The Nation Newspaper

Category: Arts & Life

  • Transit Art Foundation opens artists’ residency in Lagos

    Transit Art Foundation opens artists’ residency in Lagos

    It is called Protest Art Studios, located at Egbeda, Lagos. But just recently, the owner of the studio Bobnosa Uwagboe, decided to add an Artists Residency programme to the studios. Now named Transit Art Foundation, put in place in collaboration with partners in Poland, the Artists Residency programme took off with one artist called Paulina Gift Osague Osagiede. Edozie Udeze paid a visit to the studio where Gift spoke about the thrills and frills of the residency programme and more.

    It is no longer routinely for Nigerian fine artists to always travel out of the country to engage in artists residencies. As time goes on, more Nigerian artists are finding it sensible and wise to establish artists’ residencies here in Nigeria. The latest of such bold, brave and audacious artists is Bobnosa Uwagboe who is known as a protest artist. Now his studio at Egbeda, Lagos, has been turned into an artists’ residency. At the moment, there is one artist already in residency. Her name is Paulina Osague Osagiede whose studio name is Gift.

    Gift is billed for a two months residency where she is expected to produce a number of works to justify her stay. It is a moment of isolation and privacy to enable her pay maximum attention to details, to have enough time to study her style and go into a new technique and experiment. As at now, Gift is bent on doing collage, where she employs fabrics to produce amazing pieces of arts. Seeing her at work at the Protest Art Studio is quite an experience; she juggles together pieces of clothes, fabrics, cottons in and around her. You would think this is a junkyard house or an apartment full of debris. But then when you look up closely you would see two giant works already produced out of the numerous pieces of fabrics that littered everywhere.

    It is the colour combinations that would first arouse you, arresting you and holding your attention as well as inviting you into the inner recesses of the collage. “Yes, my name is Paulina Osagiede Osague and my artist name is Gift Osague. I am a collage artist. I make use of fabrics and other medium to produce works. So I am here in Transit Art Foundation for my two months residency. It is all about me rediscovering myself, finding myself, my art; my rhythm in the art. It is also for me to express myself in other mediums; but most specifically it is for me to build myself and make my art blossom more. So that is the whole essence of this foundation, this residency by Transit Art Foundation.

    “First of all, I met Bobnosa at an exhibition in Ikeja some time ago. So from there, he asked questions and then researched into my works and then came to the conclusion that I am qualified for the residency.  This was after series of encounters on Instagram and others. When he knew my location which is also within Egbeda where the studio is located it became easier for him to sign me on. Even then, I had always wanted to meet with Bobnosa over art matters. This was as far back as 2019 when I was still in school at Auchi Polytechnic, Edo State.

    “Part of what we did at school was to make researches of some artists and Bobnosa’s model of works truly inspired me. So meeting him was good for me. It was a good experience mostly when it has to do with opportunity to engage in this residency. The place is quiet, cool and exclusive for an artist to concentrate to work better”. When she met Bobnosa, he was about to start off this residency with the name Transit Art Foundation. Although it is here in his studios, the headquarters of the foundation is in Poland. “So he offered me a space to come and work there if the space in my own place is not conducive enough. The residency provides me with this space as you can see and other minor conveniences. It offers me working tools and other materials that make my work easy. You know some of these tools are hard to come by.  So being here, having such tools to work with and all that is quite helpful.  They help me to concentrate to work and produce more works without undue distractions”.

    Read Also: Nigerian artists losing love, passion for music – Pheelz

    As she stays in the space she finds it comfortable for artistic productions. “I have provisions for internet also”, she says smiling. “Oh, yeah, it is also for me to maintain the studio. It is for me also to improve the studio and keep it alive. When the residency is over, the works thus produced will be exhibited here. According to the contract, the exhibition will be held here in this Protest Art Studio”.

    There is no stated number of works for her to produce. But on her own, she had chosen to make at least seven art pieces. “For me I look forward to producing seven art works. I have done two already. They are two large works of six feet in size. They are ready and completed as you can see”, she said pointing at the works. As it is usually the case about how many percentage that goes to the artist when they exhibited, Gift says, “We have not really agreed on that for now. May be later we can come to that. But for now I have not discussed or decided on the percentage”.

    Gift grew up in a home where her mother is a fashion designer. Naturally, she fell in love with fabrics, so also art pieces, designs, fashion, and décor. All these fell in place to propel her love for the art. Now it is easier for her to resort to fabrics and all manner of pieces of clothes for her collage. And her collage works appeal as the colours of those pieces of fabrics define assortments of beauties. “Oh yes, Auchi School of Art makes us love multiple colours. Our works are totally defined by assortment of colours and this is what I try to do here. In a way I inherited art from my mother. She is doing it at her own level whereas I have taken it to a higher level. In fact, my mother is surprised to see me turn all those pieces of fabrics she usually cuts and throws away into a means of art and to make money out of them as well.

    “Yes, the things around me help me to produce these works. The materials are in abundance. I mostly work at night. That’s the time when I find it most convenient to settle down to work. There are no distractions then. And you can see that this studio is calm, big enough. It is so spacious, so huge to accommodate artists. So here I work as I am being led and inspired. In other words, the Auchi’s spirit of freedom to work, that natural push to be called a colourist artist is in me as well”, she said with a broad smile on her face.

    Over the years, Bobnosa Uwagboe , also a product of Auchi Polytechnic, has taken time to establish a formidable art studio. Not only that. He has named it Protest Art Studio and beyond that however he was noble and bold enough to institute what he has come term Transit Art Foundation. His primary goal here is to help nurture, groom and encourage younger artists who need to be mentored and inspired.

    Today even as he is far away in Poland, he is still developing links to foster his dream. The dream has started this year with Gift as the first artist in residence. Bobnosa is also a product of artists’ residencies around the world. And so his notion here is in order and completely welcome.

  • Asa festival beckons

    Asa festival beckons

    The programmes began on the 14th of this month with a workshop.  It is the annual festival of songs and dances packaged by the Black Edge Productions. This year’s shows are themed Asa Festival Awards during which artiste are allowed to showcase their talents in all forms of stage antics, dramas, dances and all. The idea is usually for new and upcoming artistes to have the time to display their talents.

    Read Also: Lagos celebrates 2019 Asa festival

    In a chat, Kaffy Abubakar the lady who is part of the shows disclosed that this year’s shows will end on the 18th of this month. The venue is the National Theatre Iganmu, Lagos. The time for the commencement of the programme is by 12 noon. In the end awards in different categories will be given to performing artistes, singers, dancers and others

  • Lasisi fuses poetry with visual arts in African Citations

    Lasisi fuses poetry with visual arts in African Citations

    Performance poet Akeem Lasisi is bringing something new into poetry as he plans to hold an exhibition titled African Citations. The multitalented artist of Iremoje, Eleleture and Udeme fame is staging the exhibition to honour accomplished personalities and institutions from different parts of Africa.

     “The idea is to explore more possibilities with poetry,” Lasisi says in a statement. “Over the years, I have built a bank of poetic tributes inspired by different factors but largely based on the subjects’ contributions to the advancement of humanity. Many of the personalities do not know anyone has dedicated, while a few do. I just feel this is an opportunity to showcase them, celebrate the subjects and expand the frontiers of the poetic form,” he explains.

    Read Also: Biochemist Mohammed finds expression in visual arts

    Adding that African Citations has the potential to ignite twists and surprises, he says it is a continuation of what he has always tried to do with his performance and musical poetry.

     Lasisi, who is also the public relations officer at the First Technical University Ibadan, says, “I have had encounters with many people and organisations in the course of my about 30 decades of my performance, journalism and teaching adventures. I have performed poetry at many events. I have been commissioned to produce multimedia poetry while I have had cause to admire folks from a distance based on various factors. Some of these have been produced into musical poetry and videos. They have been on air, online etc. Now, the experimentation will berth in a gallery setting so that it becomes more total.”

  • ‘Religion has helped to preserve languages’

    ‘Religion has helped to preserve languages’

    The just-concluded annual conference of the Linguistics Association of Nigeria has put the spotlight on the role of religious organisations, such as the Jehovah’s Witnesses in documenting and preserving African indigenous languages.

    The event, which was held in Lokoja, underscored the significance of language in preservating the culture and identity of any people.

    According to the chair of the organising committee, Prof. Harrison Adeniyi, Jehovah’s Witnesses has made immense contributions towards the documentation of Nigerian indigenous languages.

    Prof. Adeniyi, who has been teaching linguistics at the Lagos State University in Nigeria for over 35 years, was one of the early birds at the Witnesses’ exhibition stand, located just outside the conference hall. He picked a copy of the newly released translation of the Christian Greek Scriptures in Nigerian pidgin, and soon thereafter, he announced to attendees to benefit themselves by visiting the Witnesses’ exhibition stand. “Translating the Bible to Pidgin and Igbo will help the Igbo scholar to know how to work on orthography,” Professor Adeniyi said.

    Another visitor to the stand was Dr Gerald Nweya, a senior lecturer in the Department of Linguistics and African Languages at the University of Ibadan. He noted that from his research, he discovered that Watchtower, the organisation used by Jehovah’s Witnesses globally had developed helpful content and resources in about 300 African languages and 26 Nigerian languages. He said that the jw.org website is one of the best reservoirs of indigenous African languages, and the contents are helpful both for language researchers and the general public.

    Read Also: Leadership about merit, not religion; Northern CAN youths tell Gumi

    Another presenter, Dr Tosin Akere, noted that “jw.org has an unmatched database for Nigerian languages. JW.ORG is faithful to the orthography of the languages. It is only jw.org for now that I know has the requisite consistency. The language is simple but not simplistic and it can accommodate all.”

    Indeed, about 200 delegates and students visited the Witnesses’ exhibition stand during the 3-day conference of the Linguistics Association of Nigeria held at the old Senate Chambers of the Federal University of Lokoja, Nigeria had the opportunity to pick up literature in both foreign and local Nigerian languages, and received guidance in navigating the jw.org website, where digital forms of the literature, as well as music and movies in hundreds of languages, can be found.

    The jw.org is available to the general public, with contents ranging from health, education, morality, and spirituality available free of charge, without registration, and in about 1,081 languages.

  • Gelede art, tradition among Yoruba

    Gelede art, tradition among Yoruba

    • From Aina Abdulkabir Oyebola

    Religion is a major aspect of the Yoruba culture. This is a culture that contains a huge pantheon of the gods and goddesses each with a different mythology and purpose. Many Yoruba deities are connected to the natural forces that command and create life. They are seen not only in religious worship, but in the daily lives and activities of the Yoruba people.

    To a Yoruba person, knowing the mythology of deities is as important as learning the history of his ancestors. The deities are in fact the ancestors of all humankind. The deep connection plays a tremendous role in the relationship between deities and mankind. Women are believed to be the source of creation who always looked to deities (primary female deities) for assistance in their survival and for the welfare of the community. There are constant celebrations and festival that reminds and teaches the Yoruba people of their rich tradition. An example of such a festival is the “Gelede”.

    Women are the agent of reproduction of life, first teacher, sustainer and maintainer of the homes, the peach maker, and the symbol of beauty and major moulder of the character of the child. By their sheer psychological and intellectual make up, they do more than mere complementary roles in the production process (Jeminiwa 1995).

    This concept of “motherhood” is fundamentally important in Yoruba society, because without “our mothers” the Yoruba community would not exist in the world. Also, because of their ability to give birth, it is believed that women know the secret of life, therefore possessing the power to bring life into the world, and also could take it out. This is the female form of “Ase”, which is “the power to bring things that appeals to and uses power of the gods. The more “Ase” an individual has, the more powerful that individual is.

    This incredible power demands a great amount of respect, and Yoruba diviners and herbalists usually seek the blessings of the “mothers” because without their support, the diviners will not be successful in their endevours, for the power of the mothers is even stronger than those of the gods, except for IFA. Mothers have the ability to control the power of the gods and prevent them from doing well in the society. The Gelede masquerade are a manifestation of respect and honour for the power of the women, essentially paying tribute to the power of women so that the mystical powers are still in existence today and are vital part of the preservations of the Yoruba culture.

    One of the largest annual festivals among the Yoruba people of Nigeria is the Gelede festival. It involves several aspects of the Yoruba culture and suggests the importance of the religion. In Yoruba view, this power is latent in all women, although only those initiated into the cult of the ‘great mother’ can exercise it. Those initiated are popularly known as “aje” or witches. However, unlike the misconception of the witch as a personification of the devil, the “aje” can easily be influenced to use her mystical powers towards the wellbeing rather than destruction of the society. One of the most potent means of influencing her is the masquerade of Gelede (B. Lawal).

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    The world of Gelede is essentially in Yoruba Southwest Nigeria comprising of Awori, Egbado, Egba and neighbouring settlements like Igboora and Ibarapa. In Benin republic, we have Ketu, Ohori and Anogo. Gelede originated from Ketu. Ketu is a town presently located in Benin republic. A senior member of the cult in Anogo village of Agosasa was reported that “the witches founded Gelede at Ketu”.

    To corroborate the narrative, the head of the Ketu Gelede house is in Lagos “in all the Yoruba settlements, you mostly find the witches in Ketu; so it is from there that all of them spread to other areas such as Awori, Egbado and Anogo”. Ogundipe of Ogidigbo quarters of Ketu said in August 1965 that “gelede is from Ilobi in ketu and the man that brought the cult is called Oga Abiodun”.

    Kenneth Murray 1946, in one of his research endeavours, recorded that; the history of the cult remains unwritten; there was Gelede dance in Lagos before 1864. A gelede cult member at Ipokia of Egbado testified that in 1965 that their ancestors had danced gelede for at least seven generations, in theory since 1755.

    The word Gelede is a Yoruba acronym with a deep meaning. With “Ge” meaning to sooth, placate or to coddle, “ele” meaning a woman’s private part, and “de” to soften with care and gentleness. The purpose of Gelede dance therefore is to placate the witches. This is what one of the Gelede has to say:

    “……Gelede is the secret of women, the witches they say can kill in the dark and there is no protection against their power because the gods has given them permission to kill and confess. Thus the gods does not mind them killing, for every man who dies, he can make a replacement. (Beier 1958) reported that a dancer once said; I already had three children, there is no reason why I could not die tomorrow but being a member of the Gelede society, the witches have spared me.

    Gelede masking society performs in a variety of social and religious context to mark important events or to enlist the aid of deities in the time of crisis. Its ultimate goal is to promote peace and happiness on earth. To this end, of its ritual and artistic activity towards the society directs much of its ritual and artistic activity towards the pacification of the material principle in nature personified as ‘Iya nla’, ‘iya wa’ a group that includes female ancestors and deities as well as the elderly women of the community, and the power these women have in the society. Focusing not only on fertility and motherhood but also on correct social behavior within the Yoruba society. (Lawal Babatunde, 1996).

    Procession of Gelede Festival

    The commencement of the festival starts with the priest who informs the community on the timing and location for the festival. The messengers are sent to drummers, singers and masker. Family members return home from their ventures since the festival serves as an opportunity to regroup and enjoy community culture. Skilled craftsmen are consulted to prepare masks and costumes mostly in a secluded location away from the praying eyes of non-members. Old mask is refurbished and new ones are carved. Retainers who accompany the dancers as well as other musical materials are made available to direct the tempo and duration of the masquerade performance.

    The Masquerade Dance

    A typical Gelede performance has two parts created by singers, dancers, carriers, drummers and spectators. It appeals to the senses through array of music, songs, sights and kinetic. The first part of the performance is (EFE) night of songs. EFE masquerade must be a male as it is believed that only a man has the courage to single out individuals in the crowd of humanity and tell the truth. The undulating melodies of his song are made visible in the sweeping, curving and spiralling movement of his arms and in the complex circular form of his masks. As he moves through the darkness, appearing and disappearing, his words are clear and loud. The total illusion is both mystical and immediate, just as the song themselves deal with both spiritual power and human society. EFE masquerade prays for the blessing of IYA NLA, the Orisa, deceased ancestors and the powerful women in the society.

    Market is believed not only to be the centre of economic and social activities, also a place where spirits appears and interacts with mortals. Strangers that visit the market during Gelede festival are believed to be spirit that responded to the communication of the spectacles. Thus Gelede spectacle is held in the market as it brings the celebration of women to their domain.

    The afternoon session began by beating a three cylindrical peg drum at the side of the market welcoming elders mostly women from different quarters, guests and other visitors. Groups of masquerade, including children, teenagers and adults clad in layers of multicoloured clothes made of head ties, skirts and other outfits donated by members of the society. The costumes emphasize full breasts, narrow waists and buttocks of beautiful and graceful women. Each successive group entered the market from the direction of their quarters wearing aesthetics appearance with figurative headdress depicting the clan representation. The headdresses are often carved in two parts; the lower is often in the form of a human face, while the upper part shows an elaborate coiffure or a depiction of human activity.

    The masquerades dance in the same sequence; wriggling at the center of the market, dancing spiritedly before the drummers, synchronizing their body movements and jingling metal anklets, evoking the virtues of collaboration and teamwork. The identity of the dancer is not hidden as his face could be seen through the transparent cloth worn over the face. Unlike many other masked performances, the dancers are allowed to unmask in the public. Dancer’s name may be given in the song which accompanies his acts, making him the subject of praise or criticism for his performance. The harmony and balance shown by good dancers symbolizes social perfection.

    The dance end at sun set with the appearance of the great mother mask. All lights must be put out when the great mother dance emerges. The masks are made to look like birds with pointed peak, occasionally with red lips, small eyes and human shaped ears or hair styles. This appearance of both human and animal characteristics reflects the dual nature of the spirit of women.

    Gelede imagery evokes all aspects of Yoruba society. The mask refers to a wide variety of female and male roles and activities either in object associated with such roles or in genre scenes depicting them. They also depict animals that serve as metaphor for human actions or as illustrations of a popular proverb and songs that often accompany the appearance of the mask. Such images are intended to provoke explicit reactions from the audience.

    African art reflects the culture of the people and since culture and religion are two inseparable ways of life, we can then say that religion influences African art and it is for these reasons that will make indigenous or traditional art remain art of religion. Art is therefore a mediating factor within both religion and culture in Africa. The predominant bearing of rituals on art in the African milieu becomes even more glaring with the appreciation of the fact that both and religion are considered twins of the same transcendental offshoot.

  • Elebuibon’s daughter begins podcast on Spotify

    Elebuibon’s daughter begins podcast on Spotify

    United Kingdom-based IT consultant, author and politician Yetunde Elebuibon has begun a podcast on Spotify, called ‘Life Lessons with Eltey’’.

    The daughter of the renowned Ifa priest and Araba of Osogbo, Chief Ifayemi Elebuibon, started the podcast weeks ago to help people worldwide navigate their way successfully in a foreign country and reach the highest heights possible with minimum mistakes.

    “I started Life Lessons with Eltey on Spotify to help people learn from the experience I’ve acquired over the years,” the multi-talented professional explained, disclosing what led her to the platform despite no previous experience.

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    The councillor representing Wheatley Hills and Intake ward, Doncaster, added, “I get asked a lot about how I managed to navigate my path to success in a foreign country. I came to the U.K. as an international student in 2003, and between then and now, I’ve had successful careers, becoming an entrepreneur, an elected leader, a charity trustee, etc. Instead of repeating the same thing to different people at different times, it is better to put it out there in a form accessible to people worldwide.”

  • Edo gains support for heritage policy at validation workshop

    Edo gains support for heritage policy at validation workshop

    Many stakeholders from various sectors converged at the Ogba Zoological Garden to participate in the Stakeholder Validation Workshop for the Edo State Heritage Protection and Promotion Policy Draft. It was during the recent celebration of World Tourism Day (WTD) 2023,

    This historic event was attended by an array of stakeholders, representing a broad spectrum of interests, including traditional rulers and chiefs, scholars, artisans, entertainers, and government officials, underscoring the policy’s wide-reaching implications.

    The participants engaged in meaningful discussions on the draft heritage policy, emphasising its importance and potential socio-economic benefits in protecting heritage sites, monuments, and traditions and helping them to become drivers of growth and employment.

    Highlighting the need for holistic involvement, Edo State Commissioner for Tourism, Arts, and Culture, Dr. Uyi Oduwa-Malaka, noted that the Edo State Government has assembled a strong and diverse team, spanning various sectors of the economy, to develop a comprehensive policy. She stated that her Ministry is working in close collaboration with relevant stakeholders across the State to guarantee the long-term effectiveness of the policy.

    While, the Permanent Secretary of the Ministry, Iryn Omorogiuwa (Esq.), highlighted the historical significance of the policy; “It is very important that we keep our history, our stories and not let people tell us otherwise. For the first time in history, we are going to have a document that focuses on us, our cultural and traditional heritage, our tangible and intangible assets.”

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    The workshop shed light on the significance of preserving culture in Edo State. Using the Benin moats as a prime example of a heritage asset in dire need of intervention, Prince Patrick Oronsaye, an esteemed art historian, emphasised the critical necessity of the policy, stating:

    ‘‘The greatest damage we suffered here is the moat, 16,000km put together in a period of almost 500 years, 37 million metric tons of earth, was moved in the creation, 150,000 man hours resulted in the Benin city moat, it took us 30 years to destroy it. We are talking about protecting what is left, from palaces, to shrines, to grooves.”

    Stakeholders at the workshop were convinced that the Heritage policy would play a pivotal role in safeguarding Edo cultural, both tangible and intangible, assets from further deterioration.

    Musician and the convener of the Benin Bronze Festival Eno Louis advocated for a collaborative approach to sponsorship, stressing that the ministry should aim to create an enabling environment for businesses within the cultural and creative industries to thrive in the State.

    Another participant, Aiko Obobaifo of the Institute of Benin Studies, echoed the global significance of the policy, stating “every Black man in the world is waiting for Edo, for Benin to lead the way. Our heritage is something they cannot replicate.” Other stakeholders, including Mrs. Elizabeth Hannisdal from Visit Edo and Mr. John O. Igbineweka from Igbesanmwan Guild Carvers, expressed their optimism for the comprehensive Heritage policy and its potential to enrich the lives of Edo people.

    The Edo State Heritage Protection and Promotion Policy represent an ambitious endeavour to preserve, protect, and celebrate Edo State’s cultural heritage. The collaborative spirit of the workshop portends well for the policy’s successful implementation.

  • Day of land grabbers in Lagos community

    Day of land grabbers in Lagos community

    Ibasa Ijegun-Egba in Oriade Local Council Development Area (LCDA) is a community known for peace and tranquillity. It was created out of Amuwo-Odofin Local Government Area 20 years ago. The community with seven wards has not witnessed any form of rumpus until October 27, when the peaceful community was invaded by police personnel and land grabbers. The community leaders have appealed to Governor Babajide Sanwo-Olu and the Inspector-General of Police to come to their aid, CHINAKA OKORO reports

    For 20 years, Bisi and Ajagun have been neighbours in the Ibasa Ijegun-Egba in the Oriade Local Council Development Area (LCDA).

    Bisi builds local boats while Ajagun specialises in fishing nets. They have not noticed any form of disturbance in the riverside community, which has witnessed all-round peace since it became part of Oriade LCDA when it was created in 2003.

    Ibasa is a community known for peace and tranquillity and has seven wards which are Abule-Osun, Agboju, Ibeshe, Ijegun-Egba, Irede, Kirikiri and Kuje.

    Its peaceful mien was, however, shattered on Friday, October 27, when some members of the community alleged that police personnel and land grabbers invaded their land.

    The residents have cried out that their area was allegedly invaded by police personnel from Zone 2 and land grabbers over unverified allegations.

    In a chat with reporters, the residents stated that since the invasion of the town and their markets, peace had eluded the community.

     Narrating his experience, Chief Tajudeen Ibikunle, the Baale of Ibasa Ijegun-Imore Community, said he was sleeping in his house when some hoodlums and police came to arrest him that Friday.

     “They took me to Police Command at Onikan and locked me up.

     “I was released on Saturday with the help of Oba Afeez Oriyomi Shittu, Adeyemi1, Agbojojoye II Olu of Ibasa, Ijegun-Egba land, who came to bail some of us that were in the cell.”

     He added that upon his return, he discovered that “hoodlums had taken over all axes of my community in Ijegun and were disturbing the peace of the land.”

     He said: “Getting back home on Saturday, I discovered that hoodlums had taken over all axis of my community in Ijegun and continued to disturb the peace of the land.

    “They blocked everywhere and were beating and harassing people, even as they claimed to have taken over the community.

    “We appeal to the Lagos State Government to intervene now because I cannot even access my palace because the hoodlums would not allow me to gain access to my palace,” he said.

    Narrating her ordeal in the hands of the police, a resident of Ijegun-Egba, Mrs Omolara Alebiosu said she, with her three children, was arrested, even as she said she could not fathom the reason for her arrest.

    She also said: “About 50 hoodlums, some of whom wore masks, used me and my children as punching bags and forced us into their vehicle.

    “We were taken to Ikeja before someone called them on the phone to take us to Zone 2 Onikan.

    “They locked us up in a cell on Friday while the traditional ruler came on Saturday to bail some of us while others were released the following Monday.

    “When we returned home, we discovered that the land grabbers were everywhere in the community. They harassed us and even told us that the town belongs to them,” she said.

    The Chairman of the Youth of Ibasa Ijegun-Egba Satellite Community Mr Kareem Idowu noted that some individuals had written a petition against the community.

    According to him, the petitioner said youths of the area were involved in bunkering, and malicious damage of their property and are threatening marketers with guns.

    Debunking the claim, Idowu said all were lies, even as he added that he expected the police to do a proper investigation before invading their community for arrests.

    “There was nothing like bunkering in our community because one can’t even go near the pipeline because of the presence of naval personnel.

    “The community was trying to rebuild the Ogun Shrine to give it a befitting status for the imminent festival.

    “Also, no youth wielded any guns, either at the market or in any other part of Ijegun-Egba. We are law-abiding citizens.

    “The police should have done some investigations before invading our community. Now, many people have been arrested and detained.”

    Read Also: Residents appeal to Sanwo-Olu over land grabbers

    The youth leader could not come to terms with the rationale behind police invading their community in the company of those he called land grabbers.

    He said: “Again, we don’t understand why the police should involve the land grabbers on this issue. Many thugs have been tormenting the residents; claiming that they have taken over our property in Ijegun-Egba.

    “We are law-abiding citizens and have a paramount ruler installed by the Lagos State Government.

    “Currently, nobody can go to the market or anywhere else. The unfortunate situation has affected the economic situation of the area’s people.

    “We appeal to the Lagos State Government to intervene and restore normalcy to our communities as we now live in fear.”

    Another resident of the Ibasa Ijegun-Egba, Bukky Ishola, who is the daughter of the Iyaloja-General of Ijegun-Egba Market, said the market was also invaded by the hoodlums who took advantage of the unpleasant situation to steal, harass and beat up many people at the market.

     Ishola urged the federal and Lagos State governments to intervene to ensure that normalcy returns to the community. She added that the invasion had affected the socio-economic situation of the area.

     “We can’t go to the market any longer. Those who opened their shops are operating in fear that those hoodlums would descend on them at any time.

     “The government should not fold its hands and watch them kill us all,” she said.

     Chief Nurudeen Alebiosu, the Asobaloju of Ibasa Ijegun-Egba land said the hoodlums are going about with guns and machetes, stopping and extorting commercial motorcycle and tricycle operators. They beat those who are indigenous to the land.

     “We appeal to Governor Babajide Sanwo-Olu to come to our aid in Ibasa Ijegun-Egba Community. We are no longer safe here.

    “The Inspector-General of Police should also investigate the involvement of his men in this matter.

    “Since they left on October 27, the hoodlums have taken over the town; wreaking havoc and beating the citizens,” he said.

    A trader at the Ijegun-Egba Market who sells meat, Alhaji Kazeem Salami, said they were not allowed to sell their meat as some of the hoodlums beat and sent their customers away.

    Salami called for the government’s intervention so that peace would return to the market and the community.

    Mr. Tunde Sanni, a contractor handling the construction of the Ijegun-Egba Market, said the hoodlums seized their tools and other materials and sent workers away from the project.

    According to him, it took the intervention of the Chairman of Oriade LCDA for the hoodlums to release the tools.

    “Up till now, our workers have not returned to the site because those hoodlums are still around, wreaking havoc on the town and market,” he said.

    When contacted, the Police Public Relations Officer (PPRO) for Zone 2 Onikan Superintendent Hauwa Idris-Adamu said she was unaware of the incident.

    She said they have many departments in Zone 2. She also promised to find out the department in charge of the case and get back to us.

  • LIMCAF: A journey of artistic brilliance

    LIMCAF: A journey of artistic brilliance

    • Ijiko’s Decayed decades wins N1.5m

    Eminent personalities and artists converged on the International Conference Centre of the Institute of Management and Technology (IMT) Enugu for the 16th edition of Life in My City Art Festival (LIMCAF) award night. This edition feted upcoming artists, report Assistant Editor (Art), OZOLUA UHAKHEME and DAMIAN DURUIHEOMA.

    The anxiety was high among the contestants. Each one gazed at the ceiling of the hall of the International Conference Centre,  Institute of Management and Technology, Enugu, venue of the award/gala night. 

    But, the artist that eventually won the overall best prize had earlier won the best prize in painting with his work titled Decayed decades. And the winner was Kelvin Ijiko.

    “I got the inspiration from God in my dreams”, an elated Kelvin Ijiko, a participating artist from Lagos Zone, said to journalists after winning N500,000.00 for best painting and mixed media and N1 million for the the grand prize as the overall winner of the Life In My City Art Festival (LIMCAF) 2023 Edition in Enugu.

    His prize was part of the N6 million cash prizes offered to 25 young Nigerians from across the country by LIMCAF at its grand finale penultimate Saturday.

    In what can be described as the longest-lasting pan-Nigerian arts festival, which has remained consistent with its mission since 2007, the likes of Ijiko and other upcoming artists always looked forward to the annual award and gala night of the Life In My City Art Festival (LIMCAF).

    As usual, the 2023 festival saw eminent personalities, artists, family and friends of LIMCAF converged on the International Conference Centre of the Institute of Management and Technology (IMT) Enugu for the 16th edition of LIMCAF award night.

    Since 2007 till date, over 4000 artists have exhibited their works of art at LIMCAF events, with most of them having also moved from local to national and to international levels. Also, within the same period of time, over N19 million has been spent on the prizes by the organisers.

    Interestingly, LIMCAF now holds at an expanded catchment area of 13 cities in the six geopolitical zones of the country including Abuja, Lagos, Abeokuta Ibadan, Benin, Ondo, Zaria, Owerri, Awka, Port Harcourt, Uyo, and Jalingo.

    The festival week was the showcase period for the best from the nationwide regional centre competitions in addition to other special events such as the exhibition of artworks from first-ever workshop for children with disability, as well as works from the workshop for 120 school children and art teachers and the festival lecture.

    So, expectedly, the event chaired by a former Chief of Air Staff, Rear Admiral Allison Madueke (rtd), lived up to its billings as it opened another window for about 110 upcoming artists as their works were displayed to the public and viewed by people from all walks of life.

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    With the theme: Fix It, the preview of the works at the event sponsored by MTN Foundation, according to the Chairman of the seven-man jury, Dr. Ayo Aina, showed a level of improvement in the works as the all artistic trend were well represented at the festival.

    Aina said the festival had,  since inception, been evolving and delivering fresh waves of innovation.

    He noted that the jury’s role was not one of ease as it was a challenging and thoughtful process.

    “The exceptional quality of the artworks and the depth of thought embedded in each piece demanded a meticulous evaluation,” he added.

    In their recommendations, the jury canvassed the segregation of awards within the visual art, specifically differentiating between drawing and painting as distinct fields. The importance of this separation, the jury added, lays in acknowledging the unique skills and media employed by artists in the two categories.

    “Drawing and painting differ significantly in terms of artistic medium, technical expertise, and expression. By creating separate categories, we ensure that artists are acknowledged and rewarded for their mastery of each medium.

    “Furthermore, we propose the merging of categories such as photography, video, digital art, and graphics. These fields share common technological tools and contemporary themes, making their consolidation a practical step to reduce redundancy and streamline the judging process.

    “At the same time, we recommend preserving individual recognition for fields like ceramics, textile, sculpture, and installation. These categories possess their own unique principles, materials, and techniques, deserving of individual acknowledgment.

    “The exhibitions should have a future through careful planning to move the past exhibits in the collection of LIMCAF to majors cities like Lagos, Abuja, Port Harcourt, and other cities as may be desired,” it noted.

    Aina also said the jury had taken time and efforts to go through the works and given their dispassionate judgment. He added: “We are commending LIMCAF for instituting Women and People Living with Disability categories.”

    It was also a night of entertainment as the Akalaka Dance Group entertained guests with various dance steps and performances. There was a special rendition by a poet, Dike Chikwuemerije.

    This year’s festival featured regional exhibitions, 550 entries were received from 15 centres in Nigeria while 110 made it to vie for the 25 prizes with N1 million as the grand prize. This was a 100 per cent increase from the overall best prizes of N500,000 in previous years.

    Of the 110 selected works that made it to the finals, 25 were selected as winners in various categories with many consolation prizes.

    A consolation prize of N50,000 as well as endowment prizes between N300,000 and N200,000 were given to some of the artists that made it to the finals.

    In the major categories; Pricilla Orina won the best textile art/fashion and got N500,000; Ebenezer Adebayo won best graphic and digital photography and got N500,000; Ezechi Nwokeocha won best drawing and got N500,000 and Philip Audu won best ceramics and got N500,000 among others. The six winners came from the various geopolitical zones of the country and will proceed to Dakar, Senegal to participate in international arts festival.

    Kelvin Ijigo, whose painting mixed media titled “Decayed Decades” won the overall winner of the  2023 LIMCAF, carting home N1, 000,000 cash prize.

    For Ijiko, it was a dream come true. His ultimate dream was to emerge as the overall winner of the LIMCAF competition.

    He told journalists: “I got the inspiration from God in my dream and immediately after waking up I started working on it physically and bringing it to reality. Today, God has crowned my efforts with success”.

    He thanked God, LIMCAF organizers and sponsors of the event for providing him a national platform to showcase his talent.

    Earlier, LIMCAF Patron and Obi-of-Onitsha Igwe Alfred Achebe urged all tiers of governments to invest in youths’ creativity and talents to give them a sense of belonging and promote creativity, industry and productivity.

    Achebe noted that the youths should be supported in the areas of arts, creativity and entertainment as they are already doing well in both nationally and internationally space and for them to “be the best in the world.”

    He also urged Nigerian youths to be focused and keep on pursuing positive ideals, adding: “You must always bring out that creativity and originality of your work for it to be better appreciated”.

    “For our youths to do better and continue to do well in the arts, creativity and entertainment; individuals, corporate bodies and most especially governments at various levels must encourage them both financially and morally.

    “We have to provide needed support, guidance and mentorship for them to be great and make us proud,” Achebe, who is also the Patron of LIMCAF, said.

    The Obi of myOnitsha paid glowing tribute to Chairman Board of Trustees of LIMCAF the late .Elder Kalu.U. Kalu as well as MTN Foundation, Ford Foundation and others for sponsoring and sustaining the festival and “making it a global brand”.

    Chairman of MTN Foundation, Mr Dennis Okoro said that the telecommunication giant (MTN) was sponsoring the festival as part of its civic social responsibility to support youths in the country and bring out the best in them.

    According to him,  LIMCAF has carved a dominant niche and charted a unique path of growth from the grassroots for the development of contemporary art and the empowerment of the youth of Nigeria through art.

    Okoro assured that the foundation would continue to sponsor the festival, adding that “it is good we catch-them-young and direct their mindsets to positive ideals and productivity”.

    “In MTN Foundation, our mandate focuses on education, health and human empowerment; and the sponsorship of this event is part of the educational focus of the foundation,” Okoro, who is also a teacher, said.

    Also, Mr. Dabesaki Mac-Ikemenjima, representative of Ford Foundation, lauded the LIMCAF for organizing the event and “being constant and intentional in integrating female artists and People Living with Disability into the festival”.

    Mac-Ikemenjima said that the Ford Foundation would continue to support the LIMCAF art festival for many more years to come.

    The Chairman of the event, Rear Admiral Allison Madueke (retired), said that LIMCAF had done noble in providing a platform to engage over 100 youths in the country and providing a focus to their lives.

    Madueke also called on governments to make investing in youths a top priority, which would enhance their future and create great prospects for them.

  • Ken Saro-Wiwa prize: Call for submission

    Ken Saro-Wiwa prize: Call for submission

    The Committee for Relevant Art, CORA, promoters of the yearly Lagos Book & Art Festival (LABAF), has called for submission of entries for the 2023 edition of the annual Ken Saro-Wiwa Prize for Book Review.

    According to CORA Programme Chair, Jahman Anikulapo, winners will be presented at LABAF, holding from November 13 to19.

    Dedicated to celebration of the life and career of the famous writer and environmentalist, Ken Saro-Wiwa, who was killed by the Nigeria State on November 10, 1995, the prize is designed to encourage reading and engagement of the published text, which is in tandem with the core objective of the CORA and its prime project, the LABAF.

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    A release from the festival programme directorate spells out the features and conditions for the prize as follows: the review of the drama text GRIT (by Obari Gomba) – winner of the 2023 Nigeria Prize for Literature worth $100,000; entries should be 1500 words maximum, minimum of 800 words; entries must be submitted latest 12 noon by November 10, 2023 to coralabaf@gmail.com; and the competition open to only those between the ages of 18 and 25 years.

    The shortlisted entries will be announced on Monday, November 13; while the overall winner will be announced on Wednesday, November 15; and the prize will be conferred on the winner on Friday, November 17 at Freedom Park, Lagos. The event will have as special guest of honour, the winner of the 2023 Nigerian prize for literature, Obari Gomba, and NLNG General Manager External Relations and Sustainable Development as guest of honour, Andy Odey,Prizes will be announced in the course of preparation for the Lagos Book & Art Festival LABAF 2023. The winner and two runners-up will win prizes denominated in literary materials and tools. The winning review would be widely published in the media and in reputable journals.