The Nation Newspaper

Category: Arts & Life

  • ‘Why visually-impaired people love drama’

    ‘Why visually-impaired people love drama’

    Sanmi Alegbeleye is a visually-impaired dramatist, who has formed a group with others like himself called Blind People in Action. They have produced a drama video called Ona Abayo: The Way Out. He said in an interview with Edozie Udeze that the video is one of the ways to get Nigeria out of its current political and economic quagmire. A graduate of Adekunle Ajasin University, Ondo State, he is also a script writer and composer.

    THIS popular saying is always as constant as it is true. There is ability in disability. For Sanmi Alegbeleye, a visually-impaired artist, this statement is not only true, as he and others have also proved that whatever an able-bodied person can do, they also can do. As he strolled into the corporate headquarters of The Nation Newspapers in Lagos, armed with a copy of his video with an impeccable smile hanging on his lips, he was ready to open up on a number of issues. Full of joy and hope, Alegbeleye sat down for an interview. As soon as he sat down he said, “I want to let the world know that there is practically nothing a blind man cannot achieve”.

    As he spoke, he twisted his neck, shifting his head to enable his statement sink deeper and meaningfully. “Yes”, he went on, “This is the play we produced, it is titled Ona Abayo: The Way Out. You can see it is a better life for people with disability. It is indeed blind people in action and that is why it is completely regarded as souls harvesting drama ministry, meant to strengthen us not only in faith but in all the things we are able to do”. Of course this is why he and his colleagues are seeking for help not just to promote what they do but to see how to prosper those living with disability of all forms.

    A graduate of the Adekunle Ajasin University, Akungba, Ondo State where he studied Guidance and Counseling, Alegbeleye has chosen to use theatre to prove his mettle. He has also chosen to use theatre-drama, songs, acting, composition, all, to entertain the world and leave an endearing legacy behind. He said, “Yes I am a visually-impaired person. What I have here now is a drama, I and others like me put together. The title of the drama is the way out of Nigeria’s problems. With the situation in Nigeria today many people only blame leaders. But this is not true. People say leaders have not directed us well. But in this play, you will see that both the led and the leader have plenty of roles to play to make Nigeria better. The drama shows clearly who and who are causing problems in Nigeria. It is on how we all can adjust to enable Nigeria work for the common good of all.

    “It is equally on how we can avoid the mistakes of the past to move on with whatever needs to change for the good of the people. We have to reorder our conducts. If Nigeria has to get better, everyone has a role to play to achieve this. This drama is instructive; it is clear on those issues. We need people, indeed, everyone to watch it to see the lessons in it. This was why it took us time and energy and money to package it well”, he said.

    Alegbeleye is comic in his nuances. He is not just punchy about his sentiments to use drama for total effect; he is bent on using it to ensure a saner, safer and happier Nigerian society. He said, “We have some able bodied people among us in terms of production. But generally the idea is to show that blind people are bright. The name of the group is Blind People in Action. The action is to work to make everyone happy. It took us a bit of time to form the group. We are four years old now and have been doing the best we can to keep it going. Majority of us stay in Ondo State. We also have our association, Nigerian Association for the Blind. It is our national body under which we work and agitate for our rights. In the group we have professionals in all fields of human endeavor”.

    Alegbeleye is asking for money to buy instruments. “We do not have money to buy instruments to play music and act our plays”, he said with the clasping of his hands. “Both concerned individuals and government at all levels can come in to assist us. We have bundles of talents to develop. Even myself if I have the opportunity I will go for a Master’s degree to be able to teach in a tertiary institution. It is part of my ambition”, he said with a smile. The voices on the tape truly proved that they are serious artists ready to move the world.

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    Alegbeleye in collaboration with Fatorisa Alex who directed the play wrote it together for the stage. “We wrote it together”, he admitted sitting up a bit as if to punch himself on the chest for a job well done. But in reality the way out for Nigeria is a cool stage drama to enlighten the people. It is not just for the lessons in it, it is also to see how effective stage works can go to fight a cause.

    Plays contain visible and invisible instructive messages orchestrated for change. Indeed dramas act as change agent when the people really attune themselves to them all. Therefore Blind People in Action have gone all out to show the way out of this myriad of problems distorting the smooth flow of a worthy society. All over the world governments make it compulsory to provide comforts and the necessary provisions to enable the disabled people to live well and function optimally. This is what Alegbeleye is imploring the society to do for them. It is proper to sponsor and encourage this set of blind artists to be of immense use to themselves and to the people.

    We can always refer to the great Steve Wonder of the USA. A multiple Grammy award winner, Wonder has got to the pinnacle of his musical career not minding that he is blind. Such hidden cases and talents abound in Nigeria and it will be sound to use this group led by Sanmi Alegbeleye to establish a legacy.

    With sound education, Alegbeleye is wired to go places. He said “I am ready to conquer the world with my talent”. Even though he had had a political appointment before now in Ondo State, he does not mind to make a go at it once more. “We have been to Abuja on several occasions to seek for attention. Now I am asking the current government to also make some of us part of the government. It won’t be a bad idea at all.”

    Blind people, for instance, have been noted to be good script writers, composers and promoters and arrangers. All they need is to be given the right opening to prove the stuff they are made. He said “When people raise money for us we can take the drama to different states to let the people see. I was board chairman of people living with disability for one year. The late governor Rotimi Akeredolu appointed me and I did it to the best of my ability. Yes at the university level at Akungba, I belonged to the drama group”, he said with finality, adjusting his bag.

  • Angel of mercy

    Angel of mercy

    Do not punish me with your death
    dear youth
    I need you to need me
    as you abut the abyss

    I came here that you may have life abundantly
    in this desert
    of generous heat and heartless sands
    I am an angel of mercy
    but the mercy is yours to give
    don’t let this wound win
    this bullet blood flows and
    rootless flesh
    forcing surrender
    don’t yield brother

    the Janjaweed
    cruel stalks of a craven wild
    bearing horses of hate
    and defiling libido
    they struck fear out of fear
    of you and yours

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    the voyagers made your sister and mother
    cargoes of a journey of lust and oblivion
    I could not stop them
    I have no weapon except compassion
    my love to heal, the remnants of carnage
    like you

    angels of mercy
    have no material revenge
    so please give me a hope
    by clinging on to hope
    yours
    they want to wipe you out but they know
    your bulwark
    your imperial breath of life
    your eyes that accuse mutely
    please don’t go
    stay awake
    let your courage and integrity
    outlast my fear
    don’t punish me with this death
    or else I will have nothing to report

  • Why I became literary agent – Sule

    Why I became literary agent – Sule

    Salamatu Sule has chosen a part that many artists and authors dread so much. She is a literary agent and book reviewer, a career that makes her deal directly with authors and publishers. In this interview with Edozie Udeze she shares her experiences so far and what she has been doing to build up her resume in this regard and more.

    WHY did you choose to be a literary agent?

    First, I started as a voracious reader who reads virtually every book I came across whether they were fiction or not. After graduating from the University, I had the opportunity to work with a few institutions and learn a lot, especially the art of negotiation. However, I never set out to become a literary agent until I joined the Association of Nigerian Authors, Abuja Chapter. There, I was Secretary for almost two tenures and observed some loopholes that demanded attention. However, after my experience at the Frankfurt Book fair, I was sure I wanted to become an agent and that is how I developed and co-founded what is today known as the Fahimta Literary Discourse, a solution powerhouse for writers, publishers and authors.

    How profitable is this business?

    The business in Nigeria is not as financially rewarding as it should have been because the whole idea of a literary agent is new to many Nigerian writers. They do not know why they should hire an agent to help facilitate the business of their books and I think because they expect the publisher to handle every bit of the value chain on their behalf.

    Ours in Nigeria is a special case because, traditionally, agents pitch good and salable manuscripts to reputable publishers, get a good deal out of it and then get paid a commission as stipulated in the contract. Whereas, in Nigeria, all we do is invest all of our money to get the book published because there’s not a single grant that helps facilitate the local production of books.

    The issue of dichotomy between agents and publishers on one hand and publishers and authors on the other hand is commonplace. How do you handle this?

    I will tell you this for free. Most of the publishers you see today went into publishing because they were frustrated having to send queries about their manuscripts to publishing houses without any feedback. But when they eventually start a production house, they get carried away with the business of making money without looking into other areas of promotion. An agent comes in to ensure follow-up, especially in the areas in which the contractual terms are entered into.

    Some writers out of a burst of excitement, do not even enter into any concrete contract and cannot fight legally when there’s an issue. An example of a scenario is an author whose works have been on sale by a publisher who has refused to make a return of royalties to the family because the author is late and the contract did not state any possible next of kin. Another is the issue of piracy where the publisher feeds fat on the author’s works without any information regarding the number of books published or what institutions the books have been sent to and access made available to the author, data of sales made per quarter or annually.

    So, when authors approach me, the first question I ask them is: what is the nature of the contract you entered into with the publisher? So, many times, for traditional publishing, we ask for a right of first refusal. I have done that for clients many times. When we enter into this kind of fight, sometimes it gets messy because you need to know the law to engage them. Others have become sneaking parasites; they take your books elsewhere without prior notification and it’s criminal to do so, even if the book is traditionally published.

    Authors complain about how publishers rip them off in terms of royalties. what is your take on this?

    As I mentioned earlier, we have not just book pirates but parasites who feed on authors intellectual rights. Authors must take seriously any publisher that indulges in that kind of practice. I hear of some reputable publishers that update their clients about sales made from their books. However, there are also some reputable publishers that parasite over author’s works including film-makers and as an agent, if a client comes to me with this kind of issue, I won’t relent until justice is served.

    Some filmmakers have over the years, fed fat from authors without even a written consent to take either excerpts or in whole, their works for the screen. They just do it without apology and as I speak, we are in a conversation on one of such ongoing at the moment and we shall see it to a logical conclusion. We also have information regarding schools selling author’s books where the author just found out and we are investigating.

    This year, the agency will partner with institutions like WIPCO, and the Copyrights Commission to instil discipline in this industry.  If the need arises, we shall name shame.

    Why do publishers shun most fictional manuscripts these days?

    Publishers are putting their monies where they can quickly makes turnover. So, they are more thematically driven by salacious stories and somehow, biographies and memoirs and science fiction seem to be the main business for them. Again, writers need to be more creative in their art of storytelling. In this day of AI, originality is going to be expensive and to be a writer who wants to get good publishers like Masobe and others, you need to up your creative prowess.

    Share some of the experiences in this line of business so far

    So, far, I have overstretched myself from just being an agent to become a book reviewer, and book talk host and also into intellectual rights activism. I mean, the experience has been worthwhile. We win some and lose some. I am currently working with some established publishers to see how collaborative efforts can help solve some of the problems plaguing the industry.

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    I am also working with booksellers like Adam’s Pages and one of the things we always priortise is to pay clients their monies when due. When a client’s books are not selling we call them and sometimes even ask them to take their books back.

    Are Nigerian authors getting more offers from external publishers?

    For those whose publishers have good marketing strategies, oh, yes, I know MASOBE Books have been able to get foreign rights for their clients and even film adaptations which is a good thing. They also have been able to break one major problem of the book industry and that is the areas of digital marketing and promotion.

    What is the situation concerning copyright infringements in the book chain business not just in Nigeria but elsewhere?

    Elsewhere, they seem to have a structure and policy that guides copyrights and even sales. I know in Germany, they have a fix pricing system that works for book sales and agents out there ensure publishers comply with copyrights of every production. For example, if Soyinka’s The Lion and Jewel was to have a 24/7 run in a dedicated theatre today, there would have been a blueprint as regards to what the copyrights terms are and what should not. We are yet to start all of this conversation here in Nigeria and the question why are we not even doing so, why are we not operating on the value chain system of the business of books?

  • Behold abstract things in colours

    Behold abstract things in colours

    Titled: The Colourful Secrets of Abstract Things

    Author: Dele Abiodun

    Reviewer: Sally Kenneth Dadzie

    The first time I read Abiodun’s work, I was left with a pleasant feeling that had me smiling for a while. You know that “who is this writer?” feeling.

    Along the years, I was blessed to read other short stories from him, which I really loved as well. Hence, when I found out that he had a book out, I was excited and looked forward to getting a copy.

    The Colourful Secrets of Abstract Things is a collection of poems that depicts the reality of what it means to be a Nigerian and a Lagosian. One of the things that strike you when you start reading is nostalgia. You don’t have to be in diaspora for you to feel wistful when reading Abiodun’s poems. They revoke memories and feelings from your past, and it’s a weird thing, because he is not particularly trying to do so with his work.

    #TCSAT is much wider than that. It touches on life, self, Lagos, politics, wo-man, love, sex, heartbreak, and death. It is dedicated to the victims of #EndSARS.

    Another thing I love about this book is the artwork you find on almost every page that crisply describes each poem. I love such little things that give me pleasure

    Many poems stand out for me, but I’ll talk about a few of them. In ‘The Good Life’ and ‘Ignorance is Bliss’, Abiodun talks about peer pressure, the influence of social media, and the fake lives we live because we want to be accepted.

    He then goes on about the need for us to see beyond smiling faces in ‘Beneath The Beautiful’ and how we have to reach out to our friends, even though things might look okay for them on the outside. This strikes a chord when I remember that someone took his life the other day, after seeking help and no one turned up for him.

    ‘The Visitor That Never Left’ is a story about how bad thoughts creep into our heads, and when we do nothing about them, they bloom into evil. Then, there is ‘Legacy’, which is about the burden of parenting and leaving a legacy for our kids, even when we don’t feel like. 

    One of my favorites is ‘Black Christmas’. It’s the story of the innocence of a child spending Christmas for the first time on this side of the world and robbers come visiting the home. When they knock on the door, the child asks, “Is it Santa?” No be only Santa.

    The poems under the ‘Politics’ theme make me sad more than the ones under “Death’. Abiodun doesn’t do it intentionally, it’s just that he aptly gets into my head and heart when I have to read about Nigeria in such a poetic manner. It’s that never-ending feeling of helplessness, even when it comes in beautiful words.

    Nigeria is a rat race/ And the rats are forever running/ On a treadmill of dreams.

    He describes a politician and it is reminiscent of something from the book of Daniel in the Bible, where Nebuchadnezzar sees a vision of a man with feet of clay. Abiodun’s politician has such feet, but he’s been made to feel immortal until he goes for an evening swim, blinded by all the praises he gets from his ass-kissers.

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    Oh, and this is by the way, Abiodun dragged NTA, that totally obsolete TV station. That one sweet me!

    Under ‘Wo-man’, Abiodun’s tones are feministic and intense; he also touches on rape, domestic violence, and women’s struggles. Then there is ‘The Monster Society Made’ that opens our eyes to how men have been taught to bear their pain silently, to appear strong.

    Of course, Abiodun does justice to the poems under ‘Sex’, because he’s a great erotica writer. I’m sorry, I forgot to mention that. The tone in these poems are hilarious as well.

    Then, there’s ‘Death’, with poems that bring to you the reality of life, which is death itself. I was reading one of the poems, and I stopped to wonder about how none of us who are of a certain age now would be here in seventy, eighty years. We would all be gone. One after the other, we would bury ourselves. No one comes out of here alive.

    #TCSAT is a deep book. And I don’t use the word ‘deep’ lightly. The book is like listening to a sage speak about life, existence, and death. It pulls you in and makes you ponder. I had to underline a few lines, which are quote-worthy. I will be reading the book again to let things settle in.

    Abiodun is one writer I would love to read again and again. I particularly recommend The Colourful Secrets of Abstract Things to you. You can get your copy.

    You can follow Dele Abiodun on Twitter and Instagram.

  • Interplay of empirical evidence and hyperbole

    Interplay of empirical evidence and hyperbole

    Title:                 Nigerian Public Discourse                                 

    Author:          Babatunde Raji Fashola

    Reviewer:            Prof Anthony Kila

    Publisher             Quramo Publishing Ltd

    Pagination:          218

    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.

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    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.

    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.

  • Cross River signs over N2bn entertainment deal

    Cross River signs over N2bn entertainment deal

    Cross River State government through the Cross River State Tourism Bureau, last Friday signed an expandable N2 billion deal with a development partner, Blake Excellency Resort Limited, for the establishment of a one-stop entertainment centre.

    The Managing Director of the Cross River State Tourism Bureau, Prince Ojoi Ekpenyong, said that the entertainment centre would be located in the Tortulga Island area of the Marina Resort, which has remained deserted for the past two decades.

    He described the investment as an additional benefit because it would take people off the streets while providing more than 200 job opportunities for the state’s people. He stressed that the state’s revenue would increase.

    Ojoi maintained that the state is ready to open up to business and is willing to cooperate with any investor who can create job opportunities and significantly develop the state’s economy.

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    On his part, the Chief Executive Officer of Blake Excellency Resort Limited, Mr. Uzochukwu Akunedozi, said the entertainment center would accommodate kids, youths, and senior citizens.

    He noted that the facilities expected in the entertainment center include a dining restaurant, lounge, a pool, boat cruise, water slides, gaming center for kids, and a floater that can accommodate 50 to 60 people who wish to celebrate their birthdays or any events on top of the water, among other features.

    “Blake Resort is meant for entertainment; it has hosted people from across the globe, and the testimonies are there to verify. We are here to add value to what has been done in Cross River State. I’m excited because I feel privileged to be part of what the Cross River State government is doing, which is tourism, and without an iota of doubt, Cross River State is the number one tourist destination in West Africa.

    “I’m in a hurry to deliver, and I’m in a hurry to do more than I have said. Our duty is to exceed your expectations. We are looking at between now and October; we should be hitting the ground running”, he added.

    Witnessing the signing, the Special Adviser to the Governor on General Duties, Mr. Ekpenyong Akiba, expressed satisfaction with the partnership deal and assured that the state government would continue to create an enabling environment for businesses to thrive in the state.

  • FCI launches Vision 2030

    FCI launches Vision 2030

    The Board of Trustees of the Five Cowries Arts Education Initiative (FCI) launched its 2030 Vision at a high-level reception hosted at the Abuja residence of the Ambassador to Spain. The vision sets out Five Cowries’ ambition to scale up its work to harness the power of arts and culture to enhance learning for children and young adults in Nigeria.  The vision seeks to build on the success of Five Cowries existing programmes, which have already delivered results in Kano, Kaduna, Ogun, Oyo and Lagos States. 

    The vision will be delivered through a six-year strategic plan that sets out the actions, and resources required to scale the more inclusive learning pathways that Five Cowries offers by integrating arts and culture into educational experiences to improve learning outcomes. One of the driving theories behind the initiative is that community driven creative learning sustainably develops community resilience. 

    His Excellency, Ambassador Juan Sell of Spain, who hosted the reception said about the launch, “We are committed to projects that leverage the arts to offer inclusive pathways to education that are responsive to individual learning, social and cultural needs. We are pleased to be able to host the launch of this initiative and wish the Five Cowries team well as they work to broaden their impact over the coming years.”

    Since inception, FCI has delivered projects in Kano via its flagship program Mu Shuka Iri (MSI), a community-based learning programme that engages caregivers and children, aged 4 to early teens, in households through a cohort of community educators called ‘Aunties’. 

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    For the first programme – The Children’s Programme (MSI), the 2030 Vision sets out plans to roll out the programme to 19 states by 2030, starting with Kaduna, Kano, Adamawa, and Sokoto, scheduled for 2024 delivery.  FCI’s ambition is to grow the networks of hubs and schools involved in the programme, allowing the project to empower more aunties across our focus States.

    The second, Young People’s Programme themed, My Story: My Heritage will provide young people soft skills needed to survive the 21st century workplace. 

    Speaking about the vision, the Chair of FCI, Mr. Olumide Adeosun said, “these programmes offer a route to education that improves school attendance and significantly improves numeracy and literacy outcomes whilst ensuring that no child in the community is left behind.  The Board of Trustees is excited about the planned rollout of this innovative and impactful programme. We are counting on our donors, particularly through these lean times to deliver these programmes to communities that need them the most.”

    Founder/CEO, FCI Polly Alakija said: “These programmes have a proven positive impact on educational outcomes, such as improved numeracy and literacy, as well as transferable skills such as communication, problem-solving and creativity and are fun!” FCI’s goal, she continued, is to, “drive equitable empowerment in underserved communities”.

  • Enhancing peer pressure management

    Enhancing peer pressure management

    Title: Hajara the Hijabie

    Author: Kifaya Ajibade-Bakare

    Reviewer: Fatima Ololade

    There is nothing cuter concerning the age-long peer pressure dynamics, especially the new-normal Japa syndrome that most Nigerian families are susceptible to, that ‘Hajara The Hijabie’ by Kifayah Ajibade-Bakare does not address.

    In fifteen chapters, the book addresses the cluster of uncertainties and anxieties triggered by the protagonist’s reality as she leaves familiar neighbourhoods to explore fresh possibilities in a new school, leaving behind her childhood friend, Fareeda, to befriend new acquaintances Sara and Nadra in faraway Canada.

    Against the backdrop of impassioned debate on the physical and emotional challenges experienced by Nigerian adolescents in foreign lands, Ajibade-Bakare transitions effortlessly from writing educational picture books to her debut Islamic novel which focuses on a Muslim teenager, Hajara, whose love for hijabs and modest attires – as prescribed by her religion – riles her ardent provocateurs, Rhoda, Clara, Tiffany and Nadra.

    The quartet makes up the ‘MPP squad’ which Hajara eventually joins. Their frequent face-off with Hajara, however, raises crucial posers on conflicting issues bordering on religion, culture, norms, fashion, etiquette, acceptance, stereotyping, labelling, and family support, among others, in Canada.

    These themes are stirred by the cover design, appealing to the emotions of teenage girls, and the cultural diversity in Nigeria, and Canada.

    Like every other teenager who seeks to explore hidden curiosities and inspire exciting narratives about her life, Hajara gets to live the life of her dreams and must deal with the challenges of transitioning between her innate values and the social codes of her peer group and new society.

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    After experiencing an awkward moment with Rhoda, the Queen Bee of the MPP, she finds it uneasy to settle into the life and character required of her as a member of the MPP squad. The requirements of belonging to the group conflict with her religious beliefs.

    Thereby, the book glorifies the roles of parents in raising their children with required Islamic teachings as a perquisite and precondition of ushering them through character formation and growth through the most pleasant and traumatic phases of life.

    The book highlights both the latent and established traumas experienced by youngsters as they push through adolescence and the amazing experiences that inspire them to become a better version of themselves.

    It highlights the benefits of not succumbing to peer pressure in the search for true self-worth. It also does a fine job of highlighting the crucial and appreciable roles of positive social agents played by wonderful characters in the persons of Hajara’s friends, Fareeda, Sara, and Nadra. The latter’s courage manifests in the final part of the book.

    At its core, Hajara The Hijabie, alludes to the gallantry and foresight of Muslim parents in building a comfortable relationship and finding solace in Allah(SWT) no matter their state of transgression, making sincere repentance a step to becoming a non-reneging adult.

    This is a story about morals and religious choices; it highlights those compromises that no human being should ever be forced to make and rather establishes the benefits of being guided by humane morality. Ajibade-Bakare’s poetic nuance on forgiveness resonates like a final salve burnishing the overall thrust of the book.

    The beautiful chills that engulf the reader at the denouement of the finely spun yarn further attest to Ajibade-Bakare’s depth as a writer who unfurls fully evolved. Her narrative depth and affinity for poetic justice bristles through her presentation of both mundane and pivotal turns in the book.

    Written in simple yet compelling language, Hajara, the Hijabie awakens young minds to peer pressure management anywhere in the world and painstakingly details how to navigate the shoals of challenges on every teenager’s path to moral blooming and self-realisation.

  • ‘Empowering women is key to development’

    ‘Empowering women is key to development’

    Managing Director/CEO, Saver Shopping Village Limited, Princess Sayo Adenle has reiterated her commitment to empower and support women in agricultural farming in Ekiti State.

    Since last year July, when she founded a non-governmental organisation, Women Farmers Association in Ekiti State (WAFAES), she has undertaken lots of women empowerment programmes across the state using local government areas as platforms.

    Speaking on the essence of the on-going agricultural programmes organized by the association across local government council headquarters in the state, Princess Adenle who is patron, National Association of Ikere Students, said since women are the home builders and they form majority of the state population, it becomes reasonable and proper to empower such group as catalysts for development. She disclosed that the aim of the association is to support women in agricultural farming in Ekiti State in order to boost the state’s economy and ensure their proper participation in agricultural transformation agenda.

    She stated that the association’s programmes include sensitization of rural women, advocacy for women participation in the state’s agricultural programmes, providing access to agricultural loans or grants among others.  She said the association is reaching out to state and local council areas for training/investment opportunities, grants or loans, access to improved seedlings among others. 

    This, she said, is her little way to support and promote food security because food production in the state is fast declining as a result of many factors. “Insecurity, lack of motivation and access to credit or improved seedling, storage challenge and poor access to market are some of the reasons the state and by extension, Nigeria is facing food insecurity. When some of these food items are available in the market, their prices are sometimes outrageous due to low production, that is when demand outstrips supply,” she added.

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    She lamented that public investments that promote the use of agricultural inputs and mechanisation are not reaching value chains where women are concentrated. She added that among top four value chains that received the highest levels of investment (cotton, rice, sorghum, and cocoa) were among those with the lowest female farmer participation.

    According to World Bank report, the majority of inputs in most value chains are allocated to male farmers, as they constitute the majority of farmers in all value chains. Meanwhile, the allocation of irrigation, mechanization, and tools to women is roughly 35 percent (relative to the 65 percent allocated to men), regardless of women’s level of participation in value chains.

    “Women farmers face considerable barriers to accessing financial services, which restricts their ability to reach markets at various stages of the agricultural cycle. To help women access markets and overcome barriers to entry into more profitable value chains, public funding needs to be targeted toward supporting or subsidizing innovative financial mechanisms. Targeted financing for training modules on personal initiative and socio-emotional skills for women could also be added to extension training and has been shown to increase women’s likelihood of adopting more valuable crops,” the report said.

    Princess Adenle who is the Iyalaje of Ikere Kingdom said it is her responsibility to assist women in wealth generation, business sustenance and prosperity in Ikere.

    “Beyond agricultural development, I also help to promote our cultural values (Isese) by encouraging the youths and the elders to get involve in our traditions/festivals. I provide advice to people, support the youths through the award scholarships. I also encourage empowerment of farmers in the town in order to boost our agricultural produces. Above all, I pray for peace to reign in Ikere Kingdom,” she added.

  • Access ART X Prize: Enriching artists’ crucible

    Access ART X Prize: Enriching artists’ crucible

    The last eight years have been tough for Nigerians. Economic growth during the period averaged 1.1 percent as the country experienced two economic recessions. COVID-19 pandemic added to the woes of the people. Unemployment and underemployment rates increased to an all-time high of 56.1 percent, thus pushing millions of Nigerians into multidimensional poverty, according to a report by National Bureau of Statistics.

    Also, economic growth has not been inclusive, and Nigeria’s economy faced key challenges of lower productivity and weak expansion of sectors with high employment elasticity. The creative sector, which is driven more by professionals such as fine artists, filmmakers, authors, musicians and dramatists, is not spared of these challenges. In particular, the inherent challenges militating against African contemporary art from getting the desired international attention include lack of funding, support, opportunities and access to international marketing to showcase the rich African Art.

    Little wonder the overwhelming acceptance and participation of visual artists in the many empowerment programmes of ART X when it made its debut in 2016. Interestingly, since then ART X Lagos has become the cornerstone of the African art sector. Launched as a dynamic platform to showcase and support the breadth of contemporary art from Africa and its diaspora, ART X Lagos has in the past eight editions, evolved into a unique cultural event that goes beyond the traditional bounds of an art fair. 

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    ART X Lagos is renowned for its ambitious programme, which includes ART X Talks – a lively discussion series; ART X Live! -a one-of-a-kind music showcase; ART X Cinema – a film theatre; and specially curated projects. Access Holdings, a leading financial power house on the continent is ensuring it advances the course of a prosperous Africa. This unwavering commitment is underscored by its mission to empower the next generation of African creatives through the transformative power of art.

    Access Holdings, through its collaborative effort with ART X Lagos, founded by Tokini Peterside-Schwebig has therefore brought great relief and opportunities for numerous artists through various empowerment programmes. One of the highlights is the Access ART X Prize, which recognizes and rewards exceptional talents. The ART X Fair, an annual event, has grown to host galleries and artists from over 40 countries, putting Nigerian art on the world map.

    At last year’s edition of ART X Lagos with the theme, Dialogue, Group Chief Executive Officer of Access Holdings PLC, Dr. Herbert Wigwe reiterated the company’s plan towards the art sector and the commitment to supporting and promoting African art through its continued sponsorship of the Access ART X Prize.

    “Through our support of ART X Lagos, we aim to highlight the multifaceted brilliance of our people and the richness of our culture. In doing so we will unabashedly celebrate the diversity and strength of the African continent, nurture relationships that transcend borders, build bridges, invest in talent and foster collaboration on a global scale. This belief is the driving force behind the company’s continued sponsorship of the Access ART X Prize an award in partnership with ART X Lagos which provides early-career artists from Africa and its diaspora with opportunities to develop their craft,” Wigwe stated.

    More importantly, the 8th edition (2023) of the fair recorded a huge success despite the economic challenges across Africa, founder ART X Collective, Tokini Peterside-Schwebig said. In fact, it recorded more international visitors into Lagos than ever before at a time when the Japa syndrome is trending in the country.

    The 2023 fair attracted 10 art galleries and more than 30 artists. Art X Cinema, with 15 filmmakers, also premiered. “We were very pleased to see the results at this year’s fair. I will definitely say the results surpassed our expectations,” Peterside-Schwebig noted, adding that we were encouraged by what we saw from collectors and galleries overall.”

    “It was a very welcome development because what it shows is that Art X Lagos, the platform and the brand that we have built, is capable of bringing foreign interests and foreign direct investments that comes with that interest into Nigeria at a time when our economy needs and can really benefit from that contributions,” she noted.

    Continuing, she said: “Art X Lagos brings the world to Nigeria, instead of Nigerians always going out to seek opportunity, which means that for those young people who, perhaps, don’t want to leave but who understandably want to have global careers from their home base, Art X Lagos is an opportunity that allows that to happen.”

    The duo of Julius Agbaje (Nigeria) and Asmaa Jama (Africa/Diaspora) each won $10,000 of last year’s Access ART X Prize, a platform for recognising and nurturing emerging artistic talents from Africa and its diaspora. The Nigerian winner will embark on a three-month residency at Gas Works, a contemporary art organisation based in London, United Kingdom; while the African/Diasporan winner will enjoy a residency at Yinka Shonibare’s GAS Foundation in Lagos, Nigeria. Both recipients will benefit from tailored mentorship and an invaluable opportunity for cultural exchange.

    Some of the past winners of this prestigious prize include Julius Agbaje (2023 Nigerian winner) and Asmaa Jama (2023 African/Diasporan winner), Dafe Oboro (2022 Nigerian winner), Belinda Kazeem-Kaminski (2022 African Diasporan winner), Chigozie Obi (2021), Etinosa Yvonne (2019), Bolatito Aderemi Ibitola (2018), Habeeb Andu (2017), and Patrick Akpojotor (2016) and warming up for the 2024 edition. No doubt, ART X has changed the status and performance levels of these artists in the global art scene.

    At the ceremony held at Access Holdings’ headquarters in Lagos, Tokini Peterside-Schwebig, stated that her vision to showcase the depth and diversity of contemporary African art to the world revealed a critical necessity, which was the need to nurture and guide emerging talents on the continent to ensure their lasting impact. She added “We are elated that this platform has endured and thrived over the years, marked by substantial growth. The increasing number of annual applications underscores both the vital need for our support and the tangible impact we are having. None of this would be possible without the invaluable support of our sponsor, Access Holdings, who has trusted us and supported our vision for the past eight years.”

    Wigwe described the prize as a catalyst for change. He said, “It is a testament to our unwavering commitment to foster creativity and propel the African art industry towards unprecedented height. The Prize embodies a promise that we will continue to support and nurture the burgeoning talents in Africa; foster diversity, inclusivity, and cross-cultural exchange within the African art scene, and deepen collaborations with partners that bring us closer towards our vision of shaping a brighter, more inclusive future for all.”