The Nation Newspaper

Category: Arts & Life

  • When writers gathered in Morocco for Soyinka

    When writers gathered in Morocco for Soyinka

    Dipo Akanbi writes about the celebration and the razzmatazz that took place in Morocco in honour of Professor Wole Soyinka at 90. A profound programme that saw writers from all over the world paying glowing tributes to one of Africa’s foremost intellectuals, playwrights, novelists, dramatists and Africa’s first Nobel Laureate in literature. It also chronicles encounters and banters with writers in the process.

    At the send-off in honour of Prof. Abdul-Rasheed Na’Allah, I had a conversation with Professor Razinat Muhammed, during which I mentioned my intention to catch up with Prof. Wole Soyinka. She took a deep breath and wondered how I would be able to achieve that. I insisted that the Association of Nigerian Authors is duty-bound to celebrate the man on his 90th birthday, so I must reach out to him.

    Knowing how close Prof. Razinat Muhammed is to Prof. Wole Soyinka and her raising this concern, I knew it could be a herculean task to accomplish, especially considering the umbrage raised against him by a section of Nigerian writers in recent times, which might make him want to avoid the Association of Nigerian Authors. I thought to myself, “We are his literary children; he should accept our excesses sometimes.” This situation reminded me of my relationship with my late father in his final days. I believed that if I could handle him dexterously, perhaps I might succeed with Prof. too.

    By 4:00 a.m. on 7th July, 2024, Segun took me to the Nnamdi Azikiwe International Airport enroute Casablanca, Morocco. Many of the passengers on the Air Marroc flight were taking a connecting flight from Morocco to the United Kingdom, many of them would be alighting at Manchester and Heathrow Airports. The trip wasn’t really eventful except for an elderly lady, appearing to be in her eighties, who was heading to Manchester. Apparently, she’s becoming mentally challenged. Fortunately, a number of persons took upon themselves to look after her till she reached her final destination in Manchester.

    The plane flew at a height of about 38,000 feet above and some 400 miles to Casablanca; the pilots began to descend the plane, and a clear overhead view of the country of Morocco began to emerge. Beautiful well-laid farms, with surrounding water canals, apparently irrigation is a key to the Agricultural industry here. The darkened soil in ceramic areas suggested a preference for organic farming.

    We landed at Casablanca Airport around 11:00 a.m. after about 4 hours flight. After clearing with the immigration, I proceeded to the exit to meet a large crowd outside the terminal building. It soon occurred to me that it was the country folks coming out to welcome their loved ones just arriving from the pilgrimage to Mecca. The reception here was far grander than what I saw in Ilorin. They came in droves with flowers and cakes and proceeded in well-decorated cars; the motorcade covering new arrivals moved out of the airport.

    In the company of my newest pal, Mr. Simbo Olorunfemi and the President of World Organization of Writers, Margarita AlMohamotova, we were driven towards Rabat, to the exquisite Conrad Rabat hotel, some three hours journey. We had arrived a day ahead of the other members of the Nigerian delegation. So, we had the 8th of July to ourselves, savouring in the warm weather of Rabat. I remained largely in the room on the 7th, but on the 8th, I came out to luxuriate by the hotel’s poolside, which overlooked the Atlantic Ocean. I marvelled at the splendour of the vast ocean… endless. I soon went in briefly to return for dinner by 8:30 pm. The sun was still out. Apparently, they had longer daylight and shorter nights, some summer solstice phenomenon – I remember this from geography classes taught by my secondary school geography teacher.

    Still dining outside by the poolside, I saw the unmistakable signature bushy white hair and matching beard of the Nobel laureate through the glass panel. It was him; I had the urge to approach him, after all, we were there to attend a celebration in his honour. Apparently, he was dining too and sat among some familiar faces, so I didn’t want to intrude. My mind told me to wait. My new pal, Simbo and I took our leave and went back to our hotel room. We were told to prepare early for the event scheduled for the 9th of July, 2024 in honour of the literary genius. My mind played on how my first meeting with him would go.

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    On Tuesday, July 9th, 2024, I woke up early, feeling energized and enthusiastic, and got dressed with excitement. I then headed to the restaurant to grab a quick breakfast before the main event, which was being held in honour of a literary giant whose works I have always admired and cherished. Reading his books, such as “Penkelemess”, was a truly eye-opening experience for me. I was soon devouring other masterpieces like “Ake”, “The Man Died”, “Chronicles of the Happiest People on Earth”, and even some of his poetic works, which left a profound impact on me – of course, who could forget the phenomenal play “Trial of Brother Jero”, which I was quite familiar with and had always found fascinating? With a deep appreciation for his literary contributions, I was eager to start the day and pay tribute, alongside others, to this remarkable individual.

    I settled into my usual spot beside the swimming pool, which offered a breathtaking view of the Atlantic Ocean. As I was savouring the moment, I noticed a familiar figure approaching my table – Dr. Newton Jibunoh, a renowned engineer, environmentalist, creative artist, and artifacts collector, who also happened to be a former chairman of Costain Nigeria limited, a company in Lagos. The elderly gentleman greeted me with a warm smile, and I stood up to respond. He began to introduce himself, but I interrupted, revealing my familiarity with his accomplishments. I surprised him by mentioning his remarkable feats, including crossing the Sahara Desert multiple times. This was our first face-to-face encounter, and I was thrilled to finally meet him in person. I invited him to join me at my table, but he pointed to his seat by the poolside, where he had already settled. He offered to join me instead, and I insisted he stay put, opting to move over to his table instead.

    As we went to pick up our breakfast, I couldn’t help but feel a sense of excitement and nervousness. When we returned to our seats, I was taken aback to find none other than Prof. Oluwole Akinwande Babatunde Soyinka, the celebrated Kongi himself, sitting alongside Dr. Jibunoh! I was almost trembling at the unexpected one-on-one encounter. I offered to move to another table, but Prof. Soyinka in his sternly voice said, “Joko joor” (stay, please), wondering in my mind on how he became aware of my Yoruba heritage, despite my outfit and initial greeting in English. We delved into an intense conversation, exploring topics like climate change and corruption, and I was struck by the intellectual stimulation and his down-to-earth demeanor. I managed to clear the dishes from my table, wondering why Prof. Soyinka had opted for only yoghurt and coffee. The discussion left a lasting impression on me, and I felt grateful for the encounter.

    The first meeting exceeded my expectations, and I was struck by his humility and willingness to engage in meaningful conversation. Mission partly accomplished!

    •Dr Alanbi, President, Association of Nigerian Authors, teaches at UNILORIN.

  • Fobally celebrates African feminism

    Fobally celebrates African feminism

    Looking to amplify the voices of African women and the roles they play in the development of the continent as well as tell their stories, foremost art gallery, Fobally Art World Africa is set to present its new exhibition celebrating prominent African women, titled, The Narration of African Feminism.

       Kicking off August 16 till 31, August 2024, chairman of the gallery, Larry Segun-Lean, said the exhibition, which is the first of its kind, would hold daily at the gallery’s grounds located in Lekki, Lagos.

       He said Africa has many great women that have played key roles across different sectors, yet are often overlooked and not celebrated. “Powerful women like Funmilayo Ransome-Kuti, Miraim Makeba, Queen Amina of Zaria, The Hatshepsut, Queen Yaa Asantewaa of Ghana and so on have changed the course of our history. These women have been overlooked in our history books for years. African women have been equal and dare I say, sometimes superior to their menfolk and deserve to be celebrated.”

      He said social issues such as this ought to be addressed by art and galleries in turn. He said genres like performing arts have sometimes addressed these issues but now is the time for visual arts to take on the task.

       Further revealing that 40 art works exclusively celebrating women’s exploits, talents and creativity would be on exhibition, he said the works would delve further, showing how feminism has evolved across time. He said this exhibition would be a series and new editions would be communicated I due time. “This is the first of the series and it is about chronicling the journey of African women, the importance of feminism in upholding what they do as well as their influence. Looking at the paintings that will be shown, we see how women have evolved from the traditional to the modern woman we see today; it chronicles their journey,” he said.

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       He added that Naomi Oyeniyi’s Unspoken Words, depicts how women’s voices are often erased. “In Segun Alonge’s Making Ends Meet, the capacity of African feminism is further demonstrated; same as Lenrie Prek’s oil on canvas, showing the multitasking African women. David Akan’s The Lamp, The Wise Virgin depicts women as the trailblazers and pathfinders and they all lend credence to this exhibition’s theme.”

       He added that in furtherance of the theme, they would host a solo exhibition of Alonge’s works from October 4 to October 18, 2024, also at the gallery’s grounds.

       He revealed that in subsequent series, the exploration of African feminism and women’s historical antecedents would be further dissected and showcased with paintings of the historical women up for sale. He said not much attention has been shone on women’s achievements through the ages but they intend to change this, starting with this series. He said long before the world started acknowledging gender equality, these African women have always fought hard for their people, especially for the rights of women and girls.

       Creative director of the gallery, Folashade Abiola, said women are the hidden pillars that often carry the world and it is time to show the world the work they do behind the scenes by showcasing and celebrating their achievements for posterity’s sake.

  • Logic of re-naming National Theatre

    Logic of re-naming National Theatre

    • By Denja Abdullahi

    The action of the government of President Bola Ahmed Tinubu in naming  the National Theatre in Iganmu Lagos in honour of Wole Soyinka, essentially a playwright and theatrical impresario to mark his 90th birthday anniversary is a culturally strategic move  that has been well received by the art world at home and abroad.  If there is another name that befits that edifice apart from Wole Soyinka, that would be that of Chief Hubert Ogunde, who played a path finding role in entrenching the indigenous Yoruba travelling theatre and the film culture in Nigeria.

    Ogunde was also the person the government of Nigeria contracted to establish the National Troupe of Nigeria following the fallouts from FESTAC 1977, when the need to have a standing troupe incorporating the performance diversity became imperative , following the kinds of performances other notable African countries and other black nations across the world brought to FESTAC 77.

    The National Theatre was purposefully built to host FESTAC 77 alongside the FESTAC village in Lagos  that housed the various contingents across the world. The best moments of that edifice , whose architectural aesthetics was said to have been copied from Bulgaria and which in popular imagination looked like an army general’s cap , may be said to have been during the event it was built for itself-FESTAC 77.

    After FESTAC 77 or even at the onset of it, some negative philistinism from a section of the foreign religious-minded public condemned the building as housing fetish images and figurines and it was further alleged that the economic and social problems that engulfed the nation afterwards were due to the hosting of FESTAC 77  and the humongous resources used in the construction of that house of images and licentiousness. The National  Theatre began its spiralling downward into decrepitude when the last of the visiting contingents left its precincts for their various countries. 

    It was like the country built an arena with imported technology to host a monumental event and found itself unable to maintain the structure physically or regularly inundate it with artistic and cultural events. The iconic edifice thus began its journey into a grand decay which could not be arrested by succeeding Nigerian governments and the direct minders of the edifice.

    General Managers of the edifice over the years struggled to keep it relevant as the veritable cultural exhibition and performance space for the people but the philistines within and without government took the day. While some past minders of the space had fair  knowledge of what a space like that should do for the artistic community due to their theatrical background , other general managers who got appointed via their political connections enacted policies that drove the artiste far from the theatre.

    Eventually a period came when what was left of the grand edifice that hosted that world congregation of artistes, performers and intellectuals from the Black Civilization were not more than one or two barely functioning cinema halls, a slew of decrepit office spaces , choked basement filled with abandoned artworks and an environment called “Abe Igi(under the Samarkand or tamarind Tree)” where forlorn artistes gather to drown their sorrow and lack of patronage in alcoholic beverages and pepper soup.

     Happily, this story of decades of neglect of the National Theatre is in the process of becoming history as during the administration of President Muhammadu Buhari , a concession arrangement was reached with the Bankers’ Committee through the CBN alongside the Lagos State Government to revamp, remodel and re-purpose the edifice to its former glory and more. The National Theatre from all indications would soon come to life again  in full throttle as the one-stop artistic, cultural  performance space for the nation’s creativity.

    Beyond the main edifice which is been restored and transformed at the same time, the precincts of the theatre is to be built into several creative hubs and centres to cater for the burgeoning Nigerian creative industries.  It is therefore a good time to attach the name of a world renowned  playwright, artiste, theatre director, dramatist, cultural mythologists and consummate man of the arts to the national edifice. Attaching the name alone to the edifice would not sustain the place but it is hoped that beyond the newly refurbished theatre space and environment, a sustainable maintenance culture would be instituted.

    This maintenance culture should be tied to innovative and regular programming within the theatre and around it. The minders of the new National Theatre which now bears Wole Soyinka’s name should as a matter of necessity go round the world on a working tour to,  understudy  functional national theatres  to see how they operate and are sustained through regular and adequate state funding and constant programming.

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    Each national theatre in the world has a philosophy behind it that keeps it going. They are built to cater for the sustainability of national theatrical and cultural ethos and often keeping these aspects alive means they cannot be subjected to mercantile capitalist expectation and exploitation. The new national theatre should beware of pricing itself out of the reach of the local  , struggling -to -survive  artistes community. A national theatre should be a space to accommodate all sorts of performances and exhibitions both high-end and populist. It should be like an African village square that curates all kinds of artistic, cultural, theatrical exhibitions and performances for communal well -being and aesthetic enjoyment.

    It should also be highlighted that a national theatre is much more than a space to host performances and shows; it is also a creative hub and a laboratory to incubate artistic, cultural and theatrical forms   which after being well-forged can be taken round the country to foster national integration and communicate a sense of national pride and identity. The national theatre can be the physical edifice housing the spiritual cultural think-tank of the country .

    The new appellation alongside Wole Soyinka’s  name  given  by the government in the release for the renaming to honour Wole Soyinka @ 90  appears verbose and tautological. It is said to have been renamed “The Wole Soyinka Centre for Culture and the Creative Arts.”’  To me, “Wole Soyinka National Theatre” or “Wole Soyinka National Arts Theatre” is more appropriate.

    The words National Theatre already subsume or infer other referential concepts such as centre, culture and creative arts. Like Soyinka would say “a tiger need not proclaim its tigritude, it pounces.” It is what you do in a national theatre that matters not the name you call it.  Keeping a simple name that is being advocated here will do well to preserve the fact that the  edifice must remain a  NATIONAL THEATRE and not a new fangled “ centre for culture and creative arts “ which may eventually take the edifice away from the idea of being a national theatre.  And it must be said  that having a national theatre in Lagos is not enough to cater to nurture the dream of a thriving creative economy that has become a mantra with the President Bola Ahmed Tinubu’s  government. 

    A theatre befitting the federal capital city of the country should be built in Abuja like the Federal Ministry of Art,Culture and the creative economy has proposed and can be named after another deserving theatrical and cultural maestro. Certainly, it should not be built forever like the abandoned National Library in Abuja and building such a theatre from the scratch in these modern times is to employ the latest adaptable, smart technology that gives you a compact multifunctional space that can accommodate all kinds of performances and spectacles. 

    A befitting and functional theatre is needed in all state capitals of Nigeria and in all the local government areas to ground properly the Eldorado of the creative economy being dreamed and drummed into our ears.

    •Denja Abdullahi

    Poet, playwright and culture expert

  • Photography as Storytelling: The Art of Mike Oyinbokure

    Photography as Storytelling: The Art of Mike Oyinbokure

    • By Chuu Krydz Ikwuemesi

    Photography’s ubiquitous presence in our everyday lives profoundly highlights the performative and memorializing essence of picture-making and the critical role it plays in documenting the multifarious landscape of lived experiences. The emergence of photography in the African continent in the 19th century, particularly in Liberia and Sierra Leone, is linked to the work of Afro-Brazilians who were former slaves or relatives of slaves. In Nigeria, the art of photography was introduced by the colonialists and was primarily used to document colonial activities that encompass administrative and ethnographic purposes as well as their interaction with the local population. Over the years, contemporary Nigerian photographers have built on the legacies of the early pioneers, expanding photography’s representational, artistic, aesthetic and thematic borders through a sustained culture of experimentation facilitated by local and global networks of exchange. This is strongly validated in the new body of work by Michael Oghenekaro Oyinbokure (Mike Kure) that bears witness to the perfomativeness of photography in shaping perception, framing identities, and interrogating power dynamics, especially in postcolonial spaces.

    Although Oyinbokure trained formally as a computer scientist and project manager at the undergraduate and graduate levels respectively, his love for art and creativity manifested early and has been driven by a deep passion for the pursuit of freedom and happiness through self-expression by means of photography. Inspired by the visuality of his environment and culture from a very young age, he acquired the eagle eye which enabled him to relive his experiences and his aesthetic interface with them through the power of the photographic lens. For him, the lens sees, tells, and thus compliments that eagle eye which is the natural asset of all veritable professional creative photographers. But Oyinbokure is not just a creative photographer. A multi-disciplinary artist, he is a storyteller relying on non-verbal graphic means to convey his emotional and philosophical messages. From poetic and metaphoric perspectives, he captures the realities and rhythms of time, place, culture and identity and renegotiates them through digital darkroom techniques into food-for-thought for his audiences in Africa and Europe. Although he presently works and exhibits between Nigeria and the UK, his work remains deeply rooted in his culture and identity, as his thematisation straddles displacement, imagination, heritage, and the “resilience and beauty of Black life.” These interests tend to shape Oyinbokure’s current portfolio, imaging him as a socially committed artist.

    Presented under three broad themes, “Masqueradism”, “Crowned in Silence”, and “Echoes of Pain”, Oyinbokure’s  new project draws from the inexhaustible pools of cultural memory, personal experience and artistic imagination to document the complexities of African identity within the shifting and contentious fields of a globalised environment. His works function as a method of correspondence; a method of storytelling that communicates life’s unfiltered moments using a poetic and philosophical language that offers both reflective and reflexive contemplations on existential conditions in Nigeria. Oyinbokure’s works reflect a blend of digital and traditional media laced with ample doses of symbolism, affective metaphor and thought-provoking imageries. This approach not only allows for hybridity of artistic and aesthetic forms,  it also provides the artist with a highly expressive voice with which he insightfully interrogates the many challenges facing the Nigerian society.

    For instance, Masqueradism as body of work anchors the thematic trajectory of performance and contradiction in its metaphoric reference to a society like Nigeria that seems to be anti-man and pro-masquerade, a place where hypocrisy and contradictions are the cheapest things of all. As Oyinbokure told me in a recent conversation, “Masqueradism isn’t just visual art but also a philosophical mirror for the society we live in. It is a reaction to a place where truth is punished and performance is praised…where appearances are more valuable than truth…” In this sense Masqueradism dovetails with, and complements, what I have described elsewhere as Nigerianism, “a tendentious negativsing (not negative) philosophy which has encircled Nigeria in the last few decades…a pan-Nigerian attitude which thrives on contradiction, dishonesty, obsession with a shortcut to mundane demands, living and achievement, disdain for handwork, the glorification of mediocrity, the inversion of values, and a fascination with intellectual laissez-faire”.

    In Echoes of Pain, another interesting body of work, the artist intentionally plays with the face of a young boy, using it as a kind of  tableau on which to write his emotional messages. Is the boy with slightly masked face representative of the disillusioned youth of our time, a wasted generation, plagued by the wickedness and avarice of their elders and leaders (or dealers?) and even robbed of their future by fire-eating politicians? The image is a frozen poetry about  the emotional and psychological burden of a generation at a crossroads of  inheritance and abandonment. According to Oyinbokure, the white markings on the face of the figure suggest the blindness and myopia of the youth. However, the criticality of this set of works is not one-sided, as it seems to aver that the failure and disappointment in the polity are mutual and call for a cross-generational rededication to the centralising purpose of  society.

    Unlike the two sets of works above, Crowned in Silence is a graphic celebration of the spiritual and cultural entanglement of man and his environment. The photographs in this segment reverberate forcefully with poetic energy and compelling imagery. They are an ode to God as creator and to man as epitome of creation, as Biblical Anthropology would have us believe. They also capture in their essence, the aura and spirit of place and thus betray their own connection with the extra-physical meaning of the physical space. The photographic ensemble subtly reaffirms that man and nature are in unison and that it is, perhaps, on that often unseen and unsung harmony that the wheel of humanity turns.

    In sum, Oyinbokure is a photographer of superlative merit; his works inscribe him as a humanist with a keen eye on the bond between man and his environment and how both shape each other for the perpetuation of mankind. 

    Chuu Krydz Ikwuemesi, artist and art critic, is a Professor of Painting and African Art History at University of Nigeria, Nsukka.

  • Bradford varsity, others to showcase African Festival of Arts in UK

    Bradford varsity, others to showcase African Festival of Arts in UK

    The OAK Initiative UK CIC, supported by University of Bradford, QM Records and African communities within Bradford, has announced the debut of the Bradford African Festival of Arts set to be held on Friday and Saturday at Centenary Square, Bradford.

    The two-day cultural event is set to entertain the Bradford community and West Yorkshire with a showcase of the beauty of African culture in diverse music, dance, drama, cuisine, and more.

    The Bradford African Festival of Arts (BAFA) is not just a cultural celebration, but also a catalyst for economic growth. By drawing in visitors and promoting tourism, the festival is aimed at giving a significant boost to the local economy.

    According to the organisers, the dynamic marketplace, a key feature of the event, will be a treasure trove of authentic African crafts, textiles, and culinary delights.

    The BAFA, endorsed by the local council as part of the Bradford City of Culture 2025 celebrations, is more than just a cultural event. It is a platform for cross-cultural dialogue, promoting inclusivity and reinforcing Bradford’s reputation as a diverse and welcoming city. The festival provides a stage for local talents to shine alongside international performers, fostering a sense of pride and community spirit that is synonymous with the city of Bradford.  We are setting ambitious targets to challenge ourselves, to bring and set even more culture loose, into every corner of the City of Bradford, come next year when Bradford will be the city of culture.

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    Dr Olushola Kolawole (OAK), the Festival Director and the Equality, Diversity and Inclusion Lead for the University of Bradford, School of Management is working together with leaders of other African communities such as Zimbabwe, Ghana, Cameron, Malawi, Caribbean, and other partners to ensure the diversity of the African culture in this multicultural city that has been home to diverse expressions of memorable events and heritage.

    “Our co-curator Kafayat Adegoke of Art empathy, and Curiosities CIC is guided by regenerative principles, and shares the same vision and values as BAFA, in her dual arts sector capacity as a British theatre maker / dancer, and a cultural leader.

    “She was instrumental in the current UK City of Culture 2025 win of the Bradford district; sitting firmly on the Bradford Producing Hub Creativity Council while pushing her voice in undoing gatekeeping within the arts sector, and to deliver real diversity – not only race (as popular opinion seem to lean that phrase on), but also inclusive of access for all creatives living with unseen disabilities.

    “Kafayat believes it is time to develop a new narrative around equality, away from deficit models,” Dr. Kolawole said.

    He added that Oluwatosin Omotola Ajayi will be playing the talking Drum or Gangan to welcome the Lords Mayors to the event. The Talking Drum, or “Gangan” among the Yoruba people, is a powerful emblem of African heritage.

    Omotola’s performance aims to entertain and educate the audience about the cultural significance of the talking drum in Yoruba tradition. We are confident that this event will foster greater understanding of the African culture to attendees and tourists, foster participation of people in underrepresented communities in the creative and cultural sector and contribute to the social and economic growth of the city.

    The festival kicks off on Friday 19th July  with the opening ceremony in Bright Building, University of Bradford. The Leeds Trinity University Vice Chancellor Professor Charles Egbu will speak on the theme, My culture, My heritage. After the opening ceremony, there is an exhibition of the African continent by Ruth Agbolade. After the Exhibition, the event will be moved to Theatre in the Mill for drama and stage play performances. These will include the performance of Esther’s Revenge – a stage play written and directed by Kenneth Uphopho. And a drama performance by Chris Ihuewa one of the most prolific actors from the Nigerian Film Industry; Nollywood (a portmanteau of Nigeria, and the American major film hub – Hollywood).

     The Saturday event starts at 10am, with Market Stalls, while the main event will start at 12noon. The closing event on Saturday will witness the Live music performance of our headliner Dele Sosimi Quartet, to round off the evening, after our local performers.

    Dele Sosimi from the early years of his career, at the young age of 15, heralded the rhythm section of the Nigerian Afrobeat genre originator and social-change activist Fela Kuti’s collective, which served to catapult him into the upper echelons of the World Music category elite. Till this day, his grooves and unrelenting spirit are a true reflection of his complex sound fusions of jazz metal /horns /hybrid fiery percussion that cut across the African diaspora demographic. Each offering a powerful cultural sound that keeps a space alight, offers feelings of freedom, and a dynamism balm for life-changing encounters. Dele Sosimi was also the Afrobeat music consultant, and on the keyboard for the British National Theatre’s world-acclaimed West-end Broadway production of Fela!

    Confirmed dignitaries attending BAFA include the Lord Mayor of Bradford, Lord Mayor of Kirklees, and Lord Mayor of Leed to mention a few. Also in attendance will be the senior executives of the University of Bradford; the Vice Chansellor, Prof. Shirley Congdon, Pro – Vice Chancellor of Equality, Diversity and Inclusion Professor Udy Archibong, Professor Emeseh Engobo the interim Dean Faculty of Management, Law and Social Science.

  • Celebrating WS @ 90

    Celebrating WS @ 90

    Since the beginning of July, the academic and literary communities have been abuzz with a myriad of activities celebrating Nobel laureate Wole Soyinka’s 90th birthday. From the vibrant scenes at Freedom Park to the prestigious halls of UNILAG, the festivities gathered momentum throughout the past week, culminating in the impactful sessions of the Wole Soyinka International Symposium in Lagos. In this report, ASSISTANT EDITOR OZOLUA UHAKHEME and EVELYN OSAGIE provide a detailed account of these memorable events that highlighted Soyinka’s lasting legacy and profound influence on literature and society.

    In the annals of global literature, few figures loom as large as Prof Wole Soyinka, who turns 90 this July. Born Akinwande Oluwole Babatunde Soyinka in Abeokuta, Nigeria, his life and work have been a testament to the power of words and the courage to speak truth to power. As the world celebrates this milestone, Nigerian literati and artists have come together to honour the Nobel laureate for Literature (1986) whose seminal works, such as ‘A Dance of the Forests’, continue to provoke and inspire. Beyond his literary prowess, Soyinka’s influence extends far into the public domain, where he is revered as a moral compass and relentless advocate for justice.

    Soyinka, a playwright and political activist, was awarded the Nobel Prize for Literature in 1986. His impactful career began in the 1950s with his seminal play, ‘A Dance of the Forests’, which satirised Nigeria’s political elite. He further honed his craft as a dramaturgist at London’s Royal Court Theatre from 1958 to 1959 and later pursued studies in African drama under a Rockefeller fellowship, returning to teach at universities in Ibadan, Lagos and Ife. The literary and moral influence of Soyinka, now 90, is unparalleled, firmly establishing him as an enduring icon in Nigeria. Beyond his literary prowess, Soyinka is revered as a ‘tireless interventionist’ in the public sphere and a ‘Public Conscience’ shaping the soul of a nation.

    Academics, activists, critics, colleagues, friends and literary enthusiasts gathered at the Wole Soyinka International Symposium to honour the Nobel laureate. Organised by the Nigerian Academy of Letters in collaboration with Wole Soyinka International Cultural Exchange (WSICE), the event took place last Friday at the University of Lagos (UNILAG). Titled “Eni Ogun: An Enduring Legacy,” the symposium celebrated Soyinka’s remarkable contributions to literature, creativity and scholarship. The audience, comprising professors, scholars, students and political figures including former Vice President, Prof Yemi Osinbajo, former Governor of Ekiti State Kayode Fayemi and his wife, Dr. Bisi, heard from distinguished figures such as Prof. Niyi Osundare, who delivered the keynote address.

    Prof. Osundare’s lecture, titled “Arimadake Eniogunyan: Wole Soyinka as tireless interventionist,” explored the profound impact of Soyinka’s literary works on literature, drama, poetry and politics. Emphasising Soyinka’s enduring influence across various aspects of society, Osundare underscored the role of literature in advocating for change and combating injustice. Describing Soyinka as a multifaceted figure, he emphasised that the Nobel laureate’s pervasive influence across humanity is undeniable, noting that his staunch commitment to social justice has subjected him to a lifetime of scrutiny and adversity.

    “But looking at it deeply, if I must single it out I think the fight for justice, the concomitant of justice, defending the dignity of the human being is something important to him and to him humanity comes first in everything, in everything he writes, and I think also his general perspective which cut across all borders, gender, ethnicity, religion and age.”

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    Osundare examined Soyinka from four perspectives, portraying him as a global figure and underscoring his profound impact on African literature. While praising Soyinka’s literary interventions addressing the nation’s challenges, Osundare, reflecting on his early days as a student reading Soyinka’s works, lamented that many of the issues Soyinka raised in his books remain unresolved to this day. “Soyinka is difficult, I started reading him as a student and from his writings you will know he is a deep humanist. He doesn’t care about ethnicity and whether you are a man or woman, rich or poor, he is all out for everyone.

    “So each of his works talks about his personality as a writer and a humanist. Each play has a bit of his philosophy, a bit of his conviction, and a bit of his way of looking at life,” he said.

    Osinbajo, the special guest at the event, titled his address “Soyinka: The Imperative of the Public Conscience.” Emphasising Soyinka’s unwavering commitment to speaking truth to power across all domains, Osinbajo hailed him as a living literary legend whose dynamic character allows him to embody various roles within society. He described Soyinka as a versatile creative force across all genres of literature, an influential presence in academia, a cultural activist committed to egalitarian ideals, and an avid collector of artworks, particularly sculpture, painting, and poetry. Highlighting the concept of public conscience, Osinbajo explained it as the compelling responsibility to concern oneself with the moral state of the community. He praised Soyinka’s works for consistently reflecting societal ideals and advocating for public conscience. He also underscored the importance of celebrating such a significant icon who has positively projected Nigeria on the global stage for many years.

    “He is an individual with different creative abilities in all genres of literature, an actor whose presence dominates a room, a university lecturer, a cultural activist with a notion of an egalitarian sense of life, a collector of artworks, especially sculpture, painting and poetry. He believes that humans deserve to be treated as such – as humans. Soyinka interferes and still interferes with everybody’s space. So, we must not be shy to interfere with his. But I’m also grateful for this opportunity because it gives me a chance to repay or return a priceless favour,” Osinbajo said.

    In his remarks, Fayemi described Soyinka as a man of many parts who is always consistent to tell the truth. “He has always been a political activist. For him, literature is not an egoistic affair; it is something that must be done on the side of the people and every time his literary works have always worked on the side of the people. If you talk about his autobiographies right from Ake to Ibadan Penkelemesi, etc., there is a constant thread running through all his works as he puts it consistently that justice must be the first condition of humanity.”

    The Vice-Chancellor, UNILAG, Prof. Folasade Ogunsola called Soyinka “an Africa’s icon.”  “I feel very honoured that I am here celebrating his works and his legacy on his 90th birthday. There are so many things Prof Wole Soyinka stands for; not just his creativity, but the courage of his convictions. He has lived a great life, he’s still living a great life and he’s still impacting not just this generation, but future generations. So on behalf of the University of Lagos, I want to thank the Nigerian Academy of Letters for allowing us to be a part of the 90th birthday celebration of Prof. Soyinka,” she said.

    At the Wole Soyinka International Symposium, Prof. Duro Oni, former President of the Nigeria Academy of Letters and convener of the event, underscored the profound impact of Soyinka’s writings, activities and intellectual legacy. He praised Soyinka’s steadfast dedication to truth, justice and creative expression, which has inspired generations and continues to enrich our understanding of the human condition.

    Echoing this sentiment, Prof. Sola Akinrinade, President of the Nigeria Academy of Letters (NAL), celebrated Prof. Wole Soyinka’s 90th birthday as a cherished gift from Africa to humanity. Akinrinade highlighted Soyinka’s monumental contributions to literature, drama, human rights and societal development, noting their profound influence on intellectual and cultural awareness globally. Meanwhile, at Freedom Park, Lagos last Saturday, the Committee for Relevant Art (CORA) hosted a vibrant celebration of Soyinka’s legacy through visual art, book readings and concert performances. The event, titled the 7th edition of Timeless Memories: Elastic Effects of Wole Soyinka, commenced at Kongi’s Harvest Gallery, Freedom Park, Lagos Island, uniting Soyinka’s admirers, art enthusiasts, and lovers of creativity in a heartfelt tribute.

    The exhibition, titled The Man Who Didn’t Die in the Face of Tyranny, running until the end of July, draws profound inspiration from Soyinka’s seminal prison notes, originally published in 1971 as “The Man Died.” Featuring immersive audio and video installations, the exhibition allows visitors to experience Soyinka narrating his harrowing ordeal during 22 months of solitary confinement from 1967 to 1969. Central to the exhibition are five series of paintings that vividly depict the trials endured by the literary giant under military dictatorship. These paintings serve as a visual narrative for those who may find Soyinka’s literary works, especially “The Man Died,” challenging to grasp. The audio installation, in particular, provides intimate insights into Soyinka’s thoughts, emotions and motivations during his confinement, offering a profound addition to the collection.

    One of the paintings, which show two bold signposts with inscriptions: No bail for Soyinka, says Court, and Public Enemy No 1, poignantly portrays Soyinka’s unwavering resilience in the face of oppression. The painting also captures Soyinka, though surrounded by ten armed security operatives, as he stands straight with his hands on his back remaining calm and unperturbed. However, the most symbolic piece is the reproduction of a prison cell situated prominently in the exhibition hall. Furnished with a wooden bed, a chair, a lantern and a waste bucket, this installation is complemented by hanging sacks of clothes symbolising the dehumanizing effects of corruption, injustice, and oppression. Curated by Mr. Oludamola Adebowale, the exhibition transcends mere display, serving as an insightful exploration into the body of work by the esteemed Nobel Laureate. “It takes inspiration from Prof Soyinka’s powerful 1971 book, ‘The Man Died,’ an account of his prison experiences,” explains Adebowale. Through this transformative exhibition, visitors are invited to delve deep into the mind of a literary figure who fearlessly stood against tyranny, wielding the written word as his potent weapon.

    “As we embark on this journey, let us remember that the very core of the exhibition examines our stand in the course of protecting humanity and also a way of evaluating our standpoint when we stand in front of Tyranny. The pages of history will turn, and we, as both witnesses and participants, have the privilege to delve deep into his remarkable journey.

    “Our goal is to provide our visitors with a fascinating and immersive experience. The centerpiece of this exhibition is a meticulously crafted prison cell installation, designed to transport you into the very heart of Professor Soyinka’s incarceration. As you step inside, you will gain a visual understanding of the challenges he faced and the extraordinary resilience he exhibited during those tumultuous times.”

    The book reading session, which commenced around 2 pm, showcased readings by Oko Owi Ocho, Sacred Alabi, and Enitan Abdutawal. The event also featured a dedicated performance by students honoring Kongi at 90. Notable attendees included Kayode Aderinokun, Prof. Awa Amkpa, Joanna Settle, Toyin Akinoso, Jahman Anikulapo, Sola Olorunyomi, Dr. Tunde Awosanmi, Edmond Enaibe, Adeniran Makinde, Sola Alamutu, Mudiare Onobrakpeya, Ndidi Dike, and Iquo Abasi.

  • A scary japa experience

    A scary japa experience

    • Author chronicles nasty oddysey

    A Nigerian author based in Europe has chronicled what could be described as some of the creepiest accounts of his experience and that of many Nigerians and young Africans who have traversed the perilous desert and the Mediterranean Sea routes in their quest to migrate to Europe for greener pastures. 

    The book which he dedicated to those who lost their lives in the desert and the Mediterranean Sea in an expedition for safety and a better life, away from the hopelessness that they feel back at home is aimed at bringing to the fore, the maladministration and seeming absence of governance that have put most Africans, especially the young ones on the edge. 

    It is a collection of vivid accounts of real-life sequence of thought-provoking, debilitating, and tragic events of some of the encounters and stories of those who have been on the route, regarded as one of the world’s most dangerous pathways to Europe.

    The writer, Lambert Edosomwan, in a chat from his base in Europe said the inspiration behind the book, titled, “The Matrix of Abe” emanated from his jaw-dropping real-life experience with the horrors of illegal migration from Africa to Europe, with the intention to forewarn and guide African youths who would want to migrate to Europe.

    According to him, the book tells the story of a young boy, Abe, from Nigeria, who dreams of transforming his life by travelling to Europe at all costs.

    Although, Abe got his wish, eventually reaches Europe, the realities of his sojourn in Europe are far from what he dreamt about.

    According to the writer, most of the narratives in the book were real life experiences collected through person-to-person interrogations, interactions, and discussions.

    “It exposes the unbearable heat of crossing the Sahara Desert, the horrors of navigating the camps in Libya, and even the imminent danger faced when crossing the Mediterranean Sea,” the writer noted.

    Although the names and characters in the book have been masked to encourage them to share the bitter and terrible experiences that they encountered, Edosomwan said his earnest desire and hope are that political leaders, governments, policymakers and Non-Governmental organizations across the globe, especially in Africa, including all actors involved, become aware of the dangerous realities to make proper decisions that will change the course of events in the near future.

    Read Also: AGSOBA celebrates 116th Founder day, brainstorms on Japa syndrome

    “This book accurately depicts the journey from Africa to Europe and life there,” Edosomwan said, adding that it also clearly outlines the challenges faced by immigrants when they eventually arrive in Europe.

    “Despite facing many life-threatening and near-death experiences, most immigrants find it difficult to return to Africa,” Edosomwan said. He likened the situation to a child preferring to sleep in the neighbor’s apartment instead of sleeping in the same room with the mother.

    A pip into the book reveals the indescribable and inhuman situations that those who embark on the road to Europe through desert and the sea, as well as their families face, with many not being alive to tell their stories. 

    “In some instances, migrants at sea face circumstances that outweigh the abilities of rescue mission volunteers. But many see the problem of starvation, economic uncertainty, insecurity, lawlessness, and survival of the fittest that prevails in Africa as a real war compared to the uncertainties that lie in the path of illegal migration to Europe,” the author stated in the book.

    On some of the reasons behind the forced migration through dangerous routes as the deserts and Mediterranean Sea, Edosomwan said: “African youths believe in doing everything to change their family’s financial status rather than become the victims of the economic hardship prevalent in their native land. So, migrating to Europe through this treacherous path has become a survival strategy for these unfortunate ones.”

    He, however, noted in a section of the book that the frequent reports of the perils and accounts of deaths among young Africans who dared to brace the dark pathway reveals major cracks in the forms and structure of their countries of origin. 

    Edosomwan, however, said the book does not intend to present gory stories of the horrors of illegal migration across this route but to present facts that will help individuals, governments, and organizations assist illicit migrants who have lost their way.

    He lamented African governments’ inactions that have allowed the tragic route to Europe to continue to thrive. 

    “With increasing levels of poverty, hunger, and unemployment, many Africans are only faced with the prospects of illegal migration to Europe or “die trying.”

    “Poor government policies and insincere commitment to fix these societal issues on the path of successive governments have fueled the desires of many youths to leave Nigeria. The implication is that migrating to Europe using this treacherous and illegal path has become a survival strategy for poor African youths and families,” the writer stated.

  • ‘My drive for social change inspired book on Makoko’

    ‘My drive for social change inspired book on Makoko’

    Chioma Okereke, a UK/Nigerian writer and author of Bitter Leaf, has unveiled her second novel, Water Baby. The captivating coming-of-age story is set in Makoko and explores the societal pressures faced by a young woman striving to escape her community. It also addresses broader issues such as climate change and resettlement, highlighting the challenges and aspirations of individuals in under-resourced areas.

    Speaking on the sidelines of the book reading session recently in Lagos, Okereke, a lawyer said that her writing is deeply rooted in her belief in literature’s ability to drive societal change. She aims to inspire empathy for the Makoko settlement, urging Nigerians to contribute to meaningful societal solutions. Through her novel, she invites readers to envision a world where social responsibility and compassion are paramount.

    On what inspired her writing of the book, she said: “I was watching a food programme, which took place within the community and I was fascinated by the setting, which is just so atmospheric. Watching the American chef navigates Makoko in a way that I had never thought of as a Nigerian myself. So, I guess confronted with my ignorance, I went and researched the community. Again, while watching that programme, I had this snapshot of a character, which was Baby. And so I knew I had to write her story, whatever her story was going to be.”

    Read Also: My drive for social change inspired my book on Makoko, says Okereke

    Was it just another adventure for Okereke, she said: “I am an author, so it started as writing a book. So, having gone to the community to ensure that I did write something accurately, I was moved by what I saw with my own eyes, and so I knew I couldn’t just leave it as a novel. I am happy that it may shed some awareness and spread some light, and people who don’t know about the Makoko community may learn a little bit more”.

    “My writing is a reflection of my belief in the power of literature to effect change. It’s an invitation to readers to join me in envisioning a world where social responsibility and compassion guide our actions. And I hope that the book encourages readers to look beyond their immediate surroundings and recognise the interconnectedness of our global community. By bringing attention to Makoko and similar under-resourced and often overlooked communities, I hope to inspire a sense of empathy and a desire for social justice. My goal is to use storytelling as a vehicle for change, to spark conversations, and to motivate individuals to contribute to meaningful solutions.”

    Highlighting the novel’s significance, she said: “I think sometimes we don’t think about people that live in that community. So, I hope that by humanising Baby’s story and the other stories in that, you see them as real people navigating the world just much like yourself. I hope that it inspires the government to see that there are real changes that can be made to allow people to live more comfortably and also that improve Nigeria as a whole because Makoko is part of Lagos whether you like it or not”.

    Set primarily in Makoko, a floating slum off mainland Lagos, Nigeria, the novel features a descriptive and engaging writing style, focusing on themes of aspiration and identity. The protagonist, Baby, is a determined young woman with dreams beyond her community.

  • Foundation hosts summer boot camp

    Foundation hosts summer boot camp

    The Foundation for the Personal Development of African Children (PDAC) will host the 7th edition of its summer personal development boot camp between August 1st and August 31st. The programme has been empowering African youth for seven years, with this year’s edition promising to be the most impactful yet.

    Under the leadership of its Chairman Ogo Ogbueli, the foundation has designed a comprehensive 30-day initiative to foster personal growth and development in children. The boot camp is carefully structured to cater to different age groups (6-13+ years), ensuring a tailored learning experience for all participants.

    The programme focuses on essential skills like emotional intelligence, leadership, entrepreneurship, critical thinking, and vocabulary expansion. Participants will engage in various activities, including reading and reviewing 30 books, exploring new topics, reflection, journaling, affirmations, and presentations.

    The boot camp is designed to be flexible, allowing participants to engage with materials at their own pace. This approach has proven successful in previous editions, with testimonials from past participants available on the foundation’s website.

    The inspirational books the youngsters will be exposed to include ‘Simple Life lessons on Personal Growth,’ ‘Simple Life lessons on   Self-discipline,’ ‘Simple Life lessons on  Habit,’ ‘Simple Life lessons on  Gratitude’ and  ‘Simple Life lessons on Focus,’ ‘Simple Life lessons on  Mentorship.’ Others are ‘Simple Life lessons on  Leadership,’ ‘Simple Life lessons on  Potential,’ ‘Simple Life lessons on  Vision Board,’ ‘Simple Life lessons on  Goal Setting’ and ‘Simple Life lessons on Attitude.’

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    Registration is now open, and interested families can sign up using the link (https://bit.ly/PdacSummer2024).

    By investing in the future leaders of tomorrow, PDAC Foundation is shaping the lives of African children through holistic personal development initiatives.

    Ogbueli enjoined families to ensure their children join the journey and witness the transformative impact of the summer personal development boot camp 2024, urging early registration to be part of empowering the next generation.

  • YCA promotes Yoruba culture, tradition

    YCA promotes Yoruba culture, tradition

    The Yoruba Cultural Alliance (YCA), USA, is poised to promote and preserve the Yoruba culture,the tradition and language all over the world.

    Its founder, Hon. Abiodun Akinfenwa, the alliance is a hub for advancement of cultural heritage, fostering creativity, building community connections, and enriching the lives of individuals through cultural experiences and education.

    On his mission to propagate Yoruba culture and tradition, he said: “My heart lies in nurturing and propagating the rich Yoruba culture. As the former president of the Ibadan Descendants Union in Dallas, TX, and currently serving as the president of the Yoruba Cultural Alliance and a proud patron of the Yoruba Cultural Center, I’m deeply committed to fostering a sense of belonging and pride among our community members, both locally and in the diaspora.”

    Akinfenwa said the YCA remains committed to  cultural preservation, arts education, and cultural diversity in society, raising awareness about the value of culture in building strong and vibrant communities.

    Thus, it has distinct directorates across the six Yoruba-speaking states in Nigeria—Lagos, Ogun, Oyo, Osun, Ondo, and Ekiti.

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    The alliance also secured land in Arlington, Dallas, Texas, to build a Yoruba Heritage Civic Center, which will serve as a hub for the various Yoruba-speaking states.

     The project has garnered substantial support from the U.S. government, including an approval of $10 million to fund the center. Its programmes  are  also benefiting many in America, leading to the creation of Yorubafest.

     The YCA enjoys strong backing from notable patrons, including the Ooni of Ife, Oba Enitan Ogunwusi Ojaja II, and Oba Adedokun Abolarin, Òràngún of Òkè-Ìlá (Aroyinkeye 1). Both have also declared support for the Yoruba festival.

    “My goal is to broaden the reach of Yoruba culture in Dallas, TX, and further afield. I’m actively seeking dedicated individuals who are enthusiastic about joining me in this mission to inspire

    our young people to value and preserve our cultural legacy, securing its dynamic presence for future generations.

    Having established this alliance, my aim is to extend the influence of Yoruba culture into Dallas, TX, and beyond. I’m searching for driven individuals who align with my vision of motivating our youth to uphold and continue our cultural traditions, guaranteeing their lasting impact for generations to come,” Akinfenwa added.