The Nation Newspaper

Category: Arts & Life

  • Many stories from the land

    Many stories from the land

    Title: The Moon Child and Other Stories

    Author: Ekan Essien

    Publishers: Siene Books, Uyo

    Reviewer: Edozie Udeze

    The act of story-telling is a craft. It is a gift to man by the unseen powers from above. For someone to be a good story-teller, he has to first of all take time to master the rudiments and the secret of making a good story practically out of nothing. For a good story-teller, every event, all social religious and cultural matters and other norms are good story materials. This is what Akan Essien has succeeded in doing in this short stories collection titled The Moon Child and Other Stories. He took his time to grasp and master the event in and around him. The village setting is clear; the people who inhabit his entire vicinity are all represented. In all these, he clearly, somewhat carefully sieved through the events to produce six amazing stories. No doubt, these stories hit you as a reader. The moment you pick the book to read, you feel the suspense all over.

    His stories are just topical. Essien ensured the themes reflect a society, a Nigerian society in the throes, in the bowel of social – political and economic turbulence. The stories come as eye-openers, dwelling on vast matters that touch the heart. The author shows that the beauty of story-telling lies in telling the stories and telling them well. Infused with instructive proverbs and jokes and innuendoes here and there, the metaphorical nuances of the stories penetrate like a desert breeze that seeps and sooths. The opening story entitled Adventure is the story that truly tests Essien’s mastery of the craft. In it, he carefully relates some of the well-known paths of teenage odysseys. It is a story of most young people as they foray into the world of life.

    The Adventure is the story of teenage brevity and rascality. It is a story of poverty intermingled with riches in which the children of the well-to-do and children of the poor co-inhabit. It is a story of childish love, adventure and fantasy occasioned by exposition to the ideals of life. See, on page 3, the author lays it bare thus: “My friends that I talked about earlier came from rich homes…” so the yawning comparison and gap between the rich and the poor predominate in the school in this story of adventure where love and jealousy exist.

    In one of the most inspiring stories entitled The Strange Passenger, Essien situates one of the most instructive accounts of the times. A story where a graduate ends up being an Okada rider/operator. It is the story of the moment, this moment of sports betting, of fake prophets and men of God duping people here and there, of young people living fast, rudderless life in all facets. After several obnoxious lifestyles and the quest to make ends meet, this young graduate Okada rider encounters a female ghost passenger and the matter ends abruptly. Hear this on page 62, “I rode the bike to a stop and turned around to get my money. I met an empty seat; there was no lady in sight. I slumped the bike down and tore through the street like a freshly deranged mind”.  And so both the Okada business and all other issues pertaining to it end in a jiffy.

     Flown Away is also an intriguing tale well-crafted to situate the world of humans and the spirit of the living dead. His name is Pa Itiaba, a man that is a man. Though strange and near ubiquitous in all manner of razzmatazz, Pa Itiaba appears from nowhere in this setting, building his own house, and deciding to live the life of a hermit. The author describes him as “He was a man not a soul cared to ask where he came from. The people were afraid of his reaction if such courtesy was done. The man neither talked to nor answered anybody”, page 63. This happened at Ikot Eka where a sacred forest existed. You can see that apart from being a master story-teller, Essien is very observant with an ear to the ground. He is a man at home with his people, with his immediate surroundings. These stories can only be well-told by a writer who observes critically. And that is why he can assign so much awfulness to vultures, the evil birds that dared to take away the coffin of Pa Itiaba of Ikot Eka.

    In The Red Cap, he tells a rather pathetic story of Edoka, a man caught between his love for selfishness and eagerness to be made a red cap chief and also the anxiety to have a son to succeed him. He has many female children from a number of wives. But driven by this medley of frustrations and worries, Edoka becomes a loner, a one man riot squad, so to speak. He ends up not getting the red cap chieftaincy title and a son he so desired. This is a story of hopes dashed and dreams aborted. On page 47, Essien clears the air about Edoka ended up. “Chief Edoka quickly removed the wrapper that was used to cover the baby. He could not wait to see the baby boy. As the genitals of the baby stared back at him, he collapsed. It was a female child”. Yes, the numerous women in his life including his first daughter Ekaete have taken him for a ride. And so he ends up disastrously. There are other stories including the menace of kidnapping, all tailored to teach, to instruct. In all, Essien has shown that the essence of life is to live to learn, to adapt and to love and share.

  • The day Vatsa was woken up in Abuja

    The day Vatsa was woken up in Abuja

    Denja Abdullahi writes about the last surviving daughter of late Major General Mamman Vatsa, Hajiya Aisha Vatsa who is also a poet.

    World Poetry Day 2024 Celebration with the theme “Standing on the Shoulders of Giants” was a day cut out for members of the literary clan in Nigeria to remember the immense contributions of the Soldier-Poet, Late Major General Mamman Jiya Vatsa, to the development of Nigerian literature. That may be the reason why the Abuja Poetry Society and the Abuja Poetry Troupe collaborated, with the support of the Association of Nigerian Authors (ANA), to host a series of literary events in honour of Vatsa that day themed “ Waking Mamman Vatsa,” with the rider “From Ink to Immortality: Documenting Nigerian Writers and Poets.” The events held within the cavernous 1500 seating capacity auditorium of the Chinua Achebe International Conference Centre inside the Mamman Vatsa Writers’ Village, Mpape , Abuja.

    The celebration started with an opening remarks by the former president of the Association of Nigerian Authors, Mallam Denja Abdullahi, under whose auspices as ANA President the construction of the Mamman Vatsa Writers’ Village began in 2017, many years after Vatsa in 1985, as Minister of the Federal Capital Territory , donated the land to the Association. Denja Abdullahi was therefore conclusive in his address that the Association of Nigerian Authors, in terms of its infrastructural development for the powering of Nigerian literature, is today standing on the sturdy shoulders of Mamman Vatsa.  He recalled the distinction of Vatsa as a foremost soldier and a passionate poet who was monumental in the nurturing of the poetic sensibility in the Nigerian military and his legacy contribution to the Association when he hosted its 1985 convention where he made his visionary donation of the land towards the future of the writers’ body. 

            The poetry readings for the day was kicked off by an excursion into the poetry of Vatsa and of other soldiers-poets in the Nigerian military , many of which were Vatsa’s  protégés. Two poems of Vatsa were first read which were “If I Must Die” from the 1978 collection Voices From the Trench , which he edited and “ The Spell of Abuja” from his 1985 collection. Reach for the Skies. The reading of two other poems authored by the so-called “Vatsa’s boys” followed, which were “Now You’re in Love”  by Capt. J.I.P. Ubah, who later became a colonel and  a Military Administrator of Katsina State in the mid. 1990s; and  “War Stories” by Brigadier General Mamman Hassan Lai (rtd), from his 2017 collection ,Whispers From Tukur-Tukur.

    The keynote speech of the day was delivered by Lindsay Barret, a veteran writer-journalist, who became  a friend to  Vatsa in 1967, when they met in Enugu in the thick of the Nigerian Civil War, where Vatsa was the Commanding Officer of the 21 Battalion of the Nigerian Army.  In his speech entitled “The Relevance and Importance of Literary Endeavours in Nation –Building: Mamman Vatsa ‘s Primary Concern,” delivered on his behalf by Dr Tunde Olusunle, Lindsay Barret went down memory lane to inform the house of Vatsa’s manifest passion for literature though a consummate soldier. He identified a few persons Vatsa had close friendship with alongside himself and those people were Arthur Nwankwo, founder of Fourth Dimension Publisher, Chukwuma Okonta, a director in the Federal Information Service, Tam Fiofori, poet, photographer and world renowned music and literary critic and Olu Akaraogun Idowu, a renowned columnist and editor. According to Lindsay Barret, it was this coterie group that Vatsa first informed of his dream to establish a writers’ colony in the Federal Capital City, after being inspired during a visit to Eastern Europe, where he saw such a thing. To Lindsay Barret, “the Abuja Writers’ Village was conceived to achieve this visionary purpose and no matter what military history has recorded as Vatsa’s crime, the institution is a monument to his devoted belief in the relevance and importance of literary endeavour to building a nation that he once risked his life to unify.”

    The panel discussion that followed on the theme of the day made up of distinguished literary figures such as Dr Tunde Olusunle , veteran journalist, media scholar ,poet,  former special adviser to President Olusegun Obasanjo; Mike Ekunno, writer and editor; Denja Abdullahi, poet , playwright and former President of ANA; and moderated by the award winning poet, Dr Kabura Zakama, came up with a number of interesting suggestions towards further immortalizing Vatsa and other Nigerian writers and poets. They stated in various ways that writers by their vocation are already immortals who became so not without leveraging on the works of those who wrote before them ( standing on the shoulders of giants). The panel was unanimous on the need to further immortalize writers by celebrating and interrogating their works in special seminars , workshops and colloquia. With particular reference to Vatsa, the panel suggested the carving out within the writers’ village a space where photographs, personal effects, books, manuscripts and other memorabilia of Vatsa as a poet and a soldier can be kept as in a dedicated gallery. Also it was suggested that the Association of Nigerian Authors can host a major colloquium on the works of Vatsa and alongside other military writers in the near future. An audio-visual documentary on the life and times of Vatsa the panel felt will not be out of place in the further immortalization of the iconic figure, Mamman Vatsa. In a quick reaction to the issues that came out of the panel discussion, the National General Secretary of ANA, Dr. Joan Orji, who was at the occasion to represent the President of ANA, raised some pertinent questions. She stated that some other institutions of State have claims to Vatsa like ANA, if not more than, and wondered what they were doing to preserve and honour the man’s memory as much as ANA has done. The institutions she identified as the nation itself, Nigeria, which Vatsa served diligently, Niger State, his natal origin and the Nigerian military.

    Following the panel discussion was an interlude of a spectacular drama cum operatic performance of the life and times of Mamman Vatsa by the Abuja Poetry Troupe as directed by Oko Owiocho Afrika. The spellbinding performance, reliving snippets from the tragically romantic story of Vatsa, featured life-like, real life characters such as Vatsa himself, IBB, Sufiya(Vatsa’s wife) and a chorus-like guitarist, wailing the fate of Vatsa in the hand of a friend, who was more like an enemy.  The about 15 minute’s performance with the leading song “Tori Don Geti Bowleg o” was adapted from two of Vatsa’s books, Tori For Geti Bow Leg , The Bird that Sings for Rain and facts around Vatsa’s accusation of plotting a coup against his friend, IBB, his arrest, trial, his strident statement of his innocence in poetic flavour and eventual execution. The drama was so moving that a few persons , including Hajiya Aisha Vatsa, Vatsa’s  daughter in the audience, shed some tears.

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    The goodwill messages segment of the event, which followed the drama, was kick-started by Hajiya Aisha Vatsa, who struggled to deliver her speech , after having been affected emotionally by the dramatization of her father’s travails as a soldier-poet and patriot.  Nevertheless, she affirmed that being the only surviving direct descendant of the gallant soldier and passionate poet and as “the last of the Mohicans”, she was ready to sustain his legacies. She shared with the audience ,some never-heard before words and poems of Vatsa, many written when he was under detention before his execution. She promised to present to the public in December 2024, on Vatsa’s posthumous 80th birthday, a collection of those last words, writings and poems of Vatsa that were preserved by the family and some other stuff she wrote on her dad. She expressed her gratitude and that of the family to the organiser of the event and the Association of Nigerian Authors for always remembering her dad.

    In the goodwill message of the Association of Nigerian Authors(ANA), the General Secretary , Dr Joan Oji, representing the National President, Dr Usman Oladipo Akanbi, stated that ANA with other stakeholders will collaborate with the family to celebrate Vatsa 80th posthumous birthday and the presentation of the “last books of Vatsa” and the daughters book  that will go with it.  The compact but highly symbolic World Poetry Day  2024 Celebration in the Mamman Vatsa Writers’ Village , Abuja , came to an end with a tour of the book exhibition of some military poets put up by Kairos Scrolls and Books and Vatsa ‘s life-size portrait hanging at the entrance  foyer to the auditorium. Mamman Jiya Vatsa, the Soldier-Poet and Poet-laureate of Abuja, indeed woke up to adulation  in Abuja on World Poetry Day 2024.  

  • Artist explores unusual medium in screwed

    Artist explores unusual medium in screwed

    • By Udemma Chukwuma

    Bones, egg shells, buttons, nails, sawdust, screws; you name them, are a few of the media artists are exploring for their creativity. This trend, perhaps, could be as the competition bar is rising, so are artists looking for ways to be unique by thinking outside the box. But how durable are the materials used, will they stand the test of time?
    One artist who ventured into exploring an unusual medium is Segun Akano. People went mad the first time he displayed his screw artwork titled: Eko for Show, during an art expo in Lagos in 2017. The reactions motivated him to further explore the medium which he started exploring in 2016.

    His unique ability to work with screws proves how dedicated he is to his practice as a full-time studio artist. And one would wonder how it is possible for one to create forms, shapes, light and shade with screws. “I have the opportunity to form alliances with materials such as screw steel, bolts, fasteners and other metal objects,” he explained. As an experimental artist, “my work speaks in response to how materials relate with me.”
    The way he presented the contour of an elegant female figure which he titled Skentele, is mesmerizing. From afar you could swear that it’s not screws artwork but painting. He admitted that working with the medium was tedious in the beginning for him.

    Akano’s work majorly celebrates women of diverse cultures. He draws inspiration from “the history of my roots, African culture, womanhood and legendary stories, to create repository of our heritage in a langue my audience can relate with.”

    His recent sculptural pieces and acrylic paintings by Dolapo Ogunnisi will be on view at Luxury Living in Abuja from April 5 to April 13, in an art exhibition titled Screwed. Some other works he will be exhibiting are: Pepper Them, Call Me Royalty, Moremi, Owambe , Queen Amina… all screws on board.

    Segun Akano is the pioneer of screw art in Nigeria. He focuses his art on relief sculpture and models with light and optical illusion. He started creating art after graduating with a first degree in Analytical Chemistry from Ladoke Akintola University of Technology in 2008. He has had solo exhibitions and group shows.

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    Dolapo Ogunnusi is fascinated with vibrant colours. In this exhibition, he shows eye-popping colours and arresting themes which anyone can relate to as they mirror the day-to-day activities of everyday people in his immediate society. “I record mores and experiences of my society to serve as a voice in my own time,” said the Auchi Polytechnic, Edo State graduate.

    Bright yellow, red and purple frequencies are the colours in most of his paintings. The colours create a feeling which makes one want to walk into the paintings. This you could feel in a painting he titled; Half Bread. The painting depicts some tricycle operators in their pack waiting for passengers to board. But to the artist: “Half Bread is an exact portrait of most citizens in Nigeria. Not only the uneducated are victims of this economic meltdown. Everyone just finds something to do in order to mend the battered pieces; thus, half-bread is better than none.”
    What makes Half Bread outstanding is the subtle colours he used to paint the houses behind the tricycles, they are appealing and do not clash with the bright yellow shades of the tricycles. “The tricycle has become a major business avenue for survival,” he said.

    The distinctive quality of his art is its capacity to influence the society by translating human experience across space and time. Using themes such as The Dance of Pretence, Vortex, the Race for Power, Equilibrium, National Conference, Actors and Onlookers for his works, he shows the consequences of the dysfunctional society we live in.
    Screwed according to the organisers (Luxury Living) documents the old and timeless history of kingdoms, rulers and their way of living.

  • Why I give grant to ANA yearly – Yusuf Ali

    Why I give grant to ANA yearly – Yusuf Ali

    Yusuf Ali (SAN) is one of the greatest supporters and financiers of the Association of Nigerian Authors (ANA). During the recent visit to his office in Ilorin, by members of ANA, he used the opportunity to reveal why and how he decided to be giving monetary grants to the association since ten years ago. Edozie Udeze reports.

    Part of what dominated the gathering of state chairmen and secretaries of the Association of Nigerian Authors (ANA) along with the officials of the national body in Ilorin, Kwara State, last week was an official visit to Yusuf Ali (SAN). Each time this sort of gathering takes place in Ilorin, there must be a scheduled visit to Ali at his hallowed law chambers in town. Basically, Yusuf Ali is one of the foremost financiers and supporters of ANA. At every moment, authors look forward to this visit because it affords each and every one of them the rare opportunity to meet with this revered legal luminary, one of the best Senior Advocates of Nigeria that Nigeria has ever produced.

    This year’s visit was topical, topical in the sense that it came with lots of exchanges of banters and laughter and pleasantries. As usual, the president of ANA, Dr. Dipo Akanbi was in his best mood. A doctorate degree holder in Agricultural Economics and a teacher at the University of Ilorin, Akanbi exhibited the same mannerisms for which his late father, Justice Mustapha Akanbi was known. Mustapha was the pioneer chairman of ICPC, a position he handled with unbridled impeccability and transparency.

    While introducing members of his team, Dr. Akanbi noted that every one of them is a professional in one field of endeavour or the other. This filled Ali’s heart with joy for he quickly realized that Nigerian writers and authors are committed professionals who still find time to produce books. For them all, writing is a passion; it is like a hobby, a hobby that is infused with profusion and zeal. While paying obeisance to Yusuf Ali, Akanbi noted thus: “For ten years now you have been giving ANA the sum of three million naira yearly to help in the promotion of literacy in Nigeria, particularly in the states. You have been consistent with this gesture, even when it appears the times are hard. This year, you did not hesitate to do the same. It is a thing of joy that we have a lover of literature in you and you have never let us down.

    “Even when the insecurity in Nigeria is intense and frightening and most families find it near impossible to survive; we have our members who braved it from their different states to be here in Ilorin. As a leader, you Ali have been showing this zealous intervention unabridged since time. No organization or so has been able to do so for us. It shows how selfless a Nigerian you have become in the affairs of this society. Even as things have become so difficult, you are still the same person, doing all you can to fulfill your promises. For all these and more, we thank you. We as members of ANA are eternally grateful”, Akanbi concluded.

    An elated Ali was full of smiles and adulation. He took time to trace his relationship with ANA. He revealed how and why and when and where he began to show interest openly in the affairs that concern ANA. As a Senior Advocate of Nigeria, who has handled many legal cases for his clients, Ali has had opportunities to meet many important Nigerians across creed, tribe and geographical divide. In one of those experiences, he had met Dr. Wale Okediran. Okediran was then a member of the Federal House of Representatives. Okediran was not only the president of ANA that time he had contested to be a senator. Incidentally he lost in the election. The case went to court. And Yusuf Ali was the counsel to his opponent at the tribunal.

    Even though Okediran lost the court case, Ali met him on a different issue entirely; the issue of the affairs of the Association of Nigerian Authors. In the process of a discussion that ensued between the two, Ali volunteered to be giving some amount of money to ANA yearly. The intention basically is to use the money as a grant to create literacy awareness across Nigeria. So far, the gesture has been tremendous; it has helped to inspire states to push literacy and literary matters to the nooks and cranny of the states.

    Ali described the early beginning of this relationship as an odyssey. He said, “It is my pleasure to host you all today. For me, the process of learning is ever continuous. But by the way, my odyssey with ANA was accidental. I started helping ANA due to my connection with Dr. Wale Okediran… whatever field we find ourselves, nonetheless, we need not fight over issues. This was why the idea of this grant came up. There is no state in Nigeria I have not had one or two legal cases to handle. This has afforded me ample time to know Nigeria lots better. But in all this, we know that writing is a passion. We have been encouraged the way you have been handling the small money i give to you… reading culture in Nigeria is dying”, he said with seriousness.

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    He equally revealed that he was once a playwright. Beyond that, the play was at a time staged in Ibadan, the Oyo State capital. So from the word go, Yusuf Ali’s interest in literary matters had been uppermost. However, he has since moved on to write bigger and fatter books on law and legal matters. He said, “Don’t give up writing. With time, people will come round to your works to read and appreciate what you have written. I promise that one day I will find time to attend your programmes either here in Ilorin or elsewhere. Now, also, do everything in moderation. Whatever you do, do not stress yourself too much about what you cannot have. You need only a little to live on. Live life in moderation. When you acquire too much where will it lead you? Be satisfied with yourself. Every society has its own dregs… so my grouse with our leaders is that they grab and corner so much wealth that they do not need…”

     Ali was pressed to reveal the secret of his youthful looks. At nearly 70, Ali appears ever gregarious and energetic, athletic and young. “Let me just tell you the secret. I exercise a lot. I do road walks most times. Just a few days ago, I and my team did eleven kilometer trek. So you can do so if you will”, he admonished as authors heralded and applauded him.

  • North Cyprus-based Nigerian artist Temimine releases single “Prayer”

    North Cyprus-based Nigerian artist Temimine releases single “Prayer”

    Nigerian music artist Temimine, based in North Cyprus, has released his latest single, “Prayer,” marking his first release of the year.

    “Prayer” is a captivating fusion of indie Afrobeat vibes, showcasing Temimine’s unique musical style and melodic voice. The song encapsulates themes of perseverance, faith, and the journey towards success, resonating with listeners on a deeply personal level.

    Produced by Mykkel Otteh, “Prayer” delivers infectious rhythms, soulful melodies, and thought-provoking lyrics that invite listeners to reflect on life’s trials and triumphs. With its uplifting message and irresistible groove, the single is poised to captivate audiences across the globe.

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    Speaking about the inspiration behind “Prayer,” Temimine shares, “This song is a reflection of my personal journey and the power of prayer and hard work in overcoming obstacles. I hope that ‘prayer’ inspires listeners to keep pushing forward and never lose sight of their dreams.”

    “Prayer” is now available on all major streaming platforms, including Spotify, Apple Music, and YouTube Music. 

    Fans of Temimine and Afrobeat music enthusiasts alike are encouraged to listen, share, and immerse themselves in the uplifting sounds of “Prayer.”

  • An evening with nine poets

    An evening with nine poets

    By Lanre Idowu

    With words and music, mime and dance, nine performance poets serenaded their audience with their interpretations of selected poems of the literary giant, Professor Wole Soyinka Thursday evening at the Eko Hotel, Victoria Island.

    It was the occasion of the annual celebration of World Poetry Day on March 21 as declared by UNESCO in 1999. Organised for the fifth time in Nigeria by Providus Bank under its CSR initiative, it was an event that featured nine poets—six from Nigeria and three others from Kenya, Qatar, and the UK.

    Although previous editions had centred on development issues especially those concerning the environment, education, gender-sensitivity and inclusivity, the 2024 edition was designed to flag off Soyinka’s imminent entry into the Club of Nonagenarians.

    It was presented as a conversation around Soyinka’s poetry. Each poet was tasked with picking two poems of Soyinka’s for appraisal and providing a poetic response. Hence, it was headlined, “Engaging the Quintessential Poet Wole Soyinka @ 90”. And what a delightful two hour outing it was.

    Evelyn Osagie’s opening act reminded the audience of the evil of banditry as captured in Soyinka’s ode to Leah Sharibu, the young Christian girl who was stolen from boarding school by godless animals in northern Nigeria and remains a hostage for refusing to renounce her faith and standing up to evil men.

    For as long as she remains a slave of the filthy pigs, Evelyn said that we are all hostages to bloodied hands that suck unformed breasts and the matter “is no longer Leah”.

    Other acts followed in quick succession, connecting with the audience with words, movements, and music that brought their hearts alive, and set their minds, thinking.

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    Owoicho Oko, Uche Uwadinachi, Ngwatilo Mawiyoo (Kenya), Salamatu Sule, Ruth Mahogany, Akeem Lasisi, Malika Booker (UK), and Natalie Handal (UAE) put up enlivening performances befitting their enchanting names!

    Salamatu, adopting the style of a teacher moderating a tutorial class, described a writer, nay a poet, of Soyinka’s standing as a “social crusader, public investigator and defender”. She challenged filmmakers to tap more into the poetic form for a rewarding outcome.

    To Booker, poets are those who dissect and challenge language use; indeed “poets anoint the people with words”.

    Ngwatilo Mamiyu expressed delight to be in Nigeria, pointing to her shared rage with some of Soyinka’s works. In a tribute to diligence, she noted, “Sweat is living for the earth…”.

    Lasisi, waxing lyrical in English and Yoruba, reminded the audience of the return of the savages to the sacred zone ….anarchists, kidnappers, bandits with no notion of order or greatness who would rather hold everyone and everything hostage than let Nigeria breathe.

    Wole Soyinka was _compelled_ by the project consultant and compere, Jahman Anikulapo to speak to the audience. He did for barely one minute, and expressed delight at the turnout but said his birthday in July would be the best time for more talk.

    The turnout was good. It was a good mixture of the Ancient and Modern drawn from the Arts, Academia, Media, the Diplomatic community, and a welcoming crop of young professionals. It was a pointer that with strong corporate organisations showing sustained interest in the Arts, poetry can continue to contribute its quota to making the people vent, think, and act.

    • Idowu is Editor-in-Chief of Media Review

  • Edozie’s Gatherings interrogates culture, values

    Edozie’s Gatherings interrogates culture, values

    Gathering, a solo exhibition of recent works by George Edozie, a celebrated Nigerian artist, curator, conservator and community activist, opened on Monday at Wheatbaker in Ikoyi Lagos.

    The exhibition which is curated by SMO Contemporary Art is featuring the artist’s recent paintings, drawings and sculptures that explore Edozie’s multifaceted artistic expression, which touch on current socio-political themes which critically affect Africa’s sustainable growth and progress. Gatherings will run till May 30th. 

    Edozie, an alumnus of the University of Benin with a Bachelor’s degree in Fine and Applied Art, has been working as a full time studio artist for over 25 years. His distinctive style, characterized by vibrant colors, bold texture, and experimentation with divers media including textiles, showcases a versatile artist, inspired by traditional and contemporary African realities.

    In his latest series, Edozie delves into themes of unity and collaboration by depicting diverse micro and macro gatherings in his expansive canvases and powerful portraits. His exploration of family dynamics, and the complexities of human interactions on the communal, national and regional levels, provides a rich tapestry of meaning and conjecture in his work.

    As the current president of the Guild of Professional Fine Artists GFA, Edozie spends much of his time gathering his peers, and finding solutions to improve and strengthen opportunities for artists, by providing training for the younger generation, and advocating for fair representation and government support. Edozie curates the yearly Oraeze art festival, which he has nurtured and developed alongside the annual Ofala festival in his hometown of Onitsha for the past nine years. Through this platform, Edozie has showcased the works of hundreds of artists from across Africa, Europe, Cuba and the wider Diaspora. Through mentorship, workshops and symposia, Edozie has contributed significantly to the growth of Nigeria’s creative industry and this commitment to the greater good of the community is depicted through his works in Gatherings.

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    In his bold charcoal and pencil portraits, interspersed with works using acrylic and collage on canvas, Edozie interprets traditional African iconography and cultural traditions and values through a contemporary lens.

    A large metal and fabric sculpture is a homage to traditional kingship, exploring how royalty dating back to the Ife and Benin Kingdoms, have protected,  nurtured and influenced artistic expression, strengthened cultural appreciation, and fostered a strong and positive identity.

    “In an era dominated by artificial intelligence, it becomes imperative to acknowledge and celebrate the authentic creativity and craftsmanship of artists like George Edozie,” Obiago said.

    “It is critical that we document important African artists like Edozie, who has not only contributed significantly to contemporary art, but who worked as a conservator of modernist masterpieces in many private and institutional collections; Edozie is arguably one of the leading professional art conservators currently restoring works in Nigeria.”

    “As an experimentalist, I endeavor to transcend cultural barriers and foster a sense of global unity through my art,” Edozie explained during an interview. “My paintings serve as reflections of the universal human experience, transcending racial and ethnic boundaries.”

    “Gatherings offers viewers a chance to traverse narratives shaping our shared humanity, transcending superficial boundaries,” according to Director of the Yemisi Shyllon Museum of Art, Jess Castellote. “It celebrates an artist who, with each stroke, invites us to look beyond the surface and immerse ourselves in the stories woven through the fabric of his body of work,” he added.

  • Environmentalist takes battle to Makoko

    Environmentalist takes battle to Makoko

    Firewood smoke and the smell of fish roasting on makeshift ovens amid the littered streets welcomed guests to Makoko. It was the day environmentalist and poet, Dr Nnimmo Bassey, unveiled his newest collection of poems. The collection, which centred on environmental issues, is entitled: I see the Invisible.

    In solidarity with the plight of people of Makoko community, the poet chose to hold the event last Wednesday opposite the fish market in the place.

    Just like the preoccupations of the book, which is Bassey’s seventh poem collections among his over 20 published works, the unveiling also bought up the issues that the community is confronting in terms of environmental and the threat of displacement that is always hanging in the air, among others The event was themed: “Cultural Survival: Book Reading and Strategic Discussion”.

    On the choice of Makoko for his book unveiling, Bassey said: “Makoko represents virtually all the environmental challenges that we have in Nigeria, except desertification. We have sea rise, we have water pollution, we have sanitation problems, we have a lack of potable water.

    “Everything that should not happen in a community happens here, which is not the fault of the people, but because of class neglect by the system. And seeing that the collection of the poems are mostly about environmental issues, Makoko becomes the primary place that we proposed. We are also hoping that the children who performed during this event (a cultural display by children during the event), will be inspired to become writers in poetry, in drama  and to stand up and defend their community and project the positive image of our nation.”

    Bassey, who recently bagged the 2024 Wallenberg Medal as the first Nigerian and 5th African to be so awarded, urged the Lagos government to be sensitive to the plight of the people of Makoko community. He said: “I want to see a government that will invest in Makoko to upgrade the place, provide all the facilities needed for living in dignity and living a life that we all dream of. Makoko should be like the Venice of Nigeria. People go to Venice in Italy to see how the people are living above water. We have a prime example here and we are hoping that our politicians will open their eyes and begin to support this community.” 

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    He called for legislation against land reclamation because of its negative impact on the environment, saying: “Nigeria has a coastline of about 845 kilometres. Every community along the coastline faces serious challenges. But Makoko people have built their houses above water and the houses are surviving. We should learn from how they are living. This is adaptation to climate impact.”

    While reacting to the purported report of the recent threat of demolition of the Makoko area by the authorities, he said: “When governments see environmental problems, the first thing they think of is demolition. Demolition is weakening our people, it is weakening our community. Resilience means supporting the community; building their capacity and building infrastructure that are climate proof. We should stop sand filling or sand dredging. People talk about reclaiming land. You don’t reclaim land, you are destroying the land by destroying the place that soaks water when there is a rain fall. So, we should actually have a law that stops the so-called reclamation of land across the coastline of Nigeria.”

    The event featured various recitations from this reporter Evelyn D’Poet, Folarin Balogun, Olashile Favour and musical performance from the Environment Musician.

    Child rights activist and executive director of CEE-HOPE, Betty Abah, who reviewed the book, also read some poems in the collection. Abah praised Bassey’s efforts at advocating against the pollution of the environment and other human rights endeavours, and still making time to write books.

    She also commended Bassey whose love for Makoko has seen him visit the community 13 times within 10 years. She said despite not being based in Lagos, plus his extremely busy schedule which involves several international travels, the event of the book launch makes it the 13th time he was visiting the community.

    The event had in attendance Elder Claudius Akintimehin Adewale, Apostle Samuel Ade, Elder Dosu Isaac, the spectrum of Makoko community represented by local chiefs, fisher folks, women and children. The majority of the complaints of the people was the interference with their environment in the form of dredging and sand filling by the Lagos government which has affected their fishing trade.

    The community representatives thanked Bassey for his constant support towards their people.

  • SORA opens atop Trinity Towers

    SORA opens atop Trinity Towers

    SORA, the crown jewel that sits atop the newly built Trinity Towers in Oniru, Vitoria Island, Lagos will unveil its splendor at the grand opening on Friday 29. SORA is poised to set a new standard for top class entertainment, luxury dining, excellent lounging and more in the heart of Lagos.

    Located on the 15th floor, SORA commands breathtaking panoramic views of the vibrant cityscape below, offering a setting unlike any other. As guests ascend to the summit of Trinity Towers, they are transported to a realm where opulence meets innovation with every moment imbued with a sense of exclusivity and refinement.

    At the heart of SORA lies its culinary ethos – a celebration of flavors, textures and artistry to tantalize the senses and transcend boundaries. Led by a team of masterful chefs, SORA’s expertly curated menus showcases the finest ingredients that results in various gastronomic delights.

    SORA is a sanctuary for those who seek to unwind, socialize, and enjoy the finer things in life having sleek and sophisticated bars and lounges that beckon guests to savour special cocktails expertly prepared by their resident mixologists. Their exclusive bars offer a curated selection of premium spirits, wines, and champagnes to satisfy the most refined tastes.

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    As dusk descends upon the city, SORA truly comes alive, transforming into a beacon of sophistication and allure. The pièce de résistance of the establishment, the helipad, stands as a testament to our commitment to redefining luxury hospitality. Here, amidst the twinkling lights of the city below, guests also have the opportunity to also arrive and depart in style, further setting the stage for an unforgettable experience from the moment they step foot onto our rooftop oasis.

    For those seeking the ultimate in exclusivity, SORA offers private dining experiences in intimate settings exuding elegance and charm. Whether hosting a romantic dinner for two or a corporate gathering of esteemed guests, their dedicated team stands ready to cater to every whim and desire, ensuring that each moment is imbued with a sense of sophistication.

    In a city teeming with various offerings, SORA emerges to stand out as a beacon of innovation and distinction, setting a new standard for entertainment and more in Lagos.

  • Orara, Awusa hold Refreshing Dialogue

    Orara, Awusa hold Refreshing Dialogue

    Thirty-six years after leaving Auchi Polytechnic, Edo state, Zinno Akpoghene Orara and Gab Awusa have literarily remained inseparable especially in art practice. The duo that specialise in painting and illustration are among the first contemporary Nigerian artists to practice as full time studio artists after graduation. They were driven by passion to dare a terrain dreaded by others. That same bond is bringing them together for a joint exhibition tagged: Refreshing Dialogue holding at the National Museum, Onikan Lagos between March 30 and April 13. The collaboration is the brain child of Prof Ebun Clark who played a major role in bringing the two friends together for the show.

    The joint exhibition will be curated by one of Nigeria’s seasoned curator Mr. Moses Ohiomokhare. It will feature a wide range of collections from both artists, who though learnt from same masters at the School of Arts and Design, Auchi Polytechnic, but have distinct traits and styles.

    Ohiomokhare described Refreshing Dialogue as meeting point where function works with form, saying that imagination has been used to create works of great aesthetic value and works that standout seeing our environment in a new unusual way. “Both artists lend their voices to happenings in our society. They also offer solutions to our mirage of problems drawing our attention to neglected issues,” he noted.

    Speaking at a preview session in Lagos, the artists disclosed that the joint show, which will feature about 20 artworks each, is meant to celebrate resilience, friendship and the art. “It is refreshing because we know each other for so long as classmate at Auchi Polytechnic, yet we offer different shades of art. For this show in particular, there is no competition per se unlike when we were in school struggling for high grades. It is primarily a platform to express oneself. And the works will be addressing the environment and how we feel,” Orara said.  

    Orara recalled their journey from school: “We went through school and came out with very good grades. Two of us left with distinctions and that set the records. It’s a celebration of friendship and brotherhood. I see him as my brother. He is somebody I know that if I’m not there he would defend me. And he knows that too. It’s not just about our work. It’s about a relationship that was 40 years last September.

    “This miniature he is doing today we started together in school. That was how our hands became very strong. It’s a celebration of relationship and friendship. We have mutual respect for each other. Every artist paints his personality. We are here to celebrate our arts, to celebrate the rough times we had in school, to celebrate resilience, to celebrate the fact that no matter what is before you if you stand firm every mountain will move.

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    “I don’t have any influence on his work and he doesn’t have any influence on my work. No two artists will see the same thing the same way. They’re going to see two people who have been friends and two extremes. We lived together, our works are two walls apart because art it’s about you. Art is about expression.”

    Orara had his first solo exhibition, Metamorphosis at Didi Museum in 1991 and since then he has had over 13 solo and 20 collaborations. He celebrated the 30th year anniversary of his practice with a solo exhibition tagged Standing Tall, at Terra Kulture Lagos in 2019.

    In this upcoming show, each artist will be offering diverse collections that capture the different times eras and styles with the aim of refreshing viewers’ memories of their over three decades of studio practice. Among Orara’s works are May our paths cross again, The mind, the seat of power, The praying wife, Someday, I shall be vindicated, Before our very eyes, Shapes to come, Peaks and valleys, Untitled, Forward ever and This land is flowing with milk and honey. Interestingly, there is a common thread that runs through most of his paintings.

    May our paths cross again and This land is flowing with milk and honey are abstract paintings with high texture of colours. May our paths cross again is simply a prayer or wish by someone who believes that he will see or meet his friend again in the future. It is another way to express hope that a relationship will continue.

    In Silent Noise, Orara depicts the calamity that befalls the people in an image of a human face that shows the eyes wide open but a sealed mouth. It simply tells that people are seeing things happening around them but they cannot speak up. This painting is a reflection of the many injustices that people are experiences on a daily basis.

    For Awusa, the joint exhibition is an opportunity to express their inner thoughts and experiment with mundane, philosophical, societal and environmental issues from diverse angles using the canvass. Most of his works are experimental and this is why he achieves more than he bargains for. “I am an artist who is at liberty with my media and surfaces. I paint and allow the paints to paint.”

    “We are going to display paintings that are intriguing,” he said. Like Orara, Awusa held his first solo Mixed Feelings at the National Museum in 1993, two years after Orara made his debut.  He will be featuring Lagos traffic, Highway supermarket, Body language, Corn field harvesters, Physical validation, Minority report, The flight, Martyrdom of Abel, Planted by the river, Spirit of rebirth and Labour in the cornfield.   Awusa’s subjects and composition are quite simple, common place, beautiful and straight to the point. His preference for brilliant palette, simple subjects and themes has deep consideration and meditation. In many of his paintings, the yellow of varying hue and value; the greens and orange splashes are symbolic.

    Both artists lend their voices to happenings in our society. They also offer solutions to our mirage of problems drawing our attention to neglected issues. Refreshing Dialogue is where function works with form. Imagination has been used to create works of great aesthetic value and works that standout seeing our environment in a new unusual way.