The Nation Newspaper

Category: Arts & Life

  • Enugu, travel agents partner on tourism

    Enugu, travel agents partner on tourism

    • From Janefrances Chibuzor

    Enugu State Ministry for Culture and Tourism will partner Enugu-based travel agents as part of its efforts at developing investment friendly environment and evolving policies for a sustainable tourism growth across the state.

    The decision was reached during a recent courtesy visit to the Enugu State Commissioner for Culture and Tourism, Mrs. Ugochi Madueke, by the  travels and tours  agencies led by the Principal Executive of Flyzone Tourism, Mr. Awomoyi  Ayodeji. While stressing the relevance of bilateral cooperation in achieving a sustainable tourism growth, she assured the travel practitioners of the state’s commitment to supporting their efforts at enhancing a rich tourism and healthy culture  endowments. Also, the   meeting addressed issues of investing on tourism destinations within the state to increase revenue generations. She expressed commitment to trim processes in order to enhance smoothly running of Enugu State’s tourism.

    Affirming readiness to support progressive  initiative, the  commissioner expressed unfeigned support to the growth and well-being of travel agencies in Enugu,  and wished to undertake a cruise  with travel  agencies for a two–day facility tour to explore the state  rich and diverse  tourism contents embedded in hinterlands across state.

    Mr.  Ayodeji hinted that the duo partnerships shall address the out of job syndrome amongst  the youths, in most simple  terms, this collaborative effort will  encourage and  advance the state treasures, such as  tourism  facilities and perceived  notions of the people culture across global audiences.

    He stated that the developmental process would achieve advancement through strategic collaboration with public and private partnership noting that the needs for investment and development of infrastructure would address the sector  numerous challenges.

    To this, he said, the visit was an exclusive access route in encouraging and accelerating growth to enhance local tourism contents and helping travel companies to increase revenue by attracting visitors for adventure purposes.

    The Flyzone Tourism boss, said: “Such development    would increase domestic tourism, and promotion of relationships amongst  stakeholders, local communities as well as  business owners. The private sector benefits from the opportunity to invest in profitable tourism projects and gain a return on their investment. This explains synergy with the industry players can create innovative tourism destinations that are more attractive, sustainable, and economically viable. We need to key in the area of marketing this tourism sites to our clients.

    Ayodeji advocated for growth, suggesting collaboration with partners beyond Enugu’s borders.” 

    Chief Executive Officer of Merob Travels and Tours Mr. Charles  Obi stated that he foresees a situation whereby more relationships will  crop up, adding that the visit will build bridges between the travel  agencies and related  government  agencies manning affairs of the state travels and tourism activities.

    Founder, Geoseries Concept, Uche George, said: “The  commissioner’s genuine interest in their suggestion and unwavering support for the initiatives aimed at advancing travel agencies in Enugu left an indelible impression. Her virtue and dedication to the cultural and tourism landscapes were evident throughout the stakeholders meeting. Her keen understanding of the potential impact of a thriving travel sector on the overall growth of the state was both inspiring and motivating.”

    Describing Madueke as a catalyst for change, George said her openness to new ideas and commitment to implementing suggestions underscored a shared vision for the growth and prosperity of the region’s travel industry.

    According to him, PPP stand as a beacon for positive transformation, offering a multitude of benefits that ripple across various sectors. Explaining,  he said embracing PPP is a gateway to unlocking the full potential of collaborative synergy, such as global exposure, boosting tourism, attracting investments, showcasing untapped potential, cultural exchange, job creation  and more.

    Madueke endorsed the idea and   promised to host external partners and  industry  practitioners in celebrating this year ‘world tourism day. This will involve the ministry to underwrite expenses for them to experience Enugu’s beautiful tourist sites.

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    Coordinator National Association of Nigerian  Travel  Agencies Enugu annex,   Chioma Obi stated that the  visit to the Commissioner came  at the right  time, which explained how the agencies will have time to reset strategies for the  promotion of tourists sites within the  state.

    “The state has been  able to see a lot changes within  this one year of the new administration in office. Firstly,  the  security situation of the state has been greatly  improved and the synergy  between the tour operators and the ministry is very important,  in as much   the tour operator are  supposed to create packages and showcase her tourism, the ministry  is supposed to provide us with resource and enabling environment for thriving; as such  will help us project Enugu State as a tourism destinations fit for all and fit for those inside and outside Nigeria.

    Obi, who is also Managing Director  Jands  Travel  Network  and  Director Jands Travel Business  School said that development of such  will  improve  the sector  in various ways. “Even though, we have a few visitors coming in, we need more  because tourism is a great source of income and  source of  foreign exchange for the state and for the indigenes,” she added.

    According to Obi, the synergy  will help preserve our  tourists attractions and preserve our culture. She urged government at all levels to encourage sustainable tourism across state, in order to restore state’s past glory.

    Meanwhile, Travel Agencies in attendance were Odizra Travels, Jand Travels, Danza Travels, 3 Star Orbit, TG Travels, Mandalight Travels, Mariamabel Travels and more.

  • Sanwo-Olu, Abiodun others for honour at London summit

    Sanwo-Olu, Abiodun others for honour at London summit

    Governors Babajide Sanwo-Olu, Seyi Makinde, Abayomi Oyebanji and Dapo Abiodun will together with the Speaker Lagos State House of Assembly Rt. Hon Mudasiru Obasa be given Special recognitions for their roles in supporting the creative industry and leveraging it as a strong vehicle for socio – economic development. The honours would be presented to the recipients at the Duke’s Economic Summit, which will hold at the Pullman Hotel, London in May.

    According to a statement, Chairman of the Duke of Shomolu Foundation and main promoters of the summit, Mr Joseph Edgar stated that the honorees through very well thought out policy initiatives continue to explore the full potentials of the creative industry in achieving significant milestones especially in the areas of job creation,  infrastructural development, education, tourism amongst others.

    He said that Governor Sanwo-Olu in his own right have been a strong driving force for theatre in Lagos, adding that he remained a main backer of theatrical productions and other such robust infrastructural projects aimed at the development of the industry.

    Prince Dapo Abiodun on his own part have also remained a driving force in the artistic renaissance arts and culture is receiving in Ogun State.

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    Governor Oyebanji of Ekiti State was recently the main backer of the phenomenally successful play – Fajuyi which depicts the life of the late Col. Fajuyi who paid the ultimate sacrifice for the country. Under his administration, Ekiti State has won several international laurels in Arts and culture which could be traced directly to his administrations direct involvement in the sector.

    His Excellency Seyi Makinde on his own part has gone on a huge infrastructural revolution that has supported the creative industry.

    Rt. Hon. Obasa leads  the most visionary sub national legislative house providing secure legislative framework for the continued delivery of cohesive dividend of democracy to the people of Lagos.

    The Duke’s Economic Summit is an international platform carefully designed to provide a vehicle for the continuous engagement of global stakeholders in seeking to redefine the creative industry as a main engine of economic growth in Nigeria.

    Already,  Khalifa Mohammad Sanusi II the 14th Emir of Kano, Abike Dabiri-Erewa the Chairman of Nigerian Diaspora Commission, Prof Koyinsola Ajayi (SAN), Segun Awolowo, Kola Adeshina and other top dignitaries have been confirmed as speakers. The Duke’s Summit will be an annual international event on the global creative industry calendar. 

  • Poetry in form of recollections

    Poetry in form of recollections

    Title: Joe’s Collectanea.

    Author: Joshua Omeke

    Year of Publication: 2023

    Publisher: Harmony Publishing

    Reviewer: Denja Abdullahi

    In as much as we try to run away from the classical definition of poetry by William Wordsworth as the “spontaneous overflow of powerful feelings and emotions recollected in tranquillity,” we keep returning to it daily as we encounter and contemplate modern poetry. This foregrounds the undeniable fact that emotion, feeling, private thought, introspection and the like are the playgrounds and handmaidens of poetry, the most primal of all art forms. Joshua Omeke’s  Joe’s Collectanea takes the reader back to contend with this classical conception of poetry in its unabashed declarative title with Latinate derivation which simply refers to ‘a poet’s collection of literary writings, forming a collection.’ Joshua Omeke , instead of titling his collection of poems with an outlandish title rather uses an abridged form of an  eponymous poem within the collection(“Joe’s Collectanea from Ghana Side”), as it is often the case with poetry collections today, which simply announces  ‘these are my poems in a collection’ and thus invites the reader to encounter the rush of emotions as he takes on various subjects in a multitude of befitting styles. Beyond the title, the cover design of the collection, of a coterie of ancient-looking wooden masks on a shelf wedged in on either sides by antique and baroque-looking books on shelves, anticipates an adventure into some kind of exotica. 

    The  collection comprises of 31 (thirty one) poems of varying lengths and forms ranging from poems that dwell on the ecosystem , the life of the immigrant, life and love, health of body and mind, religiosity, pan-African historical and social interface and a kind of Africanised science-fiction.

    The collection opens with an eco-critical concern with a poem entitled “Danilo the Farm Boy” in which the poet paints a picture of a hardworking farm boy working in a farm organised and mechanised; rarely the case in the local African environment, though the lines runs with some familiar idioms such as “No Food for a lazy man, so I work on this farm”(1). Other poems in the collection such as “Ache of Waters” and “Roots are Before the Logs” relate the fate of those natural bodies in the ravaging grip of the modern world to that of man.

    Immigration, emigration, migration and the issues concerning people living in the diaspora have become the trending or enchanting subjects of literature and particularly poetry in recent time. These issues have so much dominated our poetry  in content and form that in the 2022 Nigeria Prize for Literature award which focussed on poetry, the three poets shortlisted for that award and the eventual winner of the coveted prize were young Nigerian poets who were in the diaspora, who wrote their pieces informed by the exilic diasporian ambience, stylistic requirements or subjectivised their displacement from their homelands in their poetry.  Joshua Omeke may be seen in that light too, having lived, schooled or worked in the diaspora. In “Coloured Dream”, the immigrant’s apparent wish for success in a foreign land comes in a prayerful, anthem-like lines such as: “ In the land of people that persecuted my ancestors/Here I am seeking greener pastures/ Believing I would someday be favoured/ Manured from the knowledge of life”(3). And in the poem “ Flies of  Wilderness,” the resilience of the immigrant is celebrated in a series of rhyming couplet “ In lands unknown, they forge a path anew/leaving behind what once they knew…./ Flies of wilderness, with wings of grace/ Witness the struggles they daily face.”(5).

     From an experiential perspective and from general reading of contemporary poetry, poems that try to be definitive or topical have to be stylistically or metaphorically alert to rise above mere rhetorical platitudes which weaken the flavour of poetry. Some few poems in the collection such as “Long Lost Love”, “Composure,” “ Daily Dose of a Mother’s Influence,” “My Body, My Mind,” “Portrait of Her Lifestyle” and “Life” are not able to achieve this as they are riddled with prosaic presentation and dotted with a few clichés; albeit because of their topicality. Same also goes for poems with religious denotations and connotations in the collection such as “Angel’s Watch”, “Epiphany of Life” and “Surrendered Man.” That may be so because religion itself comes with its own fixed register of words through the ages which may not allow a conforming poet any kind of originality of metaphors , moods and feelings. To tackle religious subjects successfully in poetry, it appears a kind of subversion is necessary.

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      The few poems directly about love, life and emotion in the collection such as “Romance in Poetry”, “Long Lost Love,”  “Problem,” “Ramshackle Emote”  and “Emotions and Idioms” are couched in captivating allusions referencing Greco-Roman mythology of deceptive gods and indulgent goddesses, classical musical prodigies and popular paintings in experimental styles. These set of poems are enigmatic and needs a widely-read mind to decode.

    The collection is at its most lyrical in the places where the poet engages in the de-familiarisation of the familiar such as in the poem “The Grass of Our Time” in which the harmful effect of tobacco smoking and its addiction are explicated. The poem has lines that go thus: “Äs I drag life out of you, you bring life into me…/Africans say one thing must kill a man/Hence I say to you my beloved stick/If I perish, let it be from the highness of your touch.”(7). This lyricism is best showcased in the long narrative poems of the collection in which the poet delves into historical reconstruction(“Anarchiste Diplomatique”), interrogating racial relationship(“A Friend of Mine”), romanticizing rebellion  and daredevilry( “The Great Sail of Scandinavian Pirates”), dramatizing immersion into another African culture( “ Joe’s Collectanea from Ghana Side”) or just introspecting into paranormal and transcendental experience like in an Africanised science-fiction( “Pies from Celestial Beings,” “ The Jinn of Sahara,” and “Tommy ,My Watch”). One remarkable thing about this set of narrative poems in which the poet is at his lyrical best in the play on words and dramatic expressions is the use of stanzaic refrain between  stanzas to add a kind of rhythm to the general feel of each poem. In “Anarchiste Diplomatique” which engages in narrating the confounding history of the country Nigeria from the pre-colonial time to the present we have a recurring stanza more like a chorus thus:

           So this is slavery

           Our dreams may be as high as Elroy in the spaceship

           But this politics is killing it  (20-23).

    In “A Friend of Mine” which explores the tension in race relationship, the following refrains are repeated:

           And now, this is for a friend of mine,

          One who is afraid to introduce me to her mother,

         And the other who is ashamed to invite me to a time out with his father,

         This is the way I was designed,

         And, naturally, we embrace each other in life. (27-29).

    And in “  The Jinn of Sahara” which connects history and landscape to paranormal beings and occurrences, we get this refrain:                         

         I’m the jinn,

         I am real,

         You may avoid this truth, but we’re here, not to kill,

         Just relax and feel our mild(37-39).

    In the partly eponymous poem in the collection “ Joe’s Collectanea from Ghana Side” could be found the poetic declaration of the poet of what he thinks should be the preoccupation of poetry and the poet. Nearly every poet does this in their debut collection. In this poem, it is done in a conversational way using a setting different but similar to the poet’s natal origin. The old lady the poet is conversing with in the poem and the dramatic situation around inspires the poet to reflect:

    C’mon Joe, you are more creative than writing about the unexpected

     occasions you encountered during the day,

     What about romance?

     Feel the need to tell the world about your first love?

    You could be the next Shakespeare if you just try not to give up,

    Or how about you tell them of your dreams, allow them to see the way you think,

    This is your collectanea; it is about you.(24).

    This particular poem sums up the beauty, the multiplicity of concerns,styles, perspectives, frailties, and the intentional poetic artistry of Joshua Omeke Joe’s Collectanea.                   

  • POEM: Payroll experts

    POEM: Payroll experts

    • By Chuka Nnabuife

    He spoke in mitigated speech

    Whereas he saw danger beckon rush

    He whispered his cautions,

    Couching it in innuendoes

    Of’ifs,’ ‘buts’, ‘howevers’ and thoughs

    Amid plethora of caveats

    Before he ends

    The hammer drops

    Then he turns to says:

    “But I told Boss”

    “He heeds no advice”

    He hides under cover

    Of being below ladder

    To cause the worse happens

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    Though he could avert

    After the thunder strike

    He calls attention to the lightening

    His alerts, all in revert –

    Never ever overt

    Yet he boasts he’s ‘expert’

    Of this

    Of that –

    All about wads of parchment

    In his closets gathering dust

    Aiming at just

    Higher notch in payroll

    Like ostrich with big wins

    But can’t fly

    He’s hugely potentials – heavy

    Never capacity – fit

    Yet he boasts he’s ‘expert’ –

    Tens of them in one pay roll

    Adapt at no trait, just heavy on enabling threats

    Very keen

    So, so keen on deadly bickering,

    In-fighting and outwitting one another

    Mission, vision or capacity.

  • Why I presented two books at once – Peretu

    Why I presented two books at once – Peretu

    Thomas Peretu started out as an entertainment reporter. He later rose to be an editor. But all along, his interest in authorship and writing generally always captured his essence and attention. Now with the Amnesty office in Abuja, Peretu still has time to write books. last weekend, at the Association of Nigerian Authors headquarters in Abuja, Peretu presented two new books to the public. In this interview with EDOZIE UDEZE, he makes it clear that poetry is part of his life and that journalism truly heightened his zeal and audaciousness to be more prolific.

    You transformed from journalism to full time authorship, having published a collection titled whispers in a junkyard. How is life now as a poet?

    For me, there is no difference between journalism and poetry. It’s very easy transiting from journalism to authorship of any kind, either, prose, poetry, drama or general literary work, because the tool of the profession is English Language. And being proficient in English Language is the first thing you need, if not all, to swing from journalism to any genre of Literature. Although poetry is more demanding mentally, because you are dealing as human conscience to the society, as a bridge between good ill, just like a mouthpiece of those who cannot talk or did not opportunity to talk. For, journalism, it’s like recording the event of the society in a hurry, so it doesn’t demand mentally like poetry. But the gathering of the information are all the same.

    I am still the same the person, same Thomas Peretu, there is no difference, the only thing I would say, is that I am identify as a bonafide member of the literary community, but does that translate the Naira and Kobo in my pocket? The answer is clearly NO. However there is prestige that comes with authorship and am I enjoying that prestige? Not really, because your book must be widely accepted and read. Being a poet is a journey, and it starts with the first step, with getting your materials published, it doesn’t end there, you must also make available the work to the general public. Today it’s a lot more easier, because, your audience can download your material online, on their phones, from portals, like Amazon, eBay and so on, but with little monetary value and incentive.

    What themes are you addressing in whispers in a junkyard?

    Whispers in a junkyard, is collage, like painting on a mural, it deals with critical issues of the society. Like the title of the book, whispers in a junkyard, it’s a reflection of the tribulations, challenges, ills, and the foibles that are endemic in our society and that explains why people are whispering, murmuring, complaining and no tangible actions to transform the standard of living. And as a poet, seeing , the every day evils of the society, the everyday challenges of the society, the everyday discouragement of people’s will and dreams. Although there’s no deliberate intention to articulate the aspirations of the young ones, coming after us, but then, we are providing a template, a picture for all to look at.

    Looking at the social terrain of Nigeria is writing, authorship lucrative?

    Authorship is not a lucrative venture, however it provides opportunities over a long period of time, through association, through friendship, as a writer you can take advantage of the needs of the corporate world, you can be a content provider, you can be a copy writer in an advertising agency, there are opportunities, you can move  into the movies, as a script writer. So being a writer is the first step into so many opportunities, just like an entry point into new visita of life and living.

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    Apart from poetry, what is your attitude to other genres of literature… prose,drama, et al? being a multi-genre writer?

    Besides poetry, I like prose, fiction and non fiction, that’s why my first venture into prose, beside poetry is a collection of essays: Nigeria’s Political Comedy is of Errors, it again deals with the challenges of our society, there are articles about insecurities, economic challenges, like inflation, unemployment, youth restiveness, and several others. The collection of essays is a broader collage, another painting of the society.

    Are Nigerian writers doing enough by simply publishing books without shelving them for people reading?

    It’s unfortunate that people would write and others wouldn’t read, it again shows one of the challenges of educational system in Nigeria. Our youths are publishing longer reading, rather they spend time surfing the internet, and the resultant effects is the decay we are experiencing in the educational sector. Our youths are no longer focusing on education, rather they wants to make money and make it fast, mindless of the consequences. All these are as a result of failure of leadership. Our writers are not relenting in guiding the society to the path.

    What advice can give a journalist or any other person looking forward to making a career in writing?

    First you must learn the nuances of writing, and you do that by intensive reading of other writers, you must be a voracious reader mindless of the genre, read more than you write. Don’t write with the intention of making money, because the money the wouldn’t come. Literature is all about sacrifice for the good of the society. Write with the intention to make your intellectual contribution felt for the good of the society.

  • Just us Girls, restoration for women

    Just us Girls, restoration for women

    Scrolling through the online video platform most commonly used by all, a scene pops up, where a shy lady is being chided by her flatmates, for finally falling in love. Doesn’t matter it’s with a monster of a man, let alone the head of the choir in their local church.

    What matters here is that the ladies come with their different approaches, based off their backgrounds and experiences, but ultimately, looking out for their friend’s best interest.

    This series is called Just Us Girls, and it already has such an amazing following, and one can see why.

    In a world where the girl child is constantly objectified; where ladies are reduced to the sum of their physical appeal; where relationships have become mostly transactional; and family values are eroding speedily, we have just stumbled across a gem that helps restore the beauty of what it means to be feminine.

    We are introduced to Onajite, played by Temitope Aje (you may remember her from Kakadu, The Musical). Jite is the outspoken, no-nonsense, fire-cracker, whom, whenever she comes on screen, we hold our breaths as she is known to either go for the jugular, or be uncharacteristically sweet.

    Juxtapose that with her best friend, Dr. Kayinsola Lawson, played by Sacha Baker; she is the emotional one, albeit not so innocent, and not so steady on her feet. Seems she is seating on quite the Pandora’s Box and viewers are just waiting to find out exactly what that is.

    And then, there is Ameh, the one in love for the first time, with her choir leader. Ameh is played by Chisom Okonkwo-Eje. This lady maybe schizophrenic or possessed by some dark powers… we are yet to find out.

    Also in the series, we have heavy hitters like Kunle Remi, Kehinde Bankole, Shaffy Bello and more. Just Us Girls uses the media as it was intended; to educate, to inform, and to shape minds positively; and doing all these with well crafted storylines, plot and directing.

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    The director, Temitope Akinbode says, ‘It is important to us to bring back core values, while staying true to our craft. People want to be entertained, and then get informed when they are sure their entertainment is not compromised.’

    This is probably why there is such an emphasis on the quality of the series and the attention to detail. The music used is all original, specifically written and produced for the series by Ovie Agbani, a Nigerian singer & producer. Some specific scenes were shot in Dubai, to give added oomph. And there is even a strict adherence to local parlance and slang, of the Warri people, with the character of Jite, which Temitope embodies quite well.

    Speaking with the Executive Producer, Mildred Okonkwo, we see this series is more than entertainment. ‘This is more or less, a rescue mission,’ Mildred says. ‘We are in an age, where everyone is raised by the media, and we replicate what we see and hear there, whether right or wrong. We believe it is high time we give voice to the right values, and shine the light on the beauty of femininity, before all is lost.’

    This definitely is one to keep an eye on, as it is good to see the creative industry doing it’s bit to right societal wrongs and establish a good value system.

  • My paintings explore existence, says abstract artist Gbemi Smart

    My paintings explore existence, says abstract artist Gbemi Smart

    Renowned abstract artist, Gbemi Smart, has unveiled her latest series of paintings in Abuja, stating that her works explore the concept of existence and the human experience

    Speaking to newsmen, Smart recalled her artistic journey began at 13, igniting a passion that has become an inseparable part of her life.

     “It’s not just a hobby, it’s a necessity,” she said. 

    This inherent drive translates into her captivating oil paintings, a medium she finds both solace and a powerful tool for expression in.

    Speaking on storytelling through canvas, she said her artistic influences are as diverse as the emotions she portrays on canvas. 

    She added that from the rhythmic flow of music to the evocative imagery of poetry, she draws inspiration from various forms of art, weaving these elements into her unique artistic vision. 

    She hinted that one of her major artistic trajectory has been her exploration of self-discovery and a life in totality, which has spanned over two years. 

     Gbemi emphasizes the honesty and authenticity she strives for in each piece, valuing the ability of art to transcend words and convey the complexities of human thoughts and experiences.

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    Gbemi added that her  approach to storytelling in her work is deeply rooted in personal experiences and observations of human existence and shared experiences. 

    She emphasiswdy the importance of honesty and truthfulness in her art, believing that “the canvas reflects one’s life and that lying to one’s work is impossible.” 

    When asked to share her views on the role of art in the our  society, the artist said “Apart from its undeniable economic viability, I think often times art acts as a social binder- brining people from different cultures together. 

    “I also think of art as an element of communication. Can you try to imagine what life would be without art? Cause I really can’t fathom. It’s prehistoric. From cavemen paintings to the cultural songs we grew up on. Trying to pin point every influence art has on a societal level is like counting grains of sand on a beach.”

    Smart explained art is a way to understand the human existence and convey thoughts, aiming to evoke feelings and reactions in viewers. 

    She sees art as a means of storytelling and connecting with others on a deeper level, highlighting the importance of individual voices and unique perspectives in the artistic realm.

    She said that she faces various challenges in her creative process, particularly in finding the time and mental clarity to dedicate to her work. 

    She emphasised the importance of investing time in her art and allowing herself the space to immerse in her thoughts and creative flow.

     “Art cannot be rushed, each hour spent on a piece is valuable,” she said.

    Smart mentioned the struggle of balancing time for creating art with personal reflection and contemplation, highlighting the mental focus required to produce meaningful work.

    She  navigates through these challenges by staying true to her storytelling approach, seeking authenticity in her expressions, and aiming to evoke emotional responses from viewers through her art.

  • Austrian ceramist: I have undying love for Nigeria

    Austrian ceramist: I have undying love for Nigeria

    Austrian ceramist Selma Etareri, 56, was in Lagos for a one-month cultural exchange programme. During her stay, she visited Arts Schools, artists‘ studios and participated in the annual Harmattan Workshop in Agbarha Otor, Delta state. She speaks on the warmness and friendliness of Nigerians, even to foreigners,  her experiences and love for Nigerian arts and artists and how her visit to Nigeria has lifted her artistic spirit, Assistant Editor (Arts)  OZOLUA UHAKHEME reports.  

    Renowned Austrian ceramic artist Selma Etareri has an undying love for Nigeria arts and artists. She is unpretencious about it. Within her one month stay in Lagos during which she participated in Harmattan Workshop at Agbarho-Otor, Delta state, Selma fell in love with Nigerian heritage, saying she felt unhappy that Austria is yet to learn much about Nigerian arts. She said her visit to Nigeria has not only rekindled her confidence in her works but has also given real meaning to her existence as an artist who has about 40 years of studio practice. 

    “I don‘t fear anything anymore. I can now create my work the way I feel. But, Austrians have lots to learn about African arts,“ she said. 

    Selma described the one month cultural exchange programme in Nigeria as the most rewarding and exciting experience in her career, noting that the programme though very remarkable and heartwarming, was also a home-coming for her.

    “I am deeply touched by the great works of Nigerian artists and experiences shared, especially the warmth of the people. For the first time in my life, I can see and feel craft, art and design having a great sync. I think it will be ideal to leverage this synergy,´

    It was a big honour to meet great artists such as Dr. Bruce Onobrakpeya, a global icon who unfortunately is unknown to many in Austria. For me, it was like standing before a great legend of the art. And I still find it  unbelievable that Austrians do not know much about him,“ she said. 

    She stated that visiting Lagos has really stirred so many feelings in her that are so deep, adding that she is no longer lonely. Etareri spoke on Shaping the future of ceramics as guest artist at Quintessence Gallery, Park View, Ikoyi Lagos recently said the future of ceramics will be shaped when there is deliberate opening of ceramics markets for global appreciation. This, she said, should be backed by aggressive marketing drive from community level.  

    On her experiences at the workshop, she said: “I am not lonely anymore after theseexperiences in Lagos. When I came here, I felt at home and my existence got a meaning. I got so much good food. The quality of art I find here is very high, unlike ours that is simpler in content for collectors and enthusiasts to reproduce. 

    “I´m here for family, friends, work and cultural exchanges. I also wish to invite Nigerian artists to participate in my yearly exhibition  in Graz. The basic concept is that the artist will visit Austria as a resident artist producing art to culminate into a show. By May, I will be presenting my Nigerian experiences in an exhibition in Austria as part of my process of fostering the cultural exchanges.

    Selma who facilitated in the clay section of Harmattan Workshop, is a full time studio artist and gallery owner in Graz, Austria. Recalling why she chose to visit Nigeria, Selma said: “I fell ill last year and I resolved to slow down in my studio work. So, I told myself I must go for a long trip outside Austria. That was how Nigeria came up. I am happy I came to Nigeria. It gave me some heartwarming experiences and I will miss all that. Europe needs to learn about this warmness and friendliness of Nigerians even to foreigners.”

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    As a way of fostering the exchange prgroamme, she planned to invite Nigerian artists to participate in her yearly exhibition in Graz. The concept, she said, is to bring in resident artists who will produce artworks for a show. She disclosed that she will be exhibiting her works borne out of Nigerian experiences at an exhihbition in Austria in May. At 20, Selma started ceramic business as an artist with her first child. From this time, she did more dancing and ceramics as she started out with big vessels, figures and tea sets. She also made much money dancing solo while learning with Yumiko Yoshioka, a Japanese soul resonance instructor. This experience influenced her art at the time.

    According to her, she did a lot of workshops and teaching to balance out expenses while raising her children. In 2003, Graz got the title of the cultural city of Europe with a new art house in the central business and art district. She took advantage of this development to open her studio behind the art center in 2005. Moreso, she got tired of going to art markets with her vessels.

    “From there, things got better. Sometimes, don’t listen to people who will hold you back from going bigger. I splitted my space into two studios and a gallery, running 6 kilns and working with porcelain and stoneware clay. Now, I run about 5 exhibitions and other special events in a year in my gallery.

    “Over time, I decided to follow my own style. I would scribble with oxides on my vessels, I also use engobes and glazes where necessary, most of my works are like paintings as I enjoy applying myself into the outcomes,“ she said.

    A documentary on her modern dance performance with co-dancer Sonjas Rosbagen was screened at the talk session, which lasted few hours. She was choreographed by Japanase moviemaker Takeshi Furuja. Selma 56, was born in the village of Badhofgastein, a lush and natural place where hot water comes out of the mountains called Alpens. Her father was a sculptor, and she grew up in his studio.

    „Since I can stand on my feet, I have grown up in spaces like this, just smaller. I had a childhood with a lot of materials, colours, clay, artworks everywhere. My dad would organise a symposium for artists. Almost every artist that was born between 1920 to 1950 in Austria went in and out of our home. I often sit with my clay in the studio quietly working, self-forgetful. I remember it as a very long daydream in the studio,“ she said of her upbringing.

    Continuing, she said: „My work as a child was so interesting that they couldn’t send me to work in the kitchen. My dad stood for me while my mum would rather say I should help in the kitchen or go to school to learn housework. I was so handy; I was the one who fixed the roof with my uncle, spinning wool and needling with my grandma or working with my brothers. I’m quite sad that my mother and my sister are so talented but they weren’t living it. My mum is a great singer and a painter while my sister was a great dancer and a wild horse rider before marriage. We were all like circus artists.“

  • Day Ijebu Ode honoured Kuku

    Day Ijebu Ode honoured Kuku

    The mini Ojude Oba’ held recently at the Oba S.K. Adetona Royal Pavillion, in honour of Olor’Ogun Sonny Folorunso Kuku, was a day that will be remembered for long by sons and daughters of the ancient town of Ijebu Ode, Ogun State. Dr. Kuku was installed as the third Ogbeni Oja of Ijebu Ode.

    Many traditional rulers, top government officials, former and serving governors represented by their deputies and the cream of the society converged on the venue of the event as early as 9am.

    Activities at the main markets were almost paralysed as men and women, led by their Baba Oja and Iyaloja, thronged the Awujale Pavillion, in beautiful aso-ebi to celebrate with the respected and humane Olor’Ogun Kuku.

    The stretch of Awujale Street, from Itoro Roundabout down to Talbot Road Roundabout, was cordoned off to vehicular movement, except the august visitors who drove into the town to honour the man of the moment ­— Olor’Ogun Sonny Folorunso Kuku.

    As it was customary during Ojude Oba, dane gun shots boomed across the town as the various Baloguns, the Shotes, the Josis, the Odunugas, the Otubus, the Alausas, the Alatishes, to name a few of them, moved from their respective domains and  joined the Kuku Family at their Olorunsogo House on Itantebo  Street, Ijebu Ode.

    The movement of the Baloguns was accompanied by young boys flying coloured flags of the various horse riding Baloguns amid the booming of local guns and drummers singing their praises. If their movement from Itantebo Street  into Awujale Street was spectacular, their entrance into Oba S.K.Adetona Royal Pavillion, opposite the palace, was triumphant.

    The surge of many flag bearers, drummers, serial deafening gun shots and scores of horse riders announced the arrival of Olor’Ogun Kuku into Oba S.K Adetona Pavillion.

    Olor’Ogun Kuku, in his characteristic manner, during Ojude Oba, rode in his eye-popping white chariot, drawn by two beautiful chocolate-coloured horses, with his wife, Susan and two maidens, on whose thighs sat one big calabash each, to the cheering and admiration of sons and daughters of Ijebu Ode. The heavy-muscled horses have seen and are still enjoying good days in the care of Olor’Ogun Kuku.

    The drummers, the horses dancing on their hind legs and their riders treated the crowd to spectacular performances. No son of Ijebu Ode has ever been honoured by such performances and attendance by well-wishers. It was a day that would not be easily forgotten. Olor’Ogun Kuku’s installation ceremony as Ogbeni Oja coincided with his 80th birthday.

    Olor’Ogun Kuku and wife remained seated in the chariot while all these lasted, until the Awujale, Oba Adetona arrived the pavillion.

    Few minutes after, Kuku was called, and he came down from the chariot with his wife, resplendent in their white aso-oke.

    The Baagbimo of Ijebu Ode, Chief Fassy Yusuf, in a welcome address, prayed to God for peace and the sanctification of the event,   thanking God for journey mercies for all thatfor the event and their return back home.

    The oath of office for the new Ogbeni Oja was administered by a senior lawyer, Chief O. B. Okuboyejo.

    The traditional installation was performed by one of the chiefs of the Awujale known as Gbade,  who also handed the new Ogbeni Oja of Ijebu Ode his new staff of office  and  aso ofi also known as Itagbe for the office.

    The new Ogbeni Oja also swore allegiance to the Awujale and the people of Ijebu Ode.

    Ogbeni Oja is the highest title, next to Awujale, that a free born Ijebu male can aspire to hold.

    The installation made Kuku the third person to be bestowed with the title. He belongs to the Obaleke Age Group (1944 -1946) of Ijebuland. His predecessors were the late Chief Timothy Odutola and the late Chief Bayo Kuku.

    The Awujale expressed his belief that traditional rulers had a right to decide how they should be buried in accordance with their religion and the new law in Ogun State. He said except this was done, it would be difficult for the people to get good and quality people to aspire to be king in Ogun State and other parts of Yoruba Land.

    The monarch recalled that he started struggle for the enforcement of the rights of Obas as a minister during Western Region administration. He said he persisted when Ogun State was carved out of former Western State under the administrations of Chief Segun Osoba, Chief Gbenga Daniel, and Senator Ibikunle Amosun and finally he got the law promulgated under the current governor, Prince Dapo Abiodun’s administration.

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    “Now the totality of traditional rulers in the old Western Region want to follow in the same direction,” Oba Adetona said, adding: “The institution of obaship is not for traditionalists alone, but also for all religions. I’m glad things are changing in Yorubaland.”

     “There is need to accord traditional rulers their rightful place in the scheme of things,” he said.

    He explained why he installed former governor Olusegun Osoba with the title of Aremo about 26 years ago. He said he had known Chief Osoba and that when he came out in1999 and wanted to contest the governorship of Ogun State. he did not mince word by telling him that it position should go to Yewaland.

    “But you know this politicians, they know how to do their things. How he became governor was the hand work of God.

    “When Osoba became governor, he was not hostile to me. He came to visit me. We became friends and prayed for him to stay long on the throne. It became a habit for both of us to speak every day.

    “For his loyalty and appreciation for his friendship, I installed him Aremo Awujale.”

    The Awujale also thanked and appreciated Osoba’s successor, Otunba Gbenga Daniel for his support that led to the acquisition of the land on which ‘Oba S.K. Adetona Pavillion’ is standing today. He also thanked another former of Ogun State, Sen. Ibikunle Amosun for his show of love through his eight-year administration of the state. He also appreciated the incumbent Prince Dapo Abiodun who he said has equally been good to him.

    Awujale explained that Olor’Ogun Kuku did not lobby to be installed as the Ogbeni Oja. He said: “In my own wisdom, I appointed him because I know he merited it. He is suitable for the office, he’s very loyal.”

    Oba Adetona paid glowing tributes to the late Olori Omoba Akile Ijebu, Otunba Subomi Balogun, saying if he was alive, Dr. Kuku would have been his choice for the position of Ogbeni Oja.  He called for support and prayers for President Bola Ahmed Tinubu to succeed in office. Oba Adetona thanked sons and daughters of Ijebu Ode and people of Ijebuland for their continued support noting, “they continue to support me despite having stayed 64 years on the throne.

    Governor Dapo Abiodun of Ogun State said the installation of Dr. Kuku was a call to service to uplift the people of Ijebu-Ode.

    The governor, represented by his deputy, Engr.  Noimot Salako-Oyedele, an engineer; described the new Ogbeni Oja as an exemplar of leadership, who would bring his knowledge to bear to uplift the people of Ijebuland.

    The governor said the ceremony for the installation of Olor’Ogun Kuku was a testimony of the tradition that binds the people of Ijebu Ode and Ijebuland together.

    Gov. Abiodun expressed confidence that his tenure as Ogbeni Oja of Ijebu Ode would be marked with more prosperity for the people of Ijebu Ode. Lagos State Deputy Governor Dr. Obafemi Hamzat represented Governor Babajide Sanwo-Olu.

    Other dignitaries at the event included the Osile of Oke-Ona Egba, Oba (Dr.) Adedapo Tejuosho, Akarigbo of Sagamu and Paramount Ruler of Remoland, Oba (Dr.) Babatunde Ajayi, the Paramount Ruler of Yewaland, Oba (Dr.) Kehinde Olugbenle, the Ojotomoro of Abigi,  traditional rulers of Lagos, who represented the Oba of Lagos, Rilwan Akiolu, Ebumawe of Ago Iwoye, Oba Abdulrazal Adesina Adenugba, Babalaje of Ijebu Ode, Chief S B. Bakare, and former President, Nigerian Bar Association (NBA), Olumide Akpata among others.

  • Globalising Nigeria’s entertainment hub

    Globalising Nigeria’s entertainment hub

    As part of efforts to put Nigerian fashion and talent on global map and help brand Nigeria as a global fashion and entertainment hub, the Brendance and Crusaders in partnership with New York based US based FE TV HUB led by Mr. Bob Cal is producing two televised events holding in Lagos.

    CEO/Founder Brendance and Crusaders Mr. Brenda Nsikak stated that the event is to make Nigeria known globally as a fashion entertainment capital as well as to realise all the potentials that the Nigerian fashion industry and entertainment industry have to offer.

    “It is to globalise Nigerian entertainment industry and promote the creation of jobs, and to provide opportunities to Nigerian creatives to attain success through global entertainment economy,” he said.

    He added that the show, which is open to Nigerians aged between 18 and 35, from all over the country, is also designed to globalize Nigerian entertainment industry and promote the creation of jobs, as well as provide opportunities to Nigerian creatives to continue to excel through the global entertainment economy.

    Nsikak is expected to bring his experience and knowledge as technical director to the programme, while Cal, who is coming from the global fashion capital New York City, brings a fresh take on fashion to revolutionize the local industry.

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    According to the pageant veteran Nsikak, “‘Fit for a King’ is a men’s fashion designer competition searching for the nation’s next top men’s designer. Packed with top Nollywood stars and Nigerian fashion icons, ‘Fit for a King’ is a visual feast of royalty and celebrities; a regalia of opulent and ostentatious African fashion that only the fashion-conscious Nigerians can achieve. During each episode, designers will create a look for a celebrity to stomp down the runway, while viewers will evict one designer until only one designer is crowned ‘Fit for a King.”

    Nsikak who spoke with the press on the forthcoming entertainment show, said that ‘Inferno Runway’ on the other hand, “is a spicy high fashion affair, a beach wear designer competition searching for the nation’s top beach wear designer who can embody the powerful femininity that Nigerian women are known for.

    ‘Inferno Runway’ is a feast of slay, attitude and boldness. Watch as Nigeria’s most beautiful women light up the ‘Inferno Runway’ wearing luscious swimwear designs of competing beach-wear designers. In each episode, viewers will evict a designer until only one designer is crowned ruler of the ‘Inferno Runway.”

    Nsikak noted that Inferno Runway and Fit for a King are part of a global movement promoting fashion as a form of entertainment adding that American based FE TV HUB specifically sought out Nigeria as its hub for fashion entertainment after its founder Bob Cal came to Nigeria in 2023 and was blown away by the nation’s passion for fashion.