Category: Arts & Life

  • Real gardens of the earth

    Real gardens of the earth

    Title: Gardens in the graveyard

    Author: Joseph Mtemdoo Gbagyo

    Genre: Poetry

    Publisher: Chapuga Publishers, Makurdi

    Reviewer: Ofonime Inyang

    The Poems

    All the poems in this collection speak powerfully to the moment. These are lines not honed out of only the depth of scented wisdom but also of deep seated pain produced by years of battard existence. The lines are fresh and full. Like famished words on sound trail, the echoes of reasoned thought meets with deliberate action anchored on bold steps. In  Unyielded Justice for instance, we come face to face with a poet-persona fed up with the rustic undoing of the national mantra. For where justice is considered the apotheosis of a common good, in this clime, justice takes wings and eludes the common good and tramples on common sense. So we now hustle for remnants of an unseen reality. How do you talk of justice in the face of injustice? Where is justice in the absence of just judges? We hear this poet-persona adumberates:

    Unyielding quest for justice. So I ponder on this when we have lost decency, And have taken to mediocrity. Integrity is lip-serviced.

    Justice for us is a barren ground because “we have lost decency” and have “taken to mediocrity.” So the quest for justice here becomes an eternal quest without end. Our true sense of direction appears to be enshrined in an empty quest because there is no hope of attaining justice. In a land where “integrity is lip-serviced”, the obvious reality is a persistent conundrum of corruption and misgovernance the mould of what Mark Stiglits describes as “the tectonic push of illogicality and irredeemable systemic failure.” Nothing describes the Nigerian reality better than this. Justice in the country is a factor of how much you have and who calls the shots. In election matters, justice takes the form of political affiliation and the person at the position of power. You lose only because you didn’t belong and sometimes you are guilty and incarcerated because of where you belong. The poem couldn’t have been more catalytic in its nuanced capture of the troubling manifestation of injustice as justice in our society.

    The poet’s relentless pursuit of justice can be likened to an ageless search for meaning where none exists. For what we encounter in Unyielded Justice is amplified in A Step to the Grave and Still in Sambisa, two poems that herald the disturbing localisation of hideous criminality clothed in barefaced and banal religiosity. In A Step to the Grave, the ominous saturation of darkness over the national landscape mythisises the grave as the new quarter of livelihood. Whereas the grave should speak of what pertains to death and morbidity, the poet reconfigures the grave as our national playground. The grave is where reality is found and the metres of life are determined. Echoing this sentiment, the poet-persona muses about the futility of mortality and advances the crucible of regenerative existence. The existential mathematics that ensues suffices out of the absence of life and hope in the land. This peril of lifelessness founded on poor governance produces in the citizenry a morbid perspective instead of a living reality built around our national hope and pursuit of happiness. So what we do is engaging in a new type of mathematics, counting our days because there is nothing to live for.

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    We count the days we live, I count the day I was born too. We count our victories I measure mine too.

    The little “victories” that we enjoy pale into insignificance as the poet points to another dimension of existence where “movement” that should signal progress rather leads to the grave. The intertwining metaphorisation of movement to the doldrums of immortality speaks to the endless struggles in the land. Therefore, As we move, as I move. Is a forward step; yet is a Step forward to the grave is it a step to your grave? It is a step to my graveyard too.

    Nothing leaves us with an enthralling shock like knowing that we live with more consciousness of death and the grave than life and the promises of our national ethos. This benumbing sense of our existence is given stronger portrayal in the poem Still in Sambisa Forest. The image of Sambisa as the centre of fenal brigandage and banditry is already established in the national consciousness. The poet uses Sambisa to draw our attention to the many lives lost to the so called bandits, herdsmen and militants who swing in and out of our national borders to trouble the very soul of our collective peace. Using an allegorical reference, the poet inundates us with the patterns and echoes of a forest popularised by lawless brigands and agents of destruction. In a petulant but firm tone, the poet-persona, imagines and captures the daily reality of life in Sambisa: When Sambisa was combed. Yet no sight of the teens of visions Making Malala and Mitchel to Cry, weep and sob We all lamented when we see Obby Crusade for your release. Yet your abductors kept us groping in the dark. We are ashamed to say We have failed.But our care and love We will never withdraw.Gallant but failed troops return From Sambisa and Baga Yet none of you profiled amongst the freed. Another bad news of your whereabouts. Oh! Oh! Is the world of my country and yours? When the defenceless can never be defended. The expert politicians only listens To political drums and enjoys Drama series from their sycophants and collaborators. For large budgets for themselves to share. To my sisters and mothers trapped in Sambisa I can imagine and smell your stenches Of the horror of your daily confrontations. The tragedies of death from daily gunshots.

    From this portrayal of life in Sambisa, we are assailed with the ruthless mess of man’s inhumanity and utter loss of the milk of human kindness. We are brought the pictures of “teens”,  local and international  activists who “cry, weep and sop” daily because of what Sambisa Forest occupants have done to the future of the land. Once again, we are staring at “The tragedies of death from daily gunshots” and the horrors of daily confrontations with daredevil agents of death and destruction. We see all segments of society failing to secure the future of our young ones.

    The military tagged as “gallant but failed troup” goes to Samhisa and comes back with a swan song of defeat and helplessness in the face of superior fire power while the top brass smile in new mansions in Europe and the Middle East. The political actors create new roles out of the misery of the masses and corner “large budgets for themselves.” All of these go on to signify the extent of systemic failure within the borders of our nation.

    Joseph Gbagyo’s poetry does not shy away from addressing these issues in a voice that is bold, tough and unmistakable. He brings lethal commitment, verve and panache to his writing duty and saddles himself with the responsibility of drawing our attention to the missing links in our political experience. His poems also resonate a Pan African ethos that connects the greatness of Africa to her ability to harness her cultures and youth to build the continent of tomorrow. In Jubilate Africa and The Embittered Soul of the Blackman, he builds an altar of hope and advocates for the need to rethink our past and our future as a continent.

    We need to excavate and rewrite our history the troubled sloppy mother continent No doubt fought for the overall freedom, to liberate her races from embittered pains.

    This is a song of hope, a ray of sunlight against the backdrop of the pain of the past and healing for a “Bleeding Nation” as he aptly captured our national conditioning.

     As I noted earlier, an encounter with Joseph Gbagyo’s poetry takes you through a rolling mill of tales that touches all facets of the human experience. He sings about love in A Song to My Love, A Letter to My Love, Letter to My Unmarried Wife and In Praise of an African Lady and regales us with mixed impulses of the divine in Couples Paradise and If I Can See God. Rooted in Gbayean poetic afflatus is that ominous search for meaning in a society derobed of its gowns and glory. In A Cry in the Night, Years of Wondering, A Toddler at Fifty, What is Death?, Fangs of Terror, We Live But Never See, Somebody to “Execute” Justice, Crazy Superior Men, They Too shall Face Death and the title poem Gardens in the Grave, the raw tangles of Joseph Gbagyo’s poetic impetus and the tumultuous outburst of his personal anger juxtaposes in a torrential raindrops of poetry of action and commitment. For in his poems, he speaks truth to power and powers his truth as music to the heart of the people. This activist-poet is uncompromising and focused and generates poetry that eases the pains as it reminds you of them. He writes out of his heart and blends that open heart into revolutionary lines.

    My conclusion is that a run through the poetry of Joseph Gbagyo is a worthy journey into the heart of our situation. His maiden poetry collection as I further noted is a vibrant landscape of musings on justice, injustice, poor governance, hypocrisy, life, mortality, love and other topical issues of human concern. It’s a basket of different moods and feelings, sometimes bold and courageous and at other times feline and romantic. The insipid rays of a poet persona intent on righting the wrongs of a misgoverned entity and a heart calling for racial justice and equality mixes in the assent of a thunderous poetic voice coming to terms with the many transitions in life. At best, this is a work born out of conviction as well as a timely message to a nation and continent already entranced by many dark chapters. I congratulate this poet for staying focused and registering honesty in his voice and sustaining the musical thread of the collection with unmatched lyricism and topicality.

    Outside of some of the minor blemishes which are trusted to be corrected in future impressions, I wholeheartedly recommend this poetry anthology to the literary community, schools and general readership. Let me also trust that, Joseph Gbagyo will remain true to his calling of speaking truth boldly to power by becoming a bold exemplar of the truth and principles espoused in his poetry.

  • Day National Theatre boomed with festival of unity

    Day National Theatre boomed with festival of unity

    It is an annual treat. It has entered its 4th edition. Themed Festival of Unity and mooted by Professor Sunday Ododo, the Gneral Manager of the National Theatre, Iganmu, Lagos, the festival was celebrated recently with fanfare. EDOZIE UDEZE writes on the ideals that made the festival one of the best in the society.

    Last year ended well for the management of National Theatre, Iganmu, Lagos. It’s usual annual festival themed Festival of Unity was celebrated with pomp and pageantry. The one day event opened with a lecture delivered by Professor Duro Oni of the University of Lagos. The idea of the festival is usually to celebrate Nigeria’s theatrical elements in which dance, drama, poetry, songs and other cultural elements are displayed to the full.

    Last year’s show was big.  The celebration began with a documentary film on D.O. Fagunwa. The film X-rayed the life history of one of Nigeria’s foremost novelists and storyteller who chose to tell his stories in Yoruba. It wasn’t that Fagunwa was not lettered in English. He was a teacher well versed in the English language   but preferred to use Yoruba language to convey messages to the people. In that film which was directed by Femi Odugbemi, it was clear that the strange Odumare forest where Fagunwa got his story is still a mystery to the people till today.

    A lot of scholars commented on the film and the role Fagunwa played to entrench the story in the annals of Yoruba history and tradition. Those scholars who commented included Professors Niyi Osundare, Tunde Babawale, Abiola Irele, Olu Obafemi and others. Each scholar believed that the peculiar scholarship and authorship of Fagunwa was unique and refreshing. He used his bravery, audacity of purpose and gift to enrich literature for humanity. The focus on the forest of a thousand demons has helped humanity to appreciate and understand the more the role of some plants and animals of the jungle in the order of things of nature and why God created them all.

    Fagunwa’s works symbolize language-Oyo variation of Yoruba language in all its ramifications. His force of expression shows his power of description and analysis. He also used poetry and music and proverbs to effect changes in Yoruba syntax. Some of the scholars noted that in ensuring the greatness of his works, Fagunwa sermonized since his recourse to the use of local language to write literature was a personal choice. In his works, one encounters the mastery of the language; and that is why his works are valued and appreciated by all manner of people especially those who love or who are versed in Yoruba language and culture.

    The festival of unity therefore saw staffers of the Theatre delivering songs and dances in different Nigerian languages. It was fun. It was deliberate. As they danced swinging left and right, they brought the mood of the yuletide nearer home. The hall was electrified to the point of frenzy. Guests sat in joyous moods, savouring the beauty of the song, the sonorous voices of men and women of the Theatre as they regaled the stage in colourful costumes. It was more of the display of beauties with assortments of the local fabrics with which they adorned themselves. The fabrics actually accentuated the unity and the beauty of the festival.

    As they sang, the audience clamoured and applauded them. It was good to see that almost all staffers of the Theatre could sing, could also dance and even act. It was an apt moment to prove that Professor Sunday Ododo the General manager of the National Theatre who himself is an unrepentant theatre guru has groomed into the theatre this firmament of life.

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    Little children from different backgrounds and localities also participated. Some of the children have been groomed to take theatre as a profession. And it was good also to see how some of them fitted into the groove, how much love and passion and commitment the children have brought into dance, into acting and other cultural displays. Then moved by the euphoria of the celebration, Ododo enthused: “National Theatre can always be seen as podium for boundless possibilities of Nigeria”. With this as the title of his speech an elated Ododo went into the pros and cons of the celebration. It showed that the idea that propelled the festival is an ideal one. Basically, theatre is life. Celebrations and festivals are moment to forge unity and bring people together in love and cohesion.

    Since the National Theatre is the epitome of such goals and idea, festival of unity becomes an occasion to celebrate, an occasion to foster unity of purpose across ethnic divides and barriers. As the 4th edition of the show, Ododo also reminded the public that NBC has given the Theatre license to operate its own FM radio station. So henceforth, you can tune in to 104.1 FM broadcasting from Iganmu, Lagos. The FM radio station is created for an all-inclusive theatre business- music, dance, drama, acting, play writing, scholarship, authorship, all, that make the sector boom.

     Ododo said further: “In this collective journey, let us take a moment to applaud and celebrate the unwavering resilience that has defined the heart of the theatre community. Faced with unprecedented challenges, our artists and organizers demonstrated a tenacity that goes beyond the ordinary. Each performance and production stands as a living testament to the profound resilience that has carried us through the storm. It is within these moments of challenge that the true character of the theatre community has emerged, marked by a determination that has not only weathered the storm but propelled us to greater heights.

    As we immerse ourselves in the myriad performances that grace this festival, it is essential to acknowledge the profound healing power embedded in artistic expression. Art serves as a balm for our collective wounds, an anchor in turbulent times, and a testament to the enduring strength of the human spirit. Beyond mere entertainment, each performance becomes a therapeutic intervention, resonating with our deepest emotions and fostering a sense of unity in the face of adversity. The arts, in their various forms, have proven to be an indispensable source of solace and inspiration, weaving a tapestry of emotional restoration that transcends the boundaries of time and space.

    As we collectively cast our gaze upon the expansive canvas of this festival, the panoramic view reveals a rich kaleidoscope—a mesmerizing convergence of cultures, ideas, and perspectives that unfold with breath-taking beauty upon this grand stage. Beyond being a mere spectacle of artistic expression, this festival emerges as a pulsating celebration of diversity, where each performance becomes a brushstroke, and every artist a storyteller contributing to a larger, intricate masterpiece. It is within the tapestry of this celebration that we witness not only a harmonious interplay of artistic brilliance but also a resounding proclamation of unity that transcends the boundaries of mere conformity. The stage becomes a dynamic platform, not for the stifling homogeneity of thought but for the vibrant celebration of our differences.

    Within the crucible of challenges that beset our artistic landscape, a profound renaissance of innovation unfolded, transforming adversity into a fertile ground for creative exploration. The arts community, resilient in the face of constraints, not only weathered the storm but emerged as pioneers, boldly embracing the technological wave that swept across our world. In this dynamic era, artists became digital alchemists, seamlessly blending tradition with cutting-edge innovation in technology. This festival, in particular, has become a living canvas—a dynamic testament to the limitless possibilities that unfold when creativity knows no bounds. It is here that innovation and tradition intertwine, engaging in an exquisite dance, creating a symphony of artistic exploration that resonates far beyond the confines of our stages. Indeed, this experience has been a fountain of new products and the discoveries of new talents that would service our creative industry and promote our creative economy.

    In the rich tapestry of our artistic community, as we joyously celebrate the kaleidoscope of diversity, it is imperative to shine a spotlight on the invaluable and multifaceted contributions of women. Notably, this festival stands as a beacon not only for the spotlight it casts on artistic excellence but also for its unwavering commitment to gender equality. It is a testament to the strides we have made and continue to make in empowering women, both within the limelight of the stage and the crucial roles that extend beyond the footlights.

    In this luminous gathering, where creativity knows no bounds, women have not merely taken their place; they have become architects of our artistic landscape. Their voices, once marginalized, now resound with strength and resonance, shaping narratives and challenging preconceptions. As we revel in the performances that unfold before us, let us acknowledge that every note played, every line delivered, and every directorial decision made bears the indelible imprint of women contributing to the symphony of our collective artistic journey.

    Moreover, it is a moment of pride and inspiration to note that our Minister of Art, Culture, and the Creative Economy is a woman – Barr Hannatu Musa Musawa, a visionary leader guiding us through the cultural landscape. Her leadership not only underscores the festival’s commitment to gender diversity but serves as a living proof to the heights women can attain within the echelons of influence in the arts. Her presence reinforces the idea that when women hold key positions, the entire artistic community benefits from the diverse perspectives they bring to the table.

    In acknowledging and empowering women within our artistic realm, we not only foster a more inclusive and equitable community but also harness the immense creative potential that flourishes when diverse voices are given the space to be heard. So, as we applaud the performances on stage, let us also applaud the trailblazing women who contribute to the magic behind the scenes, ensuring that the spotlight of empowerment illuminates every corner of our artistic endeavour.

    Important people in the sector attended the show. One of them is artistic Director of the National Troupe of Nigeria, Ahmed M. Ahmed. There were other important figures who felt it was a big occasion to be together. In the main the programme was produced by the Minister of Culture, Art and Creative Economy, Hannatu Musa Musawa.

  • Author unveils inspirational books on addiction, leadership

    Author unveils inspirational books on addiction, leadership

    Renowned author and philanthropist, Emmanuel Fadipe, is set to release three impactful books that delve into critical societal issues.

    The first titled “Sobriety or Yabaleft?,” focuses on drug abuse and offers a compassionate guide for addicts seeking an escape route. Fadipe aims to address the fundamental issues surrounding addiction and provide a path to liberation through the grace of God.

    The second “Eniafe,” is a captivating novel centered on love and the various barriers that affect it. With a commitment to maintaining a balance between love actions and healthy expressions, Fadipe intends to captivate readers from the first page to the last, making it a significant literary project.

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    The third book delves into the theme of leadership. Drawing from his personal experiences and achievements, Fadipe aims to illustrate the key ingredients of outstanding leadership, navigating the ups and downs of the leadership process. This book promises practical insights into decision-making, overcoming hurdles, and the glory of excellence that defines a great leader.

    In addition to his literary achievements, Emmanuel Fadipe has been honored with the Ecowas Youth Ambassador Award and recognized as the Young Philanthropist and Human Rights Personality of the Year. These accolades are a testament to his dedication to humanitarian causes and impactful leadership.

    Fadipe attributes his success and accolades to divine guidance and the unwavering support of his parents. His involvement in humanitarian activities, particularly through the Emmanuel Fadipe Foundation, played a significant role in earning him the Ecowas Youth Ambassador Award.

     Notably, his efforts in securing justice for a Nigerian student facing imprisonment demonstrated his commitment to human rights, ultimately leading to the Human Rights Personality of the Year recognition.

    Fadipe emphasizes the importance of passion, hard work, and resilience in balancing his roles as a writer, researcher, and humanitarian. He acknowledges the role of faith in enlarging his capacity to achieve more and attributes his achievements to the grace of God.

    Emmanuel Fadipe believes literature and poetry play a crucial role in promoting social change and raising awareness of humanitarian issues. Through his upcoming books, he aims to instill positive values, empathy, and a sense of responsibility in readers, especially the youth.

  • Book on Buhari’s administration wise thing to do -Osinbajo

    Book on Buhari’s administration wise thing to do -Osinbajo

    Former Vice President Yemi Osinbajo has described the book by Femi Adesina, former Special Adviser on Media and Publicity to former President Muhammadu Buhari as “very wise and proactive”. 

    He said it gives the “the most reliable account’ of his experiences at the Aso Rock Presidential Villa, Abuja.

    Osinbajo made the comment in Lagos over the weekend when Adesina formally presented a copy of the book titled: Working with Buhari: Reflections of a Special Adviser, Media and Publicity (2015-2023) to the former Vice President.

    The book will be launched on January 16 at the Transcorp Hilton, Abuja from 10a.m. prompt.

    Receiving the work, published by Safari Books Ltd, Osinbajo commended its quality and the speed at which Adesina churned it out, coming just seven months after they left office.

    On the idea of the author coming up with the publication at this point in time, Osinbajo said:

    “I think it is a very wise and proactive approach. I think it is wise to do so especially because he was an insider. He has all the information about the personal issues, personal details that are covered in the book. It is the right thing to do, so that he defines the narrative ahead, and anyone else who wants to write would have to use this as their soft material. Obviously, this is the most reliable account of his experiences in there.”

    Lauding the quality of the book and the richness of information in it, Osinbajo posited that it is “in many ways a personal discussion or conversation with Nigerians about who President Buhari was.” And Adesina is “possibly the person who would best represent who the (former) President was.”

    According to Osinbajo, this is more so as Adesina has all the “the kind of care and attention that would be required to do a proper and in-depth analysis” of the era.

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    The former Vice President added everything up and described the book “an honest account”.

    Expected at the launch on January 16, are President Bola Ahmed Tinubu who is the Special Guest of Honour; the subject of the book, former President Muhammadu Buhari, as Special Guest; while former Head of State, General Yakubu Gowon, and General I.B.M. Haruna are Chairman and Co-Chairman, respectively.

    A royal delegation from the Saudi Arabia Royal Family, led by HRH Prince Abdulaziz Bin Faisal Al Saud, will grace the occasion that will have Alhaji Mohammed Indimi, billionaire businessman and founder/chairman of Oriental Energy Resources Limited, as Chief Launcher.

  • Oliruah: Initiation into manhood in Auchi

    Oliruah: Initiation into manhood in Auchi

    • By Kabir Ramotu Afiz

    Auchi was founded in the 14th Century by a man called Uchi, who left a place called Udo, about 30 kilometres Northwest of Benin City, the Edo State capital.

       He left with his family due to civil unrest, ethnic strife, intimidation, brutalisation and dehumanisation. His preference for Auchi was partly attributed to access to water, fertile land and lush greenery which spew around Auchi till date.

    Auchi people of old were farmers, hunters, blacksmiths, and traditional worshipers.

    The umbilical cord that holds the people of Auchi sacred kingdom together is manhood celebration also called iruah (Age Initiation Festival). This ritual is dated back to 19th Century. And it is performed every three years during sallah. The ritual was initiated by five clans of Auchi sacred kingdom and was made compulsory for grown men from 17 to 19 years.

    The manhood initiation gives the young boys the chance to perform the rituals known as oliruah rituals. The motive behind oliruah ritual is to transform the celebrators from boyhood to young men i.e manhood. 

    The ritual gives the new initiate the opportunity to purify themselves and be identified as men of the community and give them the liberty to marry. It is performed in every three years during the Muslim big sallah festival.

    On the first day of sallah celebration, all the celebrants will wear the same chosen colour of traditional attire (agbada, shirts and trousers, immediately after Eid prayer, they will line up and walk straight to the Otaru of Auchi sacred palace for his prayers and blessings.

    On the second day of Eid celebration, each initiate fully adorned with its group chosen colour of traditional attires will visit the clan of the General Chairman, Utsogun, to dine and wine together.

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    On the third day of the Eid celebration, the new initiates will pull off the attire up to the underwear with the exemption of the Agbada (loose shirt) they will run directly to a place where the eldest woman is seated and cross her legs and dropping money for her in that process.

    After crossing the eldest woman legs, the running still continues and the new initiate must not look back, stop nor talk to anyone or fall down until he gets to his house, enter the bathroom and wash himself.

    Each of the young boys in the age group is usually advised to be conscious of the aged woman chosen for the solemn act of oliruah rituals because it is believed in Auchi sacred kingdom that once this rite has been accomplished, each young man has to ensure that he will never again have anything to do with such woman not even eating her food.

    On the fourth day, which is the last day of the celebration, the young men join in the ‘men club’ and cease to be regarded as young boys in the town. The celebration continues with dancing, singing and eating together. Gifts are also given out to the celebrants, apparently to show the end of the Initiation. In the year 1998, the present Otaru of Auchi sacred kingdom Alhaji Aliu Momoh, Ikelebe (111) abolished the crossing of the eldest woman legs, because it is unislamic.

    Initiation to manhood is to identify the male children who have become adult and eligible for marriage. It is still practised in Auchi sacred kingdom till date.

    • Kabir is of Antiquity Department, National Museum, Lagos.
  • Sonny Kuku hits 80, gets title

    Sonny Kuku hits 80, gets title

    Chief Dr. Sonny Folorunsho Kuku has a reason to climb the mountain top and make joyful noise with the highest pitch in his voice.

    While many would wonder why he would do such, those close to him will know that his creator has been fair to him owing to his trajectory and his rise to prominence in life.

    Ultimately gliding into the leagues of octogenarians on January 3 is a more reason to be super excited which will make him go the extra mile in expressing gratitude for having good health and wealth.

    Though many of his peers have been bedridden due to nature, failing health and or life issues, he is still bubbling with spirit enjoying life to the fullest, attending top soirees in good health and wealth.

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    What more can he ask for other than a continued long life to enable him to see his children and grandchildren do great exploits in his life. Adding to his portfolio, the Awujale of Ijebuland, Oba  Sikiru Adetona named him the Ogbeni Oja-select.

    For those conversant with titles in Ijebu land, to be bestowed with such a highly coveted title means novelty as the previous occupants of the title include respected businessman Timothy Adeola Odutola and Bayo Kuku.

    In celebration of his 80th birthday and installation as Ogbeni Oja, the Joint Chief Medical Director and Co-Chairman, EKO Hospital, Lagos is leaving no stone unrolled as he has a mega plan to make sure the double celebration is grand.

    We also gathered that he has sent a very exclusive invitation to his friends and associates for the celebration and has also got the services of the very best event planners and food vendors who will treat his guests to royalty.

  • The fictional narrative on TB Joshua

    The fictional narrative on TB Joshua

    • By Dare Adejumo

    The BBC World Service investigative unit, code-named ‘Africa Eye’ came out this week with weird and strange episodes of atrocities against the late Prophet TB Joshua, founder of the Synagogue Church Of All Nations (SCOAN).

    To investigate and publish or broadcast reports is a central kernel in journalism  But to do this outside the ethics and fundamental principles of the profession is an aberration. Journalism as societal watch dog requires fairness, balancing and objectivity in order to command dignity honour and respect as the fourth estate of the realm.

    BBC has compromised these lofty principles by descending  into fictional narratives and propaganda thus turning itself into a weapon for a hatchet job as gangsters in the gab of journalism with a destructive ulterior motive for personal gains against a perceived enemy.

    Only BBC can best explain why it woefully deviated from true journalism and chose to be dishing junks and feeding the public with stones called bread by its offensive and disenchanted lopsided reports of disgruntled and shameless elements.This to say the least is insulting to our professional and public intelligence.

    One thing is very obvious, hundreds of BBC charades cannot rubbish the indelible footprints of  Joshua’s legacies on earth again. There are thousands of REAL human beings who had received dumbfounding miracles and tremendously benefited from the anointing and grace the Lord endued with His servant while on earth that could not be disputed that are lining up and responding angrily to this imperialist broadcasting station.

    Many of them are in the UK the home base of BBC but which its jaundiced investigative eyes could not see but only the obviously suborned narrators! Myriads of broken homes reconciled by Joshua are also crying foul of BBC’s broadcast of iniquity. Uncountable hopeless children drawn from different parts of the world; some brought by their parents while some were picked from drug joints or brothels who have gotten their destinies restored are also pissed off by the offensive reports. His ineffable love and charity works across the globe including horrible disaster spots speaks volumes in United States, Europe, Asia, Africa, Middle East, among other continents. BBC has obviously shot itself in the foot by its compromise and roadside journalism.

    Incidentally, SCOAN is not ready to belittle its honour by responding to the BBC charade. BBC would not have lost anything if it had gone to the church even to disguise as visitors in order to have direct experience of what is happening in the church instead of relying on disgruntled and manipulated  individuals some of whom are never known before in SCOAN as could be seen in the episodes.

    Some of those identified there are relics of homosexual and lesbian associates. My findings further show that everything the BBC put together was strange to SCOAN.

    One other clearly illogical thing in the charade is the BBC  categorical statement that the man of God was involved in all the abuse for over two decades! How could that be in a nation governed by law? It shows the station’s crude disrespect and bizarre perception of Nigeria. Where were all those shameless interviewees in all the decades?  Was it when the man  passed on that they suddenly became awake or came back to their senses? Only a fool will have respect for such charlatans. This is not only shameful to hear but also insulting to see from the work of supposedly well-trained reporters!

    On the tragic collapse of the church Guest House, it is shocking that BBC also turned itself to a building expert through its charlatans to disregard the opinion of various renowned international erudite and building experts on what it didn’t know anything about. It was all just to call the dog a bad name so that they could hang it. It is obvious that the sponsors of the BBC hatchet job must have been transmogrified by the continued growth of the church like the tree planted by the river side which  remains incomprehensible to those satanic agents who erroneously thought the church was finished with the passing of Joshua not knowing that whatever is of God cannot be uprooted by anyone.

    Thank God you exonerated his only wife of any wrong doing throughout the decades of your so-called investigated lopsided work. But did you think any wife at all could be seeing and watching all these nonsensical and annoying scenarios you painted for decades and still kept silent? I am yet to read any literature or hear of such a woman in the universe! This is illogical, irritating, incomprehensible, unfathomable and satanically dubious and malicious.

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    Persecution of divine envoys or servants of God is not new in history. For cursed and manipulated false witnesses to arise and manufacture intimidating and damaging lies has always been and history would always repeat itself.

    One thing is very important and which every opinion moulder must know:  no one can run away from harvesting the consequences of whatever seed he or she has planted in Creation. As a matter of fact, it’s in God’s adamantine will that such a planter either through his words, deeds, writings or actions will never be free not until those people he or she had misled are free. This is why we must not allow ourselves to be carried away by any situation no matter the immediate benefits because the consequences coulf be fatal. BBC investigative reporters in this case on their so-called episodes on Joshua should bow down their heads in shame as journalists in their fictional voyage of the theatre of the absurd.

    • Adejumo is a journalist and public affairs analyst
  • ‘Blindfolded, I will follow Buhari to battle again’

    ‘Blindfolded, I will follow Buhari to battle again’

    Working with Buhari: Reflections of a Special Adviser, Media and Publicity (2015 -2023) written by Femi Adesina, spokesman for Nigeria’s former president, Muhammadu Buhari, is billed for public presentation in Abuja on Tuesday January 16.

    The much-anticipated memoir chronicles, explains and situates the events, policies and actions of the eight-year rule of Buhari’s government. It details significant achievements of the administration, which, according to Adesina, despite being so glaring, detractors would rather downplay or deny as non-existent.

    Expectedly, the book is also a grand, one-in-all and once-and-for-all response to criticisms by antagonists he tagged ‘wailers’ as against supporters of the President he dubbed ‘hailers!’

    Never in the nation’s history were Nigerians probably as divided over the nature and performance of their leader, especially on the national unity, peace and security, equity, respect for the rule of law, economic progress and how all this impacted the quality of living of the citizens, as in the Buhari era.

    Buhari was under fire for allegedly failing to fulfill his three-pronged electoral promises to tackle corruption, improve the economy and secure the country against the onslaught of bandits, kidnappers, terrorists and other hues of criminals and criminality that had not only claimed many lives and property, but also caused severe social and economic dislocations including huge internal refugee crisis!

    The flaks came from the political opposition, notably the Peoples Democratic  Party (PDP) which, after 16 years of unbroken rule, lost power to the ruling All Progressives Congress (APC) in the 2015 seismic presidential election that ushered Buhari in as president.

    Also the media, the clergy and some sections of the country that nursed a beef against the former military ruler-turned democrat for allegedly giving them virtually the shortest end of the stick than previous leaders ever did in terms of government appointments and sharing of national resources, equity and balance in access to opportunities and privileges.

    As spokesman for the President, Adesina, who has been a die-hard fan of Buhari since his first coming as Head of State in 1983, found himself  in an endless battle  of defending his boss against embarrassing insinuations and charges of incompetence, autocracy, tribalism, nepotism, religious irredentism, and paying lip service to being  incorruptible- the very opposite traits and qualities he believes the man has in abundance and for which he left his highly influential and paying job as the Managing Director/Editor-in-Chief of the stable of the then highest-selling national dailies and weekly,  The Sun newspapers, to serve in government. 

    In Working with Buhari, the former President of the Nigerian Guild of Editors and celebrated columnist still affirms his respect, loyalty and belief in Buhari, as a patriotic, de-tribalised, fair and dynamic leader of high moral principle and integrity that he had always known him to be.

    This book redeems Adesina’s image, which had been nearly rubbished by his sometimes vain attempts to stand up to the opposition or correct some of the goofs and gaffs of his boss or the government.  It also portrays Buhari as probably an astute but misunderstood patriot.

    It consists of 30 chapters, each an exhibition of a mastery of the literary craft not only in terms of the logic,  beauty, elegance and flow of the language with which the author threads his thoughts but also the brevity of presentation.

    He opens with two chapters entitled: Please, Hold on for Mr. President-Elect and I woke up crying in which he discussed the 2015 watershed election  and why and how he left his much more paying  job and accepted to serve in Buhari’s government. Though he had envisaged a role of being a silent supporter of the President-elect for himself, Adesina said he realised that it would have been hypocritical of him if he declined to serve in the same government he had projected as good for the country.

    For the record, Adesina had used his popular column in The Sun to persuade Buhari to drop his vow never to run for the President again after his serial defeats ending in 2011; and ramped up public support for his candidacy.

    Chapter 3 Into the Eye of the Storm, is about the first major test he faced as Buhari’s chief image minder early in the life of the government – how to respond to the shocking emergence of Senator Bukola Saraki and Hon. Yakubu Dogara as Senate President and Speaker, House of Representatives in a ‘legislative coup’ that supplanted the ruling APC’s preferred candidates and arrangement!

    Understandably irked by this act of disloyalty, Buhari was at first said to have declined to recognise or congratulate the new National Assembly leadership, as did his party. Adesina recalled how he persuaded Alhaji Lai Mohammed, then APC’s National Publicity Secretary, on the need for the party and the President to congratulate the new legislative helmsman to disabuse people’s mind that Buhari who ruled the nation with iron fist as a military dictator in the 1980s was not different under a democracy 30 years later. It was agreed that Mohammed condemed the flouting of the party’s directives while the then President could take a more measured position, since he transcended party affiliation as father of the country.

    The next challenge was getting  Buhari’s consent. Buoyed by a blank cheque of free access and right to argue he enjoyed with his boss, Adesina went to Buhari and impressed on him the need to issue a statement as the nation would be waiting for his position on the development. In the book, the former presidential spokesman writes: “He listened carefully. He always does. Then he shook his head. ‘I won’t say anything’’’.

    Waxing his index finger (which Adesina comically said he could not but help noticing how long it was), Buhari insisted he would not say a word. But the aide eventually convinced him to back down, remind-ing him that he had promised to work with whomever emerged and that political foes would tag him dictatorial if he refused to say anything.  A statement drafted by Adesina and slightly amended by the President was subsequently released to the media.

    It said the President had noted the outcome of the just-concluded election of the leaders of the National Assembly and that though he would have preferred the process as established by APC was followed, a constitutional process has been “somewhat concluded.”  It reiterated Buhari’s pledge to work with whomever the lawmakers elected, adding that the stability of our constitutional order and overall interest of the common man was uppermost on his mind.

    As he admitted, the Saraki saga was Adesina’s baptism of fire in terms of issuing statements for PMB, and many more were to follow in the eight years to come.

    The fourth, fifth and sixth chapters entitled: ‘The Wailing Wailers’, ‘The WAEC Certificate Saga’ and ‘Buhari and a Part of the Church’ see Adesina at his most pugnacious as he took on detractors of PMB and his government, notably a section of the press, the PDP, social media activists and some leading religious figures whom allegedly motivated by prejudice, malice and other ill factors, he says, never saw anything good about the President and the government.

    Adesina, however, clarifies that the appellation ‘wailers’, which many people accused him of purportedly using to castigate the generality of the President’s critics, calling saucy, caustic and disrespectful, was originally not meant for them.   He claims to have coined the term in a tweet to denounce the opposition PDP’s penchant for media propaganda and blackmail to discredit and distract the ruling APC so it would not achieve anything throughout its stay in office. 

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    Specifically, the tweet was a riposte to the party’s spokesman, Olisah Metuh’s speculation that PMB plotted to impose his relation as the next Chairman of the Independent National Electoral Commission (INEC) barely a month in office. “If PDP begins to cry wolf where there was none over INEC chairman, then they should be set for louder lamentations. The Wailing Wailers,” Adesina had posted.

    But the online anti-Buhari mob  upbraided him for the use of the term, claiming that the President’s aide used it to abuse them. It stuck with Buhari’s loyalists’ constant use of the label to pejoratively describe the antagonists.The author expresses disappointment that a lot of people he expected to have been more discerning held this against him. “Even newspaper columnists who should have better information banged on it”, the former presidential aide regrets.

    Adesina is at his humorous best in these sections as he deploys sound reasoning, wit and sarcasm to throw jibes and pull punches at some of the prominent critics and their flawed positions at the time.  For instance, of the PDP’s national spokesman, Metuh he writes: “He resolved to make himself a nuisance to Buhari and the APC… If he saw a wall gecko in his house, it was Buhari that transformed into that creature, and he would issue a statement.  If it rained in one part of the city, and it didn’t get to his own, it was Buhari.  If he suffered power failure under the waist at night, Buhari ooooo.

    To accusations that he either lied out rightly or fed Nigerians half-truths about the state of affairs during PMB’s debilitating illness that led to his hospitalisation in the United Kingdom, Adesina ruthlessly tore their views into shreds, describing them as ignorant and full of misconceptions.

    He also turned on its head a newspaper columnist’s attempt to ridicule his celebration of the first phone call he received from Buhari as the convalescing President came around from his debilitating illness. The columnist had written: “When eventually the President spoke directly to Femi – for so he told us, he was gleeful and announced it to the whole world to hear.

    •Fabowale is an Ibadan-based journalist

    ‘He spoke to me’. ‘He spoke to me.

    ‘This, I dare to say, is very embarrassing.  The President speaking to his image maker is not a gift, but a must’.

     But supplying a lot of behind-the-scenes situations which made access to his principal inadvisable even if not impossible, Adesina counters in his book thus: “If this columnist was not an embarrassment to himself, how would he expect a President who had confessed that he had never been that ill all his life, so much so that he was not aware of his environment for some time, to be speaking to anybody?” On page 127, he asks: “Those criticising that the media aides were shut out, was it at such a time we were needed? To do what? To use our pens to conduct diagnosis and write prescriptions?” He also accuses the critics of mischief in selectively projecting PMB’s controversial statement during his first trip to Washington that one would normally give more positions to areas that gave him 80 percent of votes than where he got between four and five percent, underplaying or blotting out his conclusion that, as much as one may wish to do that, the constitution with the federal character principle enshrined in it, precluded the option. Even after the President‘s media office issued a statement putting the comment in its full perspective, it was still ignored.

    Apart from the PDP,  Adesina classifies those who nursed animus against the President  to include some of Buhari’s original supporters who became turncoats after their ambitions to urgently be rewarded with political appointment were dashed. There were others who were compulsive grumblers and would complain against anything and everything. 

    He was equally unsparing of Christian Association of Nigeria (CAN) over, among other issues, the body’s position on killing of its officers and members in the northern part of the country. He also takes on specific prominent Christian leaders whom he accuses of using the pulpits to mislead their likely gullible congregations, stoke religious and inter-ethnic disaffection and get them to hate the President by constantly portraying him as a Muslim fundamentalist, Jihadist and Fulani  ethnic group champion.

    Himself a teacher of the Bible, Adesina forcefully shows how these clerics who headed mega assemblies betrayed their bias, prejudice and malice even to the point of making false prophecies and cursing the President as clear violation of scriptural injunctions.  He reveals how ironic the clerics’ attitude reflected what they accused others of.

    The former Buhari’s aide, however, credits Pastor W. F. Kumuyi, Pastor Enoch Adejare Adeboye, Chris Okotie, Bishop Mike Okonkwo and Rev. Felix Meduoye, General Overseer of Foursquare Gospel Church, among others for their level-headed temperance, support, prayers and understanding with the administration. 

    In Chapter 7, Buhari’s Kind of Kindness, we see a portrait of  the former President as a smart, focused, attentive and dynamic leader who, despite the steely facade, and reserved mien is naturally kind. We see this demonstrated in the personal interest, advice, encouragement and help he offered his family members, personal aides and other Nigerians he interacted with. Adesina was, of course, a major beneficiary of this large-heartedness.

    Nothing probably knocks off the bottom of the charge of Buhari’s allegedly nursing antipathy towards Igbo, or underscores his credential as an anti-graft crusader as when the former President saved Dr. Marilyn Amobi, an upright Igbo technocrat from being unjustly fired from her job as the Managing Director of Nigerian Bulk Electricity Trading  (NBET). Dr. Amobi had been summoned by the President on the verge of being issued a letter terminating her appointment based on sundry allegations by highly placed persons in government including at the Ministry of Power and Steel, according to reports. Rather than confirm the impending sack as she had feared, the meeting was to commend her for her courage in writing against  a deal for which, Buhari discovered, he was misled by trusted aides into signing away $10million of Nigeria’s money.  PMB not only halted her proposed sack but also arranged for her personal protection against the fallout of security risks, approved some perks, allowances and benefits for her and her agency and gave her free access whenever she needed to see him.

    This account given on Amobi’s personal authority, writes the author, attests to the fact that Buhari was ethnically colour-blind when it comes to issues of probity and integrity. His reticence if not taciturnity and belief that “with some Nigerians, head you lose, tail you lose”, coupled with perceived media hostility accounted for why the erstwhile President rarely granted direct interviews and rather depended on his media handlers to make clarifications, Adesina indicated in the book.

    Other topics the book deals with are: PMB’s relations with former President Olusegun Obasanjo; General Ibrahim Babangida, his erstwhile comrade-in-arms who toppled his regime in 1985; Goodluck Jonathan and other former heads of state; Buhari in the eyes of other world leaders; ex-CBN Governor, Godwin Emefiele and the Naira redesign saga; 2023 polls and how Buhari received the ‘Emilokan’ declaration by his long-standing ally and APC National Leader, Asiwaju Bola Tinubu, as well as the call for Interim National Government.

    There are also telling revelations about power dynamics in Adesina’s experience working with the late Abba Kyari and Prof Ibrahim Gambari who succeeded him as Chief of Staff to the President; Nnamdi Kanu’s rendition and trial and the frightful insecurity in the land. 

     Adesina devotes Chapter 16 entitled Facts are stubborn things exclusively to cataloguing the achievements of the PMB’s administration. 

    In the end, Adesina reiterates his abiding love for the Daura-born Nigerian leader and submits that blindfolded, he would still follow him to battle again if necessary.

    Apart from being a piece of vintage prose for which Adesina is renowned, Working with Buhari is a treasure trove that bears distinctive evidence of rigorous research, precision and accuracy. It contains incredible quantum of facts and figures, dates and other information historians, development experts, political science scholars, international agencies, individuals and anyone generally interested in the study of Nigeria’s fourth Republic politics, particularly the Buhari years, will find an invaluable resource in understanding the diverse and often contentious issues of the period. 

    Remarkably, Adesina broke all the complex mass of data down into delightful, lucid narrative, complemented here and there with graphics and tables that further enhances clear appreciation of the message. Clusters of photograph insertions illustrate the publication.

    But is this the last word? Could it definitively be the last word? 

    Knowing Nigerians, the issues may be far from settled. Although he tried as much as possible to bring all the issues to the table and address them with courage, a sense of balance and fairness, Adesina may just have opened another cycle of disputations and set for himself a life-long career of romance with controversy not only with anti-Buhari forces, but also objective critics of his old master.

    For one, he is likely to be put to task on apparent commission and omissions of some actions or proposed policies by the Buhari government which fuelled suspicions of preferential treatment of his Fulani kinsmen at the expense of other ethnic groupings and allegations of an agenda to Islamise and Fulanise the country.  The Buhari Presidency, for most part of the period, tended to show either incapacity or unwillingness to rein in rampaging herdsmen and outlaws giving rise to speculation that they probably enjoyed government’s protection as they turned the country into a killing field.

    The sad optics were worsened by Buhari’s often embarrassing body language and even sometimes outright prohibition of reprisals by the victims. Though the book captured much of the security forces’ renewed onslaught and routing of insurgents, terrorists and other shades of criminals across the country on Buhari’s orders in the twilight of his government, the questionable motives for and manner of execution of special military operations deployed in parts of the South is still a moot point for some watchers of the Nigerian polity.

    More convincing responses are also probably still needed than the vague and glib answers Buhari offered in the book to dispel the insinuations of ethnic bias and justify his attitude on some other issues. For instance, how compliant was his government to the constitution and to the rule of law?

    Besides, the critics are likely to query his seeming aloofness to the press which saw him rarely grant interviews and discontinue, after only two editions or so, the regular media chats tradition he met when he assumed office as a democratic leader.

    Nonetheless, sizzling, stirring, provocative and rich in literary sense, this book has certainly come auspiciously to set the tone and tenor of political discourse for the first quarter or even the year – a reminder of our immediate past for an appreciation and improvement of the present.

  • Promoting African culture through dance

    Promoting African culture through dance

    Some groups have engaged young Nigerians in indigenous dances at the just-concluded sixth  Festival of African Dance, Danse Afrikana 2023, which held at the NCAC Artists’ Village National Theatre Annex, Iganmu Lagos.

      The groups are Different Aesthetics Arts and Culture Management, the National Council for Arts and Culture, Lagos State Council for Arts and Culture, National Theatre and the National Troupe of Nigeria.

       Managing Director, Different Aesthetics Arts and Culture Management, Mr. Aremo Tope Babayemi, is the brain behind the festival.

      Secondary schools pupils in the state participated in dance contest, portraying dances from the Southwest.

    Bright Achievers’ School, Bariga, Command Day Secondary School, Ikeja, Jubril Martins Memorial Grammar School, and Hope Spring College took part in the competition. 

    A representative of the event’s organising Committee,Stella Uwamanua, said:  “We are bringing young ones together to understand African arts. They would understand the difference between dancing as an Art and dancing as fun. We are looking for a better danse afrikana next year with lots of sponsors.”

    Chairperson, Guild of Theatre Arts Drummers of Nigeria, Lagos State, Seun Awobajo, said the fiesta helped to educate the younger ones especially on the importance of African dance and other aspects of our culture.

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    He said:  “Drum is an integral part of our cultural element. Beyond what we know drum to be, it is way deeper. Drum is powerful to the extent that is a communication tool, spiritual tool, good for therapy. There are people who got healed through drum. Drumming has proven to be one of the psychological instruments that helps develop a child’s brain.

    “Nigeria theatre industry is the best, as far as I’m concerned in Africa. It’s so profesional that we have been recognised home and abroad. Currently, African economy is solely on culture.”

     Isioma William harped on the need to bring up the younger ones to understand indigenous arts and culture at early age. “It’s good we start giving them the orientation about our culture at early age. History, arts and culture should be incorporated in the curriculum.

    “Our culture is fading away because we are not building on it or showcasing it well. Parents and elderly ones have to teach the younger ones our culture. The history of who we are is in our dance. Westerners have seen the beauty of African dance and they are now learning about it,” he added.

  • A million stiches offers new dimensions

    A million stiches offers new dimensions

    In the realm of contemporary Nigerian art, Shade Fagorusi stands as a radiant filament, weaving a captivating narrative through her solo exhibition.  

      Raised in Akure, the Ondo State capital, Shade is a textile artist whose creative journey is interwoven with the fabric of her upbringing. Drawing inspiration from the lens of childhood memories and the nuanced drapery of adult experiences, she embarks on a visual quest, adapting these varied narratives into a collection that extends beyond the boundaries of conventional art practice.

    Shade’s works in her solo exhibition tagged A million stitches brightened up the exhibition hall of the National Museum, Onikan, Lagos between last November 26-30.

    Artists, art enthusiasts, collectors, and the public were privileged to enjoy the dexterity, technicality, magnificent of her hand-stitched embroidered pieces.

     The genesis of Shade’s artistic journey can be traced to her formative years, where two neighbours emerged as catalysts, sparking the flame that would ignite her artistic passion. A local cloth weaver, engrossed in the dignified art of aso-oke, and a skilled craftsman adept at knitting woolen cardigans, became the muses that guided Shade’s artistic awakening. The magical transformation of threads and knitting yarns into objects of beauty and function captivated her, leaving a lasting mark on her artistic psyche.

    A graduate of the Obafemi Awolowo University (OAU), Ile Ife, Shade is an embroidery artist who harnesses the tactile appeal of needle life into her visions. and knitting yarn to breathe.

    The vertical stitch technique, a signature element of her creative outputs, bestows an inherent elegance upon her works. Each piece, meticulously hand-stitched, ventures into the realm of realism, casting subjects using the chiaroscuro technique. The female form assumes a central role in her body of works, embodying an evocative and resonant subject matter. In this exhibition, her body of works can be categorised into three groups.

    In the first category, it is observed that Shade transcends the familiar confines of her artistic lexicon. For instance, “Slay Queen,” “City Girl,” “Lady in Purple,”and “The Young Lass” standout pieces challenge the viewer’s perceptual boundaries with a striated picture plane that weaves a mesmerising illusion.

    Each striation, laden with meticulous details, comes alive when contemplated from a distance. This category of artworks captures young female characters frozen in a moment of prime charm; their distinctive hairdos rendered with a flat touch that borders on the sublime. The subjects are well contrasted against a vibrant, one-toned background.

    The “Reflection” series introduces a novel dimension to Shade’s artistic repertoire, featuring subjects embroidered on batik fabric.The interplay of shadows, executed in chiaroscuro, mirrors the subjects themselves, adding depth and nuance. This departure from her customary materials showcases Fagorusi’s artistic versatility and her willingness to encroach territories within her craft.

    Shade’s artistic journey takes a unique turn in the third category, as she ventures into a distinctive exploration of materials, introducing cement and sugar sacks as unconventional canvases for her subjects. Partly departing from her conventional mediums, this deviation becomes a prominent feature, signifying a deliberate and contemplative shift in her artistic discourse.

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    The juxtaposition within Shade’s work in this category features embroidered representations of aged male figures and energetic young female characters on empty cement sacks. This deliberate choice hints at a nuanced commentary, where the artist ingeniously utilises waste materials as a backdrop, delving into the realm of recycling. This artistic endeavor resonates strongly with contemporary ideals of sustainability and environmental awareness.

    Sugar and cement, as commodities, stand as staples in the society, paradoxically both widely consumed and yet exorbitantly priced. This discordance further magnifies the socioeconomic disparity between the affluent and the less privileged. Cement-related vocations, traditionally dominated by males, find representation on the empty cement sacks, while the sugar sacks, associated with a predominantly female sphere, host the embroidered female subjects. This deliberate placement invites viewers to reflect on societal roles and expectations associated with gender- a prominent theme in Shade’s work.

    In essence, her exploration of these materials goes beyond their visual appeal, serving as a strong commentary on societal structures, gender roles, and the economic disparities entrenched in the fabric of Nigerian culture. Through this series, she not only embraces artistic innovation but also challenges observers to contemplate the underlying narratives woven into her material choice.

    Shade’s artistic oeuvre serves as a reflective surface which captures the dichotomy inherent in her society. In this exhibition, gender roles, the optimism of youth and the penitence of age find a striking expression within the stitches of her creations, all resonating with the socio-economic conditions of her homeland – Nigeria.

    Her recent journey into incorporation of found items signals a transformative journey, a pointer to her newfound commitment to sustainability and environmental consciousness. As she charts a course into the realms of recycling, the future holds the promise of an unfolding saga—a pointer to innovation and creative evolution. Continuous exploration is a fuel that keeps the flame of creativity alive, and Shade has proven to be on this course.