The Nation Newspaper

Category: Arts & Life

  • 500 artists for Fobally Easter art carnival

    500 artists for Fobally Easter art carnival

    • By Samuel Buki

    No fewer than 500 artists drawn from across the continent will feature at the inaugural edition of the Easter Art Carnival holding in Lagos, according to the Managing Director Fobally Art World Africa, Folashade Abiola.

    She said the carnival is aimed at promoting the business of art and bringing together artists from all over Africa. She described the carnival as a good thing to happen to Nigeria and Africa in general, adding that it is designed to attract those in diaspora in particular to come home and be partakers of the Fobally Lagos Easter art carnival. 

    Abiola explained that entries for the carnival will be screened by a committee to determine which artwork to be showcased at the carnival.

    She said the carnival would not be about fine art alone as participants can register for poetry, stage performance and others. “If you are a musician and you have been looking for a way to showcase your talent, then Fobally Lagos Easter art carnival is the right place to be.

    “Obviously and clearly we are supporting African young artists and we do truly care about them. That’s one of the reasons why we are coming up with this initiative. The visual art industry needs support because most people don’t think of having an art work of their own because they think art work is for the rich.

    Meanwhile, our focus is to promote them globally but we want to start from here and that’s why we want to go around all the states of the federation and throughout the continent.

    “International communities cherish African art, but we Africans do not cherish our own art. Let’s shine our eyes and support these young artists because as we build them, we are actually building our economy,” she added.

    President West Africa Specialty Coffee Association, Mr. Larry Segun-Lean said the carnival is a unique opportunity for young artist all over Africa to showcase their talent and also for diaspora to know about their history and themselves. This initiative, he said, can be sustained through collaborations with cooperate organisations and government institutions. Segun-Lean noted that a nation without promotion of its art is a nation without a soul, hence every Nigerian must be encouraged to purchase an art work.

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    “The carnival will be an empowerment for Nigeria and Africa artists. The empowerment will put a stop to the japa syndrome that is trending in Nigeria because most of our citizens abroad are frustrated. By the time people key into this art carnival, it will sustain our rich cultural heritage and history.

    “Fobally cares about upcoming artists. The event is actually a cultural carnival that tends to promote African culture. We have younger people in Africa than any other continent in the world, so the need to empower them must be considered. We shouldn’t allow these young and vibrant Africans to walk about the street of Europe, we should bring them home and they should be promoted in their country. The Fobally initiative is what we should all support,” Segun-Lean said. 

    One of the sponsors, Director, Marketing and Communications, LAPO Microfinance Bank Limited Mr. Oluremi Akande, said the bank’s vision of social impact and people empowerment is in alignment with the essence of the event. The art industry, he said, is situated within the creative economy, which is fast becoming one of Nigeria’s export earners an area forward-thinking institution should support.

    “LAPO Microfinance Bank, a leading and premium microfinance institution in Africa identified with and sponsored the event to help in the realization of our vision of empowerment, promote the art industry to attract more youths, and by extension contribute to the growth of the national economy,” he added. 

    For intending participants, they can visit Fobally Artworld-Africa, or foballyartworld.com

  • Ododo presents commercial buses to boost theatre

    Ododo presents commercial buses to boost theatre

    As Professor Sunday Ododo made his final exit as the General Manager of the National Theatre, Lagos, last week, he presented three vehicles for commercial purposes within the Theatre complex. Edozie Udeze was there.

    As part of his parting gifts to the members of staff of the National Theatre, Iganmu, Lagos, the immediate past General Manager, Professor Sunday Ododo before finally leaving office last week provided two mini buses and one tricycle (Keke Napep) to ease the transport system within the Theatre premises. While presenting the buses to the members of staff, Ododo assured them that the money used in purchasing the buses were part of the Internally Generated Revenue (IGR). Ododo was one manager who believed and also worked towards it, that the National Theatre could be made to generate enough funds both for itself and for the federal government.

    Despite the fact that most of the facilities within the Theatre complex had been out of use due to renovations, Ododo and his team were able to device new methods of generating revenues for the government. In fact, it was based on those revenues that the three vehicles were bought. As a matter of fact, the idea of the transport system is to help people, visitors, tourists, those who alight from the blue line train station to be transported out of the premises for easier movement onwards.

    Ododo, a Professor of Theatre Arts and a practical technocrat was of the opinion that those given the responsibilities to run government departments and agencies should be able to look inwards and generate revenues for government. This is why he took it upon himself and put on his thinking cap when the renovations commenced. He did not only build an alternative make-shift theatre venue for the use of thespians and theatre buffs, he also used the venue to attract people and money and events to the premises. So even as the renovations held sway some events that yielded money still took place within the premises.

    Within the precincts also other avenues were created in alliance with the marketing department in order to keep the hope alive. In other words, the ideas to create wealth was constantly renewed and re-energized by those given the responsibility to think wisely in that direction. In fact, the IGR of the Theatre rose higher than most people expected.

    Ododo said, “One of the things I promised was to have a transport system that would ease movement within the Theatre environment. It is to help the complex comply with transportation. As you know, the complex has some other agencies within it and the complex is large and expansive. We have APCON, NICO, NGA, National Troupe. There is also NAN within here. With the renovations going on we have stopped commercial vehicles operating within the complex.

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    “It has been terrible for commuters and for our own movements. With this now, it becomes easier for people to come in to relax and enjoy our enjoyment centre, which is abe-igi. It is also to serve the general public. It will add to the general glamour for which the Theatre is known. Don’t forget also that two years ago we introduced a tricycle in this regard”. He went on, “That was to test-run how this transport system could be effectively run. So from there we stepped up to acquire more vehicles. The result is what we are presenting to you today. All the money used to purchase these was internally generated. It is our IGR and we are proud to say that in spite of the renovations here with the Theatre practically closed to public use, we were able to achieve this. The money for this was not from over-head or from capital. What that means therefore is that we can equally do more.

    “With the operation of blue line in place, we need to step-up this to help people move around easily. Therefore the unveiling of this is to key ahead into the Lagos State transport system.  As the passengers from the blue line are alighting, there are buses to convey them to the gates of the complex. And you know this complex has three gates each too far from one another”.

    The event attracted all the management and members of staff of National Theatre. However, before the programme, Ododo’s replacement had already been announced by the federal government. But because she had not reported as at the time of this presentation, it behooved on Ododo to perform the ceremony amid joy and excitement from the members of staff. On the vehicles are written the insignias, logos and symbols of the Theatre. Incidentally what you have is the National Arts Theatre, a nomenclature that had been eroded since time. Now it has resurfaced on the vehicles. The Theatre is not only for the purposes of the arts. It is the apex culture house of the nation. It is all encompassing and for multi-purposes, which includes all the razzmatazz of cultures, traditions, entertainments and so on and so forth.

  • ‘With time I have become better artist’

    ‘With time I have become better artist’

    Faith Michael is usually known as an accidental artist. She set out to read information technology then ended up being admitted to study Fine Arts. In this interview with Edozie Udeze, she makes it clear that she has since moved on to become a better visual artist in her studio in Ikorodu, Lagos and beyond.

    Faith Michael is an unusual artist. Funny but classical with the way she handles her brushes and her experiments, she is far from being an accidental artist anymore. She states her case herself when she says, “Usually my colours are always applied flat on my canvas surface, but currently I am experimenting the application of textures creating a 3 dimensional/impasto impression ranging from nude paintings, portraitures and compositions. From now till February, I will be working on kids.

    You will agree with me that the viewer’s get a different perspective on life when they see painting of kids portraying naivety and innocence. So I try to bring out the emotional sense of the viewers”.

    She went on, “In life, the important lesson I learnt while growing up is never to give up on yourself. Starting out from an environment where people are not bothered about growth, they believed in just daily survival. I had this mindset of being different and the ideology of being celebrated in the world. Little did I know the breakthrough I wanted would come from art.

    Firstly I thank God for life, my family for their massive support, Mr. Uzoma Samuel a renowned fabric artist based in Lagos for bringing me to Lagos in 2019, and Mr. Wallace Ejoh a renowned figurative artist (Master Impressionist) for mentoring me into a role model. And for those who in one way or the other had given up on their dreams.

    Coming from Benin city to Lagos with a mindset of being a success story, I joined Simple Plan Studios in 2021 where I underwent my internship under the tutelage of Mr. Wallace Ejoh who guided me into the personality of a visual artist who understands the strategic process of how to combine real life experiences with investigative art imagination.

    It wasn’t an easy journey judging from the fact that fine art was mistakenly filled in for me in 2015,I had every choice to give up and focus on something else. But a stronger will would constantly remind me of my zeal to be a success story. Here am I today, I am glad I didn’t give up on myself”.

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    In her reckoning, “I am known for the pop art technique. Originally pop art is known and expected to be Colourful and vibrant colours. But as I dived deep into the creative scene exposing myself to the ability to explore. I introduced my own version using muted colors because I believe I shouldn’t stop at where I was taught.

    My realistic depictions are mostly in figurative forms brushed up with muted yet conversational colours. As an artist, serenity is the utmost pleasure required. I do not need to be exposed to the strenuous activities going on in town. I just need a place I can only hear the whisper of birds.

    I get people around to model for me, and sometimes when I visit my family I would pose them for whatever concept I have in mind”.

    First thing I pray for is good health and every other thing follows. Planning a solo show is not something that will happen within a preparation space of one month. But all I can say is I still need to work more to come out with my best. You know first impression matters.

    I have been involved in the online market, through which I was contacted for exhibitions, I was even reached out to be represented by 2/3 galleries abroad. I have also been able to sell some few works online. So it’s actually a great way of projecting oneself”.

  • Olowe Museum: Honour for unsung hero

    Olowe Museum: Honour for unsung hero

     Eighty-seven years after his death, renowned carver Olowe Ajalemo aka (Olowe of Ise) is bringing great fortune and attention to the socio-economic landscape of his home town, Ise.  His ancient home located on Ofingba Street, Ise-Ekiti is designated as the heart of a world-class Olowe of Ise Museum to be built by the Ekiti State Government to preserve his legacies. No fewer than 11 houses in the community will give way to the multimillion naira museum project. In few years, artistic works of Olowe, which will be housed in the museum, will drive global tourists and researchers to the sleepy town of Ise-Ekiti, Assistant Editor (Arts) OZOLUA UHAKHEME reports.

    A trip from Ado-Ekiti, the Ekiti State capital to Ise via Ikere isn’t a long distance. It is also not a smooth ride due to the state of the road. After few turns on arriving at Ise, ‘that is the house’, the tour guide said, as the driver applied the brake. A roll of rusty-roofed mud houses dotted the roadside with little or no touch of modernity.

    Like many houses in the community, Olowe’s mud house on Ofingba Street exhibits nothing artistic. Though partially plastered with cement, it does not reflect the persona that Olowe was, as an artist of global repute. No carved doors, no wall murals or embellishment, no wooden posts or pillars. Except for the shrine in front of the house and a worn out and weather beaten grinding stone, which Olowe used to sharpen his tools then, nothing striking.That stone was last used by Olowe about 90 years ago. Welcome to the ancestral home of the master sculptor, the late Olowe of Ise, who passed on 87 years ago. He died at the age of 83.

    In conjunction with Olowe’s grandson, Mr. Olajide Ologbon Olowe, the Director-General Ekiti State Bureau of Tourism Development, Ambassador Wale Ojo-Lanre and Senator Babafemi Ojudu, have initiated a movement to remake that mud house, turn it into Olowe Museum, and begin a campaign to recover those stolen Olowe’s works and taken abroad.

     It was a historic moment and a dream come true for the families of the late renowned carver Olowe of Ise-Ekiti as Governor Abiodun Oyebanji took a step at realising the establishment of Olowe Art Museum in Ise.  

    Few minutes after the inauguration of the board by Oyebanji, a delegation of the Trustees of Olowe of Ise Arts Foundation visited the sleepy community and were greeted with excitement.  In fact, their joy knew no bond as the museum will ignite recognition and reckoning for the state and Ise community in particular.

    “The Olowe of Ise Museum under the stewardship of the foundation is poised to serve as a testament to the remarkable craftsmanship of history and cultural significance of the world renowned carver, a true custodian of Yoruba artistic excellence. Olowe of Ise mastered pieces reflect the depth of our cultural heritage, the finesse of Yoruba art and the ingenuity of our ancestors.

    “The establishment of the museum is not simply an act of preservation, it is a steadfast commitment to safeguarding our heritage, celebrating artistic contributions and presenting a legacy of future generations. With the inauguration of the board of trustees, we are laying a foundation for this noble endeavour and calling upon you to serve as the guiding force in upholding the mission and vision of the Olowe of Ise Art Foundation.” These were the reassuring statements from Oyebanji while inaugurating the 13-member board of trustees of the Olowe of Ise Arts Foundation.

    The governor, who described the late Olowe of Ise as a true custodian of Yoruba artistic excellence, whose masterpieces reflect the depth of cultural heritage, finesse of Yoruba art, and the ingenuity of ancestors said the Olowe of Ise Museum, under the stewardship of the foundation, is poised to serve as a testament to the remarkable craftsmanship, artistry, and cultural significance of the world-renowned carver.

    He said it is also to serve as the guiding force in the state’s bid to showcase her artistic heritage and position the state eminently on the global stage. According to him, the foundation would also drive the state’s initiative for a modern museum where the works of the world renowned carver, the late Olowe of Ise, would be housed to promote tourism.

    Among the trustee members are Proprietor Shyllon Museum, Omooba Yemisi Shyllon, Chief (Mrs) Nike Okundaye, Prince Tunde Odunlade, Senator Olubunmi Adetunmbi, and Senator Babafemi Ojudu (chairman). Others are former Vice Chancellor, Federal University of Technology, Akure (FUTA), Emeritus Prof Lawrence Kolawole; State Commissioner for Finance, Mr Akintunde Oyebode; Director General, Ekiti State Bureau of Tourism Development, Wale Ojo-Lanre; Ms Abiola Adelana, Mr Ologbon Olowe, Dr Mike Adeoye and Architect Olayinka.

    Expressing confidence in the competence and dedication of the appointed trustees, the Governor noted that their collective expertise, foresight and passion for cultural heritage will steer the foundation towards sustained success and global recognition.

     “Ekiti State, the people, and our government are lucky to be able to gather men and women of integrity and immense talent as yourselves to carry out this assignment. In our midst today is Engr. Yemisi Shyllon, Prince of Egbaland, an engineer, lawyer, and renowned collector and proprietor of the biggest private museum in Africa. Our mama, Chief Nike Okundaye, needs no introduction.

    “Her footprints dominate the art world like a colossus. All of you, including our two senators, Babafemi Ojudu and Olu Adetunmbi, who are distinguished in your own rights and contributions not only to the art world but also to the development of this country.

    “We cannot but also mention the Zion of the Olowe family, Mr. Ologbon Olowe, who in his own way has kept the family legacy going, and of course, the younger Turks among you, Wale Ojo Lanre, Akin Oyebode Jr., Abiola Adelana, and Dr. Mike Adeoye, who are either collectors, art aficionados, enthusiasts, or educators.

    “May I also specially recognise Prince Tunde Odunlade, an artist and curator who has been on this journey with us? Thank you, Arc Olayinka, for your labor of love since you heard about this project and for your architectural and design expertise. Emeritus Professor of Physics, former Vice Chancellor, and a chronicler of sorts on Olowe of Ise, having himself been born and raised in Ise-Ekiti, Professor Lawrence Kolawole is representing the Ise community on the Board. Some have asked, Why such an important and monumental project in Ise and not Ado-Ekiti, the state capital?

    “We are deliberate in our decision because we want to ensure that every nook and cranny of this state has one thing or another that will attract and take people there so that development and growth will be even.

    “In no time, other communities in this state will have institutions that will ignite recognition and reckoning, as Ise is experiencing today with this initiative,” he said.

    The works of the late Olowe of Ise who died in 1934 dot major museums in America and European countries.

    Director-General, Ekiti State Bureau of Tourism Development, Barrister Wale Ojo-Lanre described the gathering as a significant milestone in the Oyebanji’s led government and remarkable in his commitment to honoring the legacy of Olowe of Ise, an outstanding sculptor whose artistic brilliance has left an indelible mark on the cultural landscape of our world.

    To him, despite leaving the earthly realm unrecognized, Olowe of Ise has achieved global acclaim through his awe-inspiring works of art. “From the halls of Europe’s renowned museums to the hearts of art enthusiasts, his sculptures have transcended time and space, reflecting the essence of our heritage and captivating audiences with their sheer beauty and intricacy.

    “Today, as we gather here, we also proudly acknowledge the visionary leadership and foresight of the Governor of Ekiti State, who has graciously pledged to build a museum in Ise Ekiti, bearing the name of Olowe of Ise. This museum will serve as a sanctuary where the treasures of our cultural heritage will be preserved, cherished, and shared with the world, for generations to come.

    “I am delighted to announce that the Board of Trustees of the Olowe of Ise Arts Foundation is comprised of eminent stakeholders – individuals who possess immense knowledge, expertise, and a deep passion for the arts. Their presence here today is a testament to their unwavering commitment in furthering the cause of cultural preservation and heritage promotion. Together, we embark on a collective journey to ensure that the remarkable artistic genius of Olowe of Ise is celebrated and cherished, not only within the confines of our state but throughout the world.

    “The significance of this event extends beyond the realms of art and culture. Cultural tourism plays a pivotal role in the advancement of our state, as it brings economic growth, fosters cross-cultural exchange, and enhances the overall well-being of our communities.

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    ‘The Olowe of Ise Arts Foundation, under the guidance of the Board of Trustees, holds the key to unlocking the immense potential of cultural tourism in Ekiti State, bridging the past with the present, and paving the way for a prosperous future.

    “With their collective wisdom and expertise, the Board of Trustees will lead the way in preserving the legacy of Olowe of Ise, nurturing artistic talent, and crafting an environment that supports and encourages the growth of our cultural heritage. Through their efforts, we will showcase the rich tapestry of our history, inspiring both locals and visitors alike to appreciate and celebrate the immense beauty and significance of our cultural identity.

    “In conclusion, I express my heartfelt appreciation to each and every member of the Board of Trustees for accepting this noble responsibility. Your commitment to this cause fuels our collective aspiration to establish Ekiti State as a beacon of cultural pride and a haven for artistic expression.

    “Together, let us embrace this new chapter with optimism and enthusiasm, confident that our efforts will truly honor the legacy of Olowe of Ise, uplift our communities, and shape our shared cultural narrative for generations to come”.

    In his remark, Chairman Board of Trustees, Senator Babafemi Ojudu said the BOT would work assiduously to ensure that Olowe’s Museum is successful and become a conduit of cultural exchange with global communities. He said members of the board would embrace roles with dedication and sense of responsibility by fostering an environment of collaboration, innovation and diversity to ensure that the museum becomes a center of artistic dialogue and cultural enrichment.

    Oba Ayodele Ajayi, the Arinjale of Ise –Ekiti described the event as a dream come true, noting that he never believed that the realisation of the dream of a museum and recognition for the renowned carver would come so soon. He expressed the appreciation of the people of Ise-Ekiti to the Governor for citing the museum in the town. Present at the event were Deputy Governor, Chief Monisade Afuye, Speaker, Ekiti State House of Assembly, Rt Hon Adeoye Aribasoye, members of the State House of Assembly, members of the state executive council and chiefs and representatives of Ewi-in-Council.

  • Master sculptor Olowe

    Master sculptor Olowe

    Born 1854, Olowe Ajalemo is considered by art historians and collectors to be one of the most important 20th century artists of the Yoruba people of what is today Nigeria, Africa.

     He was a wood sculptor and master innovator in the African style of design known as oju-ona. Among his famous works are veranda post, game board, palace door, house post and portfolio.

    Olowe, originally Olowere, was born in Efon-Alaiye, but he lived most of his life in Ise. He was initially employed as a messenger at the court of Arinjale of Ise. His fame as a sculptor appears to have begun at Ise under the patronage of Arinjale before spreading throughout eastern Yorubaland. Olowe was summoned to Ilesa, Ikere, Akure, Idanre, Ogbagi and other neighbouring towns to create elaborate household such as doors and veranda posts, personal and ritual objects for wealthy families.

    Olowe’s celebrated status as an artist was recorded by his contemporaries in Yoruba oral praise poetry known as oriki. For instance, this example sung by one of his wives was recorded in 1988. In 1924, Olowe’s art was exhibited overseas for the first time when a door and lintel ensemble from the royal palace at Ikere was selected for the Nigerian Pavilion at the British Empire Exhibition at Wembley, London.

    This work of art was subsequently acquired by the British Museum.

    During his 40 years as a mature carver Olowe of Ise created hundreds of sculptures. He subsequently received comparable palace commissions from regional leaders throughout Yorubaland. During Olowe’s lifetime, his works were exhibited both in and beyond the African continent.

    In 1924, a pair of doors carved for the palace of the Ogoga of Ikere in Ekiti, were exhibited in London and acquired by the British Museum. The occurrence consequently launched the recognition of Olowe’s artistic brilliance, and his works have spread to collections throughout the world.

    Rosalyn A. Walker celebrated the artistry of Olowe in her exhibition and catalogue, Olowe of Ise: A Yoruba Sculptor to Kings, in which works by Olowe were documented, Olowe was just not another prolific carver, as his oriki indicated, but also an artist with extraordinary skill, patience, imagination and humor.

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    When he was at the height of his ability and fame in the early decades of the twentieth century, there were other highly skilled carvers in the Ekiti area who were also masters of sculptural art: Agbonbiofe and Obembe of Efon Alaye in southern Ekiti; Bamgbose, Areogun, Bamgboye and Osamuko in northern Ekiti. They were all great carvers and artists, but not one worked with the artistic imagination that is to be found in the sculptures created by Olowe.

    Olowe’s genius as an artist was threefold. He was skilled in the use of his tools, ifarabale (patience) a master of composition, oju-ona, and addressed his subject matter with extraordinary insight, oju-inu. His later relief carvings featured figures that stood forth from the panel, almost three dimensional in its sculptural form. In panels of his great double doors, row upon row of figures, engaged in various activities, stand in bold relief, some leaning out far enough to cast shadows, and an observer could insert several fingers behind the upper portion of their bodies. Olowe also carved doors for the entrances to the chambers or residences of Ifa priests, diviners known as babalawo, ‘father of secrets’.

    Art historians have identified Olowe’s signature style in a corpus of nearly fifty works. His exceptional talent as a master sculptor was well known within, and beyond, the region in which he worked. He was honored by his contemporaries in the poetry of highly personal oral praise songs known as oriki. The oriki is a celebration and form of tribute that both immortalizes artists and reflects the contemporary recognition they receive. In his oriki, Olowe is described as “one who carves the hard wood of the iroko tree as though it was as soft as a calabash.”

  • RECTEM gets entrepreneurship award

    RECTEM gets entrepreneurship award

    • By Samuel Buki

    Redeemer’s College of Technology and Management (RECTEM) has been awarded the  National Outstanding Entrepreneurship Performance Award (NOEPA 2024) by a non-

    governmental organisation, The National Youth and Student Entrepreneurship Group

     (NASEG) in appreciation of the College’s entrepreneurship drive for a sustainable society.

    Presenting the award to the Rector of the College, Dr. Stella Mofunanya, in Mowe Ogun State, the group’s Vice President on Special Duties, Comrade Oladimeji Ajibola, who represented National President, Comrade Abdulkazeem Olusola Soetan, said the group has found a worthy entrepreneurship based college, worthy for all institutions in Nigeria to emulate; spice with innovation and good management team that believe in youth capacity development and empowerment.

    He stated that the College has proven beyond doubt that the destiny of students is still very bright with skills acquisition.

    “In all ramifications, this honour is in recognition of the passion for youth and students’ developmental projects at all times, the concern for youth development and the nation at large,” he added.

    Soetan noted that identifying with the College is identifying with light, greatness, innovation and better Nigeria, hoping to see the College becoming bigger and better to ride on a great platform in Nigeria.

    “This honour that is bestowed on this College is to seek more support in remodeling and rebranding the entrepreneurship face in Nigeria and Africa through partnership with NASEG to meet up with the demands across the world.

    There is lot of programme that is lined up in the association from War Against Racism (WAR), War Against Corruption (WAC), The re-orientation of the youths and students mindset for a better society and Beyond School Certificate,” he said.

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    In her remark, Dr. Mofunanya stated that the College has been able to achieve some levels of success since its inception being the first private polytechnic to be fully accredited by NBTE in both ND and HND programmes. This, she said, contributed to its outstanding performance at national and international levels.

    Director of Entrepreneurship of the College, Dr. Sunday Onjewu stated that the College is not training students to be job seekers but training students to create wealth. “The NBTE is saying that students should not only be equipped in theory only but also in practical and in skills. I think the NBTE slogan has shifted from not that certificate is not important but the emphasis now is on skill and not only the certificate.

    “If you have a skill, it will not only help you to get job but it will also help you to create wealth. Entrepreneurship is about creating wealth, innovation, is about doing a new thing, is about turning what is waste to something useful,” he said.

    On training of students in Information and Communication Technology (ICT) programmes, Dr. Onjewu stated that the College offers courses such as graphic design, web design Oracle and others. He recalled that last year two of their students got some financial grants to pursue their businesses.  Present at the ceremony were management and staff of the College.

  • Fabowale’s poetic bridges of language

    Fabowale’s poetic bridges of language

    In Nostalgia and Tears F’Orile, Lolá Fábòwálé reminds that language is a living thing that joins and connects even when it speaks of distances.

    In the title itself, we see this playing with language and a distinct understanding that words have a power to express even as they also have the power to alienate. Described by the poet in the text’s preface as “a remembrance of and reflections on contrasts of life and living in both her native land (Nigeria) and adopted country, Canada,” Nostalgia and Tears F’Orile marks a journey in search of place, self-actualisation, and the reality of hereness.

     As the title suggests, and as the preface alludes to, in the play and contrast of the word “F’Orile,” there is a sense of “country,” “nation,” and “home,” a sense of joining, and also a search for equivalency and a forging of new paths from far-traveled language roots.

    In “Section A,” Fábòwálé highlights this sense of contrast and continuation through poems such as “Yetunde” which speak thematically to ideas of reincarnation, but also force English readers to grapple with, see through, understand, and accept the Yoruba language.

     In the poem’s cyclical theme of “Mother’s return,” the language used serves as a literal return—as well as spiritual—each time it is spoken and read. These themes of time in relation to the body—to the cultural and language holder—are further echoed in poems such as “Plea to Mama” in which generational time is compressed in the question “what makes an adult of me?”

     In “Section B,” the personal and political continue to grow and condense as Fábòwálé addresses key global concerns such as race relations, poverty, homelessness, international development and refugee rights and concerns. Here, again, language has been played with to show both similarity and differences as the poems “Rule of Law (I)” and “Rule of Law (II)” place Nigeria and Canada side-by-side. Using a consistent structural form between both poems, Fábòwálé serves to describe the historical and political differences between both countries, but further, creates a linguistic extension between both nations so that the border separating these histories and concerns is nothing more than a reader’s breath, the time it takes to turn a page. Both Nigeria and Canada are made distinct—both are made into a single poetic place.

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      In “Section C,” Fábòwálé moves from vibrant Nigeria, to a merging, to an often-cold Canada, on a trajectory that builds to expose the quiet and often hidden gaps in Canadian culture. In the poem “Let us Remember,” Fábòwálé cleverly and astutely points to the hypocrisy that exists in the myth of Canada’s own ethos and ego. The poet carries the theme of connection here to instead discuss the “unraveling” of the Canadian “united fabric” that comes from interrogating its own domestic responses to racism and the assurance that the country is a joined society.

    The anthology ends with the poem “A maple leaf’s seasons and cycles” and specifically, the lines: “Even moribund!/That mash returns/Part of what was, is,/And might be.” Thus, even in the evocation of a point of dying, Fábòwálé refuses to create a closure and instead ends on a cycle of language, story, and meaning, that is set to continue just as the phrase “might be” leaves open the possibility of further possibilities.

    As such, while the anthology may be ordered in a linear and Western fashion through the use of the Arabic writing system, through Fábòwálé’s use of language and playing with words, space, and time, Nostalgia and Tears F’Orile serves as a poetic triumph that speaks to concepts far larger than its seemingly ordered contents and structure.

    The works evoke foundational language theories such as Mikhail Bakhtin’s notion of the Chronotope—a literary form which speaks to space-time and bridges plot, narrated events, and the real world.

    Nostalgia and Tears F’Orile is a testament to a creativity that is embedded in the inner linkages with temporality and locality, and where something new and fresh emerges from concrete and specific contexts that demand to be seen as current daily life and which cannot be confined to the past. 

    Book review

    Title:         Nostalgia and Tears F’orile

    Author:     Lola Fabowale

    Reviewer:  Sarah Perkins

    Publisher:  Kraftgriots Books Limited

    Pagination:  92

  • AU envoy arrives to address challenges

    AU envoy arrives to address challenges

    • By Samuel Buki

    The Envoy of African Union sixth Region Global (AU6RG), Dr. Onyekachi Obasi Macaulay Kalu, has arrived in Nigeria to engage in high-level meetings with the political, diplomatic, and business leaders.

      The visit, organised by AU6RG, will focus on key areas such as the Decades of people of African descent 2021-2031, The year of return and the beyond Remittance and legacy of wealth initiative.

    As the Secretary-General of AU6RG) and EECASR, and a key policy advisor on the diaspora focal point for AUC-CIDO, Kalu brings wealth of expertise and strategic insight to discussion that encompass the Diaspora’s role in Nigeria’s development, fostering stronger ties with the Africa diaspora and the strategies to move beyond diaspora remittance.

    Kwame Nkuruma said: “Action without thought is empty. Thought without action is blind” Additionally, Marcus Garvey emphasised the importance of economic independence, stating, “A race that is solely dependent upon another for economic existence sooner or later does”.

    AU6RG, an organisation recognised by the Africa Union as the Sixth Region of the continent, aims to unite people of African descent and foster global socio- economics development. The mission is to galvanise, mobilise, unite, structure the African Diaspora for the collective betterment of our shared heritage.

    The diplomatic mission underscores AU6RG’s commitment to engaging with key stakeholders and leaders within the region to address shared challenges and seize opportunities for collective growth and development. The visit aligns with Nigeria’s effort to strengthen ties with the Diaspora community, exemplified by initiatives such as the “Year of return”.

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    As part of his itinerary, Kalu will participate in the interviews with prominent media outlets, shedding lights on discussion and collaborative effort between AU6RG/ECASR and Nigeria. These interactions will provide a platform for disseminating information about progress in diaspora engagement and remittance, enhancing public understanding and support for such initiatives.

    The meeting between Kalu and Nigeria’s political, diplomatic, and business leaders marks a pivotal moment in the diplomatic landscape, signifying a commitment to deepening collaboration and fostering a stronger sense of unity within the African Diaspora.

    The outcomes of these discussions are poised to contribute to Nigeria’s efforts in harnessing the potential of its diaspora for sustainable development.

    Kalu is being hosted by Mr Afolabi Oke, the new Ambassador of the AU6RG)/ECASR to Nigeria and the Economic Community of West African States (ECOWAS).

  • Boosting Destination Nigeria 2030 Agenda

    Boosting Destination Nigeria 2030 Agenda

    Founder and President of La Campagne Tropicana, Forest and Beach Resort, Otunba Wanle Akinboboye has never disguised his passion for his country and tourism.

    Between last October and December,  Akinboboye unveiled unveiled 12 tourism products from his repertoire for the benefit of Nigerian market. The tourism products are DNERP (Diaspora Nigeria Economic Recovery Programme); YATE; Kamp Afrika; CAER; Building Bridge; Yoru’ Bar; Beach Safaris; Scuba Diving; HURP (Hope Unity Rebirth Prosperity); Motherland Beckons’ Heed The Call; IPADA; and IPADA Carnival.

    The concern of Akinboboye is that Africa destination is his horizon, using Nigeria and Lagos in particular, as a base for reaching to the entire world.

    This is the philosophy behind his Continent Building Project through Motherland Beckons, which over the years has given birth to various activations and tourism products that Akinboboye have introduced into the market.

    His belief is that Africa and Nigeria should target the Diaspora market, with the aim of attracting over 50 million people yearly to the continent and Nigeria by extension, to have an immersive experience from the numerous tourism products.  

    “We believe that if Dubai with less than four million people (population) and zero Diaspora population, could achieve so much, then the whole of the continent of Africa should be able to record a minimum of 50 million people, putting together all tourism products available throughout the continent,’’ noted Akinboboye.

     ‘‘We are not asking for handouts, we are asking them to come and take advantage of the vast opportunities in Africa. We are giving them open opportunities, for them to have easy connection to the entire continent that will be championed by Nigeria.

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    ‘‘They will be using Lagos State as the gateway, being the biggest economy in Africa, and the largest concentration spot in Africa, it is the gateway to get people of African descent and lovers of Africa to connect with the continent.’’

    All of the 52 tourism products to be released by him have the potential to create multiple activities or adventures that will offer memorable experiences for the people and by extension add value to the economy of Africa especially growing its Gross Domestic Product (GDP) through tourism.

    It is in this regard that he spoke of the IPADA Carnival, one of the 12 products so far released by him, which according to him, is multi-dimensional and offers opportunity for Africa to fuse into one big market for the people to harvest rich fun, explaining that, “We are targeting a minimum of 50 million people annually that will be coming to the African continent through Nigeria, taking advantage of our deep seaport at Lekki.”

    ‘‘We are transforming slave ships to cruise ships and then luxurious airlines. Now, we are celebrating our prosperity, our resilience, our growth, our development, and our contribution to the world economy.

    ‘‘At the end of the year, there would be a huge harvest, a celebration of that Motherland Beckons’ Heed The Call, and a huge harvest of the celebration of heeding that call, ‘IPADA.’’

  • Ezine Onwuemegbulem for burial January 27

    Ezine Onwuemegbulem for burial January 27

    The family of Onwuemegbulem Amaefule Odum of Umuaturu in Etche Local Government of Rivers State has announced the burial rites for their matriarch, Ezine Maria Onwuemegbulem, who transited to higher glory at 101 years.

    According to the funeral plan, there will be a Christian wake at her husband’s compound in Umuaturu, Etche on Friday, January 26, this year by 6pm. 

    The next day, her body leaves Stella Marris Mortuary for a brief stopover at her home town Umudule Ndashi Etche followed by a celebration mass at St .Joseph  Catholic Church, Umuaturu Etche.

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    The late Ezine Onwuemegbulem will be interred at her husband’s followed by reception.

    A devout Catholic and community leader, Ezine Onwuemegbulem  is survived by seven children, 26 grandchildren and 27 great grandchildren, among whom is Mr. Ray Onwuemegbulem, an award-winning photo journalist, who made his mark working in some media organisations,  including The Guardian, Daily Independent and also a  Reuters Foundation-White House Press Fellow.