The Nation Newspaper

Category: Arts & Life

  • Interplay of empirical evidence and hyperbole

    Interplay of empirical evidence and hyperbole

    Books are like babies, they come into the world arriving as joy and full of hope for their parents and their well-wishers. They also come with the possibility of making history and the certainty of affecting some lives, the fate of books though like that of babies depends ultimately on how the environment deals with them. There is a new book in town titled: Nigerian Public Discourse: The Interplay of Empirical Evidence and Hyperbole, written by a lawyer, former Governor of Lagos state and former Minister of the Federal Republic of Nigeria, Babatunde Raji Fashola (SAN) known to us in Lagos as BRF.

    It is a collection of essays arranged in sixteen chapters that cover crucial and topical issues about Nigeria from fiscal mechanisms to law and order to data management to issues about out of school children to those of housing to poverty, to electricity and power to the comparison of efforts and achievements of Nigeria juxtaposed with other countries, to legal analysis of the constitution to the conundrum of minimum wage to issues of citizenry to governance and protocols, the power and influence of a president to restructuring and of course the reinvention of Nigeria.

    I have taken time to list these topics in a bid to ensure that you are convinced that Fashola’s book is worth reading based on content and by that, I mean topics treated and mode of treating them. The book is a very personal narrative that is unapologetically built on and framed around the education, exposure and experience of Fashola the writer. I say unapologetically because Fashola himself acknowledges that others might disagree with his views and accounts but like a good student of Aristotle, Fashola makes his case and challenges those that can to make their own case and those willing to learn to take valuable lessons from his own education, exposure and experience.

    No need to pretend, I have known BRF for over 40 years, it would be hyperbolical (borrowing a word from the new author in town) to say we are friends but it would also be dishonest to pretend as if I am neutral to Fashola, of course I like BRF and I think he is one of the very few good ones of the many bad politicians we have in Nigeria and in the world. On a personal note, when I heard that BRF’s book was published I quickly requested for it and I think it is safe to say I am one of the first people in Nigeria to get the published version of BRF’s book. I know Prof Wole Soyinka, Alhaji Femi Okunnu, Supo Shasore and some other notable Nigerians have read this BRF’s book too, but I doubt they read the published version before me. Allow me to publicly thank the resourceful person that got me my copy and to keep the name private for now.

    My initial thought was that BRF’s book would be an account of his stewardship and justification of his actions and inactions in government as governor and minister. Knowing the man, I was however sure that BRF’s book will neither be a fluffy account nor a eulogy of power and position. I was also certain that the prose will be well arranged and worthy of anyone with good taste. I was however rather surprised and impressed to see that unlike most politicians or public servants turned writer, BRF did not try to explain, exonerate or praise himself. In his book, he takes the helicopter view and tackles methodological and institutional issues and he does these by challenging observers and by offering useful tips for future policy makers.

    Observers are the analysts, opinionists, journalists, consultants and other influencers whose voices and pens (or shall we say keyboards) matter in the society and who therefore can make many people believe whatever they say or write, be it true or false. BRF’s book warns and challenges these observers to use accurate, updated and verifiable data and facts in their analysis and to be rigorous in expressing their public views on national issues. He challenges them to move beyond common places and away from unverifiable claims and to move towards logical and factual positions.

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    To policy makers, be them law makers, governors, ministers or local government administrators BRF’s book sends an invitation to build their policies and actions on data and research into any issue they intend to deal with. He warns anyone in position of authority or duty to understand that understanding the question very well before trying to provide an answer is a crucial step as a bad understanding of the question or issue to address is a sure foundation for erroneous answers and wrong solutions. BRF’s book in many ways teaches policy makers to plan and implement not based on assumptions or hearsay but to dig deep and to analyse before formulating or implementing policies.

    Those who truly care about systems and institutions will find BRF’s book a very worthy monograph because he dares to talk about values and citizenry. Unlike most politicians that shy away from it in their public accounts, BRF found the clarity of vision and the courage of voice to talk about the duties of citizens and he explores some essential features of modern citizenry. BRF’s book boldly and clearly calls out the elephant in the room: Unholy demands and expectations of citizens from public office holders. BRF’s book uses personal examples and theoretical but easily identifiable ideal types to show us how citizens can lead public office holders astray through sycophancy, conferring titles of all sorts on them, make them chairmen of events etc.

    BRF’s passion for good governance and his patriotism radiate from every page in his book and it will take a lot of bias to discount that. BRF’s book is worthy of reading as it will be no doubt a useful tool and discussion point around which analysts, politicians and citizens can gather to ponder on and discuss about societal issues. Undoubtedly, some of the discussants like me will argue that, like in any other society, leadership is the main problem with our society. The fish rots from the head…

    Now that BRF has become a writer, we have the right to ask him to say and write more about the duties and required features of leaders in a society that wants to progress. To affirm our right on BRF, I propose we read this new book and talk about it, that way, he will know we read and we, in return, can insist he writes more. Join me if you can on twitter @anthonykila to continue these conversations.

  • Osofisan releases eight books

    Osofisan releases eight books

    Like the characters in his plays, wont to change into other personalities, creatures or roles, eminent dramatist, poet and literary scholar, Prof Femi Osofisan, slipped into his alternate identity, the royal partridge/peacock whose voice rules the skies and the loft of trees, on the eve of the new year and… the king of all singing birds hatched eight golden literary chicks – all in one go!

    Perhaps, ‘chicks’ would be a wrong word for fat and meaty progenies that came cackling and flapping their feathers in seeming impatience to fly! 

    The harmony of their delightful songs and bright plumage of rainbow hues bore the unmistakable DNA  of artistry, genius and beauty – all Okinba Launko’s, the pen name Osofisan answers  as a poet.

    Of course, only someone such as Osofisan, reputed to be Africa’s most prolific playwright, could pull such a feat – release into the book market eight freshly published titles at once.

    The new arrivals comprise two poetry collections – ‘Remember Tenderness’ and ‘The Jeweller of the Night’; five plays – ‘Canoes’, ‘Tegonni’, ‘Medaye’, ‘Nkrumah Ni, Africa Ni’, ‘A Nightingale for DuBois’ŕ; and ‘Songs from the Plays of Osofisan compiled and scored in some cases by Tolulope Owoaje.

    Of course, some of the works notably ‘Nkrumah Ni Africa Ni’ and ‘Tegonni’ are reincarnation of the old editions given some tweaking. The rest are products of the author’s fresh labour or which were undertaken in the past but only going under the press for the first time.

    The two poetry volumes, however, contain both new poems and others drawn from the author’s old and familiar collections.

    They are, Osofisan writes in the introduction to ‘The Jeweller of the Night’, part of a series project to commemorate  the 36th anniversary of the publication of his first anthology, ‘Minted Coins’, which in 1987 won the very first Association of Nigerian Authors  (ANA) Poetry Prize for Literature and spurred him on to publish five others. They contain, in addition to the new ones, the best of the poems carefully selected from a retrospective survey of his output in this genre of literature so far.

    The two volumes’ global theme is love, but this sometimes transcends the romantic, the sensual and even the spiritual, becoming in the poet’s hand a mere decoy with which he addresses the larger socio-political concerns and Nigeria’s troubled history.

    Thus, the chamber of personal intimacy turns a metaphor for mirroring topics of public significance and baring the angst of the street, while “sentimental moments become loaded like Ifa verses with oracular wisdom, or banal fun.”

    Published by Kraftbooks, ‘Remember Tenderness’ have seven parts: Silk and lilacs; Goddess; Magic; When the tears come; Friendship enduring; Of scars and loss and sea-change; and The wine of healing: remember Tenderness, from which the collection got its  name.

    The offerings are framed by a prologue and epilogue in which Launko offers invocation in tribute to his Muse as well as supplications  for the reader for accompanying him till the end of the poetic excursion.

    The language is characteristically simple, lucid and picturesque, painting vivid images and evoking pathos and profound thoughts with its striking style, steeped in deep indigo of African idioms, aphorisms, and spirituality.

    ‘The Jeweller of the Night’ takes the thematic concerns in its predecessor further and, perhaps, more aggressively, rekindling critical landmarks  in the nation’s history, reminding of moments of shared anguish, memorialising dead heroes, colleagues and loved ones, and simply celebrating love for its own sake.

    This sequel, published by Mosuro Publishers with an erudite Foreword written by renowned literary critic, Prof Dan Izevbaye, profiles Launko’s journey of literary engagement, especially with the Nigerian society.

    It is divided into six parts presented with the usual offer of blessings at the beginning and concluded with same.

    Part one, entitled ‘Moonscape’ composed of poems about the poet’s encounters and experiences in many of the cities of the world he has visited. In contrast to the serenity and natural beauty his idyllic homestead, he finds the cities unattractive. The poet celebrates the moon and nature with which he tends to have some bond indicating that he will not give  the affinity and peace they give him for the cities with their urban noise, filth, fraud, rat-race, traffic jam, artifice, guile and deception, despite allure of the apparent wealth, glitz, glamour and fun they offer.

    Read Also: Femi Osofisan’s ‘Nkrumah ni…Africa ni’Femi Osofisan’s

    Under part two, entitled  ‘Nightmares of jistory’, are poems such as: ‘A new myth’, ‘Locusts’, ‘Rice’, ‘Those who will not die well’, ‘For ‘Thompson and Irabor’, ‘Blood season’, ‘Freedom  song’, Sweet refeain’ and ‘Be the fire’ which run severe commentaries on the ills  and state of the nation at different epochs.

    Part three, dubbed ‘Requiem’, consists of elegies to among others the renowned social scientist and author of ‘How Europe underdeveloped Africa’, Walter Rodney and other African icons especially in the arts. ‘Remembering Mamman Vatsa’ is a stand-alone tribute containing four poems that traced the tragic execution of the late Major General Vatsa convicted for plotting a coup against his friend, Military President Ibrahim Babangida. Aside exploring issues of amity, animosity and reconciliation within the context of relationships, the poems  lament the loss the death of the General, a celebrated poet and author implies to the arts.

    Part five named ‘And the plague came calling’, deals exclusively with  the Covid-19 outbreak, its devastating effects and lifestyle alterations it brought upon the world. The main poem here is ‘Season of the Unnameable’ with several subtitles such as: ‘Salute’, ‘Song of the cowed’, ‘The widow’, ‘Convening corpses’ and ‘A change of dialects’.

    In chapter six, however, Launko offers hope beyond the disillusionment, despair, sadness, angst and gloomy mood and tones that pervaded erstwhile poems. Grouped under this section entitled  ‘Renaissance’ are ‘Renewal ‘, ‘We are climbing ‘, ‘New season’, ‘A birthday card’ and ‘Believe’ and other poems.

    Making up the tasty poetic sausage filling are ‘Tale in the moonlight’ I and II, two poems inserted as interludes between parts one and two and parts four and five.

    One remarkable thing to be said about the poems in these two new collections is the delightful and masterly manner Launko blends the elements of poetry synthesizing  the diverse themes and attitudes of different climes and of different verse techniques. He adroitly switches between free verse and formal versification employing abundance of wit and entertainment that sustain the first and the rhythm that makes the latter memorable.

    The volumes and the play texts are more than good year-starters for lovers of good literature, considering the signature they bear.

  • ‘Why LagosPhoto Festival is on hold’

    ‘Why LagosPhoto Festival is on hold’

    Mr. Azu Nwagbogu is synonymous with promotion of Nigerian contemporary art.

    He is founder and director African Artists’ Foundation (AAF), a sixteen-year-old nonprofit arts organiaation, and LagosPhoto Festival, an annual international photography event.  He has used these platforms not only to grow the art, but also to promote the artists, especially the emerging ones.

    In particular, LagosPhoto Festival launched in 2010 draws international photographers from across the world to Nigeria every year. It holds exhibitions, workshops, artist presentations, discussions, and large scale outdoor prints displayed throughout the city with the aim of reclaiming public spaces and engaging the general public with multifaceted stories of Africa. 

    But, all has not been well with the annual festival that establishes a community for contemporary photography, which also unites local and international artists through images that encapsulate individual experiences and identities from across all of Africa. The festival is perpetually on hold.

    Reason: In October 2020, AAF was allegedly evicted from its office on 3B Isiola Oyekan Close, Off Adeleke Adedoyin Street, Victoria Island, Lagos by Keystone Bank from the Estate of late Dr. Ime Umanah, the landlord in the most embarrassing and humiliating manner. According to Nwagbogu the foundation has not been able to organise its events in the last two years due to the eviction. This, he said, led to an extraordinary meeting of the board of trustees of the foundation where it was decided that the foundation, which had done so well and placed Nigeria proudly on the world art scene should be moved to another African country. “It is with deep emotion and pain that we announce the exit of this organisation from Nigeria,” he added.

    Nwagbogu who spoke at a recent press parley with Arts Editors in Lagos said Keystone Bank claimed ownership through a court order. “They claimed several properties belonging to the Umanah family, our landlords, claiming they were owed money by the late patriarch of the Umanah family. They proceeded to needlessly tear down the legacy that was left by Umanah. Unfortunately, we have collateral damage, and we were ignominiously pursued from our premises. This happened just before our yearly event, LagosPhoto! A medium we have used to not only promote African arts and culture, we also placed Nigeria on the global art scene, garnering accolades far and wide. Seeing the damage done to the Umanah residence on Bourdillon, we were shocked and looked for a way to save our paintings and artefacts donated from all over the world! We were offered the property by the bank or faced the same fate as the Bourdillon property, with a sense of responsibility and the backing of international donors, proceeded to acquire the property.”

    Reacting to the alleged debt, Azu said: “The court learnt of an earlier suit on the same subject matter, where the court had determined after due and necessary determination of issues that the Umanah family not only didn’t owe the bank, but were in excess credit with the bank. The court realised that the bank came to get what it couldn’t from the earlier court through the back door.

    “After careful consideration, the court dismissed the suit and sternly admonished the lawyers of Keystone bank for abuse of the court process.

    Based on this, we approached the bank for a refund of the purchase price of N600m, reminding them of the indemnity clause and letter signed by the bank management. The bank instead through its lawyer’s blatantly refused to refund the purchase price. This situation further led to an extraordinary meeting of the board of trustees where it was decided that the foundation, which had done so well and placed Nigeria proudly on the world art scene was to be moved to another African country.”

    Nwagbogu lamented that the Keystone Bank offered AAF the property on #3B Isiola Oyekan Close, Off Adeleke Adedoyin Street, Victoria Island, Lagos, after taking possession of it from the owner who it alleged defaulted in repaying bank debt. According to him, AAF paid the N600 million, raised from a donor, to acquire the property, but the bank has refused to take possession of the property or repay the N600 million it paid to purchase it. As if that was not enough, Nwagbogu hinted that AAF is yet to take possession of the property, money paid not refunded and its equipment still locked in the sealed property.

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    Inyene Nta, daughter of the late Dr. Ime Umanah and administrator of late Dr. Ime Umanah’s estate, who was at the parley, disclosed that her father settled all the debts he owed the bank with a N1 billion he paid and that the bank is the one owing her father.

    She explained that her father, who was the CEO of Imesco Enterprises, the company with which he obtained the loan, was transparent in his dealings with the bank, but that the bank’s action is illegal, callous and should be checked.

    One of the counsels to the Estate of the late Dr. Ime Umanah, Wuyi Ogunyinka presented copies of court rulings and decisions of the court, which Keystone Bank went contrary to. Foundation’s legal officer, Ibrahim Abubakar, who was also at the briefing, charged Keystone Bank to obey the court and act responsibly by allowing AAF to take possession of the property or refund the money paid.

    Nwagbogu hinted that in the interim the foundation has shifted its operational base to Cotonou in Benin Republic, but will be focusing more on intellectual development, training and equipping skilled workforce in the visual art industry, especially young curators.

    But for now, Nwagbogu is the curator overseeing Everything Precious is Fragile, Benin’s inaugural pavilion for the Venice Biennale, scheduled to open in April. The festival is entering its 14th year this fall and will capture “the evolution of the world post-COVID, post-Me Too, post-George Floyd, post-Black Lives Matter,” according to Nwagbogu, while next year’s edition will focus on the theme of incarceration.

    The foundation has therefore implored President Bola Ahmed Tinubu to ‘take further action to deter this sort of brigandage by banks like Keystone in ruining the country’s image and lying to waste the effort of hard working Nigerians.’ “The government needs to deal decisively with this sort of behaviour and sanitise our policy to instill confidence in the people,” he noted.

    When The Nation contacted Mr Chukwudi Okonkwo, Asset Management, Keystone Bank on phone, he declined to comment on the foundation’s claims, saying he is not duty bound to speak on the matter because it is before a court. “Sorry, I am not obliged to comment on this matter,” he said.

  • ‘iDICE Fund won’t replace endowment for the arts’

    ‘iDICE Fund won’t replace endowment for the arts’

    Last week, 18 ecosystem players in the creative and digital economy converged on Landmark Event Centre, Victoria Island Lagos to build partnerships and break silos at this year’s four-day Omniverse. It was convened by Mr. Obi Asika, in partnership with the Digital Transformation Center Nigeria, jointly funded by the European Union and the Germany Federal Ministry of Economic Cooperation and Development (BMZ and implemented by the GIZ, Assistant Editor (Arts) OZOLUA UHAKHEME reports.

    Minister of Arts, Culture and Creative Economy, Hannatu Musa Musawa has said that the $617 million Investment in Digital Economy & Creative Enterprises Fund, (iDICE Fund), will not be a replacement of the Endowment Fund for the Arts.  She assured that if the ministry comes up with the endowment fund, it won’t stop the ministry from talking with donors and sponsors to support the creative industry. Musawa who spoke on the sideline of the summit explained that the iDICE fund signifies a remarkable opportunity to propel economic growth and development within Nigeria’s burgeoning digital and creative economy. She said the fund represents a beacon of hope and opportunity for the creative community, offering unprecedented access to startup capital and resources essential for nurturing talent and fostering innovation.

    iDICE is an initiative of the Federal Government executed by the Bank of Industry to promote investment in technology and creative ecosystems in the country. It is co-funded by the African Development Bank (AFDB), Agence Française de Development (AFD), Islamic Development Bank (IsDB), and other private investors.

    Speaking earlier during the launch of the fund, the minister said the Omniverse Summit presents a unique platform to network with industry leaders, gain insights from experts and contribute to the development of policies and initiatives that will drive African innovation, creativity, and entrepreneurship forward.

    “Collaboration and engagement among industry players and policymakers are paramount in unlocking the full potential of Nigeria’s creative economy. I urge each of you present today to actively engage, foster collaboration, and forge bonds that will not only drive our economy but also reshape the creative landscape of our nation.

    “Nigeria’s creative industry holds immense promise for economic development, cultural enrichment, and regional integration. Let us come together to champion inclusivity, empower marginalized groups and ignite the spark of creativity within our youth by attending, actively engaging and supporting platforms such as the Omniverse Summit,” she added.

    The fund, she added, will serve as a catalyst, providing support and access to burgeoning global markets. ‘Our creatives, the vanguards of tomorrow’s revolutions in innovation, culture, and design, will drive socio-economic transformation across Nigeria and the world.’

    The minister urged stakeholders to seize the opportunity to network with industry leaders, glean insights from experts and contribute to the formulation of policies and initiatives that will shape the future of African innovation, creativity and entrepreneurship.

    Reacting to the ongoing talk with Grammy Award organisers, which has generated mixed reactions from Nigerians especially music lovers; Musawa confirmed that Nigeria is in talk with the Grammy Awards organisers. She added that being the home of Afrobeats Nigeria must be counted among the founding members of African Grammys. She said countries such as Rwanda, Kenya and South Africa are championing the move to establish an African version of Grammys. “We are in talk. And if Grammys is about to reach out to Africa, there is no way Nigeria cannot be a member. Nigeria is at the forefront of music not only in Africa but global music,” she added.

    She assured that the ministry will soon meet with some key stakeholders in the industry to discuss the modalities on how to come out with our own awards because according to her, these stakeholders feel the pulse of the people that will be affected.

    She however lamented that the ministry is operating from ground zero with dearth of proper foundation structures. “There is lack of data and proper foundation of structure. These are very important for the ministry. We need credible data for proper planning and execution,” she noted.

    Convener of Omniverse, Obi Asika said the event is about driving connection and networking, which are highly needed in advancing the creative industry. He noted that unlike oil, the creative economy won’t run out and ‘we have the opportunities in the creative economy to transform our culture.’

    According to Asika, Omniverse is people-centred with over 70 communities on the platform spanning academia, research and development, music, innovators etc. “Omniverse is very strategic, and it is to drive convergence, partnership and networking and unlock talents. The innovation in Africa can start today,” he added.

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    Asika assured that his new appointment as Director-General of National Council of Arts and Culture (NCAC), would not be a distraction because ‘I am excited to be appointed by my president. Omniverse is not about me but I will still be supporting from the side as a convener. We in Omniverse believe in our country and the talent in us.’

    On how the fund can be accessed, National Programme Coordinator iDICE Fund Mr. Ife Adebayo said it will be disbursed by Adventure Capital Limited. He noted that the funding banks are African Development Bank, Islamic Development Bank, Agence Francaise de Development and Bank of Industry (BOI).

    Co-Convener, The Omniverse and Chairman of the Board, Innovation Support Network, Mr. Charles Emembolu recalled that Nigeria embraced technology from the early days of the internet and that in 2002, Interswitch, the pioneer electronic payment processing company, laid the foundation for what would become a thriving digital ecosystem.

    “The journey was not without challenges. Infrastructure gaps, regulatory hurdles, and lack of access tested the resilience of the growing digital community. But adversity is the mother of invention and with determination and innovation, we have witnessed the birth of unicorns.

    Today, Nigeria proudly boasts five unicorns, Interswitch, Jumia, Flutterwave, Opay, and Andela, with success stories echoing across the globe. These unicorns are symbols of Nigeria’s untapped potential, resilient in the face of adversity.

    “The driving force behind this growth is the organized innovation ecosystem. The Innovation Support Network, ISN, stands as a testament to the power of collaboration and strategic partnerships. When in 2018, 75 Hubs came together in pursuit of a stronger Innovation ecosystem in Nigeria many of never envisaged the growth of the digital economy post Covid.  Emembolu stated that the ISN represents digital innovation stakeholders at large and with a membership of 189 hubs across 30 states in Nigeria, ISN is the heartbeat of Nigeria’s digital innovation Ecosystem.

    Consul General, Consulate of Germany in Lagos, Mr. Weert Borner said the German government, through programmes of its Federal Ministry for Economic Cooperation and Development (BMZ), is committed to fostering mutually beneficial partnerships with Africa. He stated that through the new strategy titled Shaping the future with Africa, the goal is to engage with African countries in pursuing global structural policies founded on respect and reciprocity by lending structural support to the achievement of the development goals set by the African Union (AU) and its Member States, one prominent being Nigeria.

    “Central to our agenda is the promotion of sustainable economic development, employment, and prosperity, with a focus on digital transformation. We recognize that digitization holds immense potential to drive economic diversification and strengthen local markets across Africa. Through strategic interventions, we aim to create an enabling environment for digital innovation, ensuring that all segments of society can benefit equitably. This includes efforts to: to create digital markets, enable secure, universal internet access, mobilise investments in digital infrastructures and bridge digital divides, stimulate the creation of jobs in the ICT sector, and support the implementation of the African Continental Free Trade Area, as this will also help the digital economy of Nigeria and its neighbours to prosper,” he added.

    The event, which ran from February 28 to March 1, attracted startups, research and academia, regulators, government, media, artificial intelligence, creative, cultural industries and entrepreneurs across all sectors of the economy. It also witnessed presentations and talks by cinema exhibitors, distributors, design curators, collectors, production crew, record labels, creative writers, publishers, gaming, animation and graphic design among others.

  • The vanishing pounded yam

    The vanishing pounded yam

    Pounded yam which holds an esteemed place in Nigerian cuisine is fast disappearing from the menu list of homes in the city particularly in the Southwest. What could be responsible? DAMOLA KOLA-DARE reports.

    It was not uncommon in the past to hear the sound of the pestle against the mortar, — “Kpom, kpom, kpom”, in city  neighbourhood homes almost every day as pounded yam was a staple then. The smooth, perfect white or in some cases, off-white, stretchy dough, made from boiled yams, occupied a special place  in the hearts of people, particularly among the Yoruba in the Southwest. Though its preparation is labour-intensive, the love and passion for it didn’t deter people. But the reverse is the case nowadays. It now seems like an old time relic.

    Observers argue that the meal is fast going off the meñu in most homes in the city, as people don’t fancy pounded  yam anymore. In fact, most homes don’t even have pestle and mortar, and daughters and house wives of this epoch don’t know how to pound. Their prediction is that 10-20 years from now, pounded yam would no longer exist.

    This may not be unconnected to the advent of pounding machines, blender, processed yam flour. Others reasons are the energy-sapping process of pounding and the perceived poor hygiene also involved.

    A survey carried out by this reporter revealed that many  homes in the city do not have mortar and pestle and they don’t care about eating pounded yam. Those in the minority who have, use it for other purposes. These days it is hard to see  mortar and pestle among wedding gifts, which translates to the waning pounding culture and love for the meal.

    A visit to some canteens in some parts of Lagos showed that two in 10 still fancy preparing pounded yam for sale, while others prefer amala, semo, eba based on customer preference. The ones still selling it prepare it on the prompting of their few customers.

    One of such is  Mrs. Busari, who sells pounded yam because  her customers request for it, especially for lunch. According to her, she pays those who come to pound for her, thus, maintaining sales is quite difficult, especially with the inclement economic climate of the nation. She said a tuber of yam of normal size costs N3,000 as of now. The canteen operator said she cannot blame those who don’t prepare pounded yam because it takes much to prepare.

    She said a small wrap costs N200, previously it was N100, but with the current inflation, she had to increase the price.

    “I would have stopped selling pounded yam if not for my customers who demand for it. A lot goes into preparing it. When you think about the cost of yam, gas and other ingredients to make soup, one would want to drop the idea. Afterall, if people don’t get to eat pounded yam, there are other options like semo,eba,fufu, amala.One risky thing about it, is that, you can have leftover for the next day,you have to sell off everything or you eat from it too, otherwise it doesn’t seem encouraging doing it,” she said.

    Seyi, a business man, said most women were now averse to preparing pounded yam, adding that processed yam flour has become an escape route for them.

    Speaking to The Nation at a canteen in Ayobo, Lagos, he explained that he stopped telling his wife to prepare pounded yam.

    “These days, it is quite hard for some one to just wake up one day and say she wants to make pounded yam. Poundo Yam is now in every mall and store. It even comes in various packs and sizes. In fact, you would not want to stress your woman to pound yam after going through stress at work or at the shop. I don’t even tell my wife to prepare pounded yam because it would seem like I am looking for trouble. If we need to eat pounded yam, I can always drive to the canteen and buy. Nobody wants to go through stress anymore,” he said.

    He also noted that the price of mortar and pestle would discourage many. He said last December, he accompanied a friend to get mortar and pestle in the market only to discover that the smallest size was N25,000.

    “People have bills to pay, by the they buy wooden mortar and pestle for N25,000, then you ask yourself if it is really worth it. People now have so many choices apart from pounded yam. It is a case of preference,” he added.

    For those in the minority who have wooden mortar and pestle, they use it for other purposes.

    One of such is Associate Professor of Nutrition at the Department of Home Economics, Lagos State University of Education, Oto/Ijanikin, Lagos State, Dr. Beatrice Chinyem Oganah-Ikujenyo, who, despite having mortar and pestle, doesn’t use it for pounding yam because she prefers processed yam flour otherwise known as Poundo yam.”

    She described pounding as an energy-sapping and time-consuming exercise, hence,  the pounding culture may not be attractive anymore because “it has been queried based on hygiene and sanitation of the equipment and handlers’ and the evolution of technology.

    “Technology is what has eroded the culture of pounding foods (yam, cassava, pepper/tomatoes, crayfish, etc) during meal preparation.

    ‘Pounding is tedious, energy consuming, time wasting and space consuming. Why go through all that rigour when you can get the same results with labour-saving device that is designed through innovation and technology. Now, you can make pounded yam in 5 minutes using innovative foods – processed white yam flour. It reduces preparation and cooking time.

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    ‘Innovation and technology have crept into all aspects of our lives and we are now on the digital technology super highway. It therefore makes sense to  drop the old tedious and less productive ways of doing things for more positive productive methods that yield similar or better results.Again the  pounding culture  has been queried based on hygiene and sanitation of the equipment and handlers,” she said.

    For Coordinator of Child Protection Network, Lagos State, Mrs. Ronke Oyelakin, culture itself is wilting fast. She said only what was passed down by parents that would be imbibed by their children. As an upwardly mobile parent, she admitted that her children didn’t know pounded yam and they had never tasted it because she didn’t have time to prepare it.

    “Personally my children don’t  know pounded yam, they have never tasted it because I don’t do it at home. Culture is actually the people themselves. It consists of the ideas, customs, and social behaviour of a particular people or society. It includes beliefs and institutions of a population that are passed down from generation to generation. As “the way of life for an entire society, it encapsulates codes of manners, dress, language, religion, rituals, and art, including the type of food eaten.

    “So when it comes to food. It is actually what is seen being served from time to time by the parents that are passed on to the children. Imagine a house where Amala or pounded yam has never been made, children that grow in such a home will never know how to make it nor eat it. Except they begin to move around as they grow and get to an environment where it is  being served and might want to try it,” she said.

    On air personality and show host Damilola Banire said : “Even I cannot pound for myself, I didn’t even learn it while my mum taught my older siblings. It wasn’t something I admired from childhood. The woman you want to pound yam now has a contract to pursue,  she needs to manage her home to also reach her goals.

    “Also,  modernisation and technology took over. It’s a simple case of the inherited cultural practices that civilisation is blowing away. Technology has given us faster and easier methods of cooking to also save time. This is the age of Artificial Intelligence  and I  think it’s just normal that as we progress in time there are a lot of practices humans will shed off to  adopt more efficient and productive practices.

    “Daughters nowadays may decide to imbibe the culture of pounding if they wish,  but why should they? Even I as a mother don’t know how to pound so what do I teach them? What you don’t have you can’t give.”

    With a sort of aversion to pounded yam in most city homes and with other alternatives, observers may well be right that in the next 10 years, the meal would be non-existent on the menu.

  • Azuh Arinze launches journalism book, honours Dele Giwa, Dimgba Igwe

    Azuh Arinze launches journalism book, honours Dele Giwa, Dimgba Igwe

    Azuh Arinze, the distinguished publisher and editor-in-chief of YES INTERNATIONAL! Magazine, has released a comprehensive journalism book titled: “Anything and everything journalism.”

    Spanning 448 pages, this comprehensive work pays homage to two iconic journalists, Dele Giwa and Dimgba Igwe, whose untimely deaths left an indelible mark on the nation.

    Dele Giwa, the charismatic founding editor of Newswatch, fell victim to a fatal parcel bomb on October 19, 1986. Dimgba Igwe, an astute journalist and co-founder of The Sun newspaper, met a controversial demise on September 6, 2014. Arinze dedicated his book to these journalistic luminaries, considering it a tribute to their enduring contributions to the field.

    “Anything And Everything Journalism” is aptly described as the “Bible” of journalism, featuring 37 meticulously conducted interviews with some of Nigeria’s finest journalists. The book provides insights into their journeys to the pinnacle of their profession, covering print, broadcast, and online media.

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    Notable figures featured in the book include Segun Osoba, Ray Ekpu, Femi Adesina, Reuben Abati, Azu Ishiekwene, and many others. Arinze’s dedication to preserving the memory of past heroes and promoting professionalism within journalism is evident throughout the extensive interviews.

    Arinze shared that the project took years of one-on-one sessions with the featured journalists. Motivated by a profound love for the profession, he aims to inspire aspiring and current journalists to pursue their careers ethically and with dedication.

    Renowned journalist, columnist and biographer, Dr. Lasisi Olagunju, who wrote the foreword, strongly recommends the book to students of journalism, practicing journalists, and those in public relations and image management.

    The official public presentation of “Anything And Everything Journalism” will take place on Monday, March 25, 2024, at the Nigerian Institute of International Affairs, Victoria Island, Lagos.

    The event will also showcase Azuh Arinze’s eighth and ninth books, “My Story Of Many Colours.” Dr. Dakuku Peterside, former DG of NIMASA, will chair the event, with Chief Uche Nworah as the books’ reviewer, and HRM Oba Michael Odunayo Ajayi as the Royal Father of the Day.

    The anticipated gathering will include special guests such as Mr. Udeme Ufot, Lady Onyeka Onwenu, Dr. Tunji Olugbodi, Rotarian Ify Ejezie, and other distinguished personalities. Gbenga Adeyinka 1st is set to anchor the event, marking a significant moment in Azuh Arinze’s literary journey.

  • Veesax gains international recognition

    Veesax gains international recognition

    Victor Opeyemi Olatunji, who is now known as Thebrandveesax, is steadily making a name for himself on the international music scene.

    The Nigerian saxophonist, whose musical journey began in church and evolved through his university years at Obafemi Awolowo University (OAU), continued to build his craft after gaining attention during the Ojaja Musical Talent Hunt.

    Through persistence and strategic performances, he steadily carved a space for himself beyond campus stages, eventually catching the eye of international music circles.

    Victor’s break into the music scene came in 2016, when he emerged as one of the top seven finalists at the inaugural Ojaja Musical Talent Hunt in Ile-Ife, Osun State.

    The event, sponsored by the Ooni of Ife, Oba Adeyeye Enitan Ogunwunsi, marked his official entry into the Nigerian music spotlight.

    His unique use of the saxophone, a rarity among contestants, earned him wide acclaim and opened the door to paid performances both within and outside the university campus.

    “I wanted greatness,” he said in a previous interview. “I was willing to do the work.”

    By 2017, Olatunji had become a sought-after performer at campus events and special occasions.

    His growing popularity enabled him to sustain himself financially through music while completing his studies, a rare feat among young creatives.

    However, it was his relocation to Qatar that took his artistry to new heights.

    The turning point came in 2023 after the 2022 FIFA World Cup, when the global football event turned Doha into a hub of cultural and creative activity.

    Thebrandveesax became affiliated with Music Lab, a creative music community under Qatar Museums, directed by prominent Qatari musician Dana Almeer.

    The music community contributed to the composition and production of soundtracks and live musical content during the World Cup festivities.

    He went on to perform with Music Lab at several high-profile events, including the Ajyal Tunes concert series.

    The three-night show featured thematic performances like Geekdom Night and a 2000s nostalgia set, both of which showcased Olatunji’s versatility and stage presence.

    He opened and closed the performances with powerful instrumental renditions, working seamlessly with a multicultural band.

    His standout contributions did not go unnoticed.

    He received a certificate of appreciation from the Doha Film Institute in recognition of his role in Geekdom 3000.

    Music Lab later honoured him with the title “The Groove Master,” applauding his creativity, energy, and consistent delivery during rehearsals and live shows.

    Perhaps one of the most defining moments of his international journey was meeting Brent Birckhead, an award-winning American jazz saxophonist who featured at the Spring of Jazz concert series, launched by the U.S. Embassy in Doha. Meeting Brent created an avenue for the two musicians to have a private jam session.

    “Jamming with Brent was surreal. It felt like a full-circle moment,” he recalled.

  • ‘We are looking up to Ministry of Creative Economy’

    ‘We are looking up to Ministry of Creative Economy’

    Haji Omonoba Bello is a crafty and creative stage artiste. Known for his vocal, vibrant and projective nuances on stage, he has indeed come to dominate the Nigerian theatre scene as one of its most sought-after stage characters and actors. In this interview with Edozie Udeze, Bello Hammers heavily on government obnoxious policies towards the art. But he cautions also that the newly created Ministry of Culture, Art and Creative Economy can work if given the chance to do so.

    Life theatre is known as the mother of all acting. In Nigeria, stage theatre has been known to be the mainstay of drama in which music, dance, dance-drama, and other performances have consistently kept the sector alive and active. One of those artistes that has kept the hope of stage theatre alive is Haji Omonoba Bello. Bello’s name in the annals of stage performances in Nigeria is but legendary. For decades he has been visible and mobile in the sector. He has been fully involved in so many stage shows and performances that his name is synonymous with theatre generally.

    Most shows and scripts that need serious and professional interpretations on stage have people like Bello as one of the leading characters. In the past years some of the musical dramas on stage where professional dexterity were needed, Bello always held sway. In Kakadu, the musical, for instance, his role both at home and when it was taken overseas for staging his presence was never equaled. In this interview with The Nation, Bello speaks eloquently about those necessary things and materials to be in place for artistes to thrive.

    He is passionate about making theatre come alive once more. He says “Well, you know I am from the great Benin kingdom where traditions and art speak volumes. I am a professional actor, theatre practitioner, director, writer, you know stuffs like that. The theatre is really not thriving now. And it has been like that for quite sometime now. It has been like where we have maybe occasional productions of large casts. Then suddenly you perform say a week and that is all. This is merely due to lack of proper and adequate patronage. Lack of sponsors. Lack of adequate venues for shows. Lack of finance on a general note. That is what we have been battling with and government itself is not helping the situation. They don’t really pay attention to the culture sector. And that is where they are making the biggest mistake. This is so because culture is your life, it is our life. You cannot run away from your culture. In other words, you cannot develop outside of yourself. It is not possible.

    I remember when Chairman Mao took over in China and the first thing he did was to say my people for us to get back on track and compete with the outside world, we need to be ourselves; we need to come back into ourselves to rediscover who we are. Therefore here in Nigeria we must go back to our culture. The Chinese did. And where is China today? They have gone far, far ahead of the rest of the world. There are many ways China is super to America today. That is the truth. Economically and otherwise China is renowned. China is great. This is so because they went back to their culture to reinvent themselves in all spheres.

    Here in Nigeria, it is quite unfortunate. All the politicians focus on nothing in particular. I don’t even know what they are focusing on. Honestly, I do not know. Here in Nigeria we have the capacity to do everything by ourselves. We do not even need the outside world to come to our aid. We have everything to succeed. What we do not have is government. Government is so lousy, visionless and unprogressive. If we have to get it right, the government has to have a rethink about the issues of culture. The new ministry for the creative economy is just new. We are waiting to see what they will do to help the sector, in fact to put it on a new footing.

    When a house is established on a faulty foundation, the house doesn’t stand. Right now we know what we passed through during the 2023 elections. That is the foundation we have now. However, the culture sector has to move forward. The minister can move the sector forward if she is given the chance to work. If you hear the word creative economy, it rings in the ear. It has meaning. It is meant to work if given the chance to work. That is what we are saying-give the art and creative economy the chance to work, the chance to grow the sector and encourage artistes generally.

    America strives on creative economy. They are a world power in that regard. But Nigeria can supersede America in that regard. We have more creative people in the world. Even America says so that we have more creative people in the world. They have done the statistics. What we are waiting for is that government will leverage on that, then give us the conducive atmosphere to thrive, to move on. See Kakadu, the musical. We went to South Africa to perform it in 2017 or so. If you go to Mandela Theatre, you see posters of Kakadu and others from across the world on the walls. Millions of posters of different performances from all over the world. But when got there, South Africans, for one month we staged it, said that what we brought was the best. They said they were shocked that that production came from Nigeria. They were happy, they were excited. The Kakadu show proved that stage shows can impact can energize the people. It can also relive history; teach the people the whole beauty of stage performance.

    We have seen all that. Nigerian’s are the greatest in terms of creativity and all that. But in governance our leaders are not getting it right. I am very displeased with our leaders. It is painful. Kakadu is not only a musical show it is a total musical show. We can even create more shows out of our situations. Even better shows than Kakadu can come up. We have the creative people to do it. What lacks here are grants. What we need are grants and not loans. We do not need loans at all. What happens abroad is that government gives grants for people to brainstorm, create, and then the artistes will produce.

    Classical works usually come out of this situation. Loans do not produce results. But grants do. Grants help the creative person to be at his best at all times. He can go into seclusion, into himself for a certain period of time during which he is enabled to produce the best works ever. This is what the Ministry of Creative Economy should focus on. This will encourage artistes to work and grow. If government is serious about establishing theatres or stages for performances… what we have are privately owned. People like Ben Bruce and other persons have established stages for performances. People like Bolanle Austen-Peters of Terra Kulture. But beyond that, government should establish centres for stage performances. People like Ifeoma Fafunwa and others are doing well for the sector. And if you check, many of them are women and they are all lawyers. Where are the artistes, people like us who went to the universities to study arts? We do not have the financial backing to do anything. It is not good enough. We need to do more ourselves.

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    But also there can be a synergy between artistes and authors on books, on adaptation of literary works. Yes also it is for us to look at what we are worth. If I am a performance artiste and you are a writer, you should be able to negotiate with each other. In it we should have a standard. If you have to give me your book for adaptation, you should be able to tell me how much I will get out of it so that I will also breathe and live. But we do, not have standards here. Until we have it things will be done haphazardly. That is not good enough for us. Even in Ghana, you cannot just go there and say you want to shoot a film. No they won’t allow you. Ghanaians will not allow you because they have standards.

    You see Ghana has gone far. They are better organized than us. They have set some rules and regulations and you have to pass through them if you want to produce films. See, you cannot be the same way all the time. There has to be a synergy between writers and producers and actors. We need also more cinema centres, places where people can easily go and watch films at their convenient moments. At the moment also there is a play on MKO Abiola which will go on stage for the Easter season. I have not read the script yet because we are yet to start rehearsals. But I think it is a good idea that Abiola is going to be on stage.”

  • All set for ‘Elevate’ poetry event

    All set for ‘Elevate’ poetry event

    In a bid to ignite inspiration, drive change, and facilitate transformative growth, the eagerly anticipated ‘Elevate’ poetry event is scheduled to captivate audiences on March 24, 2024.

    Convened by a Poetic Visionary, Shola Amaraibi, the event is aimed to serve as a rallying call for individuals to tap into their inner strength and ascend to their fullest potential, especially in today’s dynamic global economic and technological landscape.

    Amaraibi expressed the significance of ‘Elevate’ as a timely initiative aligning with Women’s History Month, celebrating and recognizing the pivotal role of women in fostering a more equitable and inclusive world. The event is poised to blend poetry with music, dance, and stage adaptation, creating a powerful platform for change and self-discovery.

    Amaraibi articulated the mission of the poetry experience, emphasizing its power to heal and draw out the greatness within humanity. She stated, “‘Elevate’ is a multifaceted poetry experience – blending verse, music, and dance – to immerse an audience in empowerment, creativity, and spirituality.” The event seeks to inspire elevation, urging individuals to recognize the spark within them and strive for greatness.

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    The poetry event, according to Amaraibi, goes beyond mere inspiration; it aims to break generational strongholds and conditionings, fostering an atmosphere where language becomes a tool for healing. It is envisioned as a divine art that propels audiences to rise beyond struggles, silence critics, and boldly step into their highest selves.

    Kenneth Uphopho assumes the role of Artistic Director for the 2024 edition of ‘Elevate,’ while Ayo Alade serves as its Music Director. The program is thoughtfully divided into two shows, at 3 pm and 6 pm, offering flexibility for attendees to participate in the transformative experience.

    Amaraibi, the creator of the Firestarter Academy and an MBA graduate of Paris Da Vinci School of Management, expressed that ‘Elevate’ is her life’s mission manifested through poetry, aimed at awakening the recognition of the creator’s DNA within every individual.

    As anticipation builds for the ‘Elevate’ poetry event, it stands as a beacon of creativity, empowerment, and spiritual awakening, promising a unique blend of verse, music, and dance to spark transformation in the hearts and minds of the audience.

  • ‘Artist in me saw me through all levels’

    ‘Artist in me saw me through all levels’

    The Acting Vice Chancellor, University of Africa, Toru-Orua, Prof Barclays Foubiri Ayakoroma has described artiste as an observer of life that mirrors realities to the audience. He said being a seasoned thespian helped him tremendously in his career as culture administrator at both state and national levels before returning to the academia. Prof Ayakoroma was trained as theatre artist at the University of Calabar, University of Ibadan and University of Port Harcourt majoring in directing and film studies.

    He observed that as Nigeria is currently passing through very trying times, the roles of theatre become very critical and relevant in proffering lasting solutions to these challenges, especially speaking truth to power. 

    “Artist is an observer of life and theatre is a slice of life who mirrors realities to his audience. Those attributes of the artiste enabled me to take right decisions at certain times and it helped me tremendously. I look at situations from that perspective and it has not in any way been a minus. My being an artist has always been a plus. Hypothetically, I ask myself, If am in a position like that how will I react, what will I do? And that has always informed my actions,” he said.

    He hinted that at the University of Africa, Theatre Art Department has the highest students registration. This development, he said, speaks volume of the acceptance level of theatre at the university. “If you don’t tell your story, nobody will tell it for you. Unfortunately, it is the wrong and negative story people are interested in. As an artist I can still act, write and do other things. Nigerians appreciate whatever you do,” he added. 

    The former Executive Secretary and CEO, National Institute for Cultural Orientation (NICO), who spoke to journalists in Lagos recently, said that he has in the last five months as acting vice chancellor of University of Africa, applied these attributes to steer the affairs of the varsity. He noted that despite the economic hardship, he makes deliberate efforts to improve on the situations in the university, especially staff and students’ welfare.

    “In five months that I have been on the saddle, we are trying as much as possible to make sure things move smoothly. Unfortunately, we have challenges of water and light, which am taking care of. First, I approached the Niger Delta Development Commission (NDDC) to request for two generators, academic office space and other couple of things. So far, the NDDC had responded positively to the requests. It is carrying out studies of where to locate the office and also assisting in the completion of the auditorium, which may host the maiden convocation,” he said.   

    Despite the numbers of tertiary institutions in the state, Prof Ayakoroma said it is a welcome development and not that of rivalry. He stated that there is no form of rivalry between the public and private universities as it is complementary. “If private varsity is not receiving funding from government, then it cannot charge same fees with public varsities. The good thing about private varsities is that their academic calendars are steady,” he added.   

    This, he said, is one attraction that makes parents to take their children to universities in Togo, Benin and other African countries because there is no disrupted calendar.

    However, he identified the university’s unique selling point as the enterprising and enthusiastic lecturers who are ready to give in their best and who know that the university has a promise from the foundation. 

    On the recent report on fake degrees being issued by schools in Benin, and Togo, said the unsteady academic calendar in our varsities is what drives parents to such schools. “When govt gives proper attention to varsities, there won’t be need for strike. I commend the journalist that did the investigative report. However, some states are beginning to increase subventions to their varsities,” he said. 

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    Explaining the university’s approach to students’ admission, Prof Ayakoroma said students are encouraged to choose alternative courses to their first choice in order not to waste much time writing JAMB every year. He noted that recent admission data shows that JAMB admits less than 30 percent, leaving 70 percent of the students waiting for next year examination.

    “At the University of Africa, we encourage students not to be too rigid in choice of courses to study. Universities are not meant only for indigenes, they are meant for outsiders too. In Bayelsa, we have University of Niger Delta (NDU), University of Africa, Toru Orua and Bayelsa Medical University, which is a specialise university and we have another one that has been approved, Federal of Agriculture, Nembe and Federal University at Otuoke.

    Also, there is a private university Hensard University in Toru Orua, owned by former Governor of Bayelsa Senator Seriake Dickson,” Prof Ayakoroma said.  

    He disclosed that University of Africa will soon hold its maiden convocation of three combined sets. “In terms of student population, after Bayelsa, Rivers and Imo states have the largest students’ population in that order. We have students from 22 states of the federation. In the next few years, the university will be well known. We try to let everybody know that the university is indeed a government university,” he assured.