Category: Arts & Life

  • ‘Battle for drug-free society is a fight for all’

    ‘Battle for drug-free society is a fight for all’

    Worried by the increasing spate of drug abuse and illicit trafficking, the National Drug Law Enforcement Agency (NDLEA) Directorate of Operations and General Investigation in commemoration of the United Nations International Day against Drug Abuse has intensified efforts at raising awareness and combating drug-related issues.

    At a symposium recently held at the Nigerian Army Signal Barracks, Giwa Project, Falomo, Lagos, the agency drew attention of critical stakeholders to the need for a compassionate approach to those affected by drug use, while highlighting the importance of investing in preventing substance abuse through community and educational initiatives.

    The event, which had as theme The evidence is clear, invest in prevention highlighted the critical roles of law enforcement in tackling illicit drug trafficking.

    Interpol and other international agencies underscored the importance of collaboration to disrupt drug trafficking networks and bring perpetrators to justice.

    Assistant Commander General of Narcotics, in charge of the Directorate of Operations and General Investigation, Lagos, ArchieAbia Ibinabo described the event as a day set aside to create awareness on the menace of drug abuse and illicit trafficking as it affects the individual and the society.

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    She said that the event was highly significant as it is a day to collaborate with different stakeholders, to strengthen actions to ensure that we have a drug-free society. She commended the NDLEA for working on the fight to curb drug abuse, not just by arresting offenders, but by organizing ongoing anti-drug awareness campaigns, and also providing tools for the victims to stay healthy.

    “The NDLEA has had a success rate in curbing drug abuse and that is quite impressive, We have tried to get to them early before the evil merchants get to them, that way we inform them, and we give them the life tools to stay healthy. It’s been very helpful, it’s not just about getting people arrested, we bring the message to them and ensure that they turn a new leaf. You can see that there is a reduction in drug abuse issues.

    NDLEA is playing a very frontal role when it comes to that. We are in all entertainment and exit ports in Nigeria. We’re there to stop the drugs from coming or going out from our nation. We are solidly behind the issues of a drug-free society. We try to take away the drugs from the society,” she said.

    Regional Sales Manager, Vixa Pharmaceuticals, Margery Oparaocha, pointed out the destructive characteristics of drug addiction, ranging from tolerance to withdrawal. She urged organisations to ensure their workers had time to relax because when tension builds up, they will want to find a way to ease it, and they may resort to drugs.

    “I could see the synergy from all quarters and that makes us see that the evidence is here and we should invest in prevention. Prevention could be in any capacity. As little as exercising your body goes a long way in preventing drug abuse and it goes to owners of organisations, to ensure that the workers under them have time to recreate, because when the tension builds up, the victim will find a way to ease it off and that easing off is what lands us in the problem. Prevention is very key and we’re all here for it,” she said.

    She noted that the fight for drugs is a fight for all as the impacts are not gender-selective or age-selective, nor is it a respecter of anyone.

    “I picked one thing from it, the evidence, like the theme is, the evidence is clear, the evidence is here with us. Going by the speeches of the various speakers, you could pick that everyone is seeing the handwriting on the walls. We all see the menace that the drugs are causing and it is a concern for everyone. It is not what NDLEA can do alone, it’s a fight for all because the impact is not gender-selective and they are not age-selective. They don’t respect any person. If something is posing such a danger to all, I think it is time to fight against it,” she added.

    Public health physician Tuyi Mebawondu called for increased cooperation and support for those struggling with addiction. He said that stigmatisation is a big issue, and we should find a way to run away from stigmatising people who are having drug challenges. “Let us join hands together and help them and stop discrimination.

    “Prevention is total, you prevent at home, in school, in your establishment. Don’t give room to people to use drugs, don’t give room to people to glamourise drugs, prevention is the job of all of us, we shouldn’t forget to set up the young ones that are drug-free, let us see how to reward how to be drug-free. People should be able to ask for drug history, not because of discrimination but perhaps you need help. Those that need help, let them be helped,” he added. 

    The International Day against drug abuse and illicit trafficking serves as a reminder of the collective responsibility to create a safer, healthier world free from the scourge of drug abuse.

  • Beyond aesthetics, functions of Gelede

    Beyond aesthetics, functions of Gelede

    By Patience Fadipe

    Gelede masks are common to south western part of Yorubaland, precisely the Egbado, Sade, Awori, Ohori, Nago of Ogun State, Nigeria and Ketu of Benin Republic. Gelede festival probably started in the 18th century or early 19th century. Gelede festival is an annual event at the onset of farming season between March and May. Gelede dancers perform whenever a member of the society dies or as at when due or when there is epidemic. The festival is said to have originated from ketu kingdom for the purpose of appeasing the spirit of witches so that they can protect the communities against evil forces. Gelede festival takes place in square. It is believed that, market place is where mortals and spirit mingle and are the domain of women. It is also celebrated for the people to have bumper harvest for the year. Though the festival is celebrated for the women folks, it is the male that wears the mask. Membership is open to both sexes, but the women hold the important post (Title). The ceremonies are always ushered in by Efe (which is a special masquerade) performance before the main Gelede, which follows the following day.

    Mask is a covering that disguises or protects the face of wearer. It is not only to hide the identity of the wearer, but it is assumed that it gives him magical powers and, as such, represents gods or spirit. Mask can have the features of a human face or animal. In Nigeria, masks are worn by masquerades during traditional festivals or carnivals. Masks are made of paper, wood or stone, grass, hide, leather, metal, or shell. They are either painted with designs or colours. For instance, Gelede mask has feminine features, and it comes with blue and red colour.

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    There are two segments or parts of Gelede mask: The lower depicts women face, its shows the qualities expected of a woman “coolness”, calmness and patience. The upper superstructure has several motifs or things attached to it, e.g, things like sewing machines, farmers, motor-cars and cycles, intertwined snakes, or bananas. The Gelede mask is worn like a cap at an angle of 45 degrees on the forehead. The sculptor put this into consideration when carving the mask. The design of the superstructure is to placate the mothers by displaying their inner powers for all to see, thus pleasing them and ensuring the well-being of the community. Gelede masks have some notable features like birds, snakes etc A bird signifies the dangerous nocturnal powers of women who act as witches. Snake symbolises the positive feminine qualities of patience and coolness. Another interpretation says that masks with birds represent the ‘messenger of the mothers’ while snakes represent ‘power’. Drewal, (1974) classifies Gelede masks according to their colours. He suggests that red is a colour associated with shango and his wife (oya) whose fiery tempers cause destructive lightning and strong winds that accompany the life-giving rains. Most Gelede headdresses have three short vertical scarification lines (pele) on the cheeks or sometimes on the forehead of the human face. Traditionally, the Yoruba regard such markings highly. Red in Yoruba traditions signifies royalty or the blood that binds all Yoruba together.

    Gelede masquerade has an elaborate and bulky costume, which emphasizes the breast and buttocks of the women they represent. The way they put on their clothing shows the desired fatness of a beautiful and graceful woman. The multi-coloured cloths and costume put on emphasise the full breast, narrow waist, and buttock of a beautiful woman. The identity of the dancers is not hidden as their faces are covered with transparent cloth. They get their multi-coloured costumes from women’s head ties, baby wrappers, and skirt tied in various ways. BENEFIT: By appeasing women and enhancing their status, peace, and social harmony are guaranteed. This is a foundation for prosperity. The Gelede festival helps to transmit our heritage to the younger generation.

    Gelede festival is interesting and entertaining, which have a good intention, provided the people in the community do not provoke the mothers to use their powers to destroy. It is also an important festival that is used to offer prayer for bumper harvest each year. Gelede masks have been used in different exhibitions both within and outside Nigeria. Examples are the British Museum, Obafemi Awolowo University Ile-Ife, Lagos Museum, Ibadan Museum, Abuja mini exhibition and the Nigeria @ 50 exhibition. The Gelede masquerade is still in existence till date.

    • Fadipe is Assistant Chief Ethnographer, Dept of Research, National Museum, Lagos.

  • The Noble Warrior: FirstBank honours Soyinka at 90

    The Noble Warrior: FirstBank honours Soyinka at 90

    The Noble Warrior, a theatrical performance of Eni Ogun has been listed as part of the birthday celebrations and activities in honour Nobel Laureate, Prof Wole Soyinka at 90.

    Announcing its sponsorship of the Lagos command performance in a statement on Tuesday, the Group Head, Marketing and Corporate Communications, FirstBank, Ms Folake Ani-Mumuney said, the bank was proud to be part of the special tribute to the Nobel laureate.

    Ani-Mumuney described the living legend as a true literary giant whose contributions to literature and humanity had continually inspired the bank. She said FirstBank’s sponsorship of The Noble Warrior-Eni Ogun was a a modest way of demonstrating of the bank’s appreciation of Soyinka’s contributions to the Nigerian literature and culture.

    She added that his writings which had transcended borders had remained a true embodiment of the power of art as a tool to uplifting society.

    “First Bank is woven into the fabric of society, and for 130 years, we have been enabling success in the creative industry value chain through our First@arts initiative and Eni Ogun is another opportunity to reinforce this impact to support and empower small businesses,” she said.

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    Ani-Mumuney said The Noble Warrior – Eni Ogun, produced by Cash Onadele and directed by Oriade Adefila will be performed at the Muson Centre on Saturday July 20, 2024 at 6:00 p.m.

    She added that it was another significant stride in the Bank’s First@art initiative aimed at supporting the arts and cultural development value chain for the growth and development of the nation’s creative economy.

    She added that it was also in recognition of the contributions and achievements of  Soyinka as Africa’s first Nobel Laureate.

    Eni Ogun, the Noble Warrior is set to tell the historic story of the successful defeat of the colonial forces at the hands of natives.

    The story intends to reposition the truth in history and showcase the repercussions of cultural invasions and the fight for freedom against imposing powerful colonial invasions.

    The protagonist’s brand persona, Oluwole, a princely noble warrior can be likened to Soyinka and highlights similar personality traits as a fighter and the humane warrior in his 90-year sojourn on earth.

    According to the performance Executive Producer, Toye Arulogun, FirstBank is supporting this special production of The Noble Warrior as tribute to a national and global literary icon in consonance with the philosophy of the First@art initiative.

    Arulogun said FirstBank had demonstrated commitment to development of the creative arts industry through partnership with Adubiifa Network Co. for the landmark birthday of Soyinka – “pride of our cultural heritage.”

    First@arts is FirstBank’s platform for consolidating its efforts in arts, supporting the creative arts value chain, providing funding , showcasing and facilitating the successes of the industry and helping customers explore opportunities.

    Born in Abeokuta, on July 13, 1934, Soyinka became the first African to receive the Nobel Prize for Literature in 1986.

    To date, Soyinka has published hundreds of works.

    In addition to drama and poetry, he has written two novels, The Interpreters (1965) and Season of Anomy (1973), as well as autobiographical works including The Man Died: Prison Notes (1972), a gripping account of his prison experience, and Aké ( 1981), a memoir about his childhood. Myth, Literature and the African World (1975) is a collection of Soyinka’s essays.

  • British Council, Cambridge awards for exceptional students

    British Council, Cambridge awards for exceptional students

    British Council in collaboration with Cambridge International Examinations has recognised the achievements of exceptional students from various British Council partner schools across Nigeria. The students were awarded the prestigious British Council Recognition and Outstanding Cambridge Learner Awards (BROCLA) for their remarkable performance in June and November 2023 Cambridge international education examination series.

    The ceremony, which is held annually, also recognised British Council partner schools that showcased implementation of the Child Protection Policy and the Equality, Diversity and Inclusion Policy. These recognitions underscore the British Council’s dedication to fostering safe and inclusive educational environments.

    Ninety-five students from 37 British Council Partner Schools achieved the remarkable feat of obtaining the highest marks in Nigeria British Council partner schools in subjects such as sociology, information and communication technology and business studies with seven students from three schools earning the esteemed ‘Top in the World’ honour. This award is granted to students who have obtained the highest marks in the world in a single subject. Additionally, 71 students received the ‘Top in Nigeria’ awards for achieving the highest standard mark in the country for individual subjects. Further accolades included 48 ‘High Achievement’ awards and 8 Best Across’ awards, recognising students with the highest cumulative standard marks across multiple subjects.

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    Country Director, British Council Nigeria, Lucy Pearson, said: “Today, we celebrate outstanding learners and our collaboration with Cambridge International Education. Our work with British Council Partner Schools in delivering UK assessments and qualifications in Nigeria has been instrumental in helping individuals gain educational and professional development, positioning them for success in life and careers. We believe in providing young learners with access to world-class education and assessments.

    Director Examinations, British Council Nigeria, Deep Adhikari, emphasised the importance of EDI Award, noting that “this award aims to minimise prejudice and discrimination based on protected characteristics. I congratulate the recipients for fostering a culture of Equity, Diversity and Inclusion in their schools and for showcasing practical ways to integrate EDI into inclusive education.”

    Regional Director, Cambridge International Education, Juan Visser, said the awards recognised the talent and commitment of learners and staff.

    He said: “Congratulations to Cambridge learners who have worked so hard to achieve tremendous success in Cambridge exams. With the education you have from Cambridge and from your schools, nothing can get in the way of you achieving your dreams. Your Cambridge qualifications will no doubt open you to a world of opportunities. With an education that is trusted, recognised and truly International, you are all ready to make a positive impact in the world.”

    In addition to student awards, Greenspring School, Lekki, Lagos, a British Council partner schoo, was honoured for its impactful contributions to best practice policies in Equality, Diversity, Inclusion, and Child Protection, as well as its efforts in promoting upward mobility for its employees.

    This year’s BROCLA awards were marked during a significant milestone as British Council celebrates its 80th anniversary of its operations in Nigeria under the theme Amplifying the Voices of the Future in building connections, understanding and trust. This milestone reflects British Council’s long-standing commitment to fostering educational excellence and supporting the aspirations of generations of Nigerians.

    Over the last 80 years, British Council Nigeria has achieved significant milestones by investing in human capital through scholarships, supporting young entrepreneurs and enhancing educational practices between UK and Nigerian schools. All top-performing students will be awarded certificates from Cambridge International Examinations to acknowledge their achievements and mark a pivotal moment in their academic journey.

  • The Man Died ‘resurrects’ on Lagos stage

    The Man Died ‘resurrects’ on Lagos stage

    After setting the tone in March, during the World Poetry Day at the Eko Hotel and Suites, Victoria Island, Lagos, the 90th birthday celebrations of Nobel laureate Wole Soyinka will hit many arts centres across Lagos, Abuja and Abeokuta beginning this weekend. From Muson Centre, Onikan Lagos to University of Lagos, Freedom Park, Lagos, Korean Cultural Centre, Abuja and June 12 Cultural Centre, Kuto Abeokuta, Ogun State, arts enthusiasts will have a bountiful harvest of performances that mirror the many parts of Kongi, Assistant Editor (Arts) OZOLUA UHAKHEME reports

    The Man Died, a feature film inspired by the ‘Prison Notes’ of Africa’s first Nobel laureate, Wole Soyinka, will have its ‘special premiere screening’ on Friday, July 12, in Lagos.

    The screening, a strictly by invitation event, is designed as a flagship of the global celebration of the 90th birthday anniversary of Soyinka (who is 90 on July 13); and it is expected to be witnessed by a gathering of eminent dignitaries, members of the diplomatic corps, industry stakeholders, family, friends and associates of the Nobel laureate as well as key members of cast and crew of the film. 

    “This is not the premiere yet but a special screening to commemorate the 90th birthday of Prof Wole Soyinka,” stated the organisers, stressing that guests would only be admitted based on their invitation and RSVP. A later date will be set for the formal premiere of the film, assured the managers of the event.

    Shot entirely in Nigeria – Lagos and Ibadan – late 2023, the 110-minute feature is directed by the cineaste and culture scholar and academic, Awam Amkpa and produced by the ace storyteller and media content producer, Femi Odugbemi for the renowned film company, Zuri 24 Media.

    A fictionalised adaptation of the stories narrated in the prison memoirs, the screenplay written by young but tested writer, Bode Asiyanbi, is ‘not a bio-pic of the prison life of Soyinka, but an expanded narrative on his prison experiences, and includes stories that you would find in his subsequent memoirs on his life stories,’ stated Amkpa, the director in an earlier released The Making of The Man Died, produced by Odugbemi.

    Amkpa, a former student and long-standing associate of Soyinka, said stories from Soyinka’s subsequent memoirs, Ibadan Penkelemes Years; and You Must Set Forth at Dawn, are also accommodated in the film. A trained theatre artist, filmmaker and culture scholar, Amkpa is currently Professor of Drama, Film and Social and Cultural Analysis, and Dean of Arts and Humanities and Vice Provost for the Arts at New York University Abu Dhabi.

    Produced by ZuriMedia24, with generous financial support from the New York University, Abu Dhabi, the film is shot by an entire Nigeria crew with no input from any foreigner, except in the post-production. The director of photography is Agbo Kelly while the Production Designer is Theo Lawson, an architect who has, however, been involved in other film projects in recent years.

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    On reason for relying entirely on an local production resource to realise the film, unlike projects of its status, which usually bring certain crew members from outside, Amkpa said this was a deliberate and intentional choice.  He said in making such a film based on the ‘colourful and fascinating life of enigma who is also an eminent global citizen, authenticity is very important. We need to stress on the input of people intimately familiar with the cultural and political environment that shaped the Nobel laureate and his narratives, irrespective of their skill sets.’

    He continued, “I have an army of former students who are big-time filmmakers in Hollywood and elsewhere that I could just call on a whim to make the film and shoot it in Nigeria but that for me, there’s no learning curve. For me, every creative project is like going back to the basics and building back upwards. That was why for me it was very educational to come here.”

    Odugbemi, a veteran of the Nigerian movie and television sets, stated in an interview, “As you probably know, it is a very intimate account of Soyinka’s 22 months in solitary confinement for his role in trying to bring a halt to the civil war. I hope this narrative of resistance and courage inspires this generation.

    “It is also an ambitious adaptation that brings to life an iconic literary work offering a deep, personal perspective on Nigeria’s conflicted political history and the intense challenges of nation-building. By transforming Soyinka’s poignant narrative into a visual medium, I hope to reach a broader audience, particularly young people, who might be less inclined to engage with the written text but can be profoundly impacted by the film.”

    Over 100 film workers of varying specialties and industry experiences featured in the project with notable performers including Wale Ojo in the lead protagonist role of Soyinka, and Sam Dede as the main antagonist, Yisa, Soyinka’s interrogator and torturer. Aside the Hollywood rising actor, Abraham Amkpa, who played Soyinka’s bosom friend, Femi Johnson, other lead actors are Nobert Young (Prison Superintendent), Francis Onwochei (Prison Controller), Edmund Enaibe (AIG), Christina Oshunniyi (Laide Soyinka), Similoluwa Hassan (Emeka Ojukwu), Segilola Ogidan (Morenike), Dili Ezugha (Agu Norris), Ropo Ewenla (Olusegun Obasanjo), Henry Diabuah (Yakubu Gowon), Temilolu Fosudo (Bola Ige), William Idakwo (Victor Banjo), among others.

    Odugbemi, renowned for his indelible signature on many successful movies and TV series projects, including Maroko, Gidi Blues, Eve, Code Wilo (movies) and Tinsel, Battleground, Movement JAPA, The Covenant (TV), continues: “Of course, this is not just a memoir; it is a testament to the resilience and courage of the human spirit in the face of oppression. It vividly chronicles Soyinka’s experiences during the Nigerian Civil War, highlighting the brutal reality of political imprisonment and the relentless struggle for justice and freedom.”

    Odugbemi, a voting member of both the Academy of Motion Picture Arts and Sciences (Oscar Awards) and the International Academy of Television Arts and Sciences (Emmy Awards), among other film service roles, continued on the making of the film: “Through this film, we aim to inspire young people to embrace their role in demanding humanistic ideals from our nation’s political leadership. In a world where authoritarianism and corruption often threaten democratic values, we hope the film will resonate as a call to action for citizens to remain vigilant and proactive in pursuing justice and equity. We hope it sparks meaningful dialogue to inspire positive change in our country.”

    The July 12 premiere in Lagos is supervised by the film’s Associate Producers Makin Soyinka and Jahman Anikulapo with the Production Manager, Adewale Emmanuel Orosun, and managed by ONE Management. Admission is strictly by Invitation. It is supported by Lagos State Government, Providus Bank, Dr. Kayode and Erelu Fayemi, among others. The partners are Arise and Afia Tvs.

    After the Lagos premiere, the film will be screened next on July 25 at The Africa Centre (TAC), London, where it will feature as part of WS90 — a 9-day programme of events, jointly organised by the Wole Soyinka International Cultural Exchange and the TAC, also to commemorate the 90th birthday anniversary of the poet, playwright, essayist, memoirist, human/civil rights activist and global cultural icon. It will thereafter go on a tour of select festivals around the world, before hitting the public cinema screens in Nigeria, the UK, the USA, Europe, UAE and other centres around the African continent.

  • Soyinka: 90 essay finalists chosen

    Soyinka: 90 essay finalists chosen

    Organisers of Soyinka at 90 birthday essay competition, Wole Soyinka International Cultural Exchange (WSICE), have announced 90 finalists of the competition for Senior Secondary School pupils. They wrote on the lives of an irrepressible patriot, humanist & rights activist, demonstrating writing prowess, creativity, and insightful perspectives.
    A statement by the organisers said the essays stood out, reflecting their dedication to scholarly inquiry and intellectual engagement. The selection process, it said, was rigorous.

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    “These judges evaluated each submission based on originality, coherence, depth of analysis, and relevance to the theme. While finalists have distinguished themselves, examination of the essays continues to determine the top three entries.
    ‘‘Each essay not only showcases individual talent but also contributes to broader discourse on the theme. Their perspectives offer insights and thought-provoking arguments that are to resonate with readers and inspire further dialogue,” it added.
    Continuing, it said: “Their commitment to academic excellence and ability to articulate complex ideas are commendable. Through their essays, they embody the spirit of WSICE’s mission to foster intellectual growth and promote cultural exchange.”

  • Roses & Thorns

    Roses & Thorns

    By Emmanuel Uzomah

    I have craved for roses all through my life

    But when I beheld an inflorescene of red roses,

    Nestling in a lush green plant

    I snatched a branch with relish

    Instantly, my fingers became red as a rose

    And in my bewilderment,

    I discovered that roses have thorns

    But I have dreaded thorns all through my life

    But when I examined the thorns,

    The ones that pricked my hands,

    And made me bleed

    I was filled with dismay

    But in my dismay,

    I observed closely

    The beautifully made and artistically crafted

    Roses, dressed in red

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    Instantly, I forgot my pains

    And began to dilate upon the object of my desire

    As I wondered!

    So roses have thorns

    I was baffled

    As I reflected further in my mind,

    And thorns as well, have roses

    Could this be the magic of our existence

    A world filled with beauty

    In the midst of adversity

    And I prayed: Dear Lord! Help me to manage

    Roses with their thorns

    And tolerate thorns with their roses

    VIOLENCE

    What is it that monstrously revives the Mongrel in me?

    And stifles my sheep’s instinct that should

    Have been vast as the sea?

    What is it that makes me a tiger

    And kills all the natural attributes of a klipspringer?

    Why do I prawl, bark and hack, even in my lack?

    Wheedling, floundering in a land

    Full of castles of sand

    Raised by differing warlords with some hidden intent,

    Darkly expressed in innuendos

    Why does the Godly virtue of turning the other cheek

    Make me sick?

    Even when it could make peace reign

    In a land that is awash with induced acid rain

    Why do we have everywhere, men with the feet of clay

    Trampling on the souls of men

    Instead of peacemakers with a Godly heart to pray?

    So that peace may abound

    In the land, where the nation’s rudder is

    Aground, in a world at war with itself.

    And man himself, the harbinger and midwife

    Of all seething strife

    In all his struggle and toil

    A mere monument of simmering turmoil,

    Inflamed by sticky hands in the quest for filthy lucre.

  • Why I became a musician

    Why I became a musician

    Livinus Ikechukwu Orakwe is a priest of the Catholic Church. A former parish priest of Saint Augustine Catholic Church,Ikorodu,Lagos,Father Orakwe is also a member of the Association of Nigerian Authors, ANA. A  prolific and consummate writer who has authored many books including a biography,has now chosen to go into gospel musical production as well.He hopes to use gospel lyrics and compositions for evangelism and evangelisation. He bares it all in this encounter with Edozie Udeze.

    You are widely known as a prolific author. You have suddenly switched over to music, why?               Thanks so much Sir for asking this vital question. Yes, I have been writing  books. I still write. And I will never stop. Writing is a creative art and an intellectual exercise. I see music also as a creative art. But I entered into music in a rare fashion. I didn’t switch over to music instead music arrested me. It started as a dream encounter.  It became constant and I was losing good night sleep. I had no option but to download an App which helps me to record them.

    I prayed over it.  I only believe that God is preparing me for a music evangelism.

    How do you combine your pastoral activities with music production?

    Thanks so much Sir. In our seminary days,  we were formed with a slogan,  ” Every Claretian is capable of ten tasks at the same time “. Again, as a pastor and an administrator of a big parish like St. Augustine Catholic church Ikorodu Lagos, I had been organising a music festival which is the second biggest musical praise in Lagos Archdiocese called ” Light-a-million-candles”. I also became the first to sponsor another musical praise with a new musical initiative, an arm of the Christian Association of Nigeria (CAN ) Ikorodu branch called ONE CROSS. So, being used to working as a workaholic, it turns out to be part of our calling to double up if need be. Its actually part of our sacrifices as missionaries.

    Does your new music activities involve your stage performances?

    Every musical event finds it’s setting on a stage or a podium. It also has to function and impact on lives using a very professional sound system. Gospel music does not have the type of setting that secular music has in terms of monetized, commercial and business music. Gospel music is for spiritual upliftment and praise onto God. Therefore, stage performances are involved, based on musical evangelism, musical retreat and animation of the youths. So, stage performance is intrinsic. As a musical project that gets distributed online,  it has its stage name as “Livo Jyke”.

    How do you compose your music?

    I was never a chorister or a member of any choir. I don’t know Staff and Solfa notations. But I have ears for music. It will still be a surprise to my natural family members, Claretian family members and  those who know me, listening to my music. I believe I would be the least expected to become a musical artist.

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    This music started in my dreams. Shortly before I left St. Augustine Catholic church Ikorodu Lagos, I started celebrating Mass and singing with the worshippers in my dreams. I didn’t pay attention to it in the beginning. The strange encounter became regular and started denying me hours of normal sleep. I then knew that it’s  no longer a joke. I had to download an App. After my dream encounter, I would wake up to record the songs before falling back to sleep. This is how it started. I went online to research on music and artists. I got the information that I have to take advantage of the inspiration to write as many songs as possible before it will wind down. Since April 2023 to today, I have recorded a little above 200 songs.

    What messages do you pass across through your music?

    My music is as a type, a Gospel music. It has a lot of songs that pass message of hope,  songs that pass message love,  songs that pass message of praise onto God, songs that pass message of encouragement, songs that pass message of repentance, songs that pass message of spiritual warfare, songs  that pass message of celebration, songs that pass message of joy and songs that pass message of pilgrimage on thisearth. St. Augustine states that whoever sings well, prays twice. Music is a prayer as well. We pray and praise God through the music we make. 

    What is the title of your latest release and what does it embody?

    I am a debutant in music. I have just worked on my debut EP.  I title it “Gosife”. In Igbo language,  it means, ” Show the light”. Its an EP of seven tracks. The tracks are:  His will, Laughter, Like You, Only You, On the Table, Mmiri (water), My Candle.

    When are we expecting a new book from you apart from music?

    Thank you Sir. I have two preoccupations now.

    One is to stabilise my music project. To get ready for what God wills to use me for. Since the inception of this music, it has not allowed me to face other things.

    Second preoccupation is my new mission. I have been configured for a mission to South Africa.

    Missionary work has always taken all of my life experience.

    My missionary experiences in Haiti, Tchad, Zimbabwe and within some dioceses in Nigeria, my encounters in Rome, Spain, Dominican Republic, Cameroun and USA serve as a pool of creative wealth for me.

    My reading and writing books will resume when I settle down in South Africa. I have some I started already before this music came.  And I am sure that I will write plenty books as from next year 2025. Thank God South Africa is a spectacular sea of creative life.

    I believe that the creative arts of writing and making music will occupy the rest of my life till death.

    Father, do you really need special permission from your Clarecian superiors to combine your calling with another career?

    As a missionary and a religious, permission is required for everything I have to do. However, Gospel music is another vehicle for conveying the good news and sharing love. Music is a universal language. Music goes straight to the  people’s soul that’s why it is   called, ” the food of the soul ” and ” a sure therapy for a distressed mind “. It is still within the calling in general. 

  • Truth is Trouble speaks to liars everywhere – Osundare

    Truth is Trouble speaks to liars everywhere – Osundare

    Professor Niyi Osundare, Africa’s foremost distinguished literary scholar and a Professor of English is at it again. With his forthcoming book titled Truth is Trouble, he said at a programme in Lagos last week where he was a guest of honour that no nation that is built on lies that has ever survived. It was at Capital Club, Lagos, where he was engaged in conversation with literary eggheads, enthusiasts and writers from Nigeria and across. Edozie Udeze was there.

    Professor Niyi Osundare is always extra-ordinarily inspiring in all his literary ways and engagements. Not just that he is one of Africa’s most celebrated, vocal, outspoken and classical literary scholars whose poems and other genres of literary offerings have travelled far beyond human comprehension, he is also an advocate of human rights and social justice and fair play. On June 26th, at Capital Club, Victoria Island, Lagos, Osundare was on hand to indulge in what was described as conversation with Niyi Osundare. It was an exercise where he engaged the literary world on issues that concern humanity, more so, on the social, economic and political situations in Nigeria today.

    As a distinguished and iconic scholar of English world over, Osundare brought all his poetic, dramatic and other literary acumen as a critic to bear on his handling of the problems that bedevil Nigerian society both in the past and at the moment. In the beginning, Stanley Evans of the Capital Club introduced the theme of the evening dialogue alluding to Osundare as one who writes poetry and drama to educate the people. “This is why he is regarded as one of Nigeria’s greatest literary heroes”, Evans said. With his remarkable observation, the evening was set agog with galaxy of people, literary icons from far and near who came to relax in an evening of hot and intimate dialogue with Osundare.

    Soon, Tade Ipadeola and Aduke Gomez took over the proceedings making references to Osundare’s many excursions into the foyers of literature both in his days at the University of Ibadan and now that he resides and teaches in New Orleans, USA. To begin with, he first of all read a few lines from his work. The collection hinges on troubles of a society that has consistently remained rudderless, clueless. He opened with a song and urged the audience to sing along with him. As the hall became charged with his booming voice and alluring recourse into chants, poetry indeed took over the firmament. Osundare is always resplendent in his choice of posture for dialogue, for poetry discourse.

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    He regales in it; he does his semantic style with aplomb to get all fully involved. Even though part of the song was rendered in Yoruba, like Oriki, the choruses came into the open in a way that pierced the evening. “People are my clothes”, he chanted, smiling. “People are my clothes”, he repeated for heated effect. “Where and when I look right, when I look left, I see flocks…let people be my robe…people are my clothes”, he kept repeating as he drew emotions from the audience. “My heart leaps with infinite joy”, he said, referring to the sordid state of the society.

    Ipadeola then took him on about his days at the University of Ibadan when he had a programme on Thursdays. The programme centered on literature, on writers, mostly an engagement with his students. Those Thursday programmes made Osundare outstanding that some nearby universities wished they were part of it. It was a moment also to take people down memory lane into Dialogue with My Country, one of Osundare’s most heroic and successful literary offerings. “We are grateful for all the efforts and sacrifices you have made to see the society get better”, Ipadeola informed. “Yes, I wanted that book to speak to the people; to the entire society”, Osundare responded and quickly took over the mantle.

    “It grieves my heart that most of the things we clamoured for in Nigeria since time have not been provided. It is the same situation; the same problems. We expected positive changes in the country, but it seems things are getting worse every day. People are hungry”. But even then, he registered his angst against book publishers. “Publishers do not help matters. After releasing your book, they store them inside warehouses. Warehouses do not read books. Books are meant to be marketed; they are meant to be seen and appreciated”.

    The evening wore on well as more guests joined in. Dr. Yemi Ogunbiyi was in the house. Professor Nduka Otiono flew in from Canada. Also in the house were Jahman Anikulapo, Odia Ofeimun, Omolara Wood, Kunle Ajibade, Toyin Akinoso and others. Osundare did not spare Nigerian leaders. “A vanguard of people can lead a revolution. It has happened in places in history. The level of poverty and hunger and deprivation and anger in the land is shocking. Our problems started when IMF came in to advice our leaders to devalue our currency. I said it before and I am saying it here now, there is no country where IMF has made their national currency stronger. Our problems began when we allowed them to interfer in our national currency. Today, the naira has lost all its values. For me, IMF is a destroyer of currencies. They were able to brainwash our leaders to submission. The country cannot sit on these wrongs and continue to make progress. It is impossible; it is difficult. Something needs to be done.

    With deep sorrow in his heart, Osundare opined “It is a pathetic period in Nigeria’s history. There is no electricity; no roads, no security. This country we carry like boils in our hearts is in such a mess. I thank the organisers of this programme. It is not often we have this sort of gathering. It used to be more often in the past, but today, people are hungry, angry. Imagine few fingers of plantain for three thousand naira at Ibadan? There is hunger everywhere. But when the notice for this gathering came, I now said Capital? Capital Club? I had a shiver in my stomach. I am a socialist, and now how do I go to the capitalist? I learnt from African communism, not from Engel and the like. One mouth cannot be eating while the other does not”, he said while the audience cheered him on.

    A quintessential orator and charismatic teacher, Osundare tore with anger and hope into the night. As rain fell heavily outside and teasing the night, Osundare thundered on about the core problems that have kept Nigeria behind civilization. He said, “Abroad this outing is the type you keep in the public eye… How do I feel? Ah, ah, it is difficult; in fact, it is impossible not to be angry in this country. There is nothing happening in Nigeria that has not happened before. It is like a goat you have flogged repeatedly and it has no more life in it. This book grew out of the experiences Tade was talking about. Some of them came out of series I did in newspapers overtime. Yes, the IMF is the doctor that kills the patient first. It is a very difficult situation we are in. But is there any hope? And I will say yes, there is hope. The last few lines of my NOMA award acceptance speech in 1991 in Harare, Zimbabwe, the famous proverb is: As long as there is life, there is hope. But I say as long as there is hope there is life”.

    For him, as always, he believes that the whole clan cannot die. He recalled with nostalgia one of his visits to the University of Nigeria, Nsukka, in the 1980s when he and his colleagues discussed Nigeria until 4am and then it was time for him to travel back to Ibadan. “Those were years of big dreams about the nation, Nigeria. Some of the scholars are either dead now or have eloped abroad. I have never seen a revolution that was taken by all the people in the country. It is usually taken by a vanguard, a vanguard of people of the same ideas. At a point, my wife told me not to read newspapers in the morning because they will spoil my day… The burden of this country falls on people who have conscience. Some have already died or are too old now.

    “Many people keep thinking about the good of this country until they die. However, it is a country we cannot stop thinking about. This is a great country. We cannot go our separate ways. Yes, we were put together by colonial amalgamation in 1914. But we can still stay together because we need one another. Now every country is a work in progress. We should be able to make this country work. We have the people. How can a beautiful country like ours be messed up by ugly and wicked rulers? We have no leaders. None. That is why things are still the way they are. And that is why we keep repeating ourselves like a cracked record.

    “Unfortunately, the way we are now our past is better than our present. Is that good?  We must make sure that this rotten present is not better than what we hope to have tomorrow. And really there is work to do”. He then referred to some aspects of Truth is Trouble and said “It is good to praise people when they are doing the right thing, yes. That is it! It is important for us to forge ahead. I have a lot of books to be published. This is the time of harvest. But the question is: Am I better now than I was twenty years ago? The answer is no. However; all I know is that I have gathered more experiences because I have been to all the continents. Therefore the immediate inspiration for this new and selected poems is that I see people lying or telling lies on both sides (This is referring to Truth is Trouble). Lies from Nigerian leaders, making Nigeria uninhabitable. On the other hand, our people who tell terrible lies. We have to tell the truth. This is not a country; there is no plan, you have no management. You are hungry; you are sad. Therefore inspiration does not come easily in that kind of ugly situation. In fact you cannot write a bestseller”.

    The evening ended on a high note with him signing autographs for people who purchased his latest work. The crowd was cheerful but it was a subdued moment due to the level of angst and poverty and uncertainty in the society which still pervades hearts and souls. A place where government talks about diaspora remittances as if they are money from oil. A place where government does not care how her people die or suffer while crossing the Sahara Desert or the Oceans and Seas to get to Europe and America. Yet remittances have become their immediate source of hope. “It is more cannibalistic. It is criminal, very heartless. Now Nigeria is where no one wants to come to. People cannot live here. Now how do we tell the truth? Truth hurts. I took that from Toni Morrison, the American author. Truth is trouble, truth is in trouble.

    “Right now I have been sued for publishing a poem, yes. The case is pending. Truth has to be told. No nation built on lies can ever survive or stand. Our foundation is false, truth upon false, will produce false”. That is the Nigeria we live in today where falsehood has taken over truth.

  • Behind use of women as suicide bombers

    Behind use of women as suicide bombers

    Last week, the relative serenity of Borno State was shattered by a devastating attack. Women, concealed under veils, transformed into suicide bombers, leaving behind a trail of death and destruction. In this special report, Assistant Editor BOLA OLAJUWON delves into the multifaceted motivations, psychological processes and societal influences that contribute to the emergence of female suicide bombers.

    Tragedy struck with devastating force in the relatively tranquil town of Gwoza, Borno State, where celebrations, healing and farewells are integral to daily life. Amid the joyous echoes of weddings, the sanctuary of hospitals and the solemnity of funerals, the relative peace was shattered by ruthless detonations. The attacks left 32 lives lost and countless others wounded, casting a dark shadow over a community already grappling with conflict and loss.

    According to Borno State Police Command spokesman Nahum Kenneth Daso, three blasts targeted a crowded motor park, a hospital and a funeral. The attackers, women disguised as innocent civilians, used improvised explosive devices (IEDs) hidden beneath their veils. These incidents inflicted not only physical harm but also struck at the heart of the town’s social fabric, undermining its sense of security and resilience.

    The international community, including the United Nations and various leaders, condemned the bombings as cowardly and heinous acts. Amid the immediate shock and grief, questions about the perpetrators’ motives and the vulnerabilities exposed by the attacks loom large, demanding urgent answers and collective action to prevent such atrocities in the future.

    A psychoanalysis of women suicide bombers

    The tragic phenomenon of women becoming suicide bombers is a disturbing and complex issue that has garnered significant attention and concern. Understanding the psychological and sociocultural factors driving these women to commit such acts of violence is crucial for developing effective counter-terrorism strategies and providing appropriate interventions. What are the multifaceted motivations, psychological processes and societal influences that contribute to the emergence of female suicide bombers?

    Historically, women have participated in political violence and armed conflicts, but their roles as suicide bombers have become more pronounced in recent decades, particularly within the context of extremist ideologies and insurgent movements. Experts believe that the use of women in such roles is not merely a tactical choice but also a reflection of deeper societal and psychological dynamics. Groups like Boko Haram, ISIS and the Tamil Tigers have strategically employed female suicide bombers, leveraging societal stereotypes that portray women as non-threatening to exploit security vulnerabilities.

    The psychological motivations behind women becoming suicide bombers are varied and complex, often involving a combination of personal, social, and ideological factors. Many female suicide bombers have experienced significant personal trauma, such as the loss of family members to conflict or occupation forces. This trauma can create a deep desire for revenge, which extremist groups exploit, offering an avenue for these women to achieve a sense of retribution. Additionally, societal pressures, indoctrination and the promise of posthumous honor and respect can further influence women to undertake these violent acts. Understanding these factors is essential for developing effective prevention and intervention strategies to address this deeply troubling trend.

    According to Oluyinka Ojedokun, a professor of Applied Social and Environmental Psychology, Department of Pure and Applied Psychology, Adekunle Ajasin University, Akungba-Akoko, Ondo State, the psychological factors that motivate an individual to act as a suicide bomber can be understood from the perspective of the psychoanalytical theory, particularly its Freudian approach. In an interview with The Nation, Prof Ojedokun said the theory explores the unconscious motives behind human behaviour. “When applied to the context of suicide bombing, it provides insights into the underlying psychological factors that might drive individuals to commit such acts,” the university don said.

    Prof. Ojedokun mentioned the underlying psychological factors as including: “Unresolved trauma and aggression: Freud suggests that individuals do have or may have unresolved trauma or repressed aggression. In the context of suicide bombing in Borno State, the suicide bomber action might be triggered by such feelings that were directed outward in a destructive manner, targeting people that were perceived as symbols of her pain or oppression. The current suicide bombing in Borno State could be seen as an extreme form of acting out these aggressive impulses.

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    “According to Freud, two drives motivate human behavior – sex and aggression or Eros (life) and Thanato (death) drives. The aggression or death drive is an unconscious drive towards destruction, death, and a return to an inorganic state. In the case of suicide bombers, this drive might be manifested in the simultaneous desire for self-destruction and the destruction of others.

    “Psychoanalysis also looks at how individuals identify with certain groups or ideologies. A strong identification with a radical group or belief system can lead to a sense of purpose and belonging. This identification can be so powerful that it overrides the individual’s instinct for self-preservation. The outcome is to destroy the self along others who are perceived as enemies. Individuals who act as suicide bombers might commit such acts due narcissistic wounds. Narcissistic wound is an emotional state where individuals feel that their sense of self is deeply hurt. Engaging in suicide bombing can be seen as a way to restore a sense of power and significance, especially if they believe they will be honoured and remembered. Enjoying good things in heaven after death is one of the promises or rewards use to brainwash suicide bombers.

    “The ego ideal represents an individual’s ideal self-image, shaped by societal and cultural norms. If the ego ideal is influenced by extremist ideologies that glorify martyrdom, the superego (moral conscience) might support such actions as a means of achieving this ideal, despite the destructive consequences. Psychoanalysis also acknowledges existential dimensions. Individuals may experience profound existential despair, feeling that their lives lack meaning or purpose. In such cases, the act of suicide bombing might be perceived as a way to achieve a meaningful existence, albeit in a highly destructive form. As a whole approach, psychoanalysis only provides one lens to understand the motivations behind suicide bombing, it is important to integrate this perspective with insights from other fields for a more comprehensive understanding.”

    Psychologists are of the view that the issue of women becoming suicide bombers is deeply troubling and complex, driven by a mix of psychological and sociocultural factors. Extremist ideologies often provide a sense of identity and belonging to individuals who feel marginalised or alienated, they explained. Women, particularly in patriarchal societies, may face significant social and cultural constraints, prompting them to seek empowerment and purpose within extremist groups. The role of a martyr offers a powerful narrative of self-worth and significance.

    Extremist groups use sophisticated psychological manipulation and indoctrination techniques. Women are exposed to intense propaganda that glorifies martyrdom and promises spiritual rewards in the afterlife. This indoctrination can create cognitive dissonance, where the act of suicide bombing is perceived not as an end but as a transcendental beginning. Experts note that some women who become suicide bombers may suffer from mental health issues, such as depression, PTSD, or other psychological disorders. These conditions can make them more susceptible to extremist rhetoric, reducing their capacity for critical thinking and resistance to coercion.

    Sociocultural factors also play a critical role. In many societies, strict patriarchal norms dictate women’s roles and limit their opportunities. Extremist groups exploit these norms, positioning martyrdom as a means for women to transcend their societal limitations and achieve heroic status. Extremist ideologies often provide religious or ideological justifications for suicide bombings, indoctrinating women to believe their actions are divinely sanctioned and will be rewarded in the afterlife. This belief system is particularly compelling in deeply religious communities.

    Social pressure and coercion are significant factors. Some women are forced or blackmailed into becoming suicide bombers, especially when their families are threatened. Social honor and shame dynamics can also play a role, with women seeking to restore family honor through martyrdom. In certain contexts, communities may support and validate martyrdom, celebrating martyrs and elevating their status, creating an environment where women are encouraged to follow suit, believing they are contributing to a noble cause.

    Experts agree that several psychological processes underpin the journey of a woman from an ordinary life to becoming a suicide bomber. Radicalization and cognitive transformation involve adopting extreme beliefs and ideologies, facilitated by charismatic leaders and cohesive group dynamics that reinforce extremist narratives. Dehumanisation and moral disengagement are crucial mechanisms, enabling individuals to commit acts of violence without guilt or remorse. Women are taught to view their targets as subhuman or as obstacles to a greater cause, rationalising their actions.

    Emotional desensitisation, achieved through repeated exposure to violent propaganda, reduces emotional responsiveness to violence and suffering, making women more willing to carry out suicide bombings. For many women, becoming a suicide bomber provides a profound sense of purpose and transcendence, offering an escape from mundane existence and a path to achieve something greater than themselves. This sense of purpose can be a powerful motivator, especially in contexts of extreme poverty and social marginalisation.

    Solutions

    The Public Relations Officer of Association of Professional Counsellors in Nigeria, Mrs. Bunmi Elabor, in an interview with The Nation, said: “As a professional counselor, I see renewed cases of women suicide bombers as one of the vices in recent times in the history of Nigeria. The government has to put the followings into consideration, if we are to have a great society:

    “Liberate all the out-of-school children by giving them adequate facilities in educational development. It must encourage girl-child education, especially in the northern part of Nigeria. Parents should monitor the behaviour of the girl-child, especially when they isolate from other members of the family.