The Nation Newspaper

Category: Arts & Life

  • July First Studio, AMAIF partner for 2024 festival

    July First Studio, AMAIF partner for 2024 festival

    July First Studio and Artmiabo International Art Festival (AMAIF) will partner for the 2024 edition of the event.

    The theme is : ‘Sculpture’s Odyssey: A Chronicles of a Dexterous 3D Visual Practice’ and is scheduled for 29th-1st of May 2024 in Lagos.

    July First Studio is a European standard photography brand located in the heart of Port Harcourt, Nigeria. They are known for their unique and exquisitely furnished content house and top-notch coverage.

    July First Studio, which was also a media partner for the previous edition of Artmiabo International Art Festival, is set to storm Lagos State to deliver another premium coverage.

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    Speaking with journalists, the CEO of July First Studio, Mrs. Bridget Soala said: “People were amazed with what we did at the last edition of AMAIF, but trust me when I say we’ll surpass their expectations.

    “Our staff are reinforced with a better and rare knowledge of content creation. We are ready to raise the bar in AMAIF 2024.”

    Made Kuti, Jikume Bethlehem, and DJ Raybee are amongst the superstars billed to perform at the festival.

  • Greener pastures, pandemic, addiction, and others in Joshua Omeke’s ‘Joe’s Collectanea’

    Greener pastures, pandemic, addiction, and others in Joshua Omeke’s ‘Joe’s Collectanea’

    Joshua Omeke’s collection of thirty-one poems, ‘Joe’s Collectanea’, is a study in a number of issues, global and local. He beams searchlights on colonialism, japa, COVID-19, love, disappointment and he examines them with keen eyes. 

    The first poem in the collection, ‘Danilo The Farm Boy’,  is a portrayal of the challenges, rewards, and resilience found in farm work. It offers readers a glimpse into a world that is often overlooked but essential for our sustenance. The poet paints a vivid picture of the challenges and realities of farm life through its descriptive language and imagery. The poem captures the essence of hard work, dedication, and the daily struggles faced by those working in agriculture.

    The use of contrasting colours like green herbs and yellow sun, dying grasses and hay, creates a visual contrast that mirrors the ups and downs of farm life. The mention of veterinary doctors, needles, syringes, and steroid shots highlights the care and attention given to the animals, showcasing the complex relationship between humans and nature.

    With imageries such as the smells of urine and bleach to the physical exertion required to milk cows and harvest crops, the poet succeeds in making the reader empathize with farmers.

    In ‘Ache of Waters’,  the poet explores the human experience, blending nature imagery with introspection to create a thought-provoking piece.

    It captures a vivid and introspective journey through nature and the mind’s struggles. The imagery of the distant wilderness and the disappearance of light at sunset sets a contemplative tone. The metaphor of the mind as a canoe navigating the waters of life adds depth to the exploration of fear, loneliness, and resilience.

    With its rhythmic flow and impactful line breaks, the structure enhances the emotional journey. The transition from fear and abandonment to newfound courage and vitality is beautifully portrayed. The incorporation of sensory details like the chirping birds and the sound of water adds a layer of realism to the scene.

    Its last lines leave a powerful impact, highlighting the mind’s ability to overcome challenges and emerge stronger. The comparison of the ache of water to the harbingers of night consuming the mind reinforces the theme of resilience and determination.

    With ‘The Plague in Our Waves’, the poet engages in a deep contemplation of how the COVID-19 pandemic impacted our lives. The poet appreciates the value of togetherness, memories, and self-care while acknowledging the disruptions caused by the pandemic.

    In the opening lines, he expresses a sense of nostalgia for brighter memories created through togetherness, highlighting the importance of human connection. The poem also touches on the role of occupation in reducing stress, emphasizing the need for balance in life.

    The poem delves into the challenges posed by the pandemic, such as the disarray caused by lockdowns, the shift in routines, and the uncertainty of when normalcy will return. The poet reflects on the impact on social interactions, economic recessions, and the fear and precautions associated with the virus.

    There’s a contemplation on the deeper meaning behind these events, questioning whether they are a message to prioritise health, hygiene, and self-care. The poem leaves the reader with thought-provoking questions about the lessons to be learned from this experience and the importance of adapting to new realities while taking care of oneself and others.

    The poem effectively captures the mix of emotions and reflections brought about by the pandemic, inviting readers to ponder on the changes it has brought to our lives and the lessons we can take away from it.

    In ‘A Coloured Dream’, we see ambition, identity, and finding meaning amidst life’s challenges. Omeke touches on colonialism and the colonised’s offspring’s search for greener pastures in “the land of the people that persecuted my ancestors”.  This reflection on the journey of seeking success and fulfillment despite challenges and setbacks delves into themes such as the pursuit of wealth and status, finding peace through spirituality, and the complexity of personal identity. References such as crystals, meditation, and the teachings of Jesus add some depth to the narrative.

    The poet’s use of the contrast between material aspirations (“multiple commas in my bank account”) and inner peace (“the solace I derive reading the teachings of Jesus”) is thought-provoking. So are the mention of burning sage, listening to music, and indulging in luxury items like an Armani shirt.

    Using “Flies of Wilderness”, the poet explores the human spirit in the face of adversity and a call for empathy and compassion towards those on a challenging journey. We also see a return to the japa theme. He captures the struggles and resilience of migrants seeking a better life amid the harsh realities of the wilderness. The imagery of shadows roaming in the wilderness sets a somber tone, while the theme of loss and hope finding a home reflects the emotional journey of these weary souls.

    Skillfully, the poet portrays the migrants’ desperate flight, their longing for solace, and their dreams of a brighter future.

    The evil of nicotine addiction is the thematic concern of ‘The Grass of Our Time”, a poignant reflection on the allure of substances that pretend to heal but actually harm. It lays bare the risks we take in pursuit of temporary solace. We see the fine line between pleasure and peril. 

    In “Long Lost Love,” the author blends the intricacies of love with a tapestry of introspection and emotion. We see a man who has given up on love and consider a search for it a waste of time. The poem presents the eyes as windows to the soul. With metaphors, such as the tinted eyes, he challenges conventional notions of love as something solely of the heart. He suggests that true love transcends physical and verbal expressions.

    Read Also: Poetry in form of recollections

    The poem, ‘Composure,’ delves into finding contentment amid life’s uncertainties.  It also touches on the idea of happiness being elusive but essential. The poet compares happiness to a liquid in a vacuum flask. It advocates self-reflection and acceptance and embracing flaws and recognising their values. 

     With ‘Romance in Poetry’, Omeke paints a picture of the essence of romance through vivid imagery and comparisms. Metaphors, such as “concierge to my heart” and “played my heartstrings like Mozart”, help to portray love and admiration.  Imageries  like “sweet as a mild croissant crested with chocolate” and “Medieval pine is sweeter than wine” effectively convey deep affection and appreciation.

    Omeke examines the intricacies of life in the poem, ‘Life’. The poem blends beauty, struggle, influence, love, and growth. It highlights the beauty of art and implies that it surpasses the beauty found in life itself. Art, the poem suggests, has a transformative power. The poet portrays fear as a factor that can imprison us mentally.

    Through other poems, Omeke x-rays shattered dreams, the unpredictable nature of seasons, slavery, mothers as the eighth wonder of the world, God in His infinite dimensions, Artificial Intelligence, and more. 

  • Jewels of Inestimable Value In ‘A Possible Future: An Anthology of The Best Nigerian Writing (1789-2018)’

    Jewels of Inestimable Value In ‘A Possible Future: An Anthology of The Best Nigerian Writing (1789-2018)’

    The book, ‘A Possible Future: An Anthology of The Best Nigerian Writing (1789-2018)’, is a potpourri; it has poems, it has novel excerpts, it has short stories, it has memoir excerpts and it has plays from literary giants and new cats. It is some kind of history of Nigerian literature in one volume. 

    Arguably, some of the country’s memorable writers find space here and a few the editors would have loved to include, such as Elnathan John and Sefi Atta, didn’t give grant the required permission.

    The anthology’s inability to have much to present from the 1990s is a reminder to those clamouring for the return of the military into Nigeria’s politics. In that era, not much could be done in the literary space. It was an era writers and intellectuals were hounded and not a few went on exile. It was an era self-publishing was the main option for the few who released works. It took the return to democracy in 1999 for there to be a renaissance with the birth of new home-based publishers ready to either release the Nigerian editions of foreign published Nigerian novels or give home-based talents the chance to flourish. 

    The work also reminds us of the different eras in the country’s literary journey such as the pre-colonial, colonial, post-colonial, military and post-military periods. It also has a rich representation of the civil war, a period that birthed novels, memoirs and poems. 

    It also brings to life the contributions of the descendants of exiles, who have embraced their fractured African identities. One of them is Helen Oyeyemi. Her “Icarus Girl,” set in Ibadan (her birthplace) and the UK (where she has primarily resided), presents a captivating portrayal of spiritual displacement amidst liminality, offering a contemporary perspective rooted in the animist realism of Fagunwa. Although centered around twins, a motif rich in Yoruba mythology, the novel sparked debate over its classification as Nigerian literature due to the author’s self-identification.

    In the anthology, we reencounter Olaudah Equiano, D.O. Fagunwa, Wole Soyinka, Cyprian Ekwensi, Gabriel Okara, Obotunde Ijimere, Chinua Achebe, Duro Ladipo, Chukwuemeka Ike, Christopher Okigbo, Ola Rotimi, JP Clark-Bekederemo, Ken Saro-Wiwa, Isidore Okpewho, Buchi Emecheta, Femi Osofisan, Niyi Osundare, Elechi Amadi, Tanure Ojaide, Odia Ofeimun and Mobolaji Adenubi. 

    Also featured are the writing of Chimamanda Ngozi Adichie, Uzor Maxim Uzoatu, Sarah Ladipo Manyika, Biyi Bandele, Ikeogu Oke, Abubakar Adam Ibrahim, Lola Shoneyin, Teju Cole and more.

    The first excerpts are from the biography of Equiano, which was first published in 1789. There was no Nigeria at the time but its inclusion is strictly because of the author’s tracing of his roots to present-day Nigeria.

    The excerpts tell us of his abduction at the age of ten, his movement from one place to the other, including England, where he called home after buying his freedom and worked for the end of slavery.

    The book gives us the chance to compare Soyinka’s and Ladipo’s treatment of the 1946 colonial authorities’ attempt to stop an Oyo chief from performing a traditional rite after the Alafin’s death. Ladipo’s version, which was originally in Yoruba before being translated into the English version in this anthology, is titled ‘Oba Waja’ while Soyinka’s is known as ‘Death and the King’s Horsemen’ (which is now a Netflix movie directed by Bandele and made in Yoruba instead of the English language Soyinka wrote it in). It is clear that both set out to fault the colonial authorities’ demonisation of what they didn’t understand. ‘Oba Waja’  was published in 1963 and ‘Death and the King’s Horseman’ was in 1975.  

    Achebe’s 1958 ‘Things Fall Apart’ gets its due slot in this book and we get to reencounter Okonkwo in his fullness, his warts and all, his fears and despair, his failings and his successes. 

    The excerpts from Emecheta’s ‘The Joys of Motherhood’ remind us that misogyny is an evil that must be uprooted. We see how patriarchy messed up  Nnu Ego and how in the name of “tradition” women go through hell. This theme is reflected also in the excerpts from Lola Shoneyin’s ‘The Secret Lives of Baba Segi’s Wives’. Shoneyin laughs out, not loudly but subtly, at the stupidity of men like Baba Segi who think they are in charge but are being fooled by those they think they are under their jackboot.

    The anthology also reminds us of what Ekwensi was known for: chronicling the city. ‘Burning Grass’ and ‘Jagua Nana’, the two books featured here, 

    We also have Eghosa Imasuen’s short story, “New Generator: I Pass My Neighbour”, a poignant exploration of Nigerial’s longstanding electrity supply challenge, There is also A. Igoni Barrett’s short story, “Dream Chaser”, 

    The book, a project of the Farafina Trust and Sterling Bank, covers more than two centuries, featuring exquisite excerpts from over eighty literary works that highlight the excellence of Nigerian texts across pivotal eras like colonialism, despotism, Afropolitanism, and postcolonialism. It serves as a reminder of our vibrant literary heritage and offers insights into what the future may hold.

  • African writers must embrace indigenous languages to reclaim history — Mohammed 

    African writers must embrace indigenous languages to reclaim history — Mohammed 

    FORMER Minister of Information and Culture, Lai Mohammed, has urged African writers to embrace indigenous languages in order to reclaim their history and cultural identity.

    Mohammed, who is also the Managing Partner of a leading strategic policy communications and government affairs firm, Bruit Costaud, made the call as the chairman of one of the panel sessions at the ongoing World Organisation of Writers Congress, on Thursday in Abuja 

    He emphasised that language is not only a means of communication, but also a reflection of a people’s heritage and values.

    Mohammed pointed out that the dominance of foreign languages in African literature has led to the neglect of indigenous languages, causing a loss of cultural identity and historical knowledge. 

    Furthermore, he highlighted the role of literature in shaping the narrative of Africa and challenging stereotypes and misconceptions about the continent. 

    He called on African writers to be bold and innovative in their storytelling, using indigenous languages to connect with their audience and educate them about their history and traditions.

    His words: “Africa, with its rich tapestry of languages, cultures, and traditions, has long been a source of inspiration for writers around the world. From the ancient oral traditions passed down through generations to the contemporary voices shaping the literary landscape, African literature continues to captivate and enthrall audiences with its depth, diversity, and resonance.

    “Today, as we convene to explore the intersections of African literature with the global literary community, we embark on a journey of discovery, dialogue, and mutual enrichment. Through panel discussions, readings, and the question and answer session, we will delve into the myriad themes, narratives, and experiences that define the African literary landscape and its interconnectedness with the wider world.

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    “May I use this occasion to urge our writers, particularly those from Africa, to embrace and champion the rich tapestry of indigenous languages that weave through our world. In a global landscape dominated by dominant languages, the voices of indigenous communities often go unheard, their stories left untold.

    “As writers, you have a unique opportunity and responsibility to amplify these voices, to breathe life into languages that are at risk of fading into obscurity. Our pens, our keyboards – they are not just tools of expression; they are instruments of preservation and empowerment.

    “When we write in indigenous languages, we are not just creating literature; we are reclaiming history, honouring tradition, and empowering communities. We are also giving voice to those who have been silenced. 

    “From available statistic, about 90% of those who won the coveted Nobel Prize in Literature, especially from the non-English-speaking countries, wrote their books in indigenous languages. This statistic underscores the richness and depth of indigenous languages in shaping global literary landscapes. It highlights the importance of preserving and promoting linguistic diversity, as well as the invaluable contributions of indigenous writers to the world of literature

    “Let us seize this opportunity to amplify diverse voices, challenge prevailing narratives, and champion the transformative power of literature to shape hearts and minds.”

    He commended notable literary giants for putting Nigeria on the global map of literature such as Nobel Laureate Prof. Wole Soyinka, Chinua Achebe, Chimamanda Ngozi Adichie, Buchi Emecheta, Ben Okri, Abubakar Gimba, among others.

    He welcomed host writers from Nigeria and other African countries and parts of the world, who read from their works and explained the meanings of the work to the audience in a panel discussion. 

    “Of course, we all know that there is always a meaning behind any literary work – either fictional or non-fictional,” he said.

  • ‘Credible data, IT critical to creative industry growth’

    ‘Credible data, IT critical to creative industry growth’

    Each year, thespians from across the globe roll out the big drums to commemorate the World Theatre Day (WTD), while celebrating the theatre, artistes and society, in which they act as story tellers for sustainable development.

    Last Wednesday, the National Association of Nigerian Theatre Arts Practitioners (NANTAP), converged on City Mall, Onikan, Lagos to reflect on this year’s theme; Unbundling Nigeria’s creative economy for a sustainable future.

    The theme could not have been more apt and relevant to the nation’s current economic survival strategies.

    Setting the tone for the Leadway Assurance-sponsored conference, NANTAP President Israel Eboh tasked the thespians to be prepared to play active roles in the drive to turn the nation’s economy around.   

    “We must recognise that in our ‘playing’ we have the power not only to generate and create wealth for ourselves and nation, but to heal us of the many ills that hold us down as a people.

    “As we celebrate, we must recognise and appreciate the enormity of our task in bringing back our collective humanity. We must also recognise that the big elephant, called the creative economy has fallen in our midst. As the scramble for the benefits of the creative economy begins, we must know not all those who come on scene mean us well,” he said.

    Eboh urged thespians to not only step onto the field of creative business, but also reinvent themselves and be willing to embrace collaboration. According to him, thespians must understand the business of risk sharing and mitigation, and be engaged in constant capacity building and understanding the workings of the many components that make the creative economy one of the largest growing global economies.

    Lead paper presenter Vice President, Nigerian-American Chamber of Commerce, Dr. Ikenna Nwosu, observed that the creative sector had exponentially developed over the years despite the absence of government’s supports, absence of an updated national cultural policy, absence of an incentives policy for the creative and cultural sector.

    He noted that nothing in the sector could be achieved without the collaboration of stakeholders,adding that there was an urgent need for the improvement of industry-self regulation.

    In her paper, which focused on funding and grant in creative economy, Mrs. Ngozi Obigwe-Kunuji described the absence of data as a huge concern for access to fund. She urged thespians to examine how their respective productions affect the community they serve. This, she added, forms the kernel of what funders are looking for in the proposal seeking fund. She stated that giving the competitive nature of funding and grants, it is imperative for thespians to be more innovative while seeking entrepreneurial opportunities that will enhance their productions.

    “Tailor what you have to meet the needs of the funders,” she added.

    To her, the creative sector does not lack policies, but the implementation of such policies. She also identified how to measure impact, and resource constraint/abundance as critical elements in funding and grant. She listed British Council, Fort Foundation and Mastercard Foundation among many organisations practitioners can approach for funds.

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    Providing insurance angle to the discussions, Mr Abodunrin Roberts, who spoke on Insurance and sustainable creative economy, pledged the readiness of insurance industry to partner creative industry stakeholders for sustainability and growth of the sector.  He disclosed that there are lots of covers in insurance that can serve the health benefits of thespians especially the aged ones who sometimes beg for financial supports when confronted with health challenges.

    In reactions to the presentations, one of the panelists, veteran Nollywood actress, Joke Silva has called on the Lagos State Government to put the state’s community theatres built by ex-Governor Akinwunmi Ambode to good use to impact the society and engage the youth meaningfully.

    She decried the non-functioning of the theater located in the five divisions of the state, describing it as a sad development.

    According to her, to fully unbundle the Nigerian creative economy for a sustainable future, formidable structures must be in place.

    “The creative industry needs a lot of structures-intellectual and physical, for the industry to thrive better. We should have physical structures of theatres across each local government in the federation.

    “I can remember Lagos state did well by building five theatres and all have not been put to effective use in recent times, this is a sad development. This is so because government is thinking it is not making money from it.

    “Structures like the community theatre and the Freedom Park are cultural institutions and assets government needs to fund because these structures are impacting on the society and take the young people off the streets.

    “These theatres and some other cultural places need take-off grants for a long time from government because they impact the society. So the Lagos state government needs to make these theatres work again,” she said.

    Silver noted that government did not need to create more cultural centres but rather revamp, renovate and refurbish the existing ones across the nation.

    “One of such cultural centres to be revamped is the Cyprian Ekwensi Centre for Arts and Culture in Abuja. “Training is also another important thing needed, this relates with the intellectual structure needed in the creative space.

    “I can observe series of micro-wave training the younger ones are engaged with, which makes our people sub-standard to the global standard. This is because they are not well trained. As we train to meet the funder’s, we also need to train to meet Nigerians needs. We need to get it right,” she said.

    On the importance of data gathering to unbundling Nigeria’s creative economy for a sustainable future, renowned filmmaker, Femi Odugbemi observed that there is a new shift in the creative sector as some players are making good money using the information technology platforms much more than thespians using the traditional platforms. He said the shift also witnessed the accompanied expansion of the creative space, but however noted that every statistic ever provided in the sector is a guess work. He therefore advised practitioners to engage the right kind of technology for data gathering.

     “Every number I have heard is a guess and this is usually used to make ridiculous plans. There must be a shift from the normal,” he said. Absence of data has been a huge setback. We need to also map out how to interface with governance structures. The industry is built on individual efforts and our talents are only what we are offering. We need to produce platforms and structures to grow the sector,” he added.  

    Continuing, he said: “The trust about the data being gathered is where we have the real issue. The shift in how we do business is impacted by technology. But what’s the reality of creative industry in the next five years? TikTok or YouTube users make more money than those professionals. We need to take advantage of the new spaces and we must shift from the traditional mode to others where contents can be accessed or enjoyed.” 

    For Gboyega Lesi, opportunities in the creative sectors are huge which can contribute the projected 6.2 percent revenues to nation’s GDP. He said insurance is a critical way for the show to go on in the industry adding that there is strong need for creation of affordable insurance products that thespians can pay for. He noted that data must be provided by the practitioners while insurance firms identify the values and potentials. “There should be knowledge sharing, telling the real stories to generate interest,” Lesi said.   

  • ‘Nigeria can produce another Nobel winner’

    ‘Nigeria can produce another Nobel winner’

    A creative writer and author, Akin Akingbogun, has said Nigeria can produce another Nobel winner almost two decades after Prof. Wole Soyinka won the prestigious prize in literature.

    For that to happen, the limitations must be addressed, he said.

    The Obafemi Awolowo University Civil Engineering graduate is the author ‘Dreams from Yesterday’, published last year.

    It comes after his ‘Prisoner of Fate’ published in 2021 and a two-in-one thriller titled ‘Waste of Sin’ and ‘Blood in the Water’ (2022).

    Akingbogun said: “Whilst the Nobel Prize appears to have taken the centre stage as the most important award in the category for many decades, African writers of Nigerian decent have distinguished themselves in the prestigious Booker Prize (Ben Okri 1991) and Pulitzer Prize (Dele Olojede, 2005).

    “There are quite a lot of Nigerian writers and authors who have given a good account of their literary works and originality on the global stage.

    “However, to stand heads and shoulders above other writers on the globe, in our ever-dynamic world, we must tell stories that present a side to Africa and its people, yet invite a welcome curiosity about our culture and the impact of our changing world on the African society.”

    According to the author, one of the challenges faced by many writers in Nigeria is the lack of access to learning platforms to hone their skills.

    Read Also: How Nigeria can produce another Nobel winner, by author

    He said: “Writing isn’t just about putting a string of sentences together.

    “It is akin to a piece of artwork that must be carefully crafted to pass just the right sort of message and emotion to the readers.

    “It is also a reflection of the upbringing, cultural roots, value systems, and the literary journey of the writer.

    “Writing is a powerful tool that must be applied with the precision of a marksman.

    “In addition, most young Nigerian writers struggle to get their works out into the literary world as publishing opportunities continue to dwindle just as the reading culture continues to suffocate under the weight of the lucrative visual social media contents.”

    Giving an insight into his new work, he said ‘Dreams from Yesterday’ is a compilation of 14 short stories, drawing attention to common societal issues ranging from teenage pregnancy, domestic violence, terrorism, depression, peer pressure, youthful exuberance, death and love.

    The stories, he said, are written from an unusual perspective to leave the reader asking questions about our norms, values, and things taken for granted.

    Akingbogun added about the work: “It is intended to get readers to view issues from the lens of those involved. The feedback has been positive.

    “In my opinion, it hit the right notes with the book reviewers leaving them with a lot of questions that they must find answers to, in seemingly obvious and very likely situations.”

    On whether creative writing is a rewarding venture, the author said: “I think this perception will depend on how successful the writer is. I consider each copy of my book a currency I trade with in return for a fair value.

    “Traditional bookstores allow the literary works far-reaching publicity just by sitting on the shelves, but a whole different market segment exists in one’s social, business, and literary networks.

    “Social media platforms offer yet another marketing opportunity just as Amazon KDP presents a global opportunity in foreign currencies.

    “If authors are willing to explore the options, writing can be quite rewarding financially.”

    On how young writers can succeed, Akingbogun said: “One of the biggest strengths of writing is consistency. The more often you write, the better you get. The more you explore new themes, the more creative you get.

    “Writing can be enjoyable as a passionate hobby. But it can be lucrative if applied for commercial purposes.

    “Young writers must define their niche and be consistent both in the frequency of writing and in the sort of message they intend to pass across

    “Due to the high amount of visual content on social media competing with traditional books or online readers, the attention span of readers has reduced drastically.

    “Long-length novels only appeal to a small section of regular readers, and the messages and learnings are often lost to a great number of readers.

    “Short story writing, while not new, is a dynamic approach to keeping readers engaged long enough for their attention span.

    “We need to find innovative ways to get readers to spend time reading without being invasive.

    “This would include using interactive storytelling, short videos with voiceovers and other similar approaches.”

  • Lagos marks Theatre Day with pomp

    Lagos marks Theatre Day with pomp

    This year’s World Theatre Day (WTD) celebration organised by Lagos State Ministry of Tourism, Arts and.Culture was more than a theatrical performance featuring dance-theatre skit and poetry. Underlying the scintillating performances was a strong clarion call for citizens to be patriotic and actively engage in nation building despite the harsh economic reality..

    Last Wednesday, at the Alliance Francaise. Ikoyi. Lagos, no fewer than eight performing groups thrilled guests to thought provoking presentations. But, on the flip side, the event also celebrated the cosmopolitan nature of the state with display of different theatrical performances, dances and music.

    The theme for the commemoration of the WTD was: “Theatre and Culture of Peace” and featured performances that cut across ethnic groups represented in the state.

    One of such performances that pricked the conscience of many guests was by Segun Adefila led Crown Troupe of Africa, that performed a skit entitled “Progressive Express.’ 

    It is  a dynamic dance-theatre skit that serves as a rallying call for citizens to actively engage in nation-building and foster patriotism in Nigeria. Through expressive choreography and powerful storytelling, the skit portrays the journey of individuals from various backgrounds coming together to drive positive change in their country. As they navigate challenges and overcome obstacles, they exemplify the spirit of resilience, unity, and determination needed to propel Nigeria towards greatness.

    With a blend of energetic movements and poignant narratives, “Progressive Express” inspires audiences to roll up their sleeves and contribute to building a better future for their nation. The play also spotlights the political and leadership challenges bedeviling the nation since independence.

    “If we have oil and still import petrol, We need treatment, If you want change,  why don’t you change, Our story must.change, Nigeria must rise.again, We must make things work, No body will do it for us,” were some of the admonitions by the cast..

     Abiodun Oke, a percussionist, popularly known as “Wura Samba, displayed a high level of creativity with his traditionally built Samba drum.

    The Saxophone Hub, a troupe of dancers, presented instrumental performance of late Victor Uwaifor’s Joromi, late Victor Olaiya’s Omo Pupa and Simi’s Duduke.

    Read Also: Lagos govt to celebrate World Theatre Day

    Queens and Kings Theatre Academy, a  group dominated. Y young talents put up a thrilling show that drew attention to sociopolitical issues like unemployment, Japan syndrome, among others..

    Sage who did a solo presentation added spice to the evening with poetry performance.

    DNMT  (Dance Na The Main Thing) is a group of young powerful dancers and they kept the audience applauding.

    To round off the evening show, the Lagos State Council for Arts and Culture showcased a playlet entitled “Oshodi”, that highlights Oshodi as a place of movement, prosperity and adversity. The performance also celebrated the popular Danfo bus as one of modes of transportation in the state..

    Special Adviser to Gov. Babajide Sanwo-Olu on Tourism, Arts and Culture, Mr Idris Aregbe

    expressed delight that the younger generation of artistes were carried along in the development of arts and culture.

    Aregbe who appreciated Gov. Sanwo-Olu for always supporting the sector disclosed that there are ongoing conversation between government and the  management of the community theatres located in the five divisions of the state with a view to make them operational and relevant to their hist communities. He noted that the one.located at Oregon that was burnt during the Endsars protest will be rehabilitated soon as government has mobilised contractors to site.

    “Lagos is not about governance alone but about the people.We thank Lagosians for believing in us..I am happy the younger thespians are ready amd prepared to take over the stage,’ he said.

    Chairman, Lagos State House Committee on Tourism, Arts and Culture, Mr Solomon Bonu assured stakeholders of his full commitment to supporting the industry.  

  • Amerikana who is that girl sparks musical revolution

    Amerikana who is that girl sparks musical revolution

    Atlanta based musical sensation, Kanwulia, is stirring music buffs interest in Lagos with her “Amerikana Who’s That Girl!?” Lagos Easter tour packaged by the visionary team at Inspiro Productions and their dynamic partners, Volkano Productions.

    The tour commenced with a big welcome as Kanwulia touched down at Murtala Muhammed International Airport, Lagos

    It was a scene that kick started an unforgettable musical voyage through the heart of Nigeria’s bustling metropolis.

    The excitement reached fever pitch at The Rhodes BBQ Alausa Media Meet & Greet, where Kanwulia took center stage and stunned the media with an impromptu rendition of her chart-topping anthem, “Bigger Things”. The energy was palpable as they were impressed by her magnetic performance.

    At the press meet and greet, Ara Olumuyiwa, PMAN, Lagos and esteemed African Drummer,acknowledged  Kanwulia’s exceptional talent and future in the music industry.

    “ I am honored to present this well-deserved recognition to Kanwulia,” said Inspiro Productions CEO Ayoola Sadare while expressing his admiration for the artist’s boundless creativity and dedication to her craft. “Her music transcends boundaries and inspires us all,” added the Convener of the Prestigious Lagos International Jazz Festival.

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    In her speech, Volkano Productions CEO Diana Nwandu highlighted the collaborative spirit behind the tour, emphasizing the importance of creativity and innovation in shaping the future of music entertainment. “Kanwulia’s tour is a testament to the power of collaboration and the limitless possibilities of artistic expression,” she said.

    The tour will also take Kanwulia to venues such as Scotch Bonnet, BayLounge, Sol Beach, Umutu Jazz Club, Freedom Park, Jazz Hole & Eko Hotel amongst others culminating in a thrilling performance at The Lagos International Jazz Festival 2024 showcase to be held at Live Lounge where Kanwulia will headline alongside a stellar lineup of top musicians.

  • Celebrating an academic role model

    Celebrating an academic role model

    It was a remarkable convergence, where the worlds of academia and faith intersected seamlessly. An evening of profound reverence and jubilant celebration unfolded, as distinguished figures gathered alongside revered scholars, devout believers and cherished loved ones. What was their purpose? It was to honour Prof. Chris Ochonogor, an academic luminary of the prestigious University of Port Harcourt through the public presentation of a festschrift—a distinguished tribute to his impactful career. In this special report, BISI OLANIYI, Southsouth Bureau Chief, delves into the heart of the celebration, capturing the essence of Ochonogor’s academic prowess, his unwavering devotion to his faith and the profound impact of his love story—a narrative that transcends the boundaries of academia and resonates with the universal themes of perseverance, gratitude and the indomitable spirit of human achievement.

    In the hallowed halls of the Rivers Province 8 Headquarters of the Redeemed Christian Church of God (RCCG), Shepherd’s Hill Parish, a gathering of revered scholars, devout believers and loved ones bore witness to an evening filled with reverence, celebration and profound emotion. At the centre of it all stood Prof. Chris Ochonogor, a distinguished scholar of the prestigious University of Port Harcourt, whose journey of academic excellence and spiritual devotion intertwined with the unwavering support and love of his dear wife, Deaconess Dorcas Ochonogor. As the evening unfolded, Prof. Ochonogor’s words echoed with gratitude as he spoke glowingly of his beloved partner, an outstanding banker and doctoral degree holder from UNIPORT. “I thank my sweetheart for being so supportive,” Prof. Ochonogor expressed, his voice resonating with sincerity. “I would not have become a professor if not for the grace and mercy of God and the unwavering support of my darling wife.”

     It was a sentiment that encapsulated the essence of the evening—a testament to the power of love, faith and mutual encouragement. For it was Deaconess Dorcas Ochonogor’s steadfast support that paved the way for Prof. Ochonogor’s academic achievements, from purchasing his Ph.D.’s admission form to paying his first school fees for the doctoral programme. The occasion, which marked the presentation of a 593-page book, titled “Issues and Trends in Communication and Development: A Festschrift on Professor Christopher Ifeakachukwu Ochonogor,” was a celebration of scholarly achievement and profound gratitude. The festschrift, a volume of essays and articles contributed by various authors in honour of Ochonogor, serves as a tribute to distinguished scholar’s contributions to his field of study – also a reflection of the breadth and depth of his impact on his colleagues and the academic community in general. Edited by Drs. Progress Umor Daniel and Sunny Mbazie, the book delves into the intricate intersections of communication and development, offering insights gleaned from years of dedicated research and scholarly inquiry.

     But beyond the scholarly contributions encapsulated within its pages, the book serves as a testament to the enduring legacy of love and support that defines the partnership between Prof. Ochonogor and his beloved wife. It is a celebration of their shared journey—a journey marked by unwavering devotion, mutual respect, and boundless determination. The book presentation, combined with the reception to mark Prof. Ochonogor’s professorial thanksgiving, was a poignant reminder of the profound impact that love and support can have on one’s academic and spiritual journey. It was a celebration of two individuals whose lives intertwine in a beautiful tapestry of shared dreams and shared accomplishments.

     Guest preacher Pastor Benjamin Kejeh, leading a well-attended service, delivered a powerful sermon titled “Thanksgiving,” drawing from Psalm 95:1-8. With passion and conviction, Pastor Kejeh, known for his role as RCCG’s zonal pastor of reconciliation zone in Port Harcourt, encouraged the congregation, including respected personalities, to cultivate a spirit of gratitude towards God, especially in acknowledging His blessings. “In the act of thanksgiving,” Pastor Kejeh proclaimed, “we acknowledge the goodness of God in our lives. He is the Supreme King above all, and our gratitude opens doors to more of His blessings. Let us not forget that it is the living who can offer praise; therefore, let us continually express our gratitude, for the dead cannot join in joyful worship.”

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     He emphasised the importance of both diligent work and unwavering faith, cautioning against the pursuit of lesser gods and urging obedience to God’s commandments. “Even as we toil,” he reminded, “let us remember to fear and obey God, for it is by His grace that we find success and stability. Surrender your life to Christ, and let His guidance establish you.” Turning his attention to the revered professors among the congregation, Pastor Kejeh spoke of hope for Nigeria when such individuals serve God sincerely. “The pinnacle of scholarship,” he noted, “is embodied in the professoriate, a path marked by challenges and triumphs. A professor’s journey is one of relentless pursuit, navigating through peaks and valleys to unveil new understandings and expand the horizons of knowledge.”

     He underscored the significance of professors as not only leaders in academia but also as pillars of societal progress. “A professor’s impact transcends the lecture hall,” he explained, “extending to the broader community, where their wisdom and guidance shape future generations. Let us strive not only for academic excellence but also for meaningful contributions to our society.” In conclusion, Pastor Kejeh urged all present to remain steadfast in prayer and devotion, echoing the sentiment that true success lies in serving God wholeheartedly.

     Prof Godwin Okon, the Director of Research and Development at Rivers State University (RSU), Port Harcourt, lauded Ochonogor as a towering figure of remarkable achievements, noting his unparalleled versatility, dexterity, and exceptional qualities that have earned him the well-deserved promotion to the prestigious rank of professor by UNIPORT. Describing Ochonogor as a rare breed and a valuable asset, Prof Okon emphasised the significance of his contributions to academia and beyond. “Ochonogor’s journey is marked by giant strides,” he remarked. “His ability to excel across various domains is a testament to his intellectual prowess and dedication.” The promotion to professorship, according to Prof. Okon, is a testament to Ochonogor’s exceptional capabilities and significant contributions to his field. “His elevation to the rank of professor,” he stated, “is recognition of his outstanding scholarship, leadership and commitment to advancing knowledge.”

     Okon said further: “I ride full chest to say that Christopher I. Ochonogor is a professor of inestimable repute. His scholarly mien is wrapped around a modest and cheerful disposition. Prof. Ochonogor stands tall among many scholars today, by the singular attribute of maintaining a perfect balance between brilliance and virtue. He is a man loved by all, and this explains why a Festschrift in his honour is a most welcome development.”

     At the book presentation and reception, chaired by UNIPORT’s esteemed Prof Ozo-mekuri Ndimele, the atmosphere was filled with pride and admiration as Prof. Ochonogor was hailed as one of Ndimele’s exceptional academic proteges, evoking a sense of paternal pride and deep satisfaction. Prof Ndimele, also the former Vice-Chancellor of Ignatius Ajuru University of Education (IAUE), Rumuolumeni, Port Harcourt, expressed his profound admiration for Ochonogor’s character, emphasising his integrity, diligence and unwavering commitment to academic excellence. He proudly attested to Ochonogor’s uprightness and ethical conduct, highlighting his refusal to engage in unethical practices such as sorting or coercing students to purchase books or handouts.

     The book reviewer, Dr. Ben Nyewusira, from UNIPORT’s Department of Educational Foundations echoed the sentiment of reverence for Ochonogor’s work, describing the book as a masterpiece essential for communication scholars and enthusiasts alike. He commended its comprehensive content and the meticulous attention to detail evident in its publication by Geocilia Integrated Services Limited, Port Harcourt, in 2024. Nyewusira highlighted the book’s expansive scope, comprising 48 chapters organised into seven sections, authored by revered scholars. He praised the contributors for their adept incorporation of Ochonogor’s teachings into their writings, underscoring the book’s relevance beyond the borders of sub-Saharan Africa. Furthermore, Nyewusira lauded the editors for their dedication to maintaining Ochonogor’s intellectual legacy and commended the impeccable packaging of the book, including its typography, layout and adherence to the 7th edition of the American Psychological Association’s style sheet.

     A UNIPORT’s iconic scholar, Prof. Christie Omego, representing the Dean of the Faculty of Communication and Media Studies, Prof. Walter Ihejirika, praised Prof. Ochonogor as a dependable and trustworthy ally, urging support for his meticulously researched book. The significance of books, emphasised by the chief launcher, Chief Chukwudi Ochonogor, cannot be overstated, as they are the foundation of knowledge and human development. He implored friends, colleagues and associates to invest in Ochonogor’s hard-work by purchasing copies of the book, priced at N12, 500.

     Dr. Faustinus Nwachukwu, Chairman of the Planning Committee, expressed gratitude for the successful coordination of the event, attributing its seamless execution to divine intervention.

    He thanked attendees for their support and prayed for continued blessings upon Prof. Ochonogor and his family. Prof. Ochonogor, in his humble acknowledgment, credited the grace of God for his achievements, reflecting on his modest beginnings and expressing gratitude for his wife’s unwavering support. In a gesture of appreciation, the couple donated a set of musical instruments to enhance the church’s sound system. Acknowledging his mentors, particularly Prof. Ndimele, for their guidance and encouragement in academic pursuits, Prof. Ochonogor expressed heartfelt gratitude to all who honoured him and his wife. He wished them success in their endeavours and urged the youth of the Niger Delta region to emulate positive role models like himself, steering clear of criminal activities and contributing to societal progress. The celebration, indeed, underscored not only Prof. Ochonogor’s academic accomplishments but also his commitment to philanthropy and societal development, serving as an inspiration to all.

     As the evening drew to a close, amid heartfelt speeches and joyous celebration, one thing became abundantly clear—the love story of Prof. Chris and Deaconess Dorcas Ochonogor is a testament to the power of faith, perseverance, and unwavering support. And as they continue to embark on their journey together, they do so with hearts full of gratitude and a deep sense of reverence for the blessings that have guided their path. For Prof. Ochonogor, a Senior Pastor of the Redeemed Christian Church of God in Port Harcourt, and his beloved wife, the remarkable evening was not merely a celebration of academic achievement—it was a celebration of love, faith, and the profound bond that unites them as partners in life and in purpose. And as they look ahead to the future, they do so with hearts full of hope, knowing that their love story is far from over—it is only just beginning.

  • Amachree urges minister to engage with private sector

    Amachree urges minister to engage with private sector

    Frontline tourism practitioner and Proprietor Brooklyn Group of Hotels and Resorts, Chief Mike Amachree has called on the Minister of Tourism Mrs. Lola Ade-John to engage with the organised private sector tourism practitioners on how to move the industry forward. 

    Amachree said it was a known fact that tourism is private sector driven, while the government creates the enabling environment for the success of the industry. He said the interface between the public sector led by the minister and the organised private sector industry practitioners would create a healthy ground for exchange of ideas, and the best way to move the industry forward.

    Read Also: Amachree hails creation of Tourism ministry

    Amachree, a tourism mogul and the first president of the Association of Tourism Practitioners of Nigeria (ATPN), said it is the collaboration between the public and private sector that gave birth to the Federation of Tourism Associations of Nigeria (FTAN), which in turn led the foundation for the growth of tourism in Nigeria.   He said: “Tourism is an industry in which both the public and private sector have their roles to play. It is only when the two sectors collaborate that the industry can move in the same direction.

    “We thank God for the creation a stand-alone Federal Ministry of Tourism and you as the first Minister of Tourism, unlike in the past when we had ministers of tourism and culture. It is a call to duty, and the foundations you will lay during this tenure determine how fast the industry will grow in Nigeria. I believe you are equal to the task.”