Category: Arts & Life

  • EBEDI fellow wins James Curry prize for African Literature

    EBEDI fellow wins James Curry prize for African Literature

    Kenyan author and Fellow of the Ebedi International Writers Residency, Iseyin, Nigeria, Peter Ngila has won the 2023 James Currey Prize for African Literature.

    In addition to a Prize of £1000, Ngila who was at the Ebedi Residency between January 15 to February 28 2017 

    will have his winning manuscript THE LEGEND OF BEACH HOUSE published by Abibiman Publishers, UK. 

    Dr Nneoma Otuegbe, one of the judges, described Ngila’s winning entry as a ‘fantasy magical realism’ that explores themes rarely seen in African literature.

    According to Otuegbe: ” the novel weaves a haunting narrative with a futuristic twist using the Beach House as a metaphor for human contradictions and soul-searching”.

    The James Currey Prize for African Literature, now in its third year, was established to recognize outstanding unpublished fiction written in English with a focus on stories set in Africa or featuring African characters, both within the continent and in the African diaspora.

    With this achievement, Ngila joins the growing list of  award winning Ebedi Fellows such as Doreen Baingana, Igoni Barrett, Ayobami Adebayo, Elnathan John, Yewande Omotoso, Saddiq Dzukogi, Jumoke Verissimo  and Romeo Oriogun among others.

    The Ebedi International Writers Residency established in 2010 for the free use of Writers has hosted more than 200 writers from 12 African Countries since its establishment.

  • Heritage Tourism: Preserving the Past, Building the Future

    Heritage Tourism: Preserving the Past, Building the Future

    By Daniel Oni

    In recent years, the conversation around Nigeria’s tourism sector has shifted. No longer is the focus solely on beaches, hotels, and leisure travel. Instead, heritage tourism which is the exploration of cultural, historical, and natural assets is emerging as one of the most powerful tools for economic growth and national identity. To understand this trend, The Nation sat down with Daniel Oni, a tourism and hospitality professional whose research and field experience highlight the importance of heritage preservation in building a sustainable tourism industry.

    “Heritage is our biggest export”

    Daniel begins the discussion with a simple but striking statement: “Heritage is our biggest export.”

    He explains that in a world saturated with global hotel brands and standardized experiences, what truly distinguishes a country is its heritage. “When a traveler visits Nigeria, they’re not looking for the same experience they can get in London or Dubai. They’re looking for the Osun-Osogbo Sacred Grove, the Oyo palaces, the Argungu Fishing Festival, things that cannot be replicated elsewhere.”

    Heritage tourism, according to Daniel Oni, is more than sightseeing. It is about identity, storytelling, and continuity. It gives communities a chance to share their culture while providing visitors with a deeper understanding of history.

    The untapped potential

    Despite Nigeria’s vast heritage assets, Daniel believes the country has only scratched the surface. “We have UNESCO World Heritage Sites, dozens of historic towns, ancient shrines, colonial architecture, and oral traditions that are older than most modern nations,” he says. “But without proper management, documentation, and promotion, many of these treasures remain hidden from the world.”

    He points out that countries like Egypt and Greece have built entire economies around heritage. “The pyramids of Egypt and the ruins of Athens are global magnets. Nigeria has equivalents in terms of our Nok culture, Benin Bronzes, Yoruba kingdoms, but we haven’t built the infrastructure to make them global attractions.”

    Challenges of preservation

    One of the key issues facing heritage tourism is preservation. Many cultural sites in Nigeria face neglect, encroachment, and in some cases, outright destruction. Daniel laments the lack of policies that protect heritage assets.

    “Take the Benin Bronzes as an example,” he says. “They sit in foreign museums as symbols of Africa’s lost heritage. The global community acknowledges their importance, but at home, many of our living sites are deteriorating. If we don’t preserve what we still have, the story of our heritage will continue to be told outside our borders.”

    Beyond policy, Daniel stresses that community involvement is critical. “Heritage must be lived, not just displayed. If local communities don’t benefit from preserving traditions, they will abandon them. Tourism must empower communities to see heritage as an economic resource, not just a cultural obligation.”

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    Technology and modern storytelling

    Heritage tourism may be rooted in the past, but Daniel Oni insists it must embrace the tools of the present. Digital mapping, virtual tours, and mobile applications, he argues, can help bring cultural sites to life for both domestic and international visitors.

    “Imagine a tourist in Ibadan accessing an app that gives them a guided history of Mapo Hall as they walk through it,” he says. “Or a child in Chicago virtually experiencing the Osun-Osogbo festival. Technology gives us the power to expand the reach of heritage far beyond geographical limits.”

    Building a future for heritage tourism

    When asked about the way forward, Daniel offers a clear roadmap:

    Policy reform – stronger laws to protect heritage sites.

    Investment – building infrastructure that makes heritage destinations accessible and attractive.

    Training – developing a skilled workforce to manage cultural assets.

    Community engagement – ensuring locals see tangible benefits.

    Global partnerships – working with UNESCO, museums, and cultural institutions to promote Nigerian heritage internationally.

    “Tourism is not just about leisure,” Daniel concludes. “It is about identity and pride. If we get heritage tourism right, we won’t only boost our economy, we’ll also preserve our story for generations to come.”

    Final Thoughts

    In a time when nations are competing for attention in the global tourism market, Daniel’s words are a reminder that Nigeria already holds something priceless: its heritage. The challenge, as he emphasizes, is not about creating attractions but about valuing, protecting, and sharing what already exists.

    Heritage tourism, he says, is Nigeria’s chance to rewrite its narrative, not as a country defined by challenges, but as a nation rich in culture, history, and experiences that the world longs to see.

  • A monument to memory

    A monument to memory

    Book Title: Connecting With My Past: A Midlife Memoirs

    Author: Usman Oladipo Akanbi

    Pagination: 125

    Publisher: Rextun Publishing Company Ltd

    Reviewer: Sima Essien

    2020 was an unforgettable year. And yet, it is a period of time in human history that many might prefer not to remember. For more bad reasons than good, it had an overwhelming impact on life itself: masks covered faces, streets became deserts, and houses imprisoned their very owners. There was fear, a lot of fear. People were afraid to die, afraid to breathe, afraid of the news. And of course, there was death: day-by-day, we lost lives to that grim, invisible virus. The effect which the global pandemic had on our planet could be likened to a most vigorous shaking of a tree by stormy winds.

    One of the fruits which fell in the midst of that storm was the beginning of Usman Oladipo Akanbiʼs memoir, Connecting With My Past. Written and incredibly published during that turbulent year, the memoirʼs pages jointly convey a confessional sense, particularly one that has had enough time to ripen, enriched by the stretch of a lifetime and laden with much wisdom.

    The memoir begins in the sunnied era of the author’s childhood, the 70s, placing us in the centre of his stubborn will as a child, even as his growing awareness is orbited by parental forces, traditional values and the presence of military rule. Certain historical moments are relayed from the perspective of this budding consciousness, such as the assassination of Gen. Muritala Muhammed and the slate of social, economic and political upheavals which would come to define and distort Nigeria’s trajectory as a nation. And here is where Akanbiʼs recollective powers shine the brightest, enabling him to paint a vivid portrait of life in the years leading up to eventual adulthood. From the aroma of fried mutton during festivities, to the rich display of culture and even the gracious insertion of lyrics to folkloric songs, this part of the memoir establishes a background to the past which the author alludes to in the title.

    There are sections detailing historical events, culturally significant customs and family lineages; all of this particularly glorifies Ilorin, the “cosmopolitan” city (which the author describes as a “melting pot of many cultural influences”) that inspires much awe, inquisitiveness, fear and even humour within the author’s psyche.

    The next parts of this memoir gradually take us through the “sweet-bitter experience” of Akanbiʼs “ever-flowing” drift of a life. What remains constant throughout is the sense of his persevering spirit and constantly developing intellect, both impressed upon by a deluge of ordinary and outstanding moments. The “torturous years of being a junior student” swiftly lead the young Akanbi through encounters with a multitude of people, ideologies and beliefs. The rigors of academic excellence are clearly expressed, but so is the complicatedness of his relationship with his father — the late Hon. Justice Mohammed Mustapha Adebayo Akanbi — this “incorruptible” legal icon of whom the author says: “Over the years, I formed the habit of hiding my connection to my late Dad; as a matter of fact, few during my secondary school days knew that my father was a judge.”

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    The vicissitudes of life often bring a man to contend with the larger forces which seek to batter him relentlessly, upending best-laid plans and testing one’s mettle more than anything else. Student activist, professional banker, agriculturist, academician, husband, father, writer, conscientious citizen: in each of these roles that the author fully assumed, we become acquainted with his distinct worldview, his humility of character, his integrity in the face of general malfeasance, and even his perceptions of people and relationships. We relate with the grief expressed in his poetry, especially when they honour a loved one lost in tragic circumstances. When he remembers the “diligent and truthful fellow” that was Danjuma Mohammed, we can glean the lessons from that remarkable life. And when he says that one should not, in a position of authority, hope to find more than fair-weather friends, we can grasp even this “irony of life” as he puts it.

    It is hard for a man as principled as Akanbi to not bemoan the depressing backwardness of what should be a “dream country”, but then, even foreigners have had a lot of gripe with the workings of Nigeria from nothing but a modest string of unpalatable incidents. As such, we are treated to the familiar criticisms of monetary inducements which taint everything from politics to public service and street-level dealings. There is also commentary that exposes the degenerative stagnation of Nigeria’s youthful demographic, a carefree generation which is seemingly the last hope for redeeming the soul of the nation. But in all of this, Akanbi retains a flickering hope for the betterment of his fatherland, a hope that all right-thinking Nigerians should not only share, but continuously strive to preserve.

    Not all of Connecting With My Past is concerned with the weight of thankless citizenry however, as there are sections within the latter which bring to the fore the true essence of the author’s connections in life, the very things which fuel the aforementioned sense of hope. There is the devotion to family which has Akanbi expressing deeply personal feelings about his beloved parents, even as he shows love for the family he has raised. There is also the love for literature and acknowledgement of its usefulness to “the enhancement of society.” Akanbi frequently uses succinctly relevant quotes from great writers and their works, almost as much as he convincingly communicates an expert understanding of all things agriculture. Even his itinerancy provides enlightenment in the form of candid observations of life in the cities of Nairobi, Addis Ababa, Accra, Songhai and the holy Mecca.

    Ultimately, Connecting With My Past is a testament to things endured, moments cherished, people loved and lost but never forgotten, and above all, a life well-lived in service of the self, family, nation, society and the world at large. It does morph into the feel of a classic scholarly text towards the end, but even this can be tolerated as Akanbi dishes out nuggets of wisdom concerning salient issues within Nigeria and beyond its borders. This lends the memoir a cosmopolitan significance, and as such, it is recommendable for anyone who appreciates good writing first and foremost, as well as those who would love insights into the greatness of Ilorin, or views of Nigerian life. It is for the avid reader, the lover of non-fiction, the student, the critic, the cerebral-minded and the socially conscious.

    As a writer and author, Akanbi has published remarkable works of prose — Tales Across the Plains (2001); poetry — Weevils On Grains (2001), Suppletunes In Tightangles (2003), Verdant Verses; and drama — Labake Isale Eko & Other Plays (2018). But it is Connecting With My Past that will most likely delight and impact generations of readers the most, for its endearingly honest and moving account of one life and the countless others it has touched and been touched by: without a doubt, Akanbi has delivered a sublime work of literature, a veritable monument to memory and humanity.

    Sima Essien, an award-winning writer, writes from the University of Nigeria, Nsukka.

  • Biochemist Mohammed finds expression in visual arts

    Biochemist Mohammed finds expression in visual arts

    Dauda Mohammed is a graduate of Bio-chemistry from the University of Ilorin, Kwara State. But today, he has turned his attention to visual arts. A self-taught artist, Mohammed is embarking on a solo exhibition at the Signature Beyond Gallery Lagos, with the theme: Toys for Troys. He speaks to Edozie Udeze on a number of issues pertaining to the theme, what pushed him to switch over from Science to Arts.

    Dauda Mohammed is a Fine Artist, well-versed in pointillism, application screw, Mosaic, acrylic and paints. You might as well regard him as an experimentalist, multi-talented visual artist. But that is not the main story. The main story is that Mohammed is a self-taught artist. A graduate of Bio-chemistry from the University of Ilorin, Kwara State, he switched over to fine arts years after graduation. Having spent a number of years undergoing self-tutelage, Mohammed, in 2015, abandoned his work as a banker to go into full time studio art practice. It is indeed amazing to see how pure Science and core Art have merged or fused together in the professional career life of Dauda Mohammed.

    It amazing also that Mohammed’s art  works are expressive and impressionistic, dwelling upon the core essence of acrylic on board, a medium that juxtaposes pointillism to produce very daring effusive visual pieces. Now as his solo exhibition holds at the famous Signature Gallery, Ikoyi, Lagos, noted for its high regards for quality art pieces, Mohammed even shows a theme that is more confounding than ever. It is titled Toys for Troys, a theme that is a recourse into time; into history. The exhibition is thrilling, the works are enthralling and totally in consonance with the historical tenets it choses to explore.

    In an interview, Mohammed held nothing back. “Yes I am a studio artist based in Lagos”. At Omole and Arepo areas of the city where he has his two studios his works speak for him. “I am from Kogi State, Okun speaking Yoruba by origin. The craze I have for automobile in my works is deliberate. Like the theme Toys for Troys, it is for the war of Troys in Europe in those days. The Troys fought many wars in Europe. These are the types of automobiles they used to prosecute their wars. It was the type of transport system of the time. So I went into a research to find out more about the working of those automobiles some of which I have now turned into art”.

    So having turned them into toys, the inspiration blossomed into bigger dreams. “The king of Troy was prominent in the world. Helen of Troy herself was a Spartan in Greece. But she was the queen of Troy. The bottom line of the war was because of Helen, a wonderful woman. Yes, I prefer wood nails on board because I like working from the intangible to the tangible. I use computer first to do photo shoot before translating on to the board. I break it down to have a low resolution. If I make it so big it might not even be able to enter the gallery. But this way, I still bring out the beauty. When I then apply acrylic and paints, I still achieve the same desired purpose, the same result and effect”.

    This way, Mohammed’s board canvases are large, always very expressive by which he applies limited colours. These colours help to define his medium. With assorted painted nails carefully and artistically screwed to the works, you can hardly diffuse the works unless you get closer to the board.  He explains thus: “I use mostly primary colours. Most often I apply black colour to the background. For instance, this work here, if you step far off you may not be able to see it well. But when you step closer, it becomes clear. You can then see and appreciate more colours apllied to the work. This method is deliberate. The primary colours are used to produce secondary colours for total artistic effect”.

    Limited colours thus applied give Mohammed’s works their peculiarity in terms of medium, form and signature. His type of works can hardly be imitated or copied. Each work takes serious time and efforts to produce. This sort of painstaking effort is usually employed by an experimentalist artist. The boldness of his canvases speak and appeal to lovers of visuals. You are quickly aroused as soon as you set your eyes on them. Take it or leave it, here you have a committed self-taught artisan, someone whose devotion to the art is euphoric, far beyond the ordinary. And having the privilege of being a scientist, helps to make his works empirically correct; somewhat believable and indeed convincing.

    Mohammed throws more light: “I want the works to be seen better when you step closer. This is my idea. My choice of colours as well is deliberate. You can see that the primary colours are verbose. We have so many colours, but limiting it to only five colour helps me to achieve the purpose of this type of work. When you see the object by being closer you will see what I have been able to do and what the art piece is saying or conveying. Each work has its own peculiar nails. I try to get the nails to be uniform. By using the computer to do the first stage of my work, it then becomes easier to dissect and go on. I will then know where the red or black or yellow colours will be applied on the nails. For me therefore this is like a template. Then thereafter I mark it and nail it to the board. That way I totally achieve the effect I set to achieve. It looks a bit protracted or clumsy but in the end the result is exactly what you have set out to achieve. After I have nailed it on the board, I then begin to paint. In some others however I paint before I nail”.

    As an artist he seems to be a carpenter as well. The level of craftsmanship he displays in his works proves how much dexterity he manifests. Hear him: “I do this to make the nails uniform as you can see. This way, you will never know these are nails until you get closer. I do not use black nails because the board is already painted black. Colour impressionism to me, helps to juxtapose all colours in one to bring out the essence of what I set out to do, in other words what I set out to achieve”.

    Somehow, you might feel that there is a contrast between nails and automobiles. What is the meeting point here for an artist whose love for both as a form of combination achieve in the realm of the visual? These are fast moving vespa motorcycles otherwise known as piaggio more popularly used during the time of the Troys wars. For instance the work titled fast furious by the artist also appear furious in outlook. Even though most of the automobiles have no riders on them, a few that have, according to Mohammed, are done on purpose. They show how the soldiers and fighters mounted those automobiles to achieve successes in the war front. Some of them are known as Harley Davidson bikes, quick and fast while in motion. From the outlook of the ten works mounted for the exhibition, you could see the aura they achieved inside the gallery and inside the minds of viewers.

    While visitors move from one piece to the next. There was this glow on their faces. It was clear that Mohammed who is doing his first solo show has captured the attention of the public. For in these works, you encounter unique displays of colours, you feel like touching the vespas and embracing them because of the level of collective nail paints on acrylic. They actually looked highly irresistible and attractive. Mohammed likes his colours to show depth and some sort of peculiarity. They show true reflections and seriousness. “If you look at this black colour here in the background, it shows depth”, he explains, pointing. Where you have yellow, blue and milk colours all put into one; the feel you get is that of love and coolness. As an artist, Mohammed knows how to apply impressionistic combinations to bring out the exceptional desires of his works.

    So where you have people on bike, where you have wood nails or large boards, acrylic and paints all in conformity with Troys serving as toys to bring out the old memories of yesteryears, what you quickly recollect is an artist whose level of seriousness towards art is purely to make a statement. This is a statement that is billed to come in series and in different stages which all the same distinguishes him from the rest. This is why Mohammed whose earlier dream to read medicine was truncated has chosen to emboss his therapeutic aura on large boards and canvases.

    More so, his colours are healers. His works beckon. His ideas embody health. There is also this love to use colours to heal and to embrace and to welcome people. So Toys for Troys comes to heal the wounded of the past, asking queen Helen of Troy to chill. Besides, he has done lots of works with sands. The effect is that he moves from one medium to the next.  He’s still on the course of movement from one experiment to the other. His love for sand works is indescribable. It gives him a deeper feeling when he reduces the size of sand for the desired impact. When sand is applied, it gives him a smaller space to place in his studios. “I have love for pointillism and one of the works here as you can see is on pointillism”.

  • Runsewe bags award

    Runsewe bags award

    Impressed by the commitment the Director-General, National Council for Arts and Culture, (NCAC) Otunba Segun Runsewe has brought to bear on his assignment as Nigeria culture chief, and his determination to sustain cultural relationship between Nigeria and China, the Nigeria-China Business Council has honored him with the award of Cultural Bridge Builder.

    Presenting the award, the national coordinator and Chief Executive Officer of the Council, Dr Matthew Uwakwe at a ceremony to mark the Council’s recognition and award dinner in Abuja, stated that Runsewe has worked tirelessly to build a strong relationship between Nigeria and China.

    He added that Runsewe had in various ways, convinced the world that Nigerian culture in its diversity has capacity to foster unity and peace among the people of both countries.

    He said the Chinese Consulate and the Chinese community in Nigeria were pleased with the pace, passion and diplomatic harmony Runsewe has brought to bear on his assignment as Nigeria culture chief to sustain cultural relationship between the countries.

    In his keynote address titled Strategy For Promoting Cultural Integration Among Nigeria and China, Runsewe drew attention to the need to activate all aspects of cultural ties between Nigeria and China. He canvassed the organising of regular cultural troupes/performances and exhibitions between the two countries.

    He said: “Nigeria and China enjoy one of the best bilateral diplomatic and cultural relationships in the world. This bilateral relationship has existed for half a century and was formally promulgated with the establishment of diplomatic ties in 1971 and rejuvenated by the strategic partnership accord in 2005.

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    “Even recently, China and Nigeria demonstrated their continued commitment to this robust, healthy, progressively dynamic and holistic relationship when they signed the governmental Memorandum of Understanding during the Forum on China-Africa Cooperation, Beijing Summit.

    “China remains one of Nigeria’s key allies, with key bilateral trade and strategic cooperation, as well as trading import and export partnerships. With 80 per cent of Nigeria’s population indicating a positive perception of Nigeria-China relation, Nigeria is clearly one of the most pro-China nations in the world.”

    Continuing, he said: “Both countries share similarities with regards to their strategic positioning in their respective continents, their political and economic influence as well as population strength. This fosters a mutually beneficial and harmonious atmosphere full of opportunities for sharing, understanding and exchanging of cultural commonalities and diversities among the two countries. Otunba Runsewe also identified factors that enhance mutual benefits between Nigeria and China.

    Both countries share the same national day – October 1. For Nigeria, the year is 1960, while China’s is 1948. The two countries are ethnically diverse and share the misfortune of experiencing a civil war at some points in their histories, with the impacts still felt today in various ways. It will be recalled that Runsewe is currently China Man of The Year and Chairman, Africa China Culture Exchange Society.

  • Fabowale’s poetic feast

    Fabowale’s poetic feast

    Nostalgia and Tears F’orile by Lola Fabowale, a Nigerian-Canadian social policy analyst and essayist, is not a run-of-the mill poetry collection. The Foreword is written by Secretary General, Pan African Writers Association (PAWA) Dr. Wale Okediran, and endnotes explaining some of the terminologies in other languages like Yoruba, Spanish and French. 

    It is a conscience-pricking one that serves as a therapeutic menu, offering rich and diverse themes for readers to savour. The themes include everyday family issues, love, friendship, socio-cultural and political dynamics, migration, climate change among other topical issues. The debut collection by Fabowale mirrors the causes of some of the plagues such as brain drain, End SARS protest and insecurity, while providing solutions for a saner clime. The plagues, according to the author, manifest in emergence of mediocre leaders.

    The 92-page book is in three sections A, B and C plus a bonus. The author did not focus only on the negativity, as she celebrates Nigeria’s arts, culture and history in section A of the book. Poems such as Alade hu’wo, Opomulero and Yetunde (titled in Yoruba) are dedicated to the celebration of Nigerian culture including the Pigin English that is almost the lingua franca in the country. The poems are loaded with images and messages only the initiated will comprehend. Proffering answer to what’s in a name? She writes in Opomulero: “Your name OYEYINKA-Glory, honour and nobility surround me-

    Cuts through my challenges as hot knife sears butter

    That chuckling, throaty voice,

    Heralds a new, joyous hour,

    Whatever might have gone before.”

    ….When I declare you ‘tall’ to others, I talk neither about physical height, Nor of your love of that genre of tales, But of an indomitable filial spirit, ‘Ti o ni gba bode lailai’

    Published in Nigeria by Kraft Books Limited (2023), Nostalgia and Tears F’orile, is a collection of sad and sour songs as captured in the author’s memories and reflections of life in Nigeria and her adopted country Canada. Other poems in Section A include Chicken roost, Deft threads, Plea to Mama, Tests of resolve among others. Most of these poems fall under family issues, love, friendship, and socio-cultural themes. The thirst of a crush, which is the last poem in this section, is an outpour of nostalgic feelings about the author’s native home while growing up.

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    The five-page poem (pages 30-34) also reflects on love affair-”Maybe I was just too young in matters of love,  And should have let traditions rule-allow the man chase the woman; but did you not start it all, that fateful day and began stirring butterflies.”

    As common place as the plagues or challenges are mirrored in Section B may appear, the author adopts fresh perspectives laced with beautiful imagery and rhythmic style to enhance easy reading and comprehension.

    To emphasise the relevance of law and order, she dedicates some of the poems to issues of security of life and property.

    Like The thirst of a crush, Section B’s last poem, Beyond bothered at the border (in memory of the 23 African immigrants killed by Moroccan immigration officers at the Morocco-Spanish border on June 26, 2022) is a unique piece that interrogates the cause and effect of bad governance on the people-immigrants killed at North African borders.

    In Nepa o!, the poet refreshes the minds of readers of the many challenges confronting Nigeria; from lawlessness to inefficiency, corruption and favouratism, that crippled the major institutions like old National Electric Power Authority (NEPA), that has since been unbundled. The consequences of these are power outage, acute suffering and hardship by the people who pay for darkness at the end of the month. .

    Section C has the shortest poem, Words break bones (4 stanzas), that is on Don Cherry’s firing, reaffirms that ‘words maim, they kill with incongruous, frightful zeal to own the will…’

    Another striking piece, Mum, do I go the same way I come? is on the travails of African-American George Floyd who was murdered by Derek Chauvin, a 44-year-old white police officer on 25 May 2020, in Minneapolis, Minnesota, United State. The popular phrase, I can’t breathe, which was George’s last statement forms the opening of the poem that is a deserving tribute to late George. “Did I cry mom, when I came out then? Tears of a new born? Or did I need someone to remove whatever kept me from getting some air? Like this enraged policeman’s knee so full of hate,” she writes to capture the last moments of George. This poem is a reminder of the deep seated racism across the globe even in country such as the US that boasts of equality of man and human rights protection.  Though a debut, Nostalgia and Tears F’orile is a rich menu for readers especially lovers of poetry.  

  • ‘Be patient with Nigeria’

    ‘Be patient with Nigeria’

    The former Anambra State Commissioner for Petroleum Resources, Solid Minerals, Tertiary Education, Science,

    Innovation and ICT, and founder, The Sally Mbanefo Foundation (TSM), Mrs. Sally Mbanefo (Nee Uwechue), has charged Nigerian youths wishing to seek greener pastures in foreign lands to perish the idea. She said Nigerian youths could achieve their best dreams, shape themselves to reflect their tastes and make a brighter future without leaving the shores of the country.

    Mbanefo, who spoke at the Young Lives Matter…I no go Japa campaign organised by The Sally Mbanefo Foundation in Lagos, urged hundreds of youths at the campaign ground to join in the patriotic work of rebuilding the nation. This, she said, is the sustainable path. 

    “Today, I call upon all the youths who are on the verge of japa-ing (leaving) Nigeria to perish that thought. You can still achieve your best dreams, shaping them to reflect your tastes, as you can still put your best hands on the tools of history and make a brighter future. I believe that in today’s Nigeria, there is a new energy to unleash and harness your potentials, new jobs and wealth to be created, new schools to be built by the strength and can do spirit of our resilient youths.

    The road to the success of the youth of our nation has often been painful and arduous. So, we know we may not accomplish all our targets in one year, or even four, but I have never been hopeful than I am today that the hard working but undeserved youth of Nigeria will succeed beyond measure.

    “There may be setbacks and false starts. And there are many who won’t agree with every decision or policy that our foundation makes, for we know that no foundation can solve every problem. Nevertheless, we also know the challenges that our youth currently face. We will listen to the youth and above all, we will ask all of you to join in this patriotic work of remaking our nation, the only way it has been done in other successful nations, a step by step with determination, courage and hard work- no instant gratification but delayed gratification, work now and play later. There is no other way. This is the sustainable path,” she said.

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    The former Director-General Nigerian Tourism Development Corporation (NTDC) observed that Nigerian youth has never been so challenged, facing a bleak future with little hope as they are today. She however urged the youth to summon a new spirit of patriotism, service and responsibility where each of us resolves to pitch in, work harder and look after not only ourselves, but each other.

    “Let us remember that if the present economic crisis facing our beloved country has taught us anything, it is that we cannot have a safe and healthy middle class, if the poor are suffering. In this country, we all rise and fall as one nation- as one people,” she added.

    Reassuring the youth drawn from many local government areas of a greater Nigeria, Mbanefo said that ‘to our youths whose hope are shattered, we will restore your hope. To our youths who long for peace, stability and job security in an increasingly unpredictable world, we will support you in achieving your goals. And to all those who profess that the dreams of our founding fathers have burnt out, we assure you that the flames can be rekindled. For that is the true measure of the greatness of our youth, their capacity for change. And the change they have already achieved gives us hope for what they can and must achieve tomorrow.’

    She disclosed that the foundation will among other programmes designed to empower the youths, organise training on IT productivity, software applications development, data analytics, data science, artificial intelligence, cyber security and cloud computing.

    “At TSM, we are dedicated to providing an enriching and holistic learning experience for all our students. We have carefully curated the Microsoft IT Training program to align with industry skills requirement, ensuring that young people can seamlessly integrate these skills into their academic and career journey,” she added.

    According to Mbanefo the venue of the campaign was chosen to make the youth feel valued and to know the sky is their limit because they deserve to own places such as the venue as long as they delay gratification and give Nigeria a second chance.

    “Together, we can catalyse a movement that not only prevents the brain drain from our nation but also ignites a resurgence of hope within our borders. The journey ahead will not be easy, but with your support and collective determination, we can turn the tide of despair and hopelessness into waves of prosperity and progress. Let us move forward, hand in hand, as we usher in a new era of empowerment, innovation, and unparalleled impact,” she said, while calling private sector to increase their corporate social responsibility (CSR) to the Nigeria youths.

    She recalled that her journey into mentoring and leadership development programmes started twelve years ago, when she established an Education Trust Fund at the Holy Cross Cathedral, Lagos with the then Parish Priest; Monsignor Paschal Nwaezeapu.  “In Lagos, our support has extended to areas like Mafoluku and Akowonjo where the Dominican priests lead youth development initiatives. St. Mary’s Private School is one of our cherished beneficiaries, fostering growth and learning. Cana Mercy Mission, another beacon of hope, has also received my unwavering support on behalf of the foundation,” she added.

    Present at the campaign that featured music performance, swimming and dancing include Assistant Cathedral Administrator, Holy Cross Cathedral, Lagos, Rev. Father Raymond Emedo, Chairman, Fly Boku Travels and Tours Limited, Abiola Lawal, Albert Alabi, Ademola Miller Luwoye, Dr. Taiwo Ojo, Ashley Onochie and Evangelina Michael.  

  • At 50, artist breaks vow, holds Visual Integration

    At 50, artist breaks vow, holds Visual Integration

    Frederick Olatunde Aleilo is unlike many contemporary Nigerian artists. 

    Though trained as a painter at the Federal College of Education (Technical), Akoka, Lagos and Obafemi Awolowo University, Ile Ife, he ventured into many vocations. Indeed, he is a man of many parts. From street hawking to photography, visual arts including textile design, illustration, ceramics, Uber driver, architectural draughtsman-cum house builder, and pastoring a church, Aleilo left his mark of successes in those human endeavours. He is a shining example of artistic prowess and business acumen rolled into one.

    Last month, he rolled out the big drums to mark his 50th birthday with a retrospective solo exhibition tagged Visual Integration and launch of his two books in Lagos.

    Belatedly, with this baptism in professional exhibitions, Aleilo has announced his rich collection and presence in the vibrant creative sector he traversed for decades almost unnoticed. Going by his current zeal, energy and commitment to studio art practice, the artist will seamlessly integrate into mainstream visual art practice. 

    Speaking with Art Writers on the sideline of his exhibition, the artist stated that Visual Integration was a child of necessity as he planned the show to officially unveil his person to the world of art. 

    Read Also: Yomibas eyes global relevance through arts

    “My 50th birthday celebration afforded me opportunity to officially unveil myself.  The purpose of the exhibition is not about any other thing. We want the sales, but it is more of telling the world there is an artist who has created this body of works. That’s why it is a retrospective exhibition and I’m very deliberate. When you look at the titles of the works, you will see that they date back to one decade on a consistent level,” he said.

    Aleilo who is CEO, Alet Inspirationz Prints Limited, a printing and publishing firm, didn’t believe art could pay his bills and live a decent life when he left the university.

    From his personal experiences as an intern the older artists he encountered didn’t inspire him to be a full time studio artist.  

    “While at FCE (Technical), I had my internship with Mr. Ebong Ekwere who was a very good artist but he struggled to make ends meet. My art teacher too in Secondary School was so good but his finance was not enough. So, I told myself after seeing all this, that I will never be a full time artist.  And when I was getting out of OAU, Ile-Ife in my final year, I had an exhibition and I resolved that it was going to be my first and last solo exhibition. When I left school I went into the commercial world as I didn’t want a situation where I will be frustrated. This kept me away from exhibition for so long.

    “I didn’t want to become a full time studio artist, which took me into portraiture. It was one of those things that actually took me into design and printing because I am a graphic artist by training. There is a talent in me that have been suppressed. So, over the years, I realised that I wasn’t at home with that decision,” he recalled.

    The exhibition, which featured drawings, paintings and prints of yester years, is dominated by figurative portraits that are sometimes stylized. His images are primarily feminine and rendered in cool colours. Despite been away from exhibition circuit for a long time, Aleilo’s rendition of his artworks is still very consistent and fluid. There is no hiding place for his skillfulness as a draughtsman whose passion for feminine figures know no bound. In fact, he executes with bold strokes laced with African motifs and embellishment. One other visible trait is how he captures the mood and emotions of his subject in a natural style. 

    The exhibition, which was held at the Library, Federal College of Education (Technical), Akoka, featured  Rhythm, Sisi eko, After the day’s work, Longing soul, nature’s call, Rest, Bridal dance, In deep thought, Purposeful living, Resilience, Love birds, New realm and Friendship among others. The two books are So far, so challenging and Mr. Empty Class. 

  • Yusuf Grillo Museum: A toast of art communities

    Yusuf Grillo Museum: A toast of art communities

    A unique edifice now graces Number 28, Ogunlowo Street, off Awolowo Way, Ikeja. It is a private art museum, which houses art works of some of Nigeria’s acclaimed modern artists, led by the legendary Prof. Yusuf Grillo who passed on two years ago. Dubbed Yusuf Grillo Museum, it officially opened recently. Evelyn Osagie writes.

    Georgina Beier (1960), Uche Okeke (1966), Dele Jegede (1972), Kolade Oshinowo (1976), Ben Osawe 2002, Kunle Adeyemi (2016), and Olu Ajayi welcomed guests into the newly-opened Yusuf Grillo Museum. The private art museum was the toast of members of the art community when it opened penultimate Saturday in Lagos.

    The place, which houses art works of some of Nigeria’s acclaimed modern artists, was unveiled to celebrate the extraordinary life and works of Nigerian legendary visual artist and art scholar Prof. Yusuf Adebayo Cameron Grillo by his children— Morayo Anthonio, Bodunrin Adeyemi, Gboyega  Grillo, Oladipo Grillo, and Akinkunmi Grillo.

    Read Also: Juliana Edewor: I started collecting art at the age of 16

    The museum celebrates his profound impact on the art world and offers a space for dialogue and inspiration. According to the curator Odun Orimolade, it will also serve as a hub for cultural exchange and artistic dialogue in hosting a spread of activities and engagements.

    Guests saw firsthand the museum’s starting collection includes varied memorabilia of the artist’s life and works in the permanent collection for posterity. It also includes works that were collected by the artist over his life in different media. Few of these are presented at this opening exhibit installation. Every piece within these walls tells a story, not just of the artist’s hand, but of the countless hours of dedication, the relentless pursuit of perfection, and the unwavering commitment to the craft.

    “The museum aims to become a treasure trove for art enthusiasts, a resource spiral for researchers and a platform for nurturing emerging talent. The space that used to be his workshop is now transformed into Grillo Art Museum, which involves a gallery, meeting spaces, a library for research and more. The gallery space is designed to encourage upcoming artists. In the future, we’ll continue to celebrate him by ensuring the museum is used to bring the art world together,” Orimolade said.

    The art community has revisited the call for the immortalisation of the late artist who passed away two years ago. For the art stakeholders, led by Pa Timothy Adebanjo Fasuyi, his contributions to the art scene have been nothing short of revolutionary.

    For veteran artist, Kolade Oshinowo, one of the Grillo’s proteges, described Grillo as an intellectual, artist, educator and researcher of many parts, saying he played a pivotal role in reshaping the Nigerian art landscape and has left an indelible mark on the artistic sphere. He said: “My story is not complete without Grillo. I’m like an extension of the family and whatever happens, I’m still connected with the children. He doesn’t like anything celebration. He is quiet to a fault. He is a quiet achiever. We know how this place used to be so, we thank God for the transformation and we thank God for the life of Grillo.”

    While praising the efforts of Grillo’s children, he urged the management of the Grillo Art  to organise residencies, workshops, fellowship programmes etc so that the space can be busy. “One needs to learn a lesson about life from what the children of Baba Grillo has done today. I used to come here to celebrate Christian and Muslim holidays with Baba. I was moved when I came in here. It takes a lot of effort. Great people like this have contributed selflessly in bringing out the value of arts. He lived a meaningful life and even in death he is still impacting the art community. I want to enjoin Grillo’s children to look for partnership with private institutions to ensure that this place never dies.”

    Director, Lagos State Council for Art and Culture, Mr Idowu Tosin who was represented by Head of Department, Visual Art, Mr Ayoola Mudasiru, describesd  Grillo as an icon and a legend in African Art.

     “I appreciate the children for putting this innovation together, the culture and way of life of the people should be driving the economy and tourism.

    “Lagos State is ready to partner  them in any capacity to make the museum a major tourists center in the state. We will immortalise the name Grillo and are ready to partner  the family to make Grillo a legacy that never dies,” Mudasiru said.

    Dr. Adeola Balogun and his team of dedicated young associates, such as Tawa Lawal, Tolu Adefila, Lateef Hassan, Olumide Adebowale, Teni Oyefeso, Moyo Ijabiken, Tobi Braimoh, Faith Ojo, Deborah Adams, Nofisat Anifowose, Moses Taiwo, Cassandra Ahmed, Taiwo Aiyedogbon, Josiah Owezim, and Akinrinola Ahmed helped in the transformation and restoring the old facility into a tourist center.

    Every piece within these walls tells a story, not just of the artist’s hand, but of the countless hours of dedication, the relentless pursuit of perfection, and the unwavering commitment to the craft.

    Grillo’s exploration of identity, society, and the human condition invites us to peer into the depths of our own lives, to question the world around us. His innovative approach to his life, creative practice, developmental contributions, administration and educational and mentorship styles have garnered international acclaim and admiration leaving a myriad of trails in trajectories that run through Nigerian art history also reaching into the diaspora.

    The new museum archive is dedicated to collecting, preserving, documenting and researching Grillo’s life, his artistic process, and the socio-cultural environment that influenced his work and the impact of his engagements in the society in return, according to the museum’s curator. It is hoped that it will be a valuable resource for researchers, scholars, and art historians, a space that nods to the past whilst proffering avenues of shape-shifting to fulfill the dreams of an evolving developmental space.

     According to the management, the museum, which was constructed by Theo Lawson, aims to engage visitors of all ages through a myriad of interactive activities, research, and educational programs. “These initiatives will provide a deeper understanding of Grillo’s techniques, inspirations, and the cultural context that influenced his artistic choices. It also places these contexts in continuing contemporary discourse and engagement in the progressive socio-cultural evolution of Nigerian art and its place in interdisciplinary connections for National development.”

  • Agonies of families with missing loved ones

    Agonies of families with missing loved ones

    Amid a violent insurgency devastating the Northeast, many families are trapped in a harrowing ordeal, haunted by the agonising uncertainty over the fate of their missing loved ones. Every day, they wrestle with the torment of not having answers about whether their beloved family members are still alive or lost forever. These families carry the weighty burden of waiting, their lives forever changed by the inexplicable emptiness left behind by the separation. In this report, ONIMISI ALAO captures the experiences of those gripped by perpetual uncertainty, their stories resonating with the heart-rending accounts of countless others enduring similar trials

    A heart-wrenching tale emerges out of countless attacks carried out by Boko Haram terrorists in the states of Borno, Yobe, and Adamawa State. It’s a tale of a family profoundly affected by the unrelenting violence. This family, like many others, experienced the agony of seven of its members vanishing without a trace. These seven individuals did not meet a conclusive fate during the attack; instead, they simply disappeared, leaving behind a shroud of uncertainty.

    The possibilities surrounding their disappearance are hauntingly familiar in conflict-ridden regions, particularly in the case of the Northeast’s Boko Haram insurgency. People can vanish due to abduction, self-imposed flight that leads to becoming lost, or tragically meeting their end. For a significant number of these missing individuals, estimated at 25,000 as of last year, they either never returned or remain absent to this day.

    Among the family who endured the loss of seven members under such circumstances, there is a lady known simply as Jumai. Her mother counts among the seven whose whereabouts remain unknown. This heart-wrenching incident unfolded in Demboa, Borno State, back in 2017. To this day, Jumai clings to the tiny thread of hope, offering daily prayers for her mother’s miraculous return. Yet, her existence is a solitary one, marked by the absence of the maternal love she once cherished. Her mother’s fate, whether of existence or absence, has remained unknown for six long years since that fateful 2017 attack.

    In the poignant narrative of Jumai, which was shared through visual storytelling in the Adamawa State capital on last week, her words resonate: “My mother taught me everything except how to live without her.”

    Read Also: Air strikes destroy Boko Haram/ISWAP hideout, illegal refineries in Borno, Rivers

    Jumai’s story was just one among many narratives featured in an exhibition that marked the International Day of the Disappeared (IDoD) in Yola. This event was organised by the International Committee of the Red Cross (ICRC). In one of the exhibited photographs, an unnamed family member who had lost relatives in an attack stated: “My life changed the day our community was attacked in 2014. In our family, six people were missing. Three returned over the years.”

    Another poignant pictorial story from the exhibition featured a man known simply as Ishaku, who expressed, “Since I got separated from my children, my heart has been heavy. You (my children) are always in my thoughts. I pray God to protect you wherever you are. May God bring the day soon when we will be reunited.”

    During the event, Mr. Joshua Audu, a representative of the Families of Missing Persons, conveyed the immense pain that accompanies losing a loved one while not knowing their fate. He emphasised: “Only the family of the missing can know the pain.” Officials from the ICRC and representatives of the Adamawa State Government, who attended the International Day of the Disappeared in Yola, acknowledged the profound anguish experienced by those who have lost contact with their loved ones amid the uncertainty surrounding missing individuals. They recognised that the weight of this wait is most acutely felt by those directly affected, especially considering the slim hopes of finding a missing person after a violent incident.

    In her opening address, Fatima Ibrahim, the Deputy Head of Sub-delegation of the ICRC, provided insight into the global issue of missing persons. She stated, “Hundreds of thousands of people around the world are missing or separated from their families due to armed conflict, other situations of violence, disasters, or migration. Many people never return and are never heard from again.” She expressed hope that events like the International Day for the Disappeared would continue to foster engagement, cooperation, and bridge-building efforts to address this tragic issue, noting the ICRC’s commitment to tackling it.

    Fatima Ibrahim also shared some statistics, revealing the ICRC’s substantial efforts in addressing missing persons globally. She highlighted that every minute, the ICRC helps four families separated by various crises to reconnect. Moreover, every hour, they assist in clarifying the fate or whereabouts of a missing person, and each day, they facilitate the reunification of 13 people with their families. Providing specific figures related to missing persons in Nigeria, Precious Yaro, the Families of the Missing Field Officer of the ICRC, stated that over 25,000 individuals had been reported missing to the ICRC by their families “following the ongoing conflict in the Northeast.” She underscored the enduring uncertainty faced by the families of these missing individuals, emphasising the emotional toll it exacts. Yaro explained that the quest for answers by the families of missing persons can span years and even decades, prompting the Red Cross to provide support and engage with authorities to draw attention to the missing and their families.

    While Fatima Ibrahim highlighted the global figure of locating 13,000 out of 95,000 missing persons worldwide since 2022, an official from the Adamawa State Government said that, of the approximately 25,000 individuals known to the ICRC as missing, primarily from the Boko Haram-affected states in the Northeast, Adamawa State had successfully located and reunited 81 individuals with their families. While affirming that some 13,000 families had by end of 2022 missed 25,000 loved ones, the Permanent Secretary in the state Ministry of Women Affairs and Social Development, Mrs Saso Ali, said that in Adamawa State, with the ministry making the necessary moves. “Eighty-one of these missing ones have been located and reunited with their families so far this year alone,” she disclosed. Talking from the experience of an official who has interacted closely with people facing the grim realities of loved ones suddenly disappearing, Mrs. Ali said that in a large measure, it is better to deal with a dead family member than one regarded as missing.

    “Better to see your relation die and buried than for you to live with the anxiety of having to wait and wait for a relative who drops out who may never show up,” she said. She advised, however, that there is no alternative to believing that a missing person will return and to take steps to facilitate such possibility.

    “Let’s never think that it is over. We must hope always to find our loved ones,” she added.

    As things stand, discussions on missing persons would always return to the huge majority who are yet to return and how their family members are living with the mixed feelings that they may or may not return. The August 30 International Day of the Disappesred event, which was held at the Yola Campus of the Federal Polytechnic, Mubi, featured stage performances in which families of missing persons in different communities in the state  sang their respective stories. In their performance, the group of families of missing persons in Malkohi, Yola South Local Government Area, rendered a song summarised in these words: “We travel to where we hear of a missing person being seen, only for the trip to end in nothing.” 

    On their part, families of missing persons who attended the event from Damare, in Girei Local Government Area, preached love with their presentation. They sang: “We have found ourselves in this situation because of lack of love. Our generation has to learn to love.”

    In the meantime, for those expecting missing relations to return, the cloud of uncertainty prevails. They are asking, as the ICRC captures in a logo accompanying its intervention, ‘Where Are You Now?’ An accepted definition of a missing person is rendered as one who has disappeared and whose status as alive or dead cannot be confirmed because the location and condition are unknown. Now, technically, in the eye of the law, how long can a missing person remain missing? Section 90 of the Nigeria Police Act makes it mandatory on every person to report any case of a missing relation within 24 hours. 

    This rarely applies around the Northeast where virtually every resident of a community under attack usually disappears first, and he/she begins to reappear afterwards, and it would take days before some could reappear or before it could be safely assumed that the missing ones would indeed not reappear soon. The established standard, nonetheless, stands that the presumption of death in Nigeria, when a missing person can be legally assumed dead, is seven years. By the provision of Nigerian Evidence Act Section 164(1), a person who furnished evidence and convinced a court that a relative who went missing had not been seen or heard from since seven years ago could get the court to declare such a person dead.

    In the area of inheritance, however, and in accordance to Islamic law practised around Northern Nigeria, if a person goes missing, his status on his property is considered as if he is alive. His property will not be shared or inherited. Instead, the property is preserved, and if he returns by the age of 70, his property is returned to him. However, if it is still unknown whether he is alive or dead when he turns 70, an Islamic judge can make a ruling declaring his death, after which whatever possessions he has at that time will be distributed among the individuals who are alive at the time of his presumed death.

    While insurgency has become the major cause of disappearance in Nigeria’s Northeast, people disappear for many other reasons in the sub-region and elsewhere in the country and across the world. It could be as a consequence of other forms of violence or attacks when residents are killed and bodies taken away or when such residents are simply abducted and never returned or at best not immediately freed. Natural disasters such as floods have also been accountable for people going missing. Some individuals choose on their own to disappear, for instance, to evade arrest after committing a crime, or to escape domestic violence. It could be suicide perpetuated in an unknown place to spare the family of the shame. For others, disappearance results from force, including abduction. Some people could fall victim of murder, in which case the body is destroyed or hidden to conceal the truth.

    Mental illness has also been known to cause people to go away to some place, forget themselves there and be unable to say who they are. Suddenly disappearing could also result from death by natural causes, such as disease or accident far from home. Although Nigeria rates as African country with the highest number of missing persons, globally it comes as one of a number of countries with such reputation. The United States has what may be the world’s highest number of missing persons. According to the National Crime Information Center (NCIC) Missing Person and Unidentified Person Files for the 2021 operational year, 521,705 people were reported missing in 2021 in the United States. An update has it that 93,718 of those people remained actively missing at the start of 2022. The report notes that the fact of the United States having the third highest population in the world likely contributes to its high number of missing persons. 

    Another of the world’s most populous countries, India, has statistics showing that 88 people go missing by the hour; 2,130 people go missing every day, and 64,851 people every month. In the United Kingdom, statistics show that roughly 180,000 people go missing every year. It should be noted quickly, however, that in most of these countries, as against the matter of insurgency in Nigeria’s Northeast, a vast majority of people who go missing in those countries return home almost as easily as they disappear, making it relatively easy for relations to cope.