Category: Arts & Life

  • Stars behind the bars: Insight to integration of inmates

    Stars behind the bars: Insight to integration of inmates

    Stakeholders in the criminal justice sector converged on Lagos recently for the unveiling of a book, Stars Behind Bars.  

    The event, which held at Okota, Isolo, Lagos attracted, among others, serving and retired senior members of the Nigeria Correctional Service (NCS) and civil society groups.

    They included  a businessman, Mr. James Iweh; Controller of Corrections (rtd), Dr. Dora Ofobrukweta;  Controller of Corrections,  Dr Seye Oduntun (rtd); A. A. Mohammed of the Federal Road Safety Commission (FRSC); Deputy Controller-General, Corrections, DCG Aremu Tajudeen(rtd); Deputy Controller of Correction (DCC), Ezendu Nkem; Assistant Controller-General (ACG), Noel Ailewon (rtd); Deputy Controller of Correction (DCC), Obiosio Comfort; Officer in-Charge of Prisons, Redeemed Christian Church of God (RCCG), Pastor Ariyo Popoola and representative  of founder/Executive Director, Prisoners’Rehabilitation and Welfare Action (PRAWA, Dr. Uju Agomoh), Ifunanya Igbokwe and husband of the author, Umoh Nsikan Gabriel, among others.

    They urged members of the society to partner the government to ensure the integration of inmates of the Nigerian Correctional Centres after they have regained their freedom.

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    Deputy Superintendent of Corrections, Mrs Gabriel implored Nigerians to join hands with the government and the Correctional Service and be a part of “Reformation, Rehabilitation and the Reintegration” of inmates back to a safe community. 

    “I want you to know that if you ignore inmates reintegration, they will return to be your neighbours, friends, business partners, church members, clients, our children friends, and even spous,’’ she said. 

    She urged the judiciary to look into long adjournment of cases while suggesting that minor cases should be settled out of court while making a case for more adoption of Restorative Justice and for the justice system to embrace more of non-custodian measures to reduce prison congestion.

    Mrs. Gabriel also made a case for married women serving various terms of imprisonment in various correction centres across the country.

    According to her, “There should be an intervention for married female inmates in as such that their marriages will be saved by making the men realise that if the tables were turned, the women will wait for them . 

    “Most of these women suffer from the fear of losing their homes because everyone deserves a second chance”, she noted.

    The author also urged inmates of the correctional centres not to give up as there is hope for them. “My message to these stars behind bar is that they should not be idle while at the correctional service. Idleness brings depression and most times suicidal thoughts but if they are engaged with the different programs that are available, they will be out before they know what is happening.

    On why she wrote the book, she said it is to ensure that the inmates availed themselves of the opportunities that are available and have been provided by the Nigerian Correctional Service Centres. 

    “We have educational and skill acquisition programmes for those who are not too learned. I believe if they have education or skills, it will go along way to help them out of poverty.”

    The Controller-General of Corrections, (CGC), Haliru Nababa, represented by DCC Ezendu Nkem, described the book as a laudable achievement by a staff member of the Nigerian Correction Service.

    She expressed confidence that the book would help the staff members and the public to know what the Correctional Service is doing to curb crimes by reforming the inmates so that when they come out, they are like stars shining in the society.

  • Artist’s imagination manifests in début

    Artist’s imagination manifests in début

    A solo exhibition entitled: See What Your Thoughts Manifest, by Naomi Oyeniyi, a multiple award-winning artist, is a manifestation of her love to express her emotions and inner self on canvas, by delving into the intricate and transformative exploration of personal identity.

      Held recently at the Tribe XX Lab, Ikoyi, Lagos, the exhibition, which was presented by The Abele Art Foundation, featured 18 works of art. 

    Oyeniyi, who obtained her B.A. Honours degree in Fine and Applied Art at the Obafemi Awolowo University (OAU) Ile Ife, is a painter. She loves to express her emotions and inner self on canvas by delving into the intricate and transformative exploration of personal identity. Through the works at the exhibition, she illuminate the profound and challenging process of self-discovery, the journey through understanding and improving herself. 

    “With the use of vibrant colours, dynamic compositions, expressive brush strokes and pallet knife strokes, I aim to evoke a range of emotions and create an immersive experience. So, each painting that I create was a unique visual representation of introspection, growth and self-reflection,” she said.

    Through the theme of the exhibition, she captures the essence of thoughts manifested into reality.

    “I believe that our thoughts have the potential to shape our world, influence the course of our lives and create the reality we experience. 

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    “In this maiden edition of my solo exhibition, there are three series of works on display. The first one is entitled: In My Thoughts. This is followed by Unspoken Words, and lastly Within My Candy. In My Thoughts is a series of paintings reflecting the thoughts of a soul. It shows the loved ones we hold dear to our hearts, which keep us going even in the tough times. We carry their thoughts everywhere we go and this gives us hope not to give up on our journey to delivering our dreams as the race isn’t for ourselves alone but for all those who pertain to us and look up to us. 

    “The Unspoken Words, is a series of paintings whereby what is seen on the outside is beautiful, and one’s perceived achievements by the way one looks, dresses, and what one possesses.  It is represented in the imagery through the use of flowers and fruits but the work put into achieving all the glamour is unknown. The battles one has faced and/or is facing to achieving one’s life accomplishments is only known to the soul. After all, life is bought again, and we have to keep playing and winning through challenges and struggles to be what we want to be and always celebrated. 

    “The third series is Within My Candy. It is a series of works representing the goodies of life that we enjoy after scaling through the hurdles of life. Everyday comes with it own challenges which we have to conquer to move to the next level. We sit down to enjoy fruits of our labour. And if you look at the works of In My Candy series, we have the fruits, honey and other goodies and  it keeps getting better at every stage of our lives.”

    On what drives her as an artist, in spite of the challenges, she said: “I’m driven by my own personal stories, and immediate environment. I draw my inspiration from the spiritual, physical and metaphysical forces.”

    She said her technique and medium of painting revolves around the use of oil colour and pallet knife, which is her major in terms of showing the textures, lines, and strokes. “I also use brush strokes to create flat surfaces while the pallet knife is to show the textures through the use of vivid colours and strokes to evoke emotion and ideas on canvas.”

    The opening ceremony of the exhibition attracted artists, administrators and lovers of art from across the country that came to savour Oyeniyi’s collection. Luke Osaro, an artist who was at the opening, commended the artist. ”Naomi Oyeniyi has got lovely paintings.  Her pattern interests me the most and what I found most intriguing in “In My Thoughts,” series is how she was able to manipulate several paintings in one canvas. For example, having human figure, and the mind speaking at the background of that human figure with so many thoughts flowing in and out of the minimal space being used by the artist is intriguing. 

    “The works like a friend will say are “wonderments.” I didn’t know that she was a product of Obafemi Awolowo University, (OAU).  I was surprised to hear that because such magnitude of works is usually attributed to artists who graduated from Yaba College of Technology and Auchi Polytechnics but coming from the ‘Great Ife,” like myself, I’m very amazed,” Osaro said.

    Also on the row call of artists that graced the opening ceremony is Toromade Tosin, a painter and school mate of the artist.

    He said “Naomi is a great friend and talented artist. I have known her since her undergraduate days. She is relentless in her style of work and she has evolved with the contemporary times. I’m just seeing this début Solo exhibition as wonderful. I’m not disappointed with the works she has shown on this exhibition. In fact I’m impressed seeing that from the time as a student to when we were together in a studio, to what she has right now, there is so much growth in her style and depths of philosophy.”

    Also another artist, Wale Oyeniyi said: “I’m here to observe and support one of our own and to  project our people through art so they can get to know more about us especially when you have the market space in Lagos. 

    “It is amazing this particular exhibition is about ‘thoughts’ because it is one thing every one of us must have gone through one way or another. You can have positive or negative thoughts. But It is quite amazing how people get to dwell on positive thoughts. Of course, the negative thoughts could be positive sometimes since we’ve all been there in one thought or another. Thoughts of good or evil. Whatever is the thoughts within, what matters is how well we resonate between what we have seen in this exhibition.

    An art lover and public administrator Mr Adebayo Alabi He described the works exhibited by Oyeniti as fantastic. “What I mean by this description is that her works are exceptional. Looking at the creativity and volume of work she puts into the making of those works on exhibition, one would notice that she has really done a lot of work putting the exhibition together. 

    “I’m so impressed particularly about the thoughts and imaginations that are behind all the artworks. It is fantastic! More so the works dwell on everyday life and what affects everybody. The artist has been able to put in art form some of the thoughts we have as individuals, which come as imagination in spite of our day to day activities. It is indeed commendable. And the way she combined oil on canvas has been fantastic. In most of her works I have seen so far, she was able to mix her oil very well which makes them look real. She really put a lot of thoughts into it.”

  • Bernanjo Couture opts for safety in new collection offering, ethni-Afro-City

    Bernanjo Couture opts for safety in new collection offering, ethni-Afro-City

    By EFUA CLAIRE JOBI-TAIWO

    Oyewale Oyelami is well recognized for his consistency in fashion design, and this transcends his success in heading his creative brand, Bernanjo Couture. A garment constructor with skills in pattern-making and illustration, he is recognized for his ability to merge tradition with modern tailoring. Ethni-Afro-City is another interesting showcase of his abilities. The collection juxtaposes Ankara’s bold, cultural appeal with streamlined fits.

    Among the collection outfits is the two-piece Ankara outfit featuring tailored trousers paired with short-sleeved jackets. The jackets boast narrow lapels, a singular button closure, and a quiet but elegant form. The proportions of the lapels, the placement of the lone button, and the precision in seam allowances highlight Oyewale’s meticulous attention to points of measure (POMs). The trousers, expertly crafted, offer an ideal balance of ease and structure, accommodating movement while maintaining a sleek form. The white shirts in the collection are elevated from just regular shirts to creative pieces as well. They possess a breast pocket framed by Ankara fabric. The pocket’s top edge and the shirt’s upper front face add ethnic charm, showcasing an innovative use of trims. The harmonious blending of the classic white cotton shirt with Ankara accents exemplifies Oyewale’s prowess in construction and fabric manipulation.

    Finally, the Ankara shorts with side pockets serve as a functional addition. However, the absence of unique design details, such as textured trims, leaves the shorts feeling a little incomplete. The stitch quality across most garments is consistent, indicating a strong foundation in garment construction. However, there were missed opportunities to showcase advanced techniques. For instance, the seam allowances across all the garments are standard, but adding French seams could have elevated the durability of the garments. The interplay absence between textures limits the visual and tailoring interest of the garments. Pairing Ankara with subtle jacquard or lightweight denim could have expanded the collection’s appeal and highlighted Oyewale’s pattern-making skills more effectively.

    While the Ethni-Afro-City achieves a commendable balance between traditional and contemporary styles, areas for improvement exist. Experimenting with alternative button placements or incorporating concealed fastenings might introduce subtle innovation without compromising elegance. This collection is likely to resonate with style-conscious professionals and cultural enthusiasts who value a blend of culture in all they wear. The white shirts with Ankara accents, in particular, have broad commercial appeal due to their versatility. The tailored trousers and jackets, while less adaptable for casual settings, cater to a niche audience seeking statement pieces for events or semi-formal occasions. The minimalist yet culturally resonant designs add depth to Oyewale’s portfolio, demonstrating his ability to innovate within traditional frameworks. This collection does not necessarily push boundaries but it succeeds in its safe interpretations of tradition.

  • ‘I wanted to beat Achebe’s record’

    ‘I wanted to beat Achebe’s record’

    Henry Akubuiro is the author of Yamtarawala, the Warrior King, longlisted for the Nigeria Prize for Literature. Currently the Assistant Editor of Saturday Sun, he, in addition. edits the literary and arts pages of The Sun. He is the author of the novel, Prodigals in Paradise, and the novellas, Vershima and the Missing Cow, Adventures of Bingo and Bomboi, and Little Wizard of Okokomaiko. He is also biographer and the Jury Chair for the 2023 James Currey Prize for African Literature organised in Oxford, UK. He has won a number of national and international awards, including BBC World Service Young Reporters’ Competition, National Essay Competition, organised by the Federal Ministry of Youth and Sport; ANA Literary Journalist of the Year, ANA/Lantern Books Prize for Prose, to mention a few. He speaks to EDOZIE UDEZE.

    What inspires you to write?                                

       The answer to this question has multiple layers. First, I am inspired to write because I have something worthy of being put across to the reading public. Sometimes it could be to illuminate and share life’s experiences I have witnessed, read or heard. I am also inspired by the compelling need to pilory a social condition –anything that affects the society, like tackling religiosity, criminality and political shenanigans, like in my novel, Prodigals in Paradise.

    Besides, it could be to amuse the reader or persuade him to accept an important viewpoint or feel cathartic for their inactions – may be concerning child abuse and trafficking, like I did in the novellas –Vershima and the Missing Cow, Adventures of Bingo and Bomboi, and Little Wizard of Okokomaiko. Writing also is therapeutic for me. When I am low-spirited, instead of worrying endlessly, I resort to writing.

    I am also inspired by untold stories and history,  like I did in Yamtarawala, the Warrior King, which took me to Borno State. Above all, writing is a great legacy anybody can leave behind for generations. A news story, a developing story nationally or internationally could also trigger a spontaneous response to create characters and become the sole arbiter of their destinies in a make-believe world.

    When you read a book, what do you look out for most?

    The first thing that I look out for in a book is how the author handles the hook. A hook is that charm that lures you to read on or be discouraged. I read volumes of books monthly, so if the opening page of a book doesn’t strike me, I may be impatient to continue. Also, a boring exposition is a put-off.

    Besides, a writer who writes elegantly with fine turns of phrase, sparkling symbols, an arresting style and mind-blowing characters make me sit down with a bottle of red wine and a plate of nkwobi on the table to enjoy the reading experience. I like books that make me feel like Oliver Twist so that I can scream, Wow!” when I get to the end.

    At what stage in your life did you realise you were going to be a writer. And what book triggered the muse?

    I was lucky to come from a family that loves books. My dad had a shelf full of literary classics, nonfiction, newspapers and magazines. So, right from primary school, I had started reading Chinua Achebe, Onuora Nzekwu, Ngugi wa Thiong’o, J.V. Stalin, among others. But I scribbled my first story in my JS 1 after reading Tom Brown School Days by Thomas Hughes, African Night Entertainment by Cyprian Ekwensi and One Week One Trouble by Anezi Okoro.

    After school, I would be teaching a group of pupils English, literature-in-English and other subjects. In the process, I wrote my first short story, which I used in teaching them literature, with questions for exercise. I personally did the illustrations in the story (I am an artist, too), which I created in a book form and shared to everybody.

    In my SS3, as I was preparing to sit for my WASCE, I was also writing a novel. I managed to complete the novel, but the manuscript got lost carelessly. But it was in my university in the Department of English and Literary Studies, IMSU, that writing became full-blown. I was a popular poet on campus from my Year One.

    Also, I ensured that, at the end of every semester. I wrote either a full length play or novel. By the time I graduated from the university, I had at least four full length novels, three plays and over 100 poems. I remember I wrote a play acted by the Department of English for the ELSA Week. Unfortunately, I lost the manuscripts I left in the village during a communal crisis, when my parents fled home, except the poems, which I haven’t published yet.

     Of course, Achebe published his first book, Things Fall Apart, at 28. So I was striving to publish many creative works before 28. I wanted to beat Achebe’s record. Though I succeeded in writing four novels and three plays before that age, none saw the light of day before 28. I was even compelled to sell one of the novel manuscripts to a publisher in Owerri when he couldn’t publish it as quickly as I wanted after two years on the queue. My colleagues and lecturers who read the lost manuscripts, still feel a bit disappointed that I wasn’t able to hit the ground running early as a published writer. They felt I was writing extraordinary stuff far beyond my age then.

    Of all the books you have read, what character inspired you the most?

    The one that easily comes to mind now is Oduche, Ezeulu’s youngest son, in Achebe’s Arrow of God, because of how he defied stereotypes by becoming a Christian and a student at a time it wasn’t attractive to do for traditionalists, of which his father was a custodian. But he was determined to embrace the changing world and was proud to become his father’s “eye and ear”, though he killed the royal python.

    In what genre of literature do you express yourself more?

    It’s a tough one to choose. I am adept in all the genres. There are some writers who are only poets or novelists or playwrights, which is not bad; but I am lucky to be good in all the genres. I also write short stories and poems. So, why limit yourself if you have the talent to excel in all genres? Soyinka writes everything perfectly. In my early years as a journalist in Lagos, I was writing plays on commission basis for a particular school, which were performed during their Culture Week for three-four years.

    My collection of short stories has already been accepted by a UK publisher since last year, and I haven’t forgotten my over 100 unpublished poems. Each genre has its attractions, and I am in my element once I put pen to paper in any of them.

    At what time do you prefer to write,morning or night?

    In my university days, I would be discussing with my friends and, all of a sudden, I would switch off because an idea just flashed. The next moment, I would be jotting them down, which I would develop after lecturers. When I started working as a journalist in Lagos, I switched over to writing at night when I was less busy.

    Nowadays, if I am developing a creative work, I create a space in my phone. I may be in the office and everybody will be chatting and I will be the only one silent; unknown to others, the muse is at work, and I am typing away (laughs). If you miss that idea at the moment as a writer, you may not recover it again. So writing could be a spontaneous engagement for me also.

    Who is your favourite author and how has he or she influenced your flow?

    Different authors actually. First it was Isidore Diala, one of my lecturers, who was an award winning poet and playwright. He had written The Lure of Ash and The Pyre. After reading the two books in Year One, I was challenged to write my first play and many poems. But, as I went further, I fell in love with Wole Soyinka –I love his deftness with language; writers who weave words like weaver birds delight me. Little wonder, my nickname was Soyinka on campus. Achebe also ranks high among my favourite writers, with his disarming subtleties. I am also in love with the Indian writer, Upamanyu Chatterjee, whose spellbinding prose is laced with poetic flakes. I am not just a storyteller; I try to tell stories with style. Otherwise, I would be in the same league with my grandmother, who just told stories by moonlight without gravitas.

    If you meet your favourite author,what would be your first question?

    Perhaps I would say cryptically, “I enjoyed reading your book. More of that.”

    How has writing ordered or reordered your life?

    Unlike being a journalist, where you are judged by what you have done overtime,  in literature, a single book could make or mar your writing career.

  • Joan Okorodudu: I am inspired watching my models flourish

    Joan Okorodudu: I am inspired watching my models flourish

    Joan Okorodudu made waves as a designer and CEO of House of Jola. That for her was the springboard that gave birth to Isis Modeling Agency and Africa’s Next Super Model. Her desire then was to set a pace, create more opportunities and redefine the space. In this interview with YETUNDE OLADEINDE, she takes you into her goals, challenges, opportunities for upcoming models, and scouting for raw talents from different parts of the African continent.

    What drives your passion?

    It is a passion matched with hard work and tenacity of purpose. My goal is to take the African continent to the world stage, harnessing raw talents from the remotest of areas and giving them a lifeline while competing with the world’s supermodels. I want to make an impact on the lives of young African men and women. I want to be a change agent in the story of nothing to something. I am glad to watch my models flourish in their natural talents.

    Most times, great-looking models in Africa have been discovered in refugee camps. Is there any particular reason for this?

     Great-looking models have been discovered in refugee camps. On the 18th of this month, I will go Kakuma refugee camp with the CEO Select Global Model. There are many young men and women out of refugee camps doing very well. They are changing the lives of their family, taking them out of the refugee camp. I have models who have done some of the most amazing shows and campaigns in Europe. Imade Ogbe, the model in 2011 Nigeria’s Next Super Model Show got a car and is still working up till now,  She is doing well in New York, and then of course, has transformed her family. Recently, I booked her for Victoria’s Secret with Isis Models. It is not just refugee camps. I also have Omolola who was first runner-up to Ibukun. Ngozi Anene, and Victoria Daropale, both booked for Prada directly. Omowunmi Shodeko also closed the Louis Vuitton deal last season. One of our major feats is taking a young Nigerian girl, Ngozi Arimoku, from the street of Sapele and having her model in London. There are many Nigerian girls doing so well. There are two other Nigerian girls who came to live in Africa’s Next Super Model in Rwanda.

    Nigerian boys and girls are really doing well in the industry. My pride is that my booker today has the largest number of male models and when it comes to campaigns, they are doing well. Aisha Bello who won the 2009 edition is doing great too. I am proud that I am the prodigy of some of these models. I have actually been able to change the lives of a lot of people. I can’t count on the number of top stars in Nigeria who came out from here. I can tell you that there is the South Sudanese on the refugee campus, and there’s something about them.

    What were the challenges you encountered in the early days and how did you surmount them?

     What I did was concentrate on moving forward not minding what was thrown at me. I was focused and it worked.  I am inundated by numerous young men and women from the African continent.  The Pandora box has two sides. One is filled and the other is empty. The empty ones are on social media. I don’t do packaging. I am real and genuine. There was a time when I couldn’t get press mention. Those were the challenges. It was so difficult to get my story out then but when the social media came, the young boys and girls were on Instagram. People began to see my work. We have the largest number of working models as evidenced by models.com or models.com. We have the largest number of African working models and you’ve seen all of them with campaigns from all the top brands. All the top brands make models doing major campaigns.

    What distinguishes Isis Modeling Agency from other modeling agencies?

     It is my tenacity to succeed. I work a lot, sometimes, I book directly.  A lot of my models, when they debuted I booked them directly. I also have some great partners in the industry. I like to work with bosses and those that can understand. And then, of course, I take care of my models. I pay their school fees from the beginning. I was just paying for all the tickets. I always try to see how these models can work. I have model apartments, so when the teething period comes, it will be easy for them before they can now start renting their own places. These are some of the things that set me apart from the fact that I check their mental status.

    What difficulties do aspiring models encounter in this sub-sector?

     My difficulty in the modeling industry is that I used to take a model out of pity and sympathy and like out of four seasons, but these days, I concentrate on what I call the money-making models, so we’ll go and have the same staying power. There are three sets of models there. Back in the day, it used to be difficult for black models. And it’s just indicative of how things have changed in the world. And I’m glad to say that I’m part of this journey. The modeling industry is tough. There are some that are not working really but maybe to keep their visas working and they know they have to do something, like, that are like small jobs. Then, there are models who make mega money. Then, there are Instagram models. They do E-Com. They only post. There are models who are making so much money that have no time to post.  These models are making some time to pose so you see me posting for them and going after these shows and after the work, after they go back, maybe post one, but there’s like a second tier, top tiers. They have second-tier models that do Eco make a certain amount of money. You have some models who are really not working but they are on  Instagram, and showing everything. So my advice tomorrow is to get a second income. That’s why some models are influencers, others are making big money in the industry. While others are struggling, trying to sell online.

    What should the continent expect in this year’s edition of the show in Kenya?

    Africa’s Next Super Models 2023 promises to be a landmark event that celebrates the diversity, creativity, and raw talent of African models. It will showcase the immense potential that lies within the continent and reinforce Africa’s position as a global fashion hub. This is our second season. The first edition of the show was in Kigali, Rwanda, in November 2022. Last year was the debut of Africa’s Next Super Model show with 15 agents from all over the world. It was breathtaking.  This year’s show is scheduled to take place in Nairobi, Kenya. About 31 agents have indicated their interest to attend the show. The event will include an intensive training program, grooming sessions, runway shows, and industry networking opportunities, all aimed at preparing the models for successful careers in the fashion industry.

    What gives you fulfillment in this job?

     My fulfillment comes when I see these young men and women do well and are able to change the lives of their families. I’m happy because, most importantly, my husband, Air Vice Marshal, Terry Okorodudu retired and has been my backbone with the help of God. He has continually pushed me. Now, I have my grandchildren.  They are joyful in everything I do in this job, from my interviews on BBC to everything. And I want to leave a footprint knowing that in the next hundreds of years, someone who’s actually still modeling, that is if Artificial Intelligence doesn’t take everything away, can say, there was one woman who left these footprints.  

  • Artists keep busy as economy nosedives

    Artists keep busy as economy nosedives

    As the visual art scene experiences dull moments in terms of exhibitions and shows, two places that have kept on the beat are Universal Studios of Arts (USA) and the Art Crafts section of the National Council for Arts and Culture (NCAC) both located within the precincts of the National Theatre, Iganmu, Lagos. From time to time these studios have always kept busy with the artists producing art pieces endlessly. The artists, in spite of the lull in the economy have made it a point of duty to be busy all year round.

    A lot of the artists at the USA are masters. They do not see any reason why artists should be discouraged or stop working because the market or the exhibition part of the business is undergoing moments of interregnum. A visit to the place recently also showed that some of the habitual and traditional programmes of training and tutoring young artists to be better versed in the business were still going on. The young artists mostly are under tutelage and are from some of the higher institutions around. Some are those who did not go through formal art school but they have the talent to draw or sculpt or paint.

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    Those older artists who take them on like Bunmi Babatunde and others have always seen the need to groom them at no cost at all. This is commendable and it helps the sector to continue to produce artists that fill the gap from time to time.

    The studios at the NCAC have more of sculptors who have inadvertently moved from the USA to this place to form another artists’ community. These set of artists are more of wood carvers, sculptors who also occasionally welcome apprentice artists who they nurture and give room to practice. Altogether these two places have kept the hope alive. Although there have not been many exhibitions in recent times, buyers and patrons stroll in occasionally to buy works from the artists. This is one of the ways the beat goes on. Some also market and sell their works online. For them therefore the beat goes on.

  • ‘Traditional wood carving runs in my family’

    ‘Traditional wood carving runs in my family’

    Oyeniyi Fakeye is the sixth generation of the Fakeye dynasty practicing sculpting and wood works and producing the best art pieces ever in the visual art sector. With his studio located at the National Council for Arts and Culture (NCAC) National Theatre, Lagos, Fakeye has enough room to work; to cut bundles of woods to different sizes to form figures and images. He speaks to Edozie Udeze about how the tradition began and why he has chosen to be a contemporary and modern artist.

    The Fakeye family is known for the art. Since the time of their grand old man of sculpting, Lamidi Fakeye through Bisi Fakeye to Oyeniyi Fakeye, wood carving, sculpting and so on, have since remained a family heritage. The history began when the late Lamidi Fakeye, a native of Ila-Orogun in Osun State chose to pursue this natural gift bestowed on him by the Almighty.  Having built his career to a glorious level, he also took his nephew Bisi Fakeye through a lengthy tutelage of being a visual artist. Together, Uncle and nephew infused into the art of wood carving and sculpting an everlasting legacy.

    Today, Oyeniyi Fakeye, one of the younger brothers of the legendary fine artist the late Bisi Fakeye is holding strongly to the Fakeye legacy. With his workshop located at the famous crafts workshop of the National Council for Arts and Culture, (NCAC) National Theatre, Lagos, Oyeniyi Fakeye is daily producing art pieces that project and justify the type of classical carvings and sculptures that always befit the family. There at the NCAC often busy with the creation of all sorts of figures and images, Fakeye has suddenly become a modern and contemporary artist.

    He said, “I do not always stick to the traditional and cultural art of carving and sculpting for which we have been known over the years. Now, I do more of modern and contemporary images. I do not want people, mostly those who may not understand to feel my works are just on masquerades or outdated traditions. This is why I do mostly household figures; images that are not just modern and contemporary, but also appeal to modern day art patrons, marketers and buyers”.

    For the past generations and with Oyeniyi as the sixth generation, the Fakeyes are scattered here and there and they are engaged in the work of producing various types, shapes and forms of art pieces. “It is a gift from God”, Oyeniyi said, pointing to some of the old and new works in his workshop. “Yes, Bisi Fakeye. He is my late brother. He took me through this profession. Today I am here at the NCAC. I was at the Universal Studios of Art before. But I prefer to be here now because it offers me enough elbow room to work”.

    He said he has moved away from wholesome traditional carvings because many people see it as fetish. “I do decorative figures, some people can easily identify with. This is why one of works here in the studio is titled bundle of joy. The work has a young mother carrying her baby on her back. It is contemporary. It is one of those figures people want to see and appreciate. The medium he uses to portray his visual art is what appeals to him more. “Some artists use clay as a medium to do their sculptures. Some also use woods and yet all of us portray different images, figures and forms”.

    Fakeye did not attend any formal school of art. In 1990 his elder brother Bisi, brought him to the Universal Studios as an apprentice. Under him, he was made to conform and learn stage by stage, how to cut woods, shape them and finally form figures out of them all. With time the natural artistic instincts of the Fakeyes took total hold on him. Today Oyeniyi is synonymous with wood works. He breathes life into woods. He takes time to cut them to the desired shape to produce appropriate works. In fact in his workshop all types of woods are heaped in and around the place.

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    A wood is usually cut to size to suit the sort of work it is meant to convey. That way, when the artist is finally set to work it is lots easier to carve the image or figure or form. Mostly in use are woods cut out of mahogany trees. The woods are usually strong, bulky, and heavy and have longevity. On of the works sitting like a solid settee, Fakeye has already carved different figures around it.

    “I also carve functional art. Here I have been able to rediscover myself artistically. I have less distraction. It gives me a lot of independence. Now, I have my style, doing more of figurines, items you can use to decorate your homes, your offices. This one is on politics”, he noted, turning the wood around. “I did it during the campaigns when the heat was high. This is why I titled it political lamentations. By then the tension in Nigeria was high. No one knew what direction the campaign was taking. It is my own contribution to that era; the era of heated political jamboree”, he said.

    On the large wooden work are figures and images of different people, all attuned to the confusion. Except for a few visible figures, the rest are abstract, depicting in reality a people in a situation of commotion, lamenting without knowing where to go or what to do. It is indeed an attractive large and imposing art piece that can be used as an outdoor seat or plague placed in a conspicuous position. Fakeye said he will attach rollers on it so that it can be propelled around.

  • Kole Omotoso: The man, his muse and his friends

    Kole Omotoso: The man, his muse and his friends

    He was a man of many parts. Born Bankole Ajibabi Omotoso, but known as Kole Omotoso, he was a renowned writer, university teacher, actor, columnist, literary critic and known in South Africa as the Yebo Gogo man in adverts. Omotoso, who turned 80 on April 21, would forever be remembered for his trajectory as a writer. One week after, the Nigerian literati are still mourning his passing. In this report by Evelyn Osagie, the literary intelligentsia led by Professors Niyi Osundare, Biodun Jeyifo and Femi Osofisan, remember Omotoso and his muse.

    It was on June 27, 1981, at the University of Nigeria, Nsukka, that the nation’s writers first gathered in what became the maiden conference that birthed the over two decades’ fraternity of the literary intelligentsia under the auspices of the Association of Nigerian Authors (ANA).

      It was at this gathering that Prof. Kole Omotoso was elected the first general secretary of ANA, under the leadership of the late iconic Professor Chinua Achebe from 1981 to 1986.

      Omotoso went on to serve as president and one of the association’s trustees before his passing on last Wednesday.

    Omotoso, who turned 80 on April 21, would be remembered, particularly, for his contribution as a writer, among other spheres of influence, which his creative muse traversed. Nigerian writers are still mourning the passing of the distinguished writer and critic.

    Top writers recall their memorable moments with the late writer. 

    Among us, Kole was the freest of spirit – Jeyifo, Ogunbiyi, Ohiorhenuan and Osofisan

    The Positive Review Collective made up of Biodun Jeyifo, Yemi Ogunbiyi, John Ohiorhenuan and Femi Osofisan, described him as being of free spirit, in his departure, the free spirit has been true to form to which Omotoso belonged.

     They stated: “The death of our friend, compatriot and fellow writer, Kole Omotoso, came to us with a great shock. But, in our sadness we give thanks for his life and his work.

    “We” here refers to the moribund Positive Review-Ibadan Ife Collective. By a few years, Kole was the oldest among us. He also came to writing as a serious, committed and life-long project before all of us. But, among us, he was the freest spirit, the most maverick and unpredictable in his positions and actions! These facts are reflected powerfully and ineluctably in perhaps his two best known and most controversial works, the masterpiece of the hybrid genre of “faction”, “Just Before Dawn” and “Season of Migration to the South”, a searing political and intellectual reminiscence on the historic emergence of the Nigerian Diaspora in Africa and the rest of the world. There are, of course, his other works. And there is his family, the centering, sacramental core of his life: Akin, Pelayo and Yewande, words cannot express our solidarity with you in your loss.

    “Kole is the first in our group to go, absolutely without our permission and thus in his departure, the free spirit has been true to form. But you were here, Bankole Omotoso, you were here!”

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     Kole’s departure painful – Osundare

    Celebrated poet and scholar, Prof. Niyi Osundare, who wrote a poem to celebrate the late writer on his 80th birthday last April, was too sad to react when this reporter reached out to him for a tribute in Omotoso’s honour. Hear him: “Painful, really painful, Kole’s departure. I feel too disturbed and too incoherent to compose a fitting tribute for him right now. So, here, is the attached poem, which I wrote for him some weeks ago upon his attainment of the age of 80. 

    For Kole Omotoso at 80

    (With the world still learning how to borrow a wondering leaf)

    That number sounds so heavy

         I can hardly lift it with my tongue

    Its span springs a distance un-measurable

         By the stretch of any ruler

    The sun’s silent steps across

         The infinity of the sky

    The concourse of the clouds

         Which drill and drop the rains

    Night after night after night

         We sleep in the songs

    Which sleep in us, dance with the dawn

         Whose drum provokes our day

    We rise, unaware,

         As those songs sizzle into see-suns

    Stir into seasons when the tree’s green promise

         Yellows into edible consumations

    And the seeds which broke the sod

         Laugh soundlessly at harvestide

    Time always tells its story

         Even when our ears are usurped by jubilant echoes

    Unforgettable,

         Those dusky days in Akure Oloyemekun

    When Dawn lifted its delicate dust

         And a new and complex day was born

    We called ourselves KOMFESS Artistes’

    – Sowande

    A friend and colleague of the late scholar, Prof. Bode Sowande, who belongs to another collective together with Omotoso, said: “We were four and we called ourselves KOMFESS Artistes, individually named Kole Omotoso, Femi Osofisan, Sanmi Ogunjobi  and Bode Sowande. KOMFESS Artistes as a collective appellation summed up our dreams to be relevant and excel in our artistic creativity. Kole went to Kings College Lagos, Femi Osofisan, Sanmi Ogunjobi and I went to Government College, Ibadan. 

    In the late 60s we were budding writers. Kole was the oldest and rallying point. He published short stories in magazines.

    “Sunday Times published my short story when I was in Form Five, Secondary School. Femi Osofisan won the T.M. Aluko Prize for creative writing, a year before I won the same prize. I won mine in 1966. Sanmi Ogunjobi was most omni- directional. Sanmi was a poet, visual artist mounting exhibitions and he designed clothes for men and women. 

    “Kole spoke French and would earn a Doctoral degree in Arabic. Sanmi taught French. I earned my first degree in French and taught French. Femi earned his first degree in French. 

    Kole became lecturer at University of Ibadan. I got my Doctorate in Dramatic Literature before age 30 and taught at UI. Femi earned his Doctorate and taught at UI. We were theatre artistes. Wole Soyinka was our brilliant beacon and his Orisun Theatre was the centre of our creative expression at one point.

    I established ‘Odu Themes’ in 1972.  Kole published his novel Combat and we celebrated this to no end. Femi Osofisan and I would soon follow with our published works. KOMFESS Artistes are friends bonded by artistic creativity and dreams. Flashback delights with relevance. Two gone! I am sure that Kole Omotoso’s Homecoming is a heavenly delight.”

    Omotoso was a dignified figure – Ajayi

    Former ANA Lagos Chair, Dr. Tolu Ajayi, said: “With the passing of Prof. Kole Omotoso, the Nigerian writing scene has suffered a very sad loss. He was a dignified figure, and an affable personality, who was a joy to interact with at the Writers’ Conferences. He’ll be sorely missed. My condolences go to his family, but they can take solace in the fact that their patriarch has come, seen, and conquered – and then passed on the baton, not only to them, but also to all those he had mentored and inspired. May his soul continue to Rest in Peace.”

     He introduced me to the great Ghanaian playwright, Ama Ata-Aidoo – Yerima

    Playwright and theatre director, former Director-General, National Theatre, Prof. Ahmed Yerima, who was a former student of the late Omotoso, spoke of his teacher-student relationship.

    “Prof. Kole Omotosho was a very quiet person, very reserved and often always thinking about a new play or novel. Or better still, an academic justification of a rumbling thought. As a student of his, I always watched out for his mood before starting a discussion with him. But when he liked you, he did. I will, like most of his students, miss him. I remember when we met after about twenty years. He had become a big face in South Africa and I had seen him in the TV series, Jacob’s Cross. I was very happy because the last time I saw him on stage was with me and many other great actors in Wole Soyinka’s, “Opera Wonyosi’’, when he played “Prof. Bamgbopa.”

    “The last time I spoke with him was after as Dean of the Faculty of Arts, Elizade University, he produced my play Igatibi and he forgot to inform me. I said you forgot to invite me, Sir. And he answered, “It was a good play. Kongi came to give the convocation lecture. The audience enjoyed it. After all, I taught you how to write good plays.” He hung up. Indeed he taught me “faction”. In a heated discussion on his mixture of facts and fiction in his book, Just Before Dawn. 

    “I am happy I sent him this at the last Teacher’s Day: ‘The father of a million theatre sons, including me. God bless you, Sir.’ As usual, he must have read it, a little smile between the white beard and switched off his phone. Not a word. The most important thing about my relationship with him as a teacher-student took place recently when I was trying to find a book, and his book, The Theatrical into Theatre fell off the shelf. I remembered he made me pay for it. But it was what he wrote on the cover page that made me shed a tear for him tonight. In his handwriting, he wrote. “To Ahmed (who paid for it) for a former student and a present colleague and a future great – with compliments from Kole. Ile-Ife. 25/1/85.

    “I saw this respect manifest itself when he introduced me to the recently passed great Ghanaian playwright, Ama Ata-Aidoo. I had never seen that excited about knowing me. No doubt, l will miss him for different reasons. Goodnight, Sir. African literature will miss you.”

     Omotoso was a mentor and seer – Okediran

    “General Secretary of Pan-African Writers Association (PAWA), Dr. Wale Okediran, described Omotoso as a “brilliant, kind and thoughtful man who went on to become a mentor as well as a great and loving friend”.

     ”More than 40 years have passed since I met Prof. Bankole Omotoso, a distinguished short story writer, novelist, dramatist, critic, actor, biographer, founding General Secretary and a former President of the Association of Nigerian Authors (ANA).

    “Throughout those years, I had the honour of attending several local and international literary events with this brilliant great friend. When I first met Omotoso in the early 1980’s, I was a young medical doctor/writer in the grips of some unforeseen forces which were intent on tearing me away from a relatively stable medical profession into the uncertain terrain of writing. Even though I did not find talent and tenacity of purpose in short supply, I could not have gone far in my long and lively literary career without the support and guidance of people like Prof Omotoso.

    “In addition to a moderate literary production, I also followed the footsteps of my mentor by taking up some literary administrative positions such as the General Secretary and later the President of ANA. However, when in 2007, he proposed that I should relocate to Ghana to take up the position of Secretary-General of the PAWA, I thought it was a joke. I promptly rejected the proposal. It was our first major disagreement and it caused a little strain in our relationship. 

    “When in 2020, I finally found myself as the Secretary-General of the same PAWA, I called Prof Omotoso to announce my new position. He only gave his trademark chuckle and congratulated me. It is a thing of joy that his children have also built legacies of their own, some of them, especially Yewande following his literary footsteps.”

     Omotoso affected how my generation of writers saw the book, says Ipadeola

    For NLNG prize laureate, Tade Ipadeola, the late writer had an immense influence on writers of the poet’s generation.

    “Prof. Kole Omotoso profoundly affected how my generation of writers saw the book. He’d written “Just Before Dawn”, which at the time caused such a stir in places high and low that no literate Nigerian could fail to notice that there was something seismic happening.

    “He personified the idea of the author as a force that shapes the world a book at a time. At the peak of his writing powers, he brought us something of the old Russian respect for writing, which authors like Tolstoy, Pasternak and Solzhenitsyn, brought to their people. Getting to know him in person in the house of Odia Ofeimun in Lagos revealed a man of deep humour and humongous capacity for the joys of life…”

    My last encounter with him at the Oliver Tambo airport in South Africa is still fresh in my mind. He asked the folks back home in Nigeria by name, and in a few instances he was even the one who told me what was happening to some folks. He was always rooted even as he always travelled. I’m going to commend his body of works to younger African writers for their range and variety, their texture and their truthfulness to the African experience. I’m going to miss him”

    A dazzling star has fallen – Dafinone

    A Nigerian author of 10 books of poetry, based in the United States, Wisdom Dafinone, said: “Another dazzling star has fallen from our dwindling firmament of literary giants – Prof Bankole (Kole), Ajibabi Omotoso, quintessential intellectual, novelist and playwright who succumbed to the inevitable blows of mortality; thereby transcending to the pantheon of literary immortality. Our prayers are with his beloved family. Prof. Kole A. Omotoso, rest in perfect peace.”

  • Abe-igi as arena

    Abe-igi as arena

    After many months of delay, the Abe-igi at the National Theatre, Iganmu, Lagos, has finally been completed. With a new name added to it now, it is now known as Abe-igi Arena. Last week, customers, fun-seekers, and artists were seen hanging out there. Indeed, life has gradually returned to the place. Beers and all sorts of drinks have started flowing again. All sorts of gastronomy; pepper soup, foods from different parts of Nigeria and more are generally handy.  Abe-igi Arena has started bubbling. It is a new look Abe-igi without the usual trees.

    It is understood that a modern sit out, befitting the new National Theatre cannot tolerate intrusion of trees and other shrubs that were the norm before. According to Henry Ndubuisi who is the head of marketing department of the National Theatre, the Arena has been increased from what it was before to more shops. The addition of more shops is to accommodate some of the old shop owners who had no shops of their own. In addition too, more modern facilities have been added. This includes modern toilets, bathrooms, and other conveniences.

    There is a space for the VIP. It is rumoured that O’jez entertainment has a place where he would be attending to big time fun-seekers, artists, Nollywood stars, holiday seekers and indeed other big thespians.

    On the whole, it is now apparent that the federal government is ready to complete the remaining projects at the Theatre. The environment looks good, inviting, friendly and cozy. In fact, as it is now, those who want to relax have already started trooping to the Arena and other beautiful and lively areas of the Theatre.  

  • Film on brain drain exposes a lot

    Film on brain drain exposes a lot

    It is titled brain drain (the documentary). In it, Efizzi Communications, producers of the short film highlights causes of brain drain and the impacts on those fleeing their country and the host nations. Edozie Udeze examines so in this preview.

    The primary purpose of this documentary is clear. Essentially, it is an expose on the brain drain syndrome in Africa, more especially Nigeria. What are the causes of brain drain and the effects on the people and economy? According to Akpapunam Collins, owner of Efizzi, producers of the brain drain (the documentary) it is to tell the story of emigration and what impacts it has both for the emigrant and the host nation. It is also to have clearer insight into reasons people emigrate from their country of origin to another country. Indeed, in a study so far conducted, Africa has continued to decline and lack professionals in most sensitive sectors of the economy due mainly to the fact that her best brains leave the continent in droves almost on a daily basis.

    In making the story speak and appeal to the public, Efizzi traversed the length and breadth of Europe and America seeking to get and speak to Nigerian professionals across board. These are Nigerians in the Diaspora who have established solidly in their areas of career and they are contributing exceedingly to the growth, prosperity and development of their host nations. The loss to Nigeria is big and unfathomable, thus showing how far, good, sharp brains can go to ensure a steady and consistent development of a society.

    The film opens with an airplane taking-off in a grand style from an airport. While it does so, Nigeria’s national anthem booms in the background. Then a cluster of the members of the National Youth Service Corps (NYSC), energetic and full of life are seen doing a parade. Many of them are thinking of whether to secure job after this palaver. The scene quickly registers an euphoria of love for fatherland. Then Akinwumi Adesina, President of African Development Bank appears quickly to say that brain drain has truly given a devastating blow to Africa’s economy. In fact, the best brains are often restless, all in search of the best and conducive environment to prove themselves, thriving thereof.

    What this means is that it is wrong for African leaders to neglect the development of the society which encourages their best brains to elope. This is all due to lack of good leadership and people are usually very sad when there are no jobs or the hope to get one soon after graduation.

    It is not that emigration or migration and immigration are new phenomena in the world. Often birds of the air, wild animals and so on migrate for want of enough foods to it. At other times they migrate in search of more claimant and habitable weather to exist. The Israelis or rather the Jews at once in history migrated to Europe. This was due to constant threats to their political, religious and economic existence. So also were the Arabs. Today some Asians are still on the move to different parts of the world. However, in most of these situations it is not usually the best brains that emigrate. This is opposed to the Nigerian scenario where stringent economic and political developments have made near it impossible for the best brains among the youths and others to showcase their talents.

    The film shows very impressive and orderly cities, glorious in their planning, inviting, cool and good for residency. This is abroad, of course. These cities, most of which exist in Europe and America are a lure to the people.  When Nigerian leadership conundrum becomes more amenable to the yearnings of the people for the common good of the society, then the strong pull to elope or japa may not arise.

    In those cities, you see glamorous settings, beautiful homes. You see companies functioning and people find employment and regular pay. You see the electricity lights working without blinking. You also see good roads; you breathe fresh air and interact with people who work without undue intimidation. The system is hardly disrupted. In the midst of these, Efizzi fishes out some prominent Nigerian professionals in their comfort zones for interview. In it all, you have a rich and well packaged short documentary on brain drain that says a million things in a jiffy. These million issues then raise the question on why some Nigerians have indeed become prominent and exceedingly successful in very intimidating ways abroad.

    One of the respondents, Titiola Ayisafe is a senior construction manager with Amazon. Her love for Nigeria is indelible, but she also feels that once leaders engage seriously in programmes to improve the society, Nigeria will bounce back. Ayisafe was born and bred in Nigeria. She left after secondary school education in Queens College Lagos. Today she has two degrees in Civil Engineering from the Universities of Memphis and North Texas, USA. A high profile construction Civil Engineer losing her to the Diaspora is one loss too many.

    Also Dr Ben Gbulie, the MD of FACS was trained at the University Of Lagos College Of Medicine. A big name in cosmetic and surgery in the States, he doubles as a reconstructive Surgeon. All these he has brought to bear on the American society. Gbulie affirms that East or West Nigeria is his home. But then, let leaders at all levels make it livable for citizens. As an expert in plastic and reconstructive surgery he was once involved in an eighteen hours surgery that separated conjoined twins in Lagos.

    Muhammad Ali Pate (MON) born in 1968 he is at Howard University, USA, as a Professor of Public Health. A physician and politician, he was a former Minister of State for Health in Nigeria. However, he has made strides in the US because the system works. Another person is Dr Nelson Aluye, also a medical doctor. He studied at the New Jersey University, USA where he is currently an assistant Professor. He is an expert in disease control. He has achieved so much in his field of professional endeavour, yet Nigeria, to him, is a place that can be made better if leaders agree to do so.

    Dr. Sam Faleye is Chairman of SAVLEN INC. He works in an electric vehicle company based in Delaware, USA. As one of the founding partners of the company, he believes that African Diaspora is part of growing American economies while Africa lags behind. A graduate of Medicine from University of Ilorin, is soon moved to Howard where he did his residency and has since diversified his career. Segun Adeyina is a Democrat, a member of House of Representatives in Georgia, USA. He is currently the director of Nigerian American Public Advisory Committee, USA. He is involved in voter education amongst the populace.

    Chinyere Ukoh who describes herself as a proud Igbo lady and a Nigerian still thinks home. She is the president of JJPS Construction Company based in Washington DC. A graduate of Hampton University, she also holds a Masters degree in Public Administration. For Abike Dabiri Erewa who is in charge of the Nigerian Diaspora Commission, a lot has been done by her agency to rescue and rehabilitate Nigerians in many difficult situations. For instance Nigerians in war-torn Sudan and those returning back from Libya and other places have been properly catered for.

    There are other respondents, all thinking well of Nigeria, even as they are prospering in their careers in Diaspora. But above all, this documentary has opened the eyes of the people, individuals and government alike, on the essence of brain drain, an anathema that can be corrected.