.

    Unravelling the mystery behind the gruesome murder of a niece of Uganda president, Sheila, two detectives, Basudde (also known as Bus) and Lisa, are saddled with the  herculian task to fish out the culprit. Though it was not a straight murder case, but initially seen as a horrific act of vengeance borne out of a political crisis in Africa that ended up on a Massachusetts college campus. The two detectives have three suspects link to the heinous crime – two of the suspects have Ugandans background living in the USA while the third suspect is the victim’s cousin residing in Uganda.

    Samuel Mugyenyi, a licensed practising nurse discovers the SUV of the deceased on his way to work while he quickly alerts the police.

     Shawn, the prime suspect and a student of Essex University, is arrested for questioning by the police. He is driven down to a police station and subsequently detained.  Basudde, a detective on suspension, is called by his boss to take over the responsibility of finding and arresting the killer of Sheila. 

    Bus arrives at the crime scene in Acton, where he meets the men of the press and right away he’s brief on another operative who has taken in the prime suspect. 

    Bus, who has both Ugandan and American background, is to co-opt with another detective, who feels that Bus’s background and antecedents might influence the investigation. 

    Kicking off the investigation, the last conversation that the prime suspect had with the victim implies that is responsible for the strangulation and suffocation of Sheila.

     The duo, Sheila and Shawn, met at Essex University, but their relationship grows beyond the confines of academic at the citadel of learning. 

    Sheila, a Ugandan, has been able to defy the stereotypes that many Americans hold against Africa.

    The American schools taught little about history, culture and politics of Africa. News from Africa rarely makes its way to media except for stories about extreme poverty, corruption, starvation, and deprivation. They even thought that Africa is one big desert of hunger. 

    Sheila’s sterling qualities endear her to Shawn as intimate friends and professional colleagues, but Shawn desires more than that. Sheila insists not to give herself away to a man that she wouldn’t spend the rest of her life with, besides her beliefs and cultural background.  “It was a cultural thing in Africa for young women to preserve their virginity until the first night of their marriage.” Also, she wanted to lose her virginity only to her husband, someone whom she would be convinced would not see any other woman in his life besides her. ‘

    As the prime suspect , still behind bar, a judgmental article is published to denigrate his reputation and makes his case further complicated while his mother is making every efforts to get him off the hook of the ugly situation,. 

    Katie, known to be a racist, steps on toes in one of the classes, an incident that connected the soul tie between her and Shawn after she profusely and genuinely apologise for her racist statement. Ketai and Shawn’s friendship blossom such that she carries Shawn’s baby. Their relationship has its own side of racism as put forward by her father. “Katie, you went to school at Essex University… Of all the people you would have picked out to date, you went to a single Black boy in class to be your boyfriend…. “

    The detectives spread the tentacles of their investigation in probing the relationship between the lobbying firm, the Ugandan government and Shawn. 

    Attempting further to get the killer of the victim, of which Shawn is part of, he’s also detailed to help out with publicity, which is targeted in making the Ugandan President’s son take over the reigns of power. The lobbying firm that employs Shawn reveals that he’s employed in creating creative pieces at bolstering the image of the president’s son. 

    The author is able to manoeuvre and link appropriately how the CIA interrogates a close associate of the victim’s family and explain how the colonial masters are never interested in seeking an intellectual or brilliant mind to lead a strategically important African country. Impliedly and ironically, Shawn aids the cause of imperialism, a force that perpetuates slavery or colonialism.

    Lisa wishes to interrogate General Mlevi whom Shawn works for but for distance.  Lisa makes a solo run to interrogate Shawn, which reveals many intricacies about African leaders, sit-tight syndrome, sexual escapades, and  shedding of innocent blood,among other  excesses. This information is made when Shawn himself interviewed Douglas, a one-time journalist and a critic of the government, who later turned out to be the government mouthpiece after he was ruthlessly dealt with. Lisa gets a salient fact that Sheila is an official enemy of her family back in Uganda for her reservations, considering the way the family  governs the country,  interestingly, the family turns out to be  another suspect.

    Sheila reveals: “I’ve become an official enemy in the family and Mlevi is threatening to physically harm me.”

     Dramatically, Chief Flores orders for the arrest of Samuel Mugyenyi, who reported the murder case of Sheila. Having gone through his profile and discovers that he’s a Ugandan, though his nativity traced to Democratic republic of Congo, he’s seen as a suspect looking at his profile being a blogger, and a political critic on the social media with a very large followers. 

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    Government’s shenanigans, intimidation and reckless way of life made Samuel leaves DRC and join the rebels’ team of Uganda, having been adopted by a kind-hearted man, Deo, through whom he has his education to the university level. As fate would have it, he joined his choir group to be part of a musical performance in the USA. However, he got information from home that his adopted uncle has been assassinated, which makes him took an asylum in America. Samuel was arrested but later let go. 

    Further interrogation of Shawn reveals why the relationship between him and Sheila failed, as they couldn’t get along, Shawn reveals to Sheila that he’s found a new catch, Ketai, a white lady and a former girlfriend to Ryan, whom they are all classmates. Strangely,Sheila feels cheated and uncomfortable with Shawn new-found love. In another twist, Katie makes it known to Shawn to stop seeing Sheila, but for obvious reasons, he couldn’t. 

    While no specific proof has been made, to know the actual culprit and time is of the essence in this matter, Lisa again reviews the surveillance camera footage from the campus and an unusual detail catches her attention, which makes her confides in the professor she once interrogated, that eventually led to the arrest of the culprit.

    Yasin Kakande’s Murder of Hate reveals much of hatred black often experience, due to self-interest African leaders put up. The book is well written in a simple and concise language that is easily assimilated, it is educative, politically engaging and full of many suspense.

  • The Makoko tour that turns our poverty Into profit

    The Makoko tour that turns our poverty Into profit

    By Emmanuel Abiodun Oke

    I recently stumbled across a disturbing reality while doing a simple Google search after Noah shared a screenshot with me to confirm the authenticity of the content. When I typed “Makoko Community Tour on Trip Advisor,” what I found next left me speechless. A company is charging tourists $198—an equivalent of NGN316,800 at today’s exchange rate—to take a tour through the heart of Makoko, one of Nigeria’s most impoverished communities. This isn’t just tourism; this is exploitation, plain and simple. But the question remains: is this tour even right in the first place? Should the pain and poverty of a community be turned into an attraction for outsiders?

    For those unfamiliar, Makoko Floating community is often referred to as the “Venice of Africa,” but that moniker barely scratches the surface of the realities on the ground. Located on the edge of Lagos, Nigeria’s most populated city, Makoko is a floating underserved community where makeshift houses sit on stilts above polluted waters. It is home to thousands of people, mostly fishermen, most of whom live without access to clean water, electricity, or basic healthcare. For decades, the government has turned a blind eye to the needs of this community, with minimal investment in infrastructure or social services.

    The people of Makoko, welcoming and unsuspecting as they are, have no idea that this hefty fee is being collected at their expense. Worse still, the proceeds are lining the pockets of tour companies in cahoots with some youths who allow the visitors to come and gawk at the living conditions of our people. It’s a system I would label as “poverty voyeurism,” a term that seeks to describe the phenomenon where tourists, driven by a desire to witness extreme poverty firsthand, come to communities like ours only to leave feeling enlightened, without understanding the deeper ramifications of their visits.

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    This isn’t merely a social media trend or an opportunity for a quick snap with locals to post on Instagram. It’s a gross commodification of our struggles, turning the lived experiences of people in Makoko into a spectacle for profit. The visitors get a tour, complete with boat rides through our floating community, meet with unsuspecting residents, for the price of a luxury dinner. Meanwhile, the people of Makoko receive nothing. It’s an unforgivable exploitation of the very real hardships we face daily. And to make matters worse, there are no real efforts from these companies to reinvest even a portion of the money back into the community for healthcare, education, or infrastructure.

    As an individual who was born and raised in the community and has dedicated my life to its betterment, this breaks my heart. The government’s neglect has only exacerbated the situation, with its interventions focused on recognizing and increasing chieftaincy titles of community leaders instead of tackling the systemic problems that have kept Makoko in the shadows for decades. Along with the government’s prioritization of high-end development projects like Eko Atlantic City, slum dwellers have been left marginalized. Many communities, such as Makoko, remain without essential public infrastructure like clean water, sanitation, or proper housing.

    But it doesn’t have to be this way. True empowerment is not found in putting people’s poverty on display. It is found in giving them the tools and opportunities to rise above it. I am a testament to that fact. Alongside my brother, Noah Olorunwa Shemede, who founded the Whanyinna School in 2009—the first tuition-free school in Makoko—I have been part of the effort to confront the number of out-of-school children in our floating community. Noah has continued to contribute his personal resources, leveraging his network and the goodwill of people who reach out, all to bridge the education gap and empower families in our community even in the face of limited resources. We do this, driven solely by our commitment to building a better future for the children of Makoko, because we believe in the transformative power of education to break the cycle of poverty and empower individuals to create lasting change in their lives and communities.

    This is the kind of change Makoko needs—education, empowerment, and opportunity, not pity tours that glorify our misery for outsiders. Visitors who genuinely care should be coming to offer support, not to feed their curiosity about poverty. Let them come to see the resilience of our people, our efforts to rise despite the odds, and our capacity to create change when given the opportunity. As a matter of solution, ethical tourism is a solution that comes to mind. These companies should partner with the community youths, leaders and NGOs, creating ways for visitors to give back directly by investing in schools, healthcare centers, or sustainable development projects that truly empowers the residents.

    This is a call for action! Let us advocate for improved living conditions and real support for the people of Makoko. Let’s reject this degrading “poverty voyeurism” and work toward true empowerment and transformation. Makoko should not be defined by its slum; it is a testament to the resilience, strength, and potential of its people.

     Oke writes from the University of Georgia School of Social Work, Georgia.